DOCSLIB.ORG

« Des Mesures » 19 June

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
« Des Mesures » 19 June LILIAN BOURGEAT « DES MESURES » 19 JUNE - 14 OCTOBER 2018 Unibail-Rodamco is proud to present the new temporary exhibition at the Polygone Riviera shopping centre: “DES MESURES” by the French artist Lilian Bourgeat. From 19 June to 14 October, visitors from all over the world will be able to wander around spectacular artworks by Lilian Bourgeat, a major figure on the contemporary art scene. His works are XXL reproductions of everyday objects strongly evocative of Gulliver’s Travels. These extraordinary oversized objects, which include a coat rack, a shopping trolley and a giant pair of wellington boots, invite the viewer to share an unusual experience in a place that we might be tempted to reduce to a single purpose. The “encounter” between Polygone Riviera and Lilian Bourgeat shows that the shopping centre is a place that constantly reinvents not only the way we live together and go shopping, but also the way we discover things, learn, relax, think or meditate. After an exhibition of works by Miró in 2016 organised in partnership with the Fondation Maeght, followed by sculptures and photographs by Philippe Ramette, Unibail-Rodamco is delighted to present the works of Lilian Bourgeat as part of its 2018 art programme. Anne-Sophie Sancerre, General Director, Shopping Centre, France 2 Polygone Riviera art programme presents, from June 19 to October 14 2018, an exhibition of the work of the French artist Lilian Bourgeat, an exceptional set of twelve sculptures of “augmented” objects, including two new works made especially for the occasion. The title, “DES MESURES”, which literally means “measurements”, is a pun on the word “démesure”, meaning “huge size”. I LOOK FOR BANAL OBJECTS HIDDEN IN EVERYDAY LIFE: THE OPPOSITE OF WHAT IS SPECTACULAR. LILIAN BOURGEAT Polygone Riviera — the first open-air shopping centre Since the early 2000s, Lilian Bourgeat has been known in France — owned by the Unibail-Rodamco Group, was for his spectacular work, which involves enlarging iconic opened in 2015 in Cagnes-sur-Mer. Polygone Riviera is everyday objects: boots, wheelbarrows, tables, coat stands, designed as a unique cultural complex with art at its core, shopping trolleys, and so on. Surprised by this enlargement in an environment combining shops with relaxation areas.* of reality, visitors find themselves confronted by a world that is as familiar as it is disconcerting: a world of objects During summer 2016, an exceptional set of sculptures designed solely for giants. Lilian Bourgeat creates an by Joan Miró was presented in Polygone Riviera, atmosphere straight out of Gulliver’s Travels adapted to the organised in partnership with the Fondation Maeght in contemporary era, offering the viewer unique experiences. Saint-Paul-de-Vence (a leading cultural institution in the While referencing a shared cultural unconsciousness, the region). Then, in 2017, a temporary exhibition of the gravity amazing change of scale these objects undergo deprives and logic-defying works of Philippe Ramette took place in them of their initial functionality and shifts them into another the streets of the shopping centre, presenting a sequence world: the world of the extraordinary. of irrational scenes. As you walk around the streets and squares of Polygone Continuing this exploration of the French art scene, this third Riviera, oversized hyper-realistic objects appear, offering temporary exhibition is devoted to Lilian Bourgeat, one of a playful alternate interpretation of the world around us. the leading contemporary artists of his generation. As doorways opened towards an imaginary world these artworks form a discovery trail on the boundaries of science fiction and yet at the very heart of reality. Jérôme Sans, artistic director *Since its opening in 2015, Polygone Riviera has presented a permanent collection of human-scale artworks by Ben, Céleste Boursier-Mougenot, Daniel Buren, César, Antony Gormley, Tim Noble & Sue Webster, Jean-Michel Othoniel, Pablo Reinoso, Pascale Marthine Tayou and Wang Du, dotted around the shopping centre. 3 THE “UNSOLD BOOTS(...)” MIGHT REMIND US OF CHILDHOOD FAIRY TALES (THE SEVEN LEAGUE BOOTS) BUT THE FACT THAT THERE ARE TWO LEFT FEET LEADS US TO ANOTHER INTERPRETATION. I LIKE THIS IDEA OF A MISTAKE. LILIAN BOURGEAT The artist imbues this pair of wellington boots, which the title tells us are “unsold”, with light-hearted humour. Made in 2008, the boots highlight the different meanings that can be assigned to an object. Simply placed on the ground as if by some giant, they are evocative of the magical “seven- league boots” in the children’s story. But by enigmatically presenting two left feet, the artist seems to be attracting our attention to the ordinariness of production line failures. These “hyper-realistic” larger-than-life objects question the boundary between functionality and excess. 4 Invendus – bottes (pieds gauches), 2008 Resin, polyester, 300 x 200 x 80 cm each Courtesy of City of Boulogne-sur-Mer 5 Terrasse, 2013 Polyester resin, stainless steel, Tables: 150 x 200 x 200 cm each ; Chairs: 196 x 125 x 115 cm each Courtesy Galerie Lange+Pult 6 VIEWERS ALREADY APPROPRIATE AND HANDLE THE TABLE AND CHAIRS WHEN THEY LOOK AT THEM, PROJECTING THEIR INTENTIONS ONTO THEM. LILIAN BOURGEAT Lilian Bourgeat offers an up-to-date version of Gulliver’s feasts. He presents a functional garden table surrounded by white plastic chairs evocative of childhood. Giant-sized and thus hard to use, these huge objects stimulate a desire to participate on the part of the viewer, while spurring our imagination. Beyond the comical dimension of the scene, the work sets up a conversation and undermines our certainties by challenging our human scale. By creating large-format replicas of familiar furniture and turning them into sculptures, he plays with our state of confusion. The cheap, free-standing, stackable items reference the plastics industry, where mass-production raises questions about authorship in the age of generic objects. 7 SHOPPING TROLLEYS ARE ALREADY USED FOR DIFFERENT PURPOSES IN EVERYDAY LIFE. LILIAN BOURGEAT Lilian Bourgeat questions our shared cultural unconscious that underlies objects. He plays with the iconic nature of ordinary objects and their mimetic familiarity by presenting this series of four giant supermarket trolleys. Through this artistic gesture, Lilian Bourgeat throws into the circulation of objects in the consumer society. This is the first time the work has been presented in its original context: a shopping centre. 8 Caddies, 2014 Galvanised steel, polyester resin wheels, 210 x 230 x 150 cm each Courtesy Galerie Lange+Pult 9 Banc public, 2018 Aluminium, steel, wood, 187,7 x 500 x 160 cm Courtesy Galerie Lange+Pult 10 SITTING ON THE “PUBLIC BENCH ” REQUIRES A SPECIAL EFFORT. YOU CLAMBER UP, SHARPEN YOUR EMOTIONS, AND SEE THE WORLD IN A DIFFERENT WAY. LILIAN BOURGEAT Lilian Bourgeat surprises us by enlarging reality. Continuing his series of larger-than-life objects, the hyper-realistic, oversized “Public Bench”, made specially for this exhibition, questions our notions of fake objects and evokes the history of the “ready-made”. The “ready-made” was defined by its inventor, the artist Marcel Duchamp, as “an ordinary object promoted to the dignity of an art object by the mere decision of the artist”. In other words, it’s a manufactured or found object which, when placed in a museum, acquires the status of an artwork. The bench is an everyday object that usually punctuates public areas. Here, it is solely designed for giants and undermines our perception of reality. This model of a public bench is probably the most widely encountered in France, and draws on the collective unconscious and the image of collective life in the city. 11 ASSEMBLED IN NEW CONFIGURATIONS, THE WHEELBARROWS BECOME TEMPLATES FOR MY OWN CREATIONS. LILIAN BOURGEAT The Wheelbarrow is part of a similar playful interpretation of the day-to-day world. Bereft of its usual purpose, the work acquires a new autonomy thanks to a change of scale. Instead of an ordinary worker’s tool, it achieves the status of a giant surrealist object, inviting the viewer to experience something unique and unsettling. Echoing the Shopping Trolleys, the Wheelbarrows series underlines the different use that can be made of these objects and the agricultural world they are associated with. The work also evokes a mould, because like the Piggy Bank, the wheelbarrow is a productive mould and an opaque container. The barrows are presented here one inside the other: like an “assisted ready-made”, the way they are assembled gives them a new sculptural and aesthetic dimension. This way of stacking two independent objects creates a new mysterious form. 12 Brouettes, 2015 Resin, polyester, stainless steel, 150 x 230 x 90 cm each Courtesy Galerie Lange+Pult 13 Perroquet, 2010 Galvanised steel, 650 x 150 x 150 cm Courtesy Piacé le radieux 14 THIS WORK PLAYS WITH THE IDEA OF WHAT’S MISSING: WHAT’S OFTEN HIDDEN OR CONCEALED FROM VIEW. LILIAN BOURGEAT Perroquet is a huge galvanised steel coat rack over six metres tall. The coat rack is often an invisible object: its shape can no longer be seen when it’s buried under layers of clothes. Here, the object is deprived of its original purpose. It tips over into the imaginary world, revealed by its title, which means both “Parrot” and “coat rack”. The stylised hooks evoke the curved bodies of birds gathered at the top of a tree. In this way, the nudity of the object gives it an undeniably sculptural quality. 15 PIGGY BANK IS A SELF- REFERENTIAL OBJECT: THE CONTAINER SURPASSES WHAT IT CONTAINS. LILIAN BOURGEAT The works of Lilian Bourgeat attempt to step beyond the ordinary, both literally and figuratively. With Piggy Bank 2 (noir), he presents an augmented sculpture. The work consists of an oversized replica of an iconic piggy bank, which looks exactly like the original.
Load more

Recommended publications
  • La Villa Noailles À Hyères
    VillaVilla NoaillesNoailles HyèresHyères (Var)(Var) MLML 20162016 En-dessous des ruines du château médiéval d'Hyères : Parc Saint Bernard et Villa Noailles avec vue panoramique sur la ville, la presqu'île et les îles Villa Noailles Villa Noailles Bâtie sur le site de l'ancienne abbaye Saint Bernard, entre 1923 et 1933, la Villa Noailles appartient à la ville d'Hyères depuis 1973. Classée Monument historique du XXème siècle depuis 1987, elle est aujourd'hui un centre d'art et d'architecture de renommée internationale. PrintempsPrintemps 20142014 Entrée du clos Saint Bernard plus connu sous le nom de Villa Noailles Au coeur de l'enceinte médiévale en ruine, à Hyères, le Vicomte Charles de Noailles (1891/1981) et Marie Laure de Noailles (1902/1970) firent construire une petite maison dans le midi, "intéressante à habiter l'été pour y profiter du soleil avec un maximum de rendement et de commodités". "Un"Un vaisseauvaisseau sursur lala ville"ville" entouréentouré d'und'un parcparc publicpublic ScandaleuseScandaleuse créationcréation pourpour lesles hyéroishyérois dede l'entre-l'entre- deux-guerresdeux-guerres !! Le jardin cubiste de Gabriel Guévrékian (arménien de Constantinople réfugié à Paris) CentreCentre d'artd'art Photo prise en juillet 2016 Plan de la villa du Vicomte Charles de Noailles et de son épouse Marie Laure Architecte Robert Mallet Stevens Dessinée en décembre 1923 et commencée en avril 1924, la petite maison de vacances fut agrandie et transformée à plusieurs reprises. Une annexe de quatre chambres fut ajoutée en 1925, suivie par une seconde en 1926, reliée à la première par un escalier couvert.
    [Show full text]
  • Hyères – Villa Noailles
    Hyères Villa Noailles 1923-1932 - ROBERT MALLET-STEVENS - 2 000 M2 - INSCRITE A L’INVENTAIRE DES MONUMENTS HISTORIQUES La Villa Noailles. © Olivier Amsellem, 2013 TRANSMETTRE L’ARCHITECTURE CONTEMPORAINE Regard de l’expert PROGRAMME ET GENÈSE DU PROJET Robert Mallet-Stevens qui n’avait jusque-là réalisé Après avoir reçu en cadeau de mariage un terrain que quelques décors de cinéma. Dessinée en 1923, la avec vue imprenable sur la baie d’Hyères, Charles villa Noailles est l’une des premières constructions et Marie-Laure de Noailles, un couple de mécènes modernes d’Europe. Elle accueille le couple pour un amateurs d’art, ont le projet de « construire une premier séjour en novembre 1925. petite maison intéressante à habiter ». La résidence d’hiver simple, confortable, aérée et ensoleillée doit Au décès de la vicomtesse en 1970, le mobilier et bénéficier de la vue, s’adapter au terrain, traduire les les œuvres d’art sont répartis entre ses héritiers. tendances de l’architecture moderne et prôner un Rachetée en 1973 par la municipalité d’Hyères, la nouvel art de vivre privilégiant le corps et la nature. villa reste dans un état de semi-abandon malgré son Après avoir sollicité Ludwig Mies van der Rohe et inscription en 1975 à l’inventaire supplémentaire des Le Corbusier, ils passent finalement commande à monuments historiques. Elle est cependant restaurée 1 92 VAR progressivement à partir de 1986 jusqu’à l’ouverture traditionnelle car aucun entrepreneur à Hyères ne du centre d’art en 2003. maîtrise le béton armé. Les murs sont réalisés en brique et recouverts d’un enduit uniforme.
    [Show full text]
  • Dossier De Presse
    DP 1 Dossier de presse villa Noailles, Hyères communauté d’agglomération Toulon Provence Méditerranée DP 02 CONCOURS, EXPOSITIONS, RENCONTRES, MARCHÉ DESIGN VINTAGE LIBRAIRIE ÉPHÉMÈRE 10 designers en compétition Pierre Charpin Manufacture de Sèvres + Design Parade = 10 ans de création Laura Couto Rosado Fabien Cappello Liège du Var Ressource et savoir-faire Collage École Supérieure d’Art et de Design Toulon Provence Méditerranée Librairie éphémère - Tailor Books Marché Design Vintage Rewind 10 ans du festival Service Presse Philippe Boulet [email protected] T +33 (0)6 82 28 00 47 Visuels en haute définition disponibles sur : www.villanoailles-hyeres.com/press villa Noailles (mot de passe sur demande) communauté d’agglomération Toulon Provence Méditerranée Montée Noailles 83400 Hyères Formulaire d'accréditation disponible sur le site de T +33 (0)4 98 08 01 98 / 96 la villa Noailles www.villanoailles-hyeres.com DP 03 VILLA NOAILLES, CENTRE D'ART villa Noailles © Olivier Amsellem Édifiée entre 1924 et 1932, la villa Noailles est Devenue centre d’art en 2003, la villa Noailles non seulement un témoignage de l’architecture de présente et soutient la création contemporaine Robert Mallet-Stevens, mais également un bâtiment dans les domaines de la mode, de la photographie, hors normes de 1 800 m2 dans lequel la présence du design et de l’architecture, à travers des d'œuvres d'art compte tout autant que celle expositions temporaires. d'équipements sportifs, jusqu'alors exceptionnels dans une résidence privée. Elle organise trois festivals : le Festival International de Mode et de Photographie à Hyères, depuis 1986, Ses commanditaires, Charles et Marie-Laure Design Parade, depuis 2006 et Pitchouns depuis 2011.
    [Show full text]
  • Charles Et Marie-Laure De Noailles, Une Vie De
    SAINT BERNARD 1 2 SAINT BERNARD SAINT BERNARD 3 CHARLES ET LLLLLMARIE-LAURE DE NOAILLES LLLL UNE AVANT-PREMIÈRE,VIE DE MÉCÈNES PARIS, vitrines du Palais Royal, MINISTÈRE DE LA CULTURE ET DE LA COMMUNICATION, DU 1ER AU 11 MARS 2010 LL PUIS À HYÈRES, À PARTIR DU 2 JUILLET 2010 À SAINT-BERNARD LL WWW.VILLANOAILLES-HYERES.COM et un ans après, presque jour pour jour, SAINT-BERNARD Charles et Marie-Laure de Noailles, seront LL fêtés, honorés, pour la première fois en Au début de l’été 1989, lorsque l’on me France. Cette maison construite pour eux, confia les clefs de Saint-Bernard, l’autre où, de 1924 à 1970, ils ont vécu, entourés nom de la villa Noailles, jamais, bien d’artistes, d’amis, qu’ils ont toujours su sûr, je n’aurais pu imaginer écrire ces aider, encourager, et soutenir, avec plaisir lignes… et bonheur. J’arrivais à la Villa en fin d’après-midi, la Dans cette exposition permanente, nous lumière de l’été était forte et belle. Patrick présenterons, avec le soutien de leurs Mimouni terminait le tournage de son film petits-enfants et de l’Association des sur Charles et Marie-Laure de Noailles. amis de Saint Bernard, de nombreux Quelques mois après notre rencontre, partenaires, institutions, musées publics je reçus son film. Magnifique, touchant, et privés, un ensemble de documents, précis, juste. Deux personnages de roman, d’œuvres et de témoignages qui qui ont vraiment existé, disait-il dans son rendront compte et feront partager commentaire, invitant ainsi le spectateur aux visiteurs leur vie de mécènes.
    [Show full text]
  • Discreet Austerity. Notes on Gabriel Guevrekian's Gardens
    Hamed Khosravi Discreet Austerity Notes on Grabriel Guevrekian’s Gardens In spring 1925 Gabriel Guevrekian, a young unknown artist - architect was invited to participate in the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris with a project called Jardin d’Eau et de Lumière. His contribution became one of the most noticed and criticized installations of the exhibition, and by the end, won the Grand Prix by the jurors. The garden was simply a stylized triangular walled space; a piece of landscape captured within a boundary made of concrete and colored glass. At the center of the plot was placed a tiered triangular fountain on top of which an electrically - propelled glass ball — a sculpture made by Louis Baril- let , the French glass artist — was revolving. The space between the fountain and walls was geometrically patterned with triangular patches of flowers and grasses, each of which slightly tilted in a way so that the whole ground plane was traced by folds of green, orange, purple and red (fig. 1). Fig. 1 Jardin d’Eau et de Lumière, by Gabriel Guevrekian 1925. (Excerpted from Michel Roux-Spitz, Bâtiments et jardins. Expo- sition des Arts décoratifs. Paris 1925, p. 74.) Wolkenkuckucksheim | Cloud-Cuckoo-Land | Воздушный замок 20 | 2015 | 34 Khosravi | 199 Contrary to the common European traditions of garden design — French, English, Spanish and Italian styles — Guevrekian’s project put forward a new image of garden, formalized and manifested fully through architec- tural forms, elements and techniques. The garden installation stood against any imitation of nature, both in its form and concept; in a way, the project celebrated architecture as a contrast to nature rather than garden as imi- tation of nature.
    [Show full text]
  • Catálogo Virtual CCBB BH
    2 – – 3 – 1 Ministério da Cidadania apresenta Banco do Brasil apresenta e patrocina CURADORIA – CURATORSHIP EMMANUELLE DE L’ECOTAIS CENTRO CULTURAL BANCO DO BRASIL SÃO PAULO 21.08.2019 – 28.10.2019 BELO HORIZONTE 11.12.2019 – 17.02.2020 EDITORA ARTEPADILLA Produção Apoio Realização 2 – O Ministério da Cidadania e o Banco do Brasil apresentam Man Ray em Paris, que traz um importante recorte cronológico da carreira deste fotógrafo, pintor, cineasta, criador de objetos e escultor. A exposição reúne, pela primeira vez no Brasil, quase 250 obras desenvolvidas no período em que viveu em Paris, em uma época de grande ebulição criativa. A mostra acontece nas unidades do CCBB de São Paulo e Belo Horizonte e apresenta o trabalho de um dos mais importantes artistas vanguardistas do século XX. Com ligações que passam pelo Dadaísmo e o Surrealismo, sua arte encontra grande repercussão na Paris dos anos 1920, onde diversas formas de arte floresceram e consolidaram a capital francesa como um dos maiores centros culturais do mundo à época. Ao realizar esta exposição, o Banco do Brasil reforça seu compromisso com a formação de público e a promoção de um acesso amplo à cultura, e traz ao público a oportunidade de conhecer de perto o trabalho deste artista multidisciplinar. 4 – – 5 SUMÁRIO – CONTENTS INTRODUÇÃO 9 1 _ DADA PHOTO 10 2 _ MAN RAY, INVENTOR DA FOTOGRAFIA SURREALISTA 32 3 _ A ARTE DO RETRATO 62 4 _ MAN RAY, FOTÓGRAFO DE MODA 98 5 _ FOTOGRAFAR PARIS E A NATUREZA 132 6 _ RAYOGRAFIAS 15 8 7 _ A MULHER 17 8 8 _ MAN RAY, “DIRETOR DE FILMES RUINS” 206 9 _ MAN RAY E OS OBJETOS DE SUA AFEIÇÃO 216 BIOGRAFIA 240 ENGLISH TRANSLATION | TEXTOS EM INGLÊS 248 BIBLIOGRAFIA SELECIONADA 268 FICHA TÉCNICA 270 6 – – 7 Primeira retrospectiva de Man Ray no Brasil, esta exposição procura abranger sua imensa e multiforme obra.
    [Show full text]
  • Exposition Permanente.Pdf
    CHARLES AND LLLLLMARIE-LAURE DE NOAILLES LLLLA LIFE AS PATRONS PERMANENT EXHIBITION VILLA NOAILLES L/ SAINT BERNARD PRESS KIT Press contact Philippe Boulet +33 (0)6 82 28 00 47 [email protected] Contact villa Noailles +33 (0)4 98 08 01 98 www.villanoailles-hyeres.com Visuels haute définition disponible en téléchargement sur l’espace presse www.villanoailles-hyeres.com (mot de passe sur demande) LLL EDITOrial LLLLLL Despite a reputation whose importance never ceases to Charles and Marie-Laure de Noailles grasped that modernity increase, nobody had ever devoted an exhibition to Charles was a combination of numerous influences, a montage of forms, and Marie-Laure de Noailles, the renowned benefactors. Their seemingly unsuited towards coexisting in the same space; as name – which was associated with an impressive list of artists expressed in both the construction of the villa, or its interior and intellectuals – is present in all of the works which discuss design, which in itself arose out of a montage of furnishings that the period. Despite this, no attempt had been made to re- were the product of the most diverse trends. Consequently, they assemble and inventory the countless details and documents freely combined furniture by Jacques-Émile Ruhlmann, Jean- which relate to their involvement. Ever since the inauguration Michel Frank, Charlotte Perriand, and Francis Jourdain, with of the villa Noailles arts centre, the organisation in charge of its industrial fittings, created by Smith & Co and Ronéo, alongside exhibitions had always intended to present this legacy in full view period pieces. of the contemporary exhibitions. At the same time, there was an obligation to introduce people to the history, the architecture, When Charles de Noailles offered his support to the key and the furnishings of the villa Noailles.
    [Show full text]
  • FY2009 Annual Listing
    2008 2009 Annual Listing Exhibitions PUBLICATIONS Acquisitions GIFTS TO THE ANNUAL FUND Membership SPECIAL PROJECTS Donors to the Collection 2008 2009 Exhibitions at MoMA Installation view of Pipilotti Rist’s Pour Your Body Out (7354 Cubic Meters) at The Museum of Modern Art, 2008. Courtesy the artist, Luhring Augustine, New York, and Hauser & Wirth Zürich London. Photo © Frederick Charles, fcharles.com Exhibitions at MoMA Book/Shelf Bernd and Hilla Becher: Home Delivery: Fabricating the Through July 7, 2008 Landscape/Typology Modern Dwelling Organized by Christophe Cherix, Through August 25, 2008 July 20–October 20, 2008 Curator, Department of Prints Organized by Peter Galassi, Chief Organized by Barry Bergdoll, The and Illustrated Books. Curator of Photography. Philip Johnson Chief Curator of Architecture and Design, and Peter Glossolalia: Languages of Drawing Dalí: Painting and Film Christensen, Curatorial Assistant, Through July 7, 2008 Through September 15, 2008 Department of Architecture and Organized by Connie Butler, Organized by Jodi Hauptman, Design. The Robert Lehman Foundation Curator, Department of Drawings. Chief Curator of Drawings. Young Architects Program 2008 Jazz Score July 20–October 20, 2008 Multiplex: Directions in Art, Through September 17, 2008 Organized by Andres Lepik, Curator, 1970 to Now Organized by Ron Magliozzi, Department of Architecture and Through July 28, 2008 Assistant Curator, and Joshua Design. Organized by Deborah Wye, Siegel, Associate Curator, The Abby Aldrich Rockefeller Department of Film. Dreamland: Architectural Chief Curator of Prints and Experiments since the 1970s Illustrated Books. George Lois: The Esquire Covers July 23, 2008–March 16, 2009 Through March 31, 2009 Organized by Andres Lepik, Curator, Projects 87: Sigalit Landau Organized by Christian Larsen, Department of Architecture and Through July 28, 2008 Curatorial Assistant, Research Design.
    [Show full text]
  • Hyères - Côte D’Azur and the Golden Isles: Porquerolles, Port-Cros & Le Levant
    TOURIST OFFICE TOURIST Presspack Hyères - Côte d’Azur and the Golden Isles: Porquerolles, Port-Cros & Le Levant 2018 www.hyeres-tourism.co.uk Presspack good reasons to come to Hyères... 5LOCATION Located at The the heart of Golden km Isles (25miles)40 Provence archipelago of coast and Porquerolles, Port-Cros, beaches, cliffs French Riviera and Le Levant and coves MILD CLIMATE Year round Up to 300days A garden city of sun per year with flowers activities all year long AN UNTOUCHED NATURE ha 27,of 000 water A Marine Giens National Park & its peninsula, ha Port-Cros a double tombolo 115 Porquerolles and saltmarshes of wild areas AN EXCEPTIONAL HERITAGE 2, 400 years of history Ville d’Art 4 exceptional & d’Histoire gardens An archaeological (a French label awarding site the heritage and nature) open to the public all year–round. ART DE VIVRE the ideal starting point Provençale for your tour of Provence “Cuisine” A lush land orchards, vineyards 2 www.hyeres-tourism.co.uk Presspack 2018EDITION CONTENTS AN EXCEPTIONAL NATURAL HERITAGE P. 04 HYÈRES, A GARDEN ON THe côte d’azur P. 08 2 400 ANS OF HISTORY AND ARCHITECTURE P. 10 A SEA RESORT IN WINTER… P. 12 Hyères’ flourisHING ECONOMIES: HORTICULTURE AND TOURISM P. 14 SEA, SUN AND AMAZING BEACHES P. 16 A DESTINATION FOR SPORTS P. 17 Hyères’ ART DE VIVRE P. 18 IN HYÈRES AND NOWHERE ELSE P. 20 HYÈRES, FACILITIES P. 22 VISITOR INFORMATION P. 23 HYÈRES, between sky & sea Landing on its Mediterranean shores in the 4th century B.C., the Greeks name it “The Blessed Olbia”.
    [Show full text]
  • Pablo Picasso in the Collection of Charles and Marie-Laure De Noailles
    www.smartymagazine.com Pablo Picasso in the collection of Charles and Marie-Laure de Noailles by Marlène Pegliasco Charles and Marie-Laure de Noailles are a couple of patrons active in the artistic life of the first half of the 20th century. The villa they had built on the heights of Hyères, in the Var, by the minimalist architect Robert Mallet-Stevens symbolizes audacity and open-mindedness towards modernism. Many writers and artists, such as Jean Cocteau, Luis Bunuel, Salvador Dali will be invited. Today, the Villa Noailles has become an Art Centre recognised as being of national interest, and every year it hosts exhibitions and festivals where the patronage of its illustrious owners continues to be perpetuated. This summer, as part of the Picasso Méditerranée event, the art centre is offering an illuminating exhibition on the place of the Catalan master in the Noailles collection. It was Jean Cocteau, a writer who accompanied the Spanish artist on his trip to Rome, and friend of Marie-Laure de Noailles (1902-1970), who spoke of this prodigy. In 1923, the couple acquired the House in the Trees, a 1929 painting that became the first purchase of a modern work by Charles de Noailles for his young wife, who was then bedridden. Measuring 11 cm by 15 cm, he is probably the "smallest Picasso in the world". After attempts to commission a portrait of the viscountess - which will never be completed - the Noailles will settle for buying some of her works. Thus, in Paris as in Hyères, they hang paintings and drawings, and own at least fifteen works by the painter.
    [Show full text]
  • Villa Noailles Gli Artisti Sono Tornati Nell’Architettura D’Avanguardia Progettata in Costa Azzurra Da Robert Mallet-Stevens the Artists Are Back
    interiors installations foto di / photo by Joel Tettamanti di / photo by Joel foto Villa Noailles Gli artisti sono tornati nell’architettura d’avanguardia progettata in Costa Azzurra da Robert Mallet-Stevens The artists are back Oggi il Salon Rose ospita l’installazione “Nouvelles Formes” at the avant-garde hideout di Pierre Charpin, che, durante la terza edizione di Design Parade, presenta i vasi grezzi per la Manufacture nationale de Sèvres e “Ruban”, in produzione limitata per Galerie Kreo. on the Côte d’Azur, Today the Salon Rose is the backdrop for the “Nouvelles Formes” designed by Robert Mallet-Stevens installation. As part of the third edition of the Design Parade, Pierre Charpin shows his templates of essential vases made for the Manufacture nationale de Sèvres and “Ruban”, a limited edition for Galerie Kreo. foto di / photo by Olivier Amsellem 92 485 485 93 Gianluigi Ricuperati Due tipi di bellezza Two kinds of beauty si sfidano a morte dice with death a mia nuova casa aveva lunghissimi corridoi strettissimi Allo stesso modo disegnavo mobili, pensando agli utenti come y new home had very long and very narrow corridors, furniture in the same way, thinking of my end-users as Japanese L– come ferite verticali nel corpo di un monastero. La mia a dei giapponesi indecisi se riempire il loro amatissimo vuoto Mlike vertical wounds in the body of a monastery. undecided as to whether they should fill their beloved voids with nuova casa aveva qualcosa del monastero. Era un capolavoro con un’ipocrita possibilità di ornamento. La mia nuova casa, My new home had something of a monastery about it.
    [Show full text]
  • LA VILLA NOAILLES Hyères 1923-1924
    LA VILLA NOAILLES Hyères 1923-1924 Architecte : Robert Mallet-Stevens Charles et Marie-Laure de Noailles Un château en cadeau de mariage Robert Mallet-Stevens(1886-1945) Robert Mallet-Stevens(1886-1945) Décor du film « l’inhumaine » de Marcel L’Herbier 1925 Robert Mallet-Stevens(1886-1945) « Une cité moderne » 1922 Recueil de dessins Robert Mallet-Stevens(1886-1945) Ses références Joseph Hoffmann Palais Stoclet 1905 Robert Mallet-Stevens(1886-1945) Ses références Gerrit Rietveld Maison Schröder 1924 Robert Mallet-Stevens(1886-1945) Ses références Franck Lloyd Wright Maison Robie 1909 1923 La commande des Noailles Une petite maison de vacances « intéressante à habiter » sur la colline du château d’Hyères •Soleil et vue Deux principes sont donnés à l’architecte: •Modernité et simplicité Le Chantier Août 1924 Technique mixte de construction: Architecte local responsable Béton armé (dalles en porte à du chantier: Léon David faux + allèges de balcon) Réalisation: entreprises locales Maçonnerie traditionnelle (murs) Le parti architectural Les volumes s’élèvent selon un axe vertical jusqu’au belvédère ( poste de commandement du paysage) •Façades libres Indication de Charles de Noailles •Références au groupe de Stijl pour la suppression du belvédère •Murs en maçonnerie enduit Suppression d’un élément signalétique fort: le belvédère Premier malentendu entre maitre d’ouvrage et maitre d’œuvre: Le belvédère jugé gratuit et inutile par Charles de Noailles est détruit. Cette modification annihile l’organisation verticale des volumes et amorce un développement horizontal plus intégré dans le paysage Le mur d’enceinte •Lier dedans et dehors Le mur d’enceinte percé de •Cadrer la vue (mise en scène du baies, clôture la terrasse paysage) devant la maison.
    [Show full text]