WANDER LABYRINTHINE VARIATIONS PRESS PACK

12.09.11 > 05.03.12

centrepompidou-metz.fr PRESS PACK - WANDER, LABYRINTHINE VARIATIONS TABLE OF CONTENTS

1. INTRODUCTION TO THE EXHIBITION...... 02 2. THE EXHIBITION

eab I Th l yrinth AS architecture...... 03 II Space / Time...... 03 III The mental labyrinth...... 04 IV Metropolis...... 05 V Kinetic dislocation...... 06 VI Captive...... 07 VII Initiation / Enlightenment...... 08 VIII Art as labyrinth...... 09

3. LIST OF EXHIBITED ARTISTS...... 10 4.INEA L GES, LABYRINTHINE DETOURS - WORKS,

HISTORICAL AND ARCHAEOLOGICAL ARTEFACTS...... 12

5.OM C M ISSIONED WORKS...... 13

6. EXHIBITION DESIGN...... 15

7. THE LENDERS...... 16

8. THE CATALOGUE...... 17 9. THE EXHIBITION GAME:

LABYRINT* IN A VALISE (*H)...... 18

10.REDITS C ...... 19

11.events aND ...... 21

12.P ARTNER VENUES...... 24

13. VISITOR INFORMATION...... 25

14.P ATRONS AND PARTNERS...... 26

15.P RESS VISUALS...... 27

01 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 1. INTRODUCTION TO THE EXHIBITION

Wander, Labyrinthine Variations follows Beyond its historical references, Wander, Labyrinthine Masterpieces ? as the second major thematic Variations sets out to represent certain contemporary exhibition at the Centre Pompidou-Metz. aesthetic, political and intellectual trends of our era. It addresses the history of forms and ideas by challenging Wander, Labyrinthine Variations is an international a strictly linear model or progressive vision. Instead, it group exhibition, which takes its cue from the multiplies possibilities, draws the visitor into zones of model of the labyrinth, tackling the notions of confusion, multiple choices and lays obstacles to our straying, loss and wandering as well as their apprehending of what is real, with all that this implies various representations in . in terms of adventurous speculation and uncertainty.

Mystical, archaic forms, labyrinths and mazes are Unfolded on 2,000 square metres across two of the gallery examined here as metaphors. They form complex figures spaces at Centre Pompidou-Metz, the exhibition shows that associate the image of non-linear progression different generations of French and international artists, through bends, curves, repentance and returns… whether alongside major works from the Centre Pompidou, Musée architectural, mental, economic or structural in nature. national d'art moderne in and important international The show itself is organised thematically according collections. There will also be specific commissions by Matt to a sinusoidal principle that follows the detours Mullican, Public Space With a Roof and re-enacted pieces and polysemy of the subject itself, offering a loss of by Gianni Colombo, Gianni Pettena and Julio Le Parc. reference both figuratively as well as formally. It veers from an architectural maze to thoughtful meandering, Wander, Labyrinthine Variations is also a game in the form from global political-economic chaos to disorientated of an enigma - Labyrint* in a Valise (*h) - elaborated contemporary urbanism, from bodily spatial confinement by the independent curator, Jean de Loisy. to maieutics, from exploded narration in cinema or literature to geometric abstraction as an eye-catcher.

The exhibition is presented in eight themed parts, which develop the subject from an angle that is both conceptual and sensory.

Painting, architecture, penetrable works, sculptures, films, maps and archaeological artefacts offer as many different perspectives on, and immersions in, these curious and surprising worlds.

THE CURATORS

Hélène Guenin Guillaume Désanges Head of Programming Department Curator, Art Critic, Director of Work Method at the Centre Pompidou-Metz Guillaume Désanges has curated numerous exhibitions Hélène Guenin was appointed Head of programming at in and internationally. He is the director of Work the Centre Pompidou-Metz in November 2008. Alongside Method, an independent production entity. Between 2001 Laurent Le Bon, she supervises exhibition projects and and 2007, he coordinated artistic activity at parallel programming in the Wendel Auditorium and the Les Laboratoires in Aubervilliers. In 2007-2008 Studio. he was head of programming at La Tôlerie Arts Centre Prior to this, from 2002 to 2008, she worked with Béatrice in Clermont-Ferrand. Since 2009, and until 2011, Josse at the Fonds régional d'art contemporain in Lorraine. he has been guest curator at Le Plateau-Frac Ile de France arts centre in Paris for a series of exhibitions entitled Érudition Concrète.

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Kazimir Malevich I - The labyrinth AS architecture (according to) The labyrinth originates in architecture. Greek mythology Suprematist popularised the concept with the Minotaur, a creature Ornaments, that is half-man, half-bull, imprisoned in a construction 1927-2002 Reconstructed by Poul Pedersen so complex that no one can find their way out. Invented 7 original parts and 11 by Daedalus, the original labyrinth was thus based on reconstructed parts mounted on a plate paradox: how can a rational, methodical structure produce Plaster confusion, disorientation and wandering? Modern-day 27.5 x 45 x 60 cm architects and artists have considered these questions Centre Pompidou, Paris Musée national d’art anew, and imagined principles based on broken lines, moderne / Centre de création twists and turns, tangles and bulges. This part of the industrielle © Adagp, Paris 2011 / exhibition looks at practices which are both programmatic Collection Centre Pompidou, and decorative, and which break with the readability of Dist. RMN / Philippe Migeat straight lines. Kasimir Malevitch

Yona Friedman Painter of Black Cross and Suprematist Composition: White on White, two Étude pour la ville major works of the avant-garde abstract movement, Kazimir Malevich turned to geometry and volume in the 1920s, during Suprematism's "white spatiale,1958-1959 phase." In 1926-1927, in Leningrad, Malevich produced a series of models Project which he called Architektons. They include Bêta and Suprematist Photocopy and felt tip pen on paper Ornaments. The way the various plaster shapes align arose from the artist's 29.7 x 42 cm study of the effects of moving a square to different positions to produce Centre Pompidou, Paris rhomboid shapes of various lengths. The cube, considered the "point " Collection Musée national of architecture, becomes the minimum unit, the perfect volume, divest d’art moderne / Centre de of all concrete purpose, multiplying and proliferating in space. Henceforth, création industrielle Malevich's three-dimensional work was permeated with the fundamental Gift from the architect, 1992 question of how to include the body in a white and immaterial abstraction © Adagp, Paris 2011 / Collec- of architecture. These two symbols of Malevich's three-dimensional work tion Centre Pompidou, Dist. were reconstructed by Danish artist Poul Pedersen in 1978. RMN / Philippe Migeat

Yona Friedman II - Space / Time Architect Yona Friedman was born in Budapest and has lived in Paris since The labyrinth is the archetypal space that generates the late 1950s. Early on in his career, Friedman sought to distance himself from the intensive constructions of the post-war era. He founded the Groupe time. Inside the labyrinth, times feels warped in a d'Architecture Mobile (GEAM), whose "mobile architecture" places the user succession of detours that bring us back to our starting firmly at the centre of the design, in contrast to previous and existing views point. In mathematics, spirals, loops and Möbius strips which, Friedman believed, tended to see users almost as an irrelevance, are the physical embodiment of this paradoxical progress or at best an abstract identity. The "spatial city" utopia, which is illustrated in this series of drawings, through space and time. Each of the works and projects seeks to give form to the basic tenets of mobile architecture. Friedman's in this section identify with this highly specific dynamic adaptable, non-prescriptive structures allow for individual expression immobility or involution, examples of which are also and for groups to choose their preferred layouts through a grid structure found in the natural world, in seashells and nebulae, in which walls and space alternate and exchange: "The city, as a mechanism, is nothing other than a labyrinth: a configuration of starting from mystical wanderings to the revolving planets. points and destinations, separated by obstacles". The project's utopian dimension appears in these drawings of cities which Frederick Kiesler might appear more at home in works of fiction, so far removed are they from Exterior view of the conventional architectural plans. We are offered a fantasy as food for thought, an object of beauty and inspiration for new ways of living Endless House model, in the cities of the modern world. 1958 Photograph 1. Quoted in Architecture Expérimentale, 1950-2000, Marie-Anne Brayer (ed.) Collection Frac-Centre, Gelatin silver print Orléans, Hyx, 2003, p. 214. 25.4 x 20.3 cm Photograph: George Barrows Architecture & Design Study Center The , New York © 2011 Austrian Frederick and Lillian Kiesler Private Foun- dation, Vienne / Photo: 2011. Digital image, The Museum of Modern Art, New York/Scala, Florence

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Frederick Kiesler Mike Kelley Educational Complex Artist, architect, architectural theorist and member of the De Stjil group, throughout the inter-war period Kiesler developed and defended a style (detail),1995 of architecture that was radically opposed to the prevailing functionalism; Various materials a style that embraced suspensions, curves, sensuality and mobility, in direct 146.7 x 488.2 x 244.2 cm contrast with the all-pervading perpendicular. Kiesler was the undisputed Whitney Museum of American pioneer of spirals and continuity in architecture. "In 1924-1925, I eliminated Art, New York separations in house-building, that is the distinction between floor, walls Acquired with funds from the Contemporary Painting and ceiling, and I created a single continuum of floor, walls and ceiling." and Sculpture Committee Towards the late 1920s, he began work on Endless House, a project that Courtesy of the artist would occupy him for virtually the rest of his life. This continuous, egg- Photo: Göran Örtegren shaped structure suggests a cave, a seashell, even the organic. Indeed, the project developed, grew and changed over time as though it too were a living organism. Drawings, photographs, models, poems and painting illustrate these 40 years of research. They are shown alongside the models Mike Kelley on exceptional loan from the MoMA and the Whitney Museum of American Art in New York. Educational Complex resembles an architect's model but is in fact a form of autobiography as Kelley has assembled the buildings – home, school, Robert Smithson church, etc. - that have played a significant part in his life. All symbols of authority, they trigger thoughts on individual trauma and repressed Spiral Jetty, 1970 memories. Empty spaces have deliberately been left in the buildings 16mm film, colour, audio, to represent gaps in the memory. Beyond references to psychoanalysis running time 32' and the Freudian subconscious, the amalgam of buildings in Educational Centre Pompidou, Paris Complex touches on recent debates in the cognitive sciences, in particular Musée national d’art moderne / Centre de création the evolutionary theory which states that the human mind consists of a large industrielle number of semi-independent units. Kelley invites observers to get lost Acquisition, 1975 in this labyrinth of inaccessible blocks, maybe even slip, voyeur-like, © Adagp, Paris, 2011 / underneath to see the basement at Cal Arts, where Kelley was a student. Collection Centre Pompidou, Educational Complex also plays with the suspended volumes around it, Dist. RMN / image Centre reminders of the mobiles that hang above a baby's cot. Pompidou Thomas Hirschhorn and Marcus Steinweg The Map of Friendship between Art and Philosophy…, 2007 Cardboard, paper, plastic Robert Smithson sheet, clear tape, prints, photocopies, marker, ballpoint 240 x 400 cm Robert Smithson's Spiral Jetty was built on Great Salt Lake in Utah in April Stephen Friedman Gallery, 1970. It is a 500-metre long, five-metre wide spiral made of mud, salt Londres crystals and rocks. An icon of land art, this "outside-the-gallery" sculpture Courtesy of the artist and results from a direct experience of the environment. Stephen Friedman Gallery, In the corresponding film, Smithson narrates how the work was created, London / Photo: Stephan White and describes a staggering number of references. It begins with a close- Thomas Hirschhorn up of the molten surface of the sun, followed by an alternating sequence of maps and stacks of books (including The Lost World, and Mazes and The Maps, which the artist Thomas Hirschhorn has made with Labyrinths). After a sequence showing the actual building of the jetty, the philosopher Marcus Steinweg, form a subjective panorama of western the final part comprises a series of aerial views during which the helicopter philosophy. These map-pictures use fragile materials such as underlined blades rhythmically whirr in time with the voice of the artist, whose and annotated pages from books. The works, which have an aura of urgency thoughts leap and twirl with the sunlight. As the camera whirls, it minutely and necessity, visually portray the thought mechanisms of the likes examines the spiral that blackly scars the vast shimmering surface of Michel Foucault, Hannah Arendt and Spinoza, and the connections of the water - a mirror so often used by Smithson to question they have established between concepts. Mapping philosophical thinking, our perception of reality. The spiral conveys the infinite and the off-centre; or indeed one's own thoughts as in MOI-MAP, implies entering a brain it blurs our bearings as it coils around itself and unites opposites: at work; part system, part chaos. These works are based on the belief inside/outside, microcosm/macrocosm, immobility/movement, that there is a direct, stimulating, vibrant connection between art appearance/disappearance. and thought. This first-ever showing of the complete collection of Maps takes visitors inside the artist's thought processes in an all-encompassing scenography.

III - The mental labyrinth Jacques Fabien Gautier d’Agoty The structure of the human mind is often likened to Myologie complète a labyrinth. In physical terms, the brain can be seen en couleur et as an inextricable network of neurons and synapses grandeur naturelle, composée de l’Essai while, metaphorically, "thinking is like entering a maze" et de la Suite (Cornelius Castoriadis). In philosophy, wandering and de l’Essai d’anatomie digression are necessary stages in the quest for truth. en tableaux The mental labyrinth encompasses knowledge, as well par Gautier d’Agoty, as dreams and memory. It embodies the depths of Anatomie de la tête, 1746 consciousness, from loss to revelation, through which Coloured mezzotint we attain the "light through darkness" which Henri 53.5 x 37 cm Michaux describes. Various ways of formalising thought Bibliothèques-Médiathèques are assembled here, in the work of artists who map these de Metz © Bibliothèques-Médiathèques complex areas of the mind and invent new orders of ideas de Metz / Département and reality. Patrimoine

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moveable walls. The social lives of the residents of these cities of the future Agnes Denes become a game while the buildings, with their multiple interpretations, Snail Pyramid-Study become a flickering array of interacting desires. The labyrinth was for Self-Contained, a constant source of inspiration for Constant even beyond his New Babylon Self-Supporting City project, the archetype for both interior thought and for the unexpected, the accidental. Dwelling – A Future Habitat, 1988 Ian Breakwell Ink on clear millimetred The Walking Man plastic film 98.4 x 145.4 cm diary, 1975-1978 The Museum of Modern Art, Black and white photographs New York on paper, typed and hand- written texts on paper Courtesy of the artist 123.3 x 615.9 x 1.9 cm Photo: © 2011. Digital image, The Museum of Modern Art, Tate New York/Scala, Florence Acquisition, 2001 © Tate, London 2011. Courtesy Agnes Denes The Estate of Ian Breakwell Ian Breakwell and Anthony Reynolds Gallery, A pioneering artist in land art and , Agnes Denes' practice London is a crossover between science and art. Her interventions in landscape The Walking Man Diary is a photographic record that the British artist and nature are indicative of her belief in the importance of art as a trigger Ian Breakwell made between 1975 and 1978. From the window of for social change: "A well-conceived work can motivate people, unite his London flat, Breakwell watched a man's daily drifting through the tumult communities, and affect the future,” she writes. This is the erudite line of Smithfield Market. With bowed head, the unknown man would walk of thought that lies behind the artist's inroads into politics. Mathematics, the streets, with no apparent purpose but to follow the same twisting, natural science, philosophy, linguistics and social science are all grist turning route. Over a period of three years, the artist, who was interested to her mill. The drawings in Wander bring to mind scientific documents, in the observation and surveillance of social deviance, sequentially recorded blueprints and diagrams. They show us synthetic mathematical shapes the enigmatic path travelled by this man on the fringes of society. Breakwell such as pyramids and triangles, and reveal her fascination with the spiral takes the stance of a critical observer of normality, as defined and imposed motif, the perfect mathematical form, which recalls the golden ratio. by society. The Walking Man Diary is presented as a series of collages Agnes Denes sets out to chart human thought and language. that chart the physical and mental wanderings of this unknown man over a given time frame. In 1977 the walking man disappeared. He reappeared in 1978, walking more slowly. He disappeared for good in 1979. IV - Metropolis Paul Citroen Described by the poet Emile Verhaeren as "tentacular", Metropolis, 1923 the modern city has much in common with the labyrinth. Reproduction 76 x 59 cm Viewed from a distance, it resembles a comprehensible Leiden University Library, network but once in its midst, this network reveals itself The Netherlands to be an inextricable web of chaos. Thus it elicits new © Adagp, Paris 2011 / Photo: University Library Leiden, behaviours – inadvertent or deliberate drifting, marginality the Netherlands and dispersion – and becomes a new space for individual adventure. Paul Citroen's Metropolis, which inspired Fritz Lang's film, embodies the overwhelming, the dizzyingly dense in much the same way as the Babylon of antiquity, the symbol of power and authority. These mythical cities inspire a new kind of artist-surveyor/cartographer. They portray the complexity of the modern city, or approach it as a playground and laboratory, part poetry, part social deviance.

Constant (Constant Anton Nieuwenhuys, known as) Leiterlabyrinth, 1967 Brass, glass, acrylic, wood 72 x 86.5 x 96.6 cm Friends of the Stiftung Wilhelm Lehmbruck Museum, Duisburg, © Adagp, Paris 2011 / Photo: Lehmbruck Museum, Duisburg, Allemagne

Constant Nieuwenhuys known as Constant

A Dutch artist and architect, Constant was a founding member of the Cobra group of artists. From 1956 to 1974, he worked on a visionary architectural project that he called New Babylon. Arising from Constant's involvement with the Situationists, the project combined utopian and activist principles. The inhabitants of this New Babylon move from place to place within an endless network of "sectors" and, as they do, redefine each aspect of their surroundings to their own wishes. Walls, floors, lighting, sounds, colours, textures and smells constantly change in this infinite chain of multi-level interior spaces that connect and propagate until they cover the planet. The sectors float above the ground on top of tall columns, while traffic rushes below and aeroplanes ply the skies above. Inhabitants move around the labyrinthine interiors, continually reconstructing their surroundings, altering the lighting and reconfiguring the temporary,

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Gianni Colombo V - Kinetic dislocation Spazio elastico, This part of the exhibition considers experiences 1967 - 1968 Reactivation of loss in its physical and optical dimensions. From Engine, elastic threads the 1950s, kinetic artists began to conduct plastic research 400 x 400 x 400 cm Archivio Gianni Colombo, into movement, whether achieved mechanically by Milan the observer's movement, or resulting from the material's Courtesy Archivio Gianni own inner vibration. These necessarily interactive works Colombo, Milan. Photo: Eckart Schuster, elicit feelings of illusion and disorientation, halfway droits réservés between giddiness and wonder. They use extremely simple mechanisms to produce momentous disorientation of perception. They are shown with films that associate the kinetic experience with psychological confusion. Gianni Colombo

Julio Le Parc Part of a flourishing art scene in Milan, Gianni Colombo came Continuel-lumière to international attention in the 1950s and 1960s as one of arte ambientale's cylindre, 1962 most iconic figures. Significantly influenced by , he saw works of art as participatory objects that demand interaction with their Various materials 171 x 122 x 35 cm audience. He was one of the founding members of Gruppo T, a collective that invited the public to "co-create" its exhibitions. The movement of the Artist's collection alveolar cylinders of Strutturazione acentrica (1962) produces a kinetic © Adagp, Paris 2011. Daros effect, sometimes caused by the deplacement of the spectators themselves. Latinamerica Collection, Zürich / Photo : Adrian Fritschi, Varying in size and colour, these mobile sculptures produce an unceasing Zürich cycle of light waves that flow along their walls. Installed for the first time in 1967, Spazio Elastico is an immersive environment, comprising a dark space criss-crossed by fluorescent elastic threads. Inside the installation, the observer slowly becomes aware of this kinetic light device that disorientates and at the same time instils a feeling of sensorial wonderment.

Julio Le Parc Henri-Georges As a leading exponent of kinetic art, the work of Julio Le Parc features Clouzot prominently in the exhibition. La Prisonnière, 1968 From 1960, Le Parc was an active member of the GRAV research group into 35 mm film transferred to visual art, alongside François Morellet, Horacio Garcia Rossi and Francisco video, colour, audio Sobrino, Pierre Yvaral and Joël Stein. The group's projects advocate active Running time: 101'40” or involuntary participation on the part of the spectator, and simplicity of form. Between 1963 and 1967, GRAV installed four labyrinth-exhibitions Studio Canal in museums and public spaces. The group was drawn to the labyrinth not La Prisonnière © 1968 only as a means of creating an alternate space within the museum, StudioCanal - Fono Roma but because its very form favours the concept of a path or route, and the introduction of a playful, sensory approach to the work. The labyrinth thus becomes a space where new sensations are offered and the senses repeatedly elicited. It is a space that is experienced and perhaps, on occasion, endured, as the visitor becomes actively involved with the works and the unfolding path. The group was dissolved in 1968. Julio Le Parc, meanwhile, has continued his research into light. Part of Galerie 1 is set aside for Le Parc, who has installed large-scale works in rooms plunged into darkness. Visitors are invited to enter the installations and experience light as a constantly changing work of art. Places of distraction, contemplation and meditation, Le Parc's works disorient the visitor as the diffraction and scintillation of prisms of light blur visual bearings. Julio Le Parc was awarded the Grand Prix for painting at the 1966 Venice Biennale for his light installations.

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Gego (Gertrud VI - Captive Goldschmidt, known as) The fundamental paradox of the labyrinth lies Reticulárea in its twofold purpose: to imprison and simultaneously 1972 protect the Minotaur. An insidious, open, constantly Exhibit view Museo de Bellas Artes, shifting prison, the labyrinth allows a certain degree of freedom while controlling from afar. The inability © Archivo Fundación to fully comprehend where a space begins and ends, Photo Paolo Gasparini the loss of bearings and the absence of any map produce a feeling of confused claustrophobia, no matter how many perspectives the labyrinth seemingly opens. Like a spider's web, this complex architecture is a trap that encircles, closes in on and ultimately suffocates. The labyrinth thus elicits ambivalent responses, part protection and part conditioning, as well as magnificent and also desperate attempts to escape. Gertrud Goldschmidt, known as Gego Rem Koolhaas, Madelon Vriesendorp, Zoe Gertrud Goldschmidt, commonly known as Gego, was born in Germany Zenghelis, Elia Zenghelis but emigrated to in 1939. Along with her Venezuelan compatriots Exodus or the Voluntary Alejandro Otero, Jesus Raphael Soto and Carlos Cruz Diez, she is one of the most important artists from 1950s to 1970s. The kinetic movement Prisoners of Architecture in Venezuela embodied the country's modernism and progressivism; Exhausted Fugitives Led evolving on its margins, Gego's work is singular in its search for to Reception, project, 1972 the essential, its analytical dimension and its fragility. In 1965, Gego began Installation made of 18 gelatine silver working with steel rods and wires to fill space with an evolutive geometry. proofs, gouache, watercolour, paper Her many reticuláreas show how she used her knowledge of mathematics 148 x 915 cm (total dimensions) to support her quest for a shape that would be "as fleeting as it is magical." The Museum of Modern Art, New York Our vision is continually renewed by the exploded shapes and flowing, Gift from Patricia Phelps de Cisneros, shifting configurations that produce a completely new awareness of space. Takeo Ohbayashi and Susan de Menil Both her three-dimensional works and works on paper appear to trap acquisition fund the spectator's vision in the intricate mesh of a net or a spider's web. © Adagp, Paris 2011 / Photo: 2011 Wander presents a significant selection of Gego's work, which gained full Digital image, The Museum of Modern Art, New York / Scala, Florence recognition in 1969 with her Reticulárea exhibition at the Museo de Bellas Rem Koolhaas Artes in Caracas.

In 1972, the Dutch architect and theorist Rem Koolhaas (RK) produced Mona Hatoum a series of 18 drawings, watercolours and collages entitled Exodus, Light Sentence, 1992 or The Voluntary Prisoners of Architecture. Created against a backdrop Installation, 36 wire mesh of political tension, it is a portrait of the psychological and symbolic effects lockers, electric motor, timer, of the Berlin wall, which RK describes as being "infinitely more powerful" light bulb, cables, electric wire than the object (the wall) itself. The decision to build the wall was made Various dimensions in 1961 to physically separate Germany and the allied forces from the Centre Pompidou, Paris Soviet Union, after the Second World War. Its purpose was to stem Musée national d’art moderne / Centre de création population movements and exodus. The wall became the symbol of this industrielle policy and of the tension inherent in the Cold War. Exodus is a critical and State acquisition, 1994, uncompromising parody of political and utopian ideals. It is a fictional attributed to Centre Pompidou, account of a process to build a new area above an existing city – in this Paris instance an imaginary London. This new walled city becomes an object © Mona Hatoum, 2011 / Photo: of desire for those on the outside, but a gilded cage for its residents or Collection Centre Pompidou, "voluntary prisoners." RK emphasises the power of architecture, and draws Dist. RMN / Philippe Migeat our attention to its ambiguity and dangers. Mona Hatoum In addition to this historical reference, Exodus is a critical study of the capitalist system and productivity through theories of socialism that reject Light Sentence, a play on words with life sentence, is one of Mona Hatoum's the idea of labour. The inhabitants of this new city are freed from the early installations. It comprises stacks of wire mesh lockers of the type once obligation to work; Exodus takes us inside a city divested of existing spatial, found in public baths and factory changing-rooms in England. social and economic relations, going as far as to abolish capital. "I immediately could see the associative potential of this locker because it looked more like a little animal cage that you would see in a lab Piranese (Giovanni or a chicken factory. It also looked like an architectural model Battista Piranese, of a skyscraper," she explains.Lighting is deliberately theatrical, consisting known as) of a single bulb in the centre of the installation that moves slowly up Carceri d’invenzione and down. The wire mesh recalls the constant surveillance in prisons (Prisons imaginaires), and science labs. Light Sentence brings to mind the Panoptican imagined by 1745-1761 Jeremy Bentham in the eighteenth century, and which forms the basis Series of 16 etchings of Michel Foucault's analysis in Discipline and Punish (1975). 56 x 79 cm each Bibliothèques-Médiathèques de Metz © Bibliothèques-Médiathèques de Metz / Département Patrimoine

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Bas Jan Ader VII - Initiation / Enlightenment In Search of the As a sinuous path strewn with obstacles and trials, Miraculous (one night the labyrinth has, from the very inception of the myth, in Los Angeles), been associated with the initiatory quest, both spiritual 1973-1975 Photographs and ink on paper and physical. This concentric, spiralling progression has 14 parts, 27.5 x 34.5 cm each a moral, even heroic, dimension, whether processional route Kröller-Müller Museum, or symbol of wisdom, church labyrinth or Tibetan mandala. Otterlo © , droits One emerges from the labyrinth as another; it is a pretext réservés / Collection Kröller- for a journey to self-knowledge. Finding one's way through Müller Museum, Otterlo, Pays- the labyrinth is like finding a path through life, with its Bas / Photo: Tom Haartsen choices, hesitations and periods of wandering as we move towards self-fulfilment. In contemporary art, this moral dimension is sometimes portrayed metaphorically, within the ordinary and the banal. Bas Jan Ader Bas Jan Ader's work resembles an existential quest, and represents Maya Deren & a subjective change of direction in conceptual art. In In Search of the Alexander Hammid Miraculous (one night in Los Angeles), he spends the night walking in Los Meshes of the Angeles, "that wild, romantic city where so many extremes come together." Afternoon, 1943 The sequence of photographs from this presents a unity of 16mm black and white film, time, action and place. The long walk takes him from the city's suburbs audio, running time 13' to the Pacific Ocean, the furthest point of his quest. The film is a homage Centre Pompidou, Paris to his adopted home town and combines references to pop music culture, Musée national d’art Hollywood's film noir, and the photographic tradition of works that convey moderne / Centre de création the atmosphere of the city at night, such as Brassaï's photographs of Paris. industrielle This, at times romantic, journey made in 1973, was intended to be the first Acquisition, 1987 part of a trilogy. Shortly after, Ader set sail in a 13-foot pocket cruiser © Tavia Ito et droits réservés to attempt a single-handed transatlantic crossing. Nine months later, pour Alexander Hammid the wreck of the boat was found off the Irish coast.

Maya Deren

Meshes of the Afternoon is a 1943 experimental short film, directed by Maya Deren and her husband Alexander Hammid. Maya Deren plays the main character who, in a waking dream, performs a series of symbolic actions. Everyday objects such as a key, a knife, a flower, and a telephone play a crucial role, and create an unsettling atmosphere. The key and the knife repeatedly change places to finally become a weapon for suicide. One after the other, these curious events form an endless dream. The film eschews the conventions of linear narration and invites its audience to become lost among the overlapping shots and sequences. Meshes of the Afternoon made Maya Deren, who claimed Jean Cocteau as a major influence, the leading artist in the field of New American Cinema. The film went on to inspire other experimental filmmakers, such as Kenneth Anger and Stan Brakhage.

Plate from the exhibition catalogue Representations of games of snakes and ladders Graphical design: Les Associés réunis

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Guy de Cointet VIII - Art as labyrinth The Tattoing on his back…, vers 1982 Avant-garde and modern artists challenged the idea, Ink on Arches paper inherited from the Renaissance, of representing the world 78 x 92 x 3.5 cm from a single perspective, or vanishing point. Collection Air de Paris, Paris The explosion of points of view on the surface Guy de Cointet estate © Succession Guy de Cointet of the canvas, and the increasing abstraction of form, were Courtesy Air de Paris, Paris accompanied in experimental cinema by a corresponding blurring of meaning and deconstruction of the linear storyline. The empty space created between meaning and form is the very place of vertigo. Thus a work of art becomes a conceptual, sensual labyrinth where we can lose ourselves. It is a complex, auto-referential structure, the experience of which defies all reason, yet which brings us Guy de Cointet to a new form of understanding. French-born artist Guy de Cointet emigrated to the United States in the late Art & Language 1960s, where he developed a body of work that explores the possibilities (Michael Baldwin offered by language and text, via an enigmatic narrative style. A little- known figure of conceptual art, he was close to Mike Kelley, Paul McCarthy and Mel Ramsden) and , all of whom shared his taste for physical art. Index : Incident in a Guy de Cointet's work testifies to his interest in language codes; many use Museum – Francisco a form of symbolised writing, similar to hieroglyphs. His drawings, objects Sabate, 1986 and diagram works come to life as props for his theatre performances, in which language is one of the characters. His drawings are graphic Acrylic on canvas 176 x 274.5 cm explorations of the page. More densely populated areas are juxtaposed with sparser zones in which language's potential for abstraction of all kinds Fonds régional d’art contemporain de Midi- is revealed. A shift occurs between the signifying caption and its coded Pyrénées, les Abattoirs, representation of simple geometric strokes, vertical and horizontal lines Toulouse that become architectural, labyrinthine angles. Deposited at les Abattoirs, Toulouse Acquired from the artists, 1986 © Art & Language / photo: Art & Language J-L. Auriol

Between 1985 and 1987, Michael Baldwin and Mel Ramsden created Incident in a Museum, a series of pictures depicting galleries in an imaginary modern art museum. The two artists had been working together as part of the Art & Language collaboration since late 1976, and were now ready to reintroduce painting as their core practice, after a decade producing mostly text works. The paintings in the Incident in a Museum series closely resemble interior views of, hypothetically, the Whitney Museum of American Art; the observer can even make out, among the overlapping maze of spaces, the reflection of the very work they are looking at. Index: Incident in a Museum XV (1986) shows a gallery in the museum with a horizontal picture-rail, from which hangs a picture that exactly reproduces the layout of the series. Mel Ramsden and Michael Baldwin use this device to present a dizzying mise en abyme of the museum, substituting continually subdividing architecture for works of modern art.

09 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 3. LIST OF EXHIBITED ARTISTS

A Vito Acconci Ian Breakwell Maya Deren Joseph Grigely (New York, United States, (Long Eaton, England, 1943 – (Kiev, Russia, 1917 – New (East Longmeadow, United 1940 – lives in New York) London, England, 2005) York, United States, 1961) States, 1956 – lives in & Alexander Hammid Chicago, United States) Bas Jan Ader C Santiago Ramón y Cajal (Linz, Austro-Hungarian (Winschoten, Netherlands, (Petilla de Aragón, Spain, Empire, 1907 – New York, H Richard Hamilton 1942 – lost at sea between 1852 – Madrid, Spain, 1934) United States, 2004) (London, England, 1922 – Cape Cod and Ireland, 1975) lives in London, England) Vija Celmins Julien Discrit Jacques Fabien Gautier (Riga, Latvia, 1938 - lives (Epernay, 1978 – Mona Hatoum d’Agoty in New York, United States) lives in Paris) (Beirut, Lebanon, 1952 – (Marseille, 1716 – Paris, lives in London, England) 1785) Paul Citroen Gino de Dominicis (Berlin, Germany, 1896 - (Ancona, Italy, 1947 – Rome, Thomas Hirschhorn Francis Alÿs Wassenaar, Netherlands, Italy, 1998) (Berne, Switzerland, 1957 – (Antwerp, Belgium, 1959 – 1983) lives in Aubervilliers) lives in Mexico City, Mexico) & Marcus Steinweg Henri-Georges Clouzot (Blainville-Crevon, 1887 - (Koblenz, Germany, 1971 – Carl Andre (Niort, 1907 – Paris, 1977) Neuilly-sur-Seine, 1968) lives in Berlin, Germany) (Quincy, United States, 1935 – lives in New York, United Guy de Cointet E Viking Eggeling I Isidore Isou (Jean-Isidore States) (Paris, 1934 – Los Angeles, (Lund, Sweden, 1880 – Berlin, Isou Goldstein, known as) United States, 1983) Germany, 1925) (Botosani, Romania, 1925 – Art & Language: Paris, 2007) Michael Baldwin Gianni Colombo David-Georges Emmerich (Chipping Norton, (Milan, Italy, 1937 – Melzo, (Debrecen, Hungary, 1925 – K Mike Kelley England, 1945), Italy, 1993) Paris, 1996) (Detroit, United States, 1954 Mel Ramsden - lives in Los Angeles, United (Ilkeston, England, 1944 – Constant (Constant F Harun Farocki States) live in Middleton Cheney, Anton Nieuwenhuys, (Nový Jicín,ˇ Neutitschein, England) known as) Germany, 1944 – lives in Toba Khedoori (Amsterdam, Netherlands, Berlin, Germany) (Sydney, Australia, 1964 – B Saul Bass 1920 – Utrecht, Netherlands, lives in Los Angeles, United (New York, United States, 2005) León Ferrari States) 1920 – Los Angeles, (Buenos Aires, Argentina, United States, 1996) Coop Himmelb(l)au: 1920 – lives in Bueos Aires) Abbas Kiarostami Wolf D. Prix (Teheran, Iran, 1940 – Didier Beaufort (Vienna, , 1942), Michel François lives in Teheran) (Liege, Belgium, 1955 – Helmut Swiczinsky (Saint-Trond, Belgium, 1956 – lives in Brussels, Belgium) (Poznan,´ Poland, 1944 – live lives in Brussels, Belgium) Frederick Kiesler in Vienna, Austria and Los & François Curlet (Czernowitz, Austro- Christophe Berdaguer Angeles, United States) (Paris, 1967 – lives in Paris Hungarian Empire, 1890 (Marseille, 1968) and Brussels, Belgium) – New York, United States, & Marie Péjus D Guy Debord 1965) (Marseille, 1969 – live (Paris, 1931 – Champot, 1994) Yona Friedman in Paris and Marseille) (Budapest, Hungary, 1923 - Bela Kolárová Agnes Denes lives in Paris) (Terezín, Czechoslovakia, Lee Bontecou (Budapest, Hungary, 1931 1923 – Prague, Czech (Providence, United States, – lives in New York, United G Gego (Gertrud Republic, 2010) 1931 – lives in Orbisonia, States) Goldschmidt, known as) United States) (, Germany, 1912 – Rem Koolhaas Caracas, Venezuela, 1994) (Rotterdam, Netherlands, 1944 – lives in Rotterdam),

10 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS

Madelon Vriesendorp Matt Mullican (Bilthoven, Netherlands, 1945 (Santa Monica, United – lives in London, England), States, 1951 - lives in Berlin, Zoe Zenghelis Germany) (Athens, Greece, 1937 – lives in London, England), N Rosalind Nashashibi Elia Zenghelis (Croydon, England, 1973 – (Athens, Greece, 1937 – lives lives in London, England) in Brussels, Belgium) P Gianni Pettena Svetlana (Bolzano, Italy, 1940 – lives (Voronej, USSR, 1950) in Fiesole, Italy) & Igor Kopystiansky (Lviv, USSR, 1954 – live Piranèse (Giovanni Battista in New York, United States) Piranese, known as) (Mogliano Veneto, Republic Kisho Kurokawa of Venice, 1720 – Rome, Italy, (Nagoya, Japan, 1934 – Tokyo, 1778) Japan, 2007) Public Space With a Roof: L Andreas Laurentius Tamuna Chabashvili (Arles, 1558 – Paris, 1609) (Tbilisi, Georgia, 1978), Adi Hollander Julio Le Parc (Brussels, Belgium, 1976), (Mendoza, Argentina, 1928 – Vesna Madzoski lives in Cachan) (Zajecar,ˇ Serbia, 1976 – live in Amsterdam, Netherlands) Augustin Lesage (Saint-Pierre-lez-Auchel, R Jean Renaudie 1876 - Burbure, 1954) (La Meyze, 1925 – Ivry-sur-Seine, 1981) Barry Le Va (Long Beach, United States, Alexandre Rodtchenko 1941 – lives in New York, (Saint Petersburg, Russia, United States) 1891 – Moscow, USSR, 1956)

Mark Lombardi S Nicolas Schöffer (Syracuse, United States, (Kalocsa, Hungary, 1912 – 1951 – New York, United Paris, 1992) States, 2000) Robert Smithson Richard Long (Passaic, United States, (Bristol, England, 1945 – 1938 – Amarillo, United lives in Bristol) States, 1973)

M Kasimir Malevitch Frank Stella (Kiev, Russia, 1879 – (Malden, United States, 1936 Leningrad, USSR, 1935) – lives in New York, United States) Corey McCorkle (La Crosse, United States, U Günther Uecker 1969 - lives in New York, (Wendorf, Germany, 1930 – United States) lives in Düsseldorf, Germany)

Henri Michaux V Isidoro Valcárcel Medina (Namur, Belgium, 1899 – (Murcia, Spain, 1937 – Paris, 1984) lives in Madrid, Spain)

Vera Molnár Aldo Van Eyck (Budapest, Hungary, 1924 – (Driebergen, Netherlands, lives in Paris) 1918 – Loenen aan de Vecht, Netherlands, 1999) Robert Morris (Kansas City, United States, Z Raphaël Zarka 1931 – lives in New York, (Montpellier, 1977 – lives in United States) Paris)

Nicolas Moulin (Paris, 1970 – lives in Berlin, Germany)

11 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 4. Lineages, Labyrinthine Detours - Works, historical and archaeological artefacts

Anonyme Maps, anatomical plates, old etchings, games Mandala de and archaeological artefacts are interspersed throughout Kâlachakra the exhibition. They offer a view of, or indeed an entrance Tibet, into, curious worlds, and suggest the emergence Fin XVIe siècle and sources of this labyrinthine, speculative train of Détrempe sur toile 103 x 94 x 4 cm thought, as they sketch possible lineages or more formal Musée Guimet, Paris relationships. © RMN (musée Guimet, Thus Piranesi's Carceri are placed alongside works Paris) / P. Pleynet by Gego and Colombo. Gautier d'Agoty's anatomical plates, a phrenological skull, and the first engravings of neuron connections by Santiago Ramon y Cajal introduce the section on mind spaces and knowledge. Mandalas and games of snakes and ladders shed light on questions of moral initiation or the quest for self-knowledge. Treasures from Metz' libraries and multimedia centres, the , the Musée de Rambouillet, the Musée Testut Latarjet and the Musée Guimet give insight into contemporary aesthetic and intellectual trends, and elucidate ways of structuring thought and knowledge Partie supérieure that are still relevant today. d'une niche, Ier siècle - IIe siècle après J.-C. Suweida Hauran (Syrie du Sud) Basalte 58 x 89 x 32 cm Paris, Musée du Louvre, Département des Antiquités orientales Don du H.C. R.F. en Syrie, 1927 © Musée du Louvre / Pierre et Maurice Chuzeville

12 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 5. COMMISSIONED WORKS

Wander has occasioned commissions to artists Matt Mullican and requests for re-enactments of important works, Two into One becomes such as those by Julio Le Parc, Gianni Colombo, and Gianni Three, 2011 Pettena. Some of these commissions are described below. 70 éléments Pastel gras sur toile 1464 x 1098 cm Public Space With a Roof Commande du Centre Pompidou-Metz, 2011 Public Space With a Roof is an artists' collective, founded in 2003 Courtesy Matt Mullican in Amsterdam by artists Tamuna Chabashvili and Adi Hollander, and the theorist Vesna Madzoski. Wander has invited the collective to slip between the seams of the exhibition, like a spider spinning its web. The Inverted City offers a mise en abyme of subject and exhibition. As we go from room to room, it reveals the labyrinths and stories that filled the thoughts of the exhibited artists, as well as previously unsuspected connections between some of the works. We follow the thoughts of an imaginary character who haunts the exhibition, speculating on the labyrinth theme, producing notes, illustrations and documentation along the way. PSWR considers both the conceptual dimension of the labyrinth, and how it is transposed into the museum context of this exhibition. On the first floor, a map of this Upside-Down City could be the exhibition's reflection in a distorting mirror. The disturbing feeling experienced by the visitor is now revealed through this map.

Public Space With a Roof Model #3 - The Inverted City: Matt Mullican Looking through the cracks American artist Matt Mullican (b. 1951) is a unique figure on today's of a labyrinth, 2011 contemporary art scene. His work has been shown a number of times in France, most recently at the Lyon Institut d'art contemporain. He was also Installation Matériaux divers the subject of a wide-ranging retrospective at Munich's Haus der Kunst Dimensions variables (10 June – 11 September 2011). Commande du Centre Working in the fields of , installation, drawing Pompidou-Metz and sculpture, as well as using hypnosis in his work, Matt Mullican Courtesy Public Space With has, since the 1970s, evolved a personal cosmology comprising a formal, A Roof symbolic vocabulary. He uses the sign- and colour-based vocabulary © Public Space With a Roof, he invents to organise society within reinvented worlds. Primary colours Amsterdam, 2011 associated with symbols refer to five fundamental concepts: green for nature and elements, red for spiritual values, yellow for conscious manifestations of art and science, blue for the mysteries of the unconscious mind, and black for language. Assembled in various combinations in a range of media, his pictograms classify reality. Using his own system of classification, Mullican devises charts: universal cities and maps that simulate natural phenomena or the mysteries of the human being. Centre Pompidou-Metz has commissioned Mullican to produce a work in keeping with the dimensions of the spectacular 20 metre-high wall of the Grande Nef. A monumental exploration of mental space and the brain, it will be one of the artist's largest ever commissions for a museum.

13 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS

Michel François & François Curlet Map of Athènes (As it was Broken), 2003 Encre noire sur impression offset © Michel François © François Curlet

Michel François & François Curlet Map of Athènes (As it was broken), 2003 Adhésif noir sur vitre © Michel François © François Curlet

Michel François et François Curlet

Michel François and François Curlet's contribution to Wander takes position on the glass windows above the museum entrance, which are inscribed with curious black lines. They trace the outline of a network, part way between a mechanical circuit and a spider's web. The seemingly random tracings suggest a cracked window that has been hastily repaired with black adhesive tape. Broken glass has been central to Michel François’ work since the late 1980s, either working visually with the imploded, diffuse craquelure effect of shattered glass or, from a more urban and social stance, linking the idea of rebellion to the star-shaped impact of a projectile. The aim in both cases is to alter the transparency of the modern city, and the notions of exposure and surveillance that surround it. Map of Metz (As it was broken) in fact portrays a simplified map of the city. The glass windows become larger-than-life telescopes, trained on the city. Looking outwards, the building becomes a giant observatory, and this stylised representation of the surrounding territory is superimposed on the city itself.

14 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 6. EXHIBITION DESIGN

Created by La Ville Rayée, the scenography for Wander builds on an existing design that was originally devised by Jasmin Oezcebi for the Masterpieces ? exhibition. It describes a space in which traces of a previous exhibition remain, while hinting at their future disappearance. This de-densification of the existing structure significantly increases the number of possible configurations, and creates the necessary conditions for wandering and drifting.

La Ville Rayée, an architects' collective, was invited to put forward an original proposal, based on the existing structure, that would be both eco-friendly and cost-effective.

La Ville Rayée was set up in 2006 by David Apheceix, Benjamin Lafore and Sébastien Martinez Barat.

The collective refurbished the Galerie Balice-Hertling in Paris, produced a limited edition of tables for Gallery Serge Bensimon and built a summer restaurant for the 2010 Imaginez Maintenant event in Metz. They are currently converting a former paper-mill into an arts centre (Le Moulin) for Galleria Continua in Boissy-le-Châtel, and are working with JC Decaux on experimental urban furniture for the La Défense district on the outskirts of Paris. lavillerayee.com

15 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 7. THE LENDERS

AUSTRIA Béatrice André-Salvini, Curator- Franz W. Kaiser, Head MIAMI General, Director of the Asian of Exhibitions The Ella Fontanals - Cisneros VIENNA Antiquities Department Frans Peterse, Curator Collection Fondation Kiesler Elizabeth Fontan, Chief Curator, LEIDEN Ella Fontanals-Cisneros, President Dieter Bogner, President Asian Antiquities Department University Libraries Patricia Garcia-Velez, Director Monika Pessler, Director Musée Guimet K.F.K. de Belder, Director NEW YORK Generali Foundation Jacques Giès, President Maartje Van den Heuvel, Curator Metro Pictures Gallery Dietrich Karner, President Caroline Arhuero, Director of Matthijs Holwerda, Head Janelle Reiring and Helene Winer Sabine Folie, Director Exhibitions and Museography of Collections The Museum of Modern Art Doris Leutgeb, Head of collections Nathalie Bazin, Curator, Nepal and Tibet Department OTTERLO Glen D. Lowry, Director BELGIUM RAMBOUILLET Kröller-Müller Museum Ramona Bronkar Bannayan, Chief KNOKKE Anthonie L. Stal, Chairman Curator, Collection Management Ville de Rambouillet, Service du and Exhibition Registration André Simoens Gallery Patrimoine-Musée du jeu de l'oie of the Board Evert van Straaten, Director Christophe Chérix, Chief Curator, André Simoens Gérard Larcher, Senate President, Department of Prints and Senator of Yvelines, Mayor of Liz Kreijn, Associate Director of Collections Illustrated Books – The Abby FRANCE Rambouillet Aldrich Rockefeller LYON Sophie de Juvigny, Chief Curator PORTUGAL Jodi Hauptman, Curator, Musée Testut Latarjet d'anatomie Department of Drawings REIMS PORTO et d'histoire naturelle médicale Frac Champagne-Ardenne Ann Temkin, Chief Curator, Fundação de Serralves - de Lyon Department of Painting and Jean-Michel Jacquet, President Museu de Arte Contemporânea Jean-Christophe Neidhardt, Sculpture Florence Derieux, Director João Fernandes, Director Curator of Collections, Société Leah Dickerman, Curator, Nationale de Médecine et des SÉLESTAT Department of Painting and Sciences Médicales de Lyon Frac Alsace SPAIN Sculpture METZ Claude Sturni, President of Agence BARCELONA Ann Umland, Curator, Department Bibliothèques-Médiathèques culturelle d'Alsace MACBA, Museu d'Art Contemporani of Painting and Sculpture de Metz Olivier Grasser, Director de Barcelona Consortium Paola Antonelli, Curator, André-Pierre Syren, Director TOULOUSE Bartomeu Marí, Director Department of Architecture and Antònia Maria Perelló, Curator Design Pierre-Edouard Wagner, Chief Frac Midi-Pyrénnées Paul Galloway, Head of Curator, Heritage Department Alain Mousseigne, Director MADRID Architecture and Design Study of Les Abattoirs Succession Cajal, Institut Cajal ORLÉANS Center Pascal Pique, Director of Frac (CSIC) Frac Centre Whitney Museum of American Art François Bonneau, President Midi-Pyrénnées Ignacio Torres Alemán, Director Juan A. De Carlos, Cajal Estate Adam Weinberg, Director Marie-Ange Brayer, Director GERMANY Donna de Salvo, Chief Curator PARIS UNITED KINGDOM BERLIN VENEZUELA Centre national des Arts Plastiques, Berlinische Galerie - EDINBURGH Ministère de la Culture Landesmuseum für Moderne Kunst, Galerie Doggerfisher CARACAS et de la Communication Fotografie und Architektur Susanna Beaumont and Matt Fondation Gego Anne-Marie Charbonneaux, Thomas Köhler, Director Carter Barbara Gunz, Director Chairwoman of the Board Andreas Piel, Chief Curator Priscilla Abecassis, Administrator Richard Lagrange, Director LONDON Heinz Stahlhut, Curator, Head of Aude Bodet, Inspector for Stephen Friedman Gallery the Modern and Contemporary Art Private collections Artistic Creation, Director, FNAC Collection David Hubbard Matthias Arndt, Corrado Beldi – Collections Tate Oleggio, Italy, Marie de Brugerolle Sébastien Faucon, Inspector for DUISBURG Nicholas Serota, Director of Tate – Lyon, Bruno Van Lierde – Artistic Creation, Head of Plastic Wilhelm Lehmbruck Museum Caroline Collier, Director of Tate Brussels, Nicholas Logsdail, Arts Collections Raimund Stecker, Director National Philippe Méaille, Gian Enzo Centre Pompidou Sperone. Leinz Gottlieb, Assistant Director, Stéphanie Busson, Chief Curator, Alain Seban, President Curator of the Sculptures Collection Tate Modern Artists' collections Alfred Pacquement, Director, Marion Bornscheuer, Chief Curator Sheena Wagstaff, Chief Curator, Musée National d’Art Moderne Vito Acconci, Didier Beaufort, ITALY Tate Modern Christophe Berdaguer and Marie Galerie Air de Paris Lucy Askew, Chief Curator, Artist Péjus, Agnes Denes, Michel Florence Bonnefous and Edouard MILAN Rooms François and François Curlet, Merino Archivio Gianni Colombo Cranford Collection Joseph Grigely, Thomas Hirschhorn, Galerie Chez Valentin Luciano Pizzagalli, President Bethany Childs Julio Le Parc, Corey McCorkle, Frédérique and Philippe Valentin Marco Scotini, Curator Véra Molnar, Matt Mullican, Gianni Galerie de Multiples UNITED STATES Pettena, Public Space With a Roof, Isidoro Valcárcel Medina. Giles Drouault NETHERLANDS LOS ANGELES Galerie Martine Aboucaya THE HAGUE The Centre Pompidou-Foundation Martine Aboucaya Gemeentemuseum Den Haag Robert M. Rubin, President Musée du Louvre Benno Tempel, Director Scott Stover, Director Henri Loyrette, President Titus Eliens, Head of Collections and Director

16 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 8. THE CATALOGUE

Les Associés réunis The catalogue for Wander is the fourth exhibition Catalogue cover catalogue to be published by the Centre Pompidou-Metz. and inside pages Screen-printed canvas cover Its design is freely inspired by the mail-order catalogues which Manufacture Française d'Armes et Cycles published in the early 1900s, and which had a longstanding influence on artists. Marcel Duchamp, for example, wanted his catalogue raisonné to take this form; likewise for Jacques Carelman's Catalogue d'objets introuvables ("catalogue of unfindable objects").

There is no hierarchy of content, just a free and non-exhaustive inventory of labyrinthine thought and imaginings. Information about the works mingles with thematic entries in a maze-like mapping of the exhibition. Thus fairy tales, kaleidoscopes, literature on drifting and exhibited works criss-cross the catalogue's pages.

It also includes essays by Eric Duyckaerts, Luc Gwiazdzinski, Marcella Lista, Céleste Olalquiaga, Doina Petrescu, Pierre Rosenstiehl, Olivier Schefer and Philippe Vasset, with prefaces by Alain Seban and Laurent Le Bon. C hapitre

• 147 146 Graphic design and layout is by Les Associés réunis.

iV metropolis

Ci-dessous : Ci-dessous Diary, Man The Walking 1975-1978 blanc noir et Photographies typographié texte papier, sur papier écrit à la main sur texte et 123,3 x 615,9 x 1,9 cm Londres Modern, Tate T07701 The primary activity of the graphic design studio Les Associés réunis is book design. The agency was founded in 2005 by Gérard Lo Monaco. Following their studies at the graphic arts school ESAG Penninghen,

« des choses qui n’ont pas de valeur dans les quotidiens dans les quotidiens pas de valeur qui n’ont des choses « négligé, qui est visible ce ». Si rendre télévisés journaux et les le signe d’une comme peut se lire ou inaperçu ignoré la dimension plus politique engagée, socialement œuvre de l’isolement dans son étude se trouve de son travail Man Walking The avec Commencé la marginalisation. et de en visiblement à un inconnu Diary , qui dédia une œuvre pour la déviance de l’artiste l’intérêt de la société, marge à la fin des années 1970 se poursuivit sa surveillance et de dans le département résidence d’une à l’occasion par l’Artist’s Facilitée britannique. du gouvernement la Santé était de l’objectif dont une initiative Group, Placement du gouvernement au niveau les artistes intervenir faire à l’amena de Breakwell la résidence des industries, et des troubles le traitement concernant une réforme proposer sa désinstitutionalisation notamment prônant mentaux, dans de sécurité des dispositifs l’assouplissement et Entre anthropologue psychiatriques. les établissements plus peut-être serait Breakwell Ian réformateur, passif et et critique de la comme observateur défini justement par la société. et imposée définie est qu’elle telle normalité Anna Colin Marie Sourd and more recently Katie Fechtmann joined the studio. The agency produces the graphic design, » covers and typography for over twenty works per year Past the window filled with skinned filledskinned with the window Past published by Hélium and other known publishers including Denoël, 10/18 and Gallimard. Ian Breakwell 2005 Royaume-Uni, – Londres, 1943 Royaume-Uni, Eaton, Long étage troisième situé au de son appartement de la fenêtre en 1975, C’est centre- de Smithfield, dans le le marché sur immeuble donnant d’un quotidiennes les dérives remarque Breakwell londonien, que Ian est Vêtu mercantiles. des transactions milieu du tumulte au d’un homme tête l’homme à la circonstances, toutes en de bottes et d’un pardessus sans les rues environnantes grisonnants arpente cheveux aux baissée et parfois tortueux, s’arrêtant selon le même circuit et objectif apparent » l’homme marchant « Dès lors, pétrifié. comme une demi-heure, pendant textuel et journal photographique d’un le sujet sans le savoir devient réapparaîtra et rendez-vous au il manquera 1977, En par Breakwell. tenu jusqu’à ralentie, une démarche suivant fois cette en 1978, de nouveau en 1979. sa disparition définitive Diary Man Walking The série de collages, d’une la forme Prenant par quidam capturées de ce les déambulations retrace (1975-1978) répétition Discipline, la plume de l’artiste. et photographique l’appareil miroirs comme qui se proposent collages de ces automatisme et Ainsi, chaque photographie- du flâneur anonyme. des pérégrinations de l’heure date, d’une accompagnée de l’homme est du passage témoin sérielle : « qui se veut et d’une légende rabbit; Past the window filled with cow’s heads; Past the window filled with heads;the window Past filled with cow’s rabbit; the window Past filled with diamonds… the window Past piles of pheasants; par Breakwell du journal tenu un élément Diary constitue Man Walking The sur aléatoires, porta ans. Celui-ci les rencontres sur quarante pendant » épiphanies de la vie les petites appelait « que l’artiste de ce la célébration d’exposition, commissaire et sa femme Sparrow, décrit Felicity l’a ou, comme lesassociesreunis.com

Description 272 pages Only in French Publication in September 2011 €39,00

17 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 9. THE EXHIBITION GAME: LABYRINT* IN A VALISE (*H)

An enigma within an enigma, Labyrint* in a Valise (*h) is an exhibition-sized game that revives the tradition of garden mazes, where clues were scattered or whispered among the hedges. An initiatory quest where poems, works, quotes and equations weave a thread of romance and adventure through the exhibition.

A prize will reward visitors who resolve the enigmas, riddles and the Mystery that await them inside the exhibition labyrinth.

Keep track of the game, specially devised for the exhibition and which runs for its duration, on the Centre Pompidou- Metz website (“Le jeu Erre” / “The Wander Game”) and Facebook page. THE LABYRINT* IN A VALISE (*H) CARD GAME A pack of 49 cards, this "Labyrinth in a Valise" snakes its way through the Centre Pompidou-Metz and out into the town itself. Players discover a set of clues and enigmas with which to imagine an itinerary, pulled along by the power of attraction of an ideal being. The visitor’s task is to find the way out of this maze of images, texts and mathematical formulas. A game that is part puzzle, part divination, and part…

Price: €10,00

Elaborated by the independent curator Jean de Loisy at the invitation of the curators of Wander.

Jean de Loisy is President of the Palais de Tokyo. His previous positions include Inspector for Creation at the Ministry of Culture, Curator at the Fondation Cartier and Curator at the Centre Georges Pompidou. He has also directed and co-directed a number of art venues in France. Jean de Loisy has staged numerous solo shows and other memorable exhibitions, including “La Beauté” in Avignon in 2000, and “Traces du Sacré” at the Centre Pompidou in 2008. He curated “Monumenta 2011 / Anish Kapoor” at the Grand Palais and the Israeli Pavilion by Sigalit Landau at the 2011 Venice Biennale. His current projects include an exhibition of works by Jacques Lizène at the Passage de Retz in Paris in October 2011, and an exhibition on shamanism, “Les Maîtres du Désordre”, at the Musée du Quai Branly in 2012.

With contributions from Estelle Delesalle, artist, and Laurent Derobert, philosopher and mathematician. In partnership with the Ecole Supérieure d’Art d’Avignon.

1 The game's title was inspired by Marcel Duchamp's la Boîte-en-valise (Box in a Valise).

18 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 10. CREDITS WANDER IS PRODUCED BY THE CENTRE POMPIDOU-METZ

EXHIBITION WANDER Cntre doue pOmpi -metz Curators Internship Assistants Bar o d of ADMINISTRAtors Representing the City of Metz Hélène Guenin Thibault Casagrande, Sophie Dominique Gros, Mayor of Metz President Guillaume Désanges Chiarla, Aline Elwert, Mathieu Richard Lioger, First Deputy Mayor Alain Seban, President Assisted by Élodie Stroecken Loctin, Pauline Mellinger, Ex-Officio Alice Pfister, Juliette Pollet, Honorary President Associate Curator for the Labyrint* Frédéric Lemoine, Chairman David Rodriguez, Raphaël Saubole Jean-Marie Rausch in a Valise (*h) game of the Wendel Group Executive and Coline Soubieux. Jean de Loisy Vice-President Board, École supérieure d'art de Lorraine: Jean-Luc Bohl, President of Metz Patrick Weiten, President Production Manager Bérenger Barois, François Bellabas, Métropole of the Conseil Général Fanny Moinel Bernard Gissinger, Lucie Linder, de la Moselle Anaïs Prioux and Pierre Von-Ow Representing the Centre Pompidou Scenographer Alain Seban, President, Representing Staff of the Centre La Ville Rayée LABYRINT* IN A VALISE (*H) Agnès Saal, Chief Executive, Pompidou-Metz David Apheceix, Benjamin Lafore Game elaborated by Jean de Loisy Jean-Marc Auvray, Director Philippe Hubert, Technical Director and Sébastien Martinez Barat With participation from Estelle of Legal and Financial Affairs, Benjamin Milazzo, Visitor Relations based on original graphic elements Delesalle and Laurent Derobert Bernard Blistène, Director of and Membership Officer designed by Jasmin Oezcebi Coordination by Jean-Baptiste Cultural Development, Frank Research Assistants de Beauvais Madlener, Director of Institut Léa Bismuth In partnership with the École de Recherche et Coordination Laure Jaumouillé supérieure d'art d'Avignon, Jean- Acoustique/Musique (IRCAM), Management Work Method Marc Ferrari, Director Alfred Pacquement, Director of Mélanie Mermod Musée National d'Art Moderne, Laurent Le Bon CATALOGUE Hélène Meisel Vincent Poussou, Director Director Caroline Bléteau Editors in chief of Educational and Public Claire Garnier Hélène Guenin and Programmes. Personal Assistant Works Registrars Guillaume Désanges and Project Coordinator Eléonore Mialonier Representing Metz Métropole Irene Pomar Editor Jean-Luc Bohl, President, Antoine General Secretariat Elsa Belaieff Fonte, Vice-President, Pierre Galleries Registrars Emmanuel Martinez Gandar, Community Counsellor, Alexandre Chevalier Image Researchers Secretary General Patrick Grivel, Community Clitous Bramble Aurianne Cox and Marie Rocamora Pascal Keller Counsellor, Henri Hasser, Assistant Secretary General AV Production Manager Copy Editing and Proofreading Vice-President, Thierry Hory, Julie Béret Géraldine Celli Les Pointilleuses Vice-President, William Schuman, Administrative Coordinator Aurélie Argellies, Céline Derouet Community Counsellor. AV and Lights Hélène de Bisschop and Ana Sinde Jean-Philippe Currivant Representing the Conseil Régional Legal Advisor Graphic Design de Lorraine Émilie Engler Graphic Design for the Exhibition, Les Associés réunis Jean-Pierre Masseret, President, Secretarial Assistant Invitation and Signage Gérard Lo Monaco, Nathalie Colin-Osterlé, Regional Les Associés réunis Katie Fechtmann and Marie Sourd Councillor, Josiane Madelaine, Gérard Lo Monaco, Maquette: Katie Fechtmann Vice-President, Roger Tirlicien, Katie Fechtmann, Marie Sourd Chairman of the Commission and Léopold Roux Manufacturing Coordinator on Social and Inter-regional Pop-up: Bernard Duisit Dominique Oukkal Relations, Thibault Villemin, Museum Signage Coordinator Vice-President. Les Pointilleuses Representing the State Aurélia Monnier Christian Galliard de Lavernée, Lighting Design Préfet for the Lorraine region, Odile Soudant - Lumières Studio Préfet for the Moselle department. Odile Soudant, Alix Abanda and Mélanie Dessales

19 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS

Department of Administration Department of Production Department of Visitor Relations and Finance Anne-Sophie Royer Aurélie Dablanc Jean-Eudes Bour Head of Department Head of Department Head of Department - Accountant Charline Becker Fedoua Bayoudh Jérémy Fleur Project Manager Visitor Relations and Tourism Accounts Assistant Clitous Bramble Officer Audrey Jeanront Galleries Registrar Djamila Clary Human Resources Management Géraldine Celli Assistant to the Department Assistant Performing Arts Production Officer Jules Coly Ludivine Morat Alexandre Chevalier Visitor Relations, Information Administrative Coordinator Galleries Registrar and Accessibility Officer Alexandra Morizet Jean-Philippe Currivant Anne-Marine Guiberteau Public Contracts Coordinator Technical Registrar Youth Programming and Youth Olivia Davidson Activities Officer Project Manager Benjamin Milazzo Department of Building Jennifer Gies Visitor Relations and Membership Maintenance and Operations Project Manager Officer Thibault Leblanc Anne Oster Philippe Hubert Performing Arts Registrar Educational Establishments Technical Director Eléonore Mialonier Relations Officer Christian Bertaux Works Registrar Head of Building Maintenance Fanny Moinel Sébastien Bertaux Project Manager Internship / Assistants Chief Electrician Irene Pomar Vivien Cassar Ophélie Binet, Evelyne Briand, Works Registrar Technical Coordinator Sonia Cabon, Caroline Darcq, Jean-Pierre Del Vecchio Amélie Evrard, Nastasia Gallian, Systems and Networks Nadia Kabbach, Eliane de Department of Programming Administrator Larminat, Sarah Ligner, Hélène Guenin Pauline Mellinger, Aurèlia Ongena, Christian Heschung Head of Department Juliette Pollet, Marianne Pouille, Head of Information Systems Ada Ackerman Mathieu Taraschini Stéphane Leroy Research and Exhibitions Officer Operations Manager Camille Aguignier André Martinez Research and Exhibitions Officer Head of Security Elsa Belaieff Jean-David Puttini Editor Painter Léa Bismuth Editorial Assistant Claire Bonnevie Department of Communications Editor and Development Matthieu Goeury Annabelle Türkis Studio and Wendel Auditorium Head of Department Programming Officer Erika Ferrand-Cooper Laure Jaumouillé Communications and Events Officer Research and Exhibitions Officer Marie-Christine Haas Anaïs Lellouche Multimedia Communications Programming Assistant Officer and Assistant to the Director Louise Moreau Alexandra Müller Communications and Press Research and Exhibitions Officer Relations Officer Dominique Oukkal Marine Van Schoonbeek Manufacturing Coordinator Communications and Public Élodie Stroecken Relations Officer Coordinator and Assistant Amélie Watiez to the Department Communications and Events Officer Ada Ackerman Aurélien Zann Research and Exhibitions Officer Multimedia Communications Officer Pauline Fournier Public Relations Assistant (cooperative education programme)

20 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 11. EVENTS AND PERFORMANCES

The Centre Pompidou-Metz stages a regular programme of multidisciplinary events in its different spaces - Wendel LIVE PERFORMANCE Auditorium, Studio and Forum – as well as at outside venues. De-partitioning spaces and content in this way creates opportunities for dialogue between the exhibitions Not about everything and live performances. Daniel Linehan Presented in seasons, these events further develop Dance the themes examined in the exhibitions through other modes of expression, including live performance, music, 30.09.2011 (in partnership with Nuit Blanche 4) 10.30pm - Studio lectures and films. 35 minutes As a place to experiment with new ideas and experiences, 01.10.2011 Centre Pompidou-Metz takes an original and engaging 6pm - Studio approach to modern and contemporary art by bringing different disciplines together and encouraging real exchange between artists and audiences. FILM The start to the 2011-2012 season is developed around Wander with weekend events that echo the exhibition's CUBE themes. Vincenzo Natali 01.10.2011 SEPTEMBER – OCTOBER 4pm – Auditorium Wendel >temps fort 1 (Highlights 1) 90 minutes Echoing the Captive section of “Wander, Labyrinthine Variations” Stalker aNdrei tarkovski 02.10.2011 4pm – Auditorium Wendel 163 minutes

Not about everything, Daniel Linehan©Jason Somma

21 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS

OCTOBER Visit and Interpretation of Wander P >TEM S FORT 2 (Highlights 2) LIVE PERFORMANCE La visite de Fanny (Visit with Fanny) Instantané (Snapshot), Fanny de Chaillé Fanny De Chaillé Instantanés (Snapshots) invites artists for one week, during Guided exhibition tour commented and interpreted by Fanny which the public can discover different aspects of their work. After Tiago Guedes in January 2011 and Hubert Colas in 15.10.2011 11am – Meeting point in front of the Here March 2011, Fanny de Chaillé will take up residency at the and There space (Forum) at 10.50 am Centre Pompidou-Metz and other partner venues in October 30 minutes 2011. Fanny de Chaillé works in a number of fields, including dance, theatre, readings and performance art, but always with the same objective: to explore her raw material, language. La Course de Lenteur After working with Daniel Larrieu, Rachid Ouramdane, Emmanuelle Huynh and Alain Buffard, in November 2009 Fanny de ChaillÉ she became an associate artist of the Théâtre de la Cité Partici paTIVE project for public space Internationale in Paris. 16.10.2011 11h30 - Parvis des Droits-de-L’Homme

NOVEMBER P >TEM S FORT 3 (Highlights 3) Echoing the The mental labyrinth section of “Wander, Labyrinthine Variations”

"From Trance to Transcendence" 18.11.2011 > 20.11.2011

Gonzo Conférence, Fanny de Chaillé©Marc Domage Orbes Le Voyage d’Hiver Emmanuel Holterbach, Sophie Durand Fanny de ChaillÉ Musique 18.11.2011 based on Georges Perec 8pm - 49 Nord 6 Est - Frac Lorraine Performance reading 12.10.2011 7pm - Ecole Supérieure d'Art de Lorraine (Metz) Vertiges du déplacement 20 minutes Olivier Schefer ConfErence Gonzo confÉrence + concert followed by Fanny de ChaillÉ, for and with Christine Bombal « Two into one becomeS three » Performance lecture Matt Mullican 14.10.2011 TALK / PERFORMANCE 8.30pm - Les Trinitaires 19.11.2011 40 minutes + concert 5pm – Auditorium Wendel and Grande Nef

Je suis un metteur en scÈne japonaiS Fanny de ChaillÉ Performing art 15.10.2011 8.30pm - Studio 60 minutes

22 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS

Performance de ChloÉ Maillet MÉtrage Variable & Louise HervÉ Halory Goerger ChloÉ Maillet & Louise HervÉ PERFORMANCE 01.12.2011 Performances 8pm - Espace Bernard-Marie Koltès – 20.11.2011 Théâtre Universitaire du Saulcy 4pm – La Synagogue de Delme contemporary 55 minutes arts centre – Conseil général de Moselle Partners: La Synagogue de Delme contemporary arts centre; Indigence = ÉlÉgance 49 Nord 6 Est – Frac Lorraine Antoine Defoort DECEMBER Performance 01.12.2011 P >TEM S FORT 4 (Highlights 4) 9pm - Espace Bernard-Marie Koltès – Echoing the Space / Time section of “Wander, Labyrinthine Théâtre Universitaire du Saulcy Variations” 55 minutes Live performance Instantané (Snapshot) Antoine Defoort / Halory Goerger / &&&&& & &&& Julien Fournet Antoine Defoort and Halory Goerger Warning, sci-fi! Echoing the Space/Time section of Wander, Performance / Installation Centre Pompidou-Metz has invited three inspired inventors > to make a stopover in Metz. Join Antoine Defoort, Halory 03.12.2011 04.12.2011 03.12 from 2.30pm to 5.30pm and 04.12 from 2pm to 5pm Goerger and Julien Fournet for an introduction to the music- admission at any time - Studio hall of 2052, DIY sci-fi, masterpieces of speculative cinema, 60 minutes on average and football…but not as we know it! With a sometimes light and often offbeat touch, the three performers set us thinking about the world of today by making us laugh about the world of tomorrow. Visit and Interpretation of Wander La visite d’Antoine et Halory (Visit with Antoine and Halory) Antoine Defoort and Halory Goerger Guided exhibition tour commented and interpreted BY ANTOINE AND HALORY 04.12.2011 11am – Meeting point: in front of the Here and There space (Forum) at 10.50am 30 minutes

Cheval, Antoine Defoort et Julien Fournet© Guillaume Schmitt ChevaL Antoine Defoort AND Julien Fournet Performance 07.12.2011 8pm - Espace Bernard-Marie Koltès – Théâtre Universitaire du Saulcy 60 minutes

23 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 12. PARTNER VENUES

"From Trance to Transcendence" 18.11.2011 > 20.11.2011

A weekend of altered states of consciousness and trances: from meandering thoughts to meditation, from the search for different levels of perception and understanding to the creatures that wander in other spheres of reality, this weekend embarks on a journey of the mind to three different sites and three exhibitions. Performances, lectures and visits explore the different ways of going beyond the rational world, duplication, multiple personalities and the wandering that produces meanings and forms.

Partners: La Synagogue de Delme contemporary arts centre; 49 Nord 6 Est - Frac Lorraine

Artists / guests: Matt Mullican, Chloé Maillet & Louise Hervé, Olivier Schefer, Emmanuel Holterbach and Sophie Durand

EXHIBITIONS Les 1 000 Rêves de Stellavista Le moins du monde 15.10.2011 > 05.02.2012 07.10.2011 > 08.01.2012 La Synagogue de Delme contemporary arts centre Frac Lorraine

This exhibition questions how architecture relates An experience of inner sensations through retinal to ghosts, the archaeology of customs and memory. and auditory waves and vibrations. It also considers how a memory can remain alive despite Meditation lies at the core of many religions and spiritual the passage of time and the sedimentation of past customs. belief systems, as do medical practices, perhaps because The exhibition title refers to JG Ballard's short story, an empty mind and altered states of consciousness The Thousand Dreams of Stellavista, in which the author are inherently part of the way our mind and brain function. describes a strange city in which psychotropic houses Altering this through meditation could also transform retain the psychology of their successive inhabitants. our way of being. The houses continue to respond to their owners’ affects, as though they were physical extensions of their moods. Le Moins du Monde* is a moment of meditation, a mental eclipse in search of invisible realities. Group show with Inassi Aballi, Samuel Beckett, Stanley Brouwn, Clino Trini Castelli, Delphine Coindet, Dunne and Raby, Michel François, Peter Friedl, In association with Fragment for the audio and music Tamar Guimaraes, Susan Hiller, , Chloé Maillet and Louise selection. Full programme at www.fraclorraine.org

Hervé, Gianni Pettena, François Roche *Title borrowed from Roger Munier (b. 1923 in Nancy, d. 2010 and in Xertigny in the Vosges).

Curators: Christophe Berdaguer & Marie Péjus, artists, and Marie Cozette, Artists: Marina Abramovic, Susanna Fritscher, Craigie Horsfield, Ann Director of La Synagogue de Delme contemporary arts centre Veronica Janssens, Tania Mouraud, Yazid Oulab, Peter Vermeersch, Ian Wilson & Charles Curtis, Jean-Claude Eloy, Morton Feldman, Henry Flint, Catherine Christer Hennix, Eliane Radigue et al.

Centre d’art contemporain – la synagogue de Delme 33 rue Poincaré 49 Nord 6 Est – Fonds régional d’art contemporain de Lorraine 57590 Delme 1 bis, rue des Trinitaires +33 (0)3 87 01 35 61 57000 Metz [email protected] +33 (0)3 87 74 20 02 cac.synagoguedelme.org [email protected] fraclorraine.org

24 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 13. VISITOR INFORMATION

Audioguides : €3 By train: high-speed TGV Metz Ville station Opening hours Multimedia audioguides can be rented with direct trains from Paris (1hr 20min) Centre Pompidou-Metz is open every day at the ticket desk. and Luxembourg City (40 min). “Lorraine TGV” except Tuesday and 1st May. Languages: French, English, German. station (29 km from Metz, shuttle service) Opening times are as follows Adapted for hearing-impaired visitors (AFIL). with directs trains from Lille Europe (2hrs), (subject to modification): Rennes (4hrs), Bordeaux (5hrs) and Frankfurt For more information go to (2hrs 40min). Monday...... 11am - 6pm centrepompidou-metz.fr Tuesday...... closed By plane: Metz-Nancy Lorraine Airport (33 km Wednesday...... 11am - 6pm / 20 min), Luxembourg Airport (69 km / 45 min), Thursday...... 11am - 8pm Sarrebruck Airport (79 km / 1h), Zweibrücken Friday...... 11am - 8pm GROUPS Airport (110 km / 1h20). Saturday...... 10am - 8pm Visit with a Centre Pompidou-Metz guide Sunday...... 10am - 6pm Price: €170 Languages: French, English, German Last ticket sales 45 minutes before closing time. The price includes admission, a 90-minute guided tour and group booking fees. ADMISSION Groups are strictly limited to 20 people. Self-led group visit or with a guide from outside General admission: €7 the Centre Pompidou-Metz: A ticket gives admission to all the exhibitions Price: €7 per person + €20 booking fee showing on the day of your visit. for priority access

Free admission (on presentation of an official Groups are strictly limited to 20 people. document) for: — under 26s, — teachers with a Pass Education, — disabled visitors and a companion, WHERE TO BUY TICKETS — job-seekers who are registered in France Online at centrepompidou-metz.fr and through (proof of status must be less than the Fnac, Digitick, France Billet and TicketNet 6 months old), services — beneficiaries of income support (proof On site from the ticket desks or the ticket machines of status must be less than 6 months old), — beneficiaries of a basic State pension, — registered tour guides, — holders of an Icom, Icomos or Aica card, How to get to the Centre — journalists with a press card, — artists registered with the Maison Pompidou-Metz des Artistes. On foot: a 2-minute walk from the high-speed TGV Metz Ville station; 10 minutes from the historical The priority line is for: town centre. — holders of a Centre Pompidou-Metz “Pass” membership card, By car: A4 (Paris / Strasbourg) and A31 Centre Pompidou-Metz — disabled visitors and a companion, (Luxembourg / Lyon) motorways, exit Metz Centre. 1, parvis des Droits-de-l'Homme — persons with reservations or pre-paid Underground 700-space parking garage on avenue CS 60490 admission, François Mitterrand. Open 24/7. F-57020 Metz Cedex 1 — holders of an Icom, Icomos or Aica card, +33 (0)3 87 15 39 39 By coach: A4 (Paris / Strasbourg) and A31 — journalists with a press card. [email protected] (Luxembourg / Lyon) motorways, exit Metz Centre. Group drop-off zone on avenue François centrepompidou-metz.fr Mitterrand; reserved coach parking on avenue Join Centre Pompidou-Metz on Facebook Louis Débonnaire. and Twitter!

25 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 14. PATRONS AND PARTNERS

The Centre Pompidou-Metz is the first offshoot of a French cultural institution, the Centre Pompidou, developed in collaboration with a regional authority, the Communauté d’Agglomération de Metz Métropole (the combined district council for the Greater Metz area).

Greater Metz was the contracting authority for the project and provided the majority of funding, in association with the City of Metz (agent) and the Centre Pompidou. Construction of the Centre Pompidou-Metz also received funding from the Conseil Général de la Moselle, the Conseil Régional de Lorraine, the French State and the European Union (European Regional Development Fund – ERDF).

The Centre Pompidou-Metz is an “Établissement Public de Coopération Culturelle” (public establishment for cultural cooperation) whose founding members are the French State, the Centre Pompidou, the Lorraine Region, Communauté d’Agglomération de Metz Métropole and the City of Metz.

The Centre Pompidou-Metz would like to thank all its partners for their essential contribution to the staging of its exhibitions.

In collaboration with Vranken-Pommery Monopole

Work by Isidoro Valcárcel Medina is presented thanks to funding from the AC/E Acción cultural española (Seacex)

Work by Public Space With a Roof is produced thanks to funding from Fondation Mondriaan and Fonds BKVB / Netherlands Foundation for visual arts, design and architecture

Centre Pompidou-Metz would also like to thank SAMSUNG Electronics France

26 PRESS PACK - WANDER, LABYRINTHINE VARIATIONS 15. PRESS VISUALS (UPON REQUEST)

Download visuals for the exhibition at centrepompidou-metz.fr/phototheque with the following user name: presse and password: Pomp1d57.

Any and all use of these visuals requires prior authorisation from successors, or agencies managing artists’ royalties, notably ADAGP, which must give prior permission to reproduce these visuals which are subject to the terms and conditions set out below. All royalties must be paid.

Press publications which have an agreement with ADAGP should refer to the terms of this agreement.

All other press publications Royalties are waived for the first two reproductions illustrating an article on a current event up to a maximum of one quarter- page; in excess of this number or format, reproduction rights must be paid; any reproduction on a front cover or front page must have the prior permission of the ADAGP Press Division.

Online publications Royalties are waived for the first two reproductions illustrating an article on a current event; in excess of this number, reproduction rights must be paid.

Contacts à l'ADAGP Patricia Louot & Géraldine de Spéville Société des Auteurs dans les Arts Graphiques et Plastiques 11, rue Berryer - 75008 Paris, France

Tél. : +33 (0)1 43 59 09 79 - Fax. : +33 (0)1 45 63 44 89 adagp.fr

27 Press contacts

EPCC Centre Pompidou-Metz Louise Moreau +33 (0)3 87 15 39 63 [email protected]

Claudine Colin Communication Dorélia Baird-Smith +33 (0)1 42 72 60 01 [email protected]