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Press Kit 12.06 04.10.20 •••• ••••• ••••••••••• •••••••••••••••• ···•• •••··· ·········••• • •• ans Centre ...:::. ...:::. .:: ..: Pompi�oil-ttietz centrepompidou-metz.fr #folklore [eiposi tionF0lklore aété c0 n�eetorganisée par te CentrePompidou-Metzenpartenariat avec leMucem.MusiedesCivilisations PRESS KIT 12.06 ➔ 04.10.20 clel'Eur opeetdelaMédiler ranée. Mucem JJI � Centre �� IHI Pompidou WENDEL Métropole metz ll'-saneF �� lnrockuptlbles lélérama' h=i' - ,..._....,.,_ FOLKLORE CONTENTS 1. INTRODUCTION ..................................................................................5 2. THE EXHIBITION LAYOUT ....................................................................7 3. THE PRESENTED ARTISTS ...............................................................23 4. THE EXHIBITION CATALOGUE ...........................................................24 5. ASSOCIATED PROGRAMMING ..........................................................25 6. YOUNG PUBLIC ................................................................................28 7. THE PARTNERS ................................................................................29 8. IMAGES AVAILABLE FOR THE PRESS ...............................................33 3 FOLKLORE Paul Sérusier, La guirlande de roses, 1898 Huile sur toile, 194 × 175 cm. Genève, Association des Amis du Petit Palais. © akg-images 4 FOLKLORE 1. INTRODUCTION FOLKLORE From March 21, 2020 to September 21, 2020 GALLERY 2 Were you aware that Wassily Kandinsky began term, created in England in the middle of the 19th his career as an ethnographer in Russia? That century, and meaning literally "he knowledge of Constantin Brâncuşi’s great-grandfather was a the people", whipped up intense quarrels at the builder of traditional wooden churches in Romania? heart of intellectual and scientific circles, because That Natalia Goncharova developed an abstract of ideological recuperation or of the amateurism painting inspired by Spanish costumes? Joseph of self-proclaimed specialists-to such a point that Beuys declared that he saw in folklore a tool for we sometimes have considered the folklorist as an understanding the future, or that the Museum of artist and vice versa. Modern Art, in the Départment des Aigles, directed by Marcel Broodthaers, had a "folklore section"? The exhibition opens on the fantasy of a search for origins, the appeal of an "internal exoticism", or Equated with tradition, and therefore in appearance of supposed archaic legacies which guided Paul in opposition to the notion of the avant-garde, Gauguin, Paul Sérusier and the Nabis in Brittany the world of folklore, which is subject to multiple at the end of the 19th century, Wassily Kandinsky controversies, infiltrates in different ways large and Gabriele Münter when they established areas of modernity and of contemporary creation. themselves in Bavaria or indeed Constantin Far from the clichés of being backward-looking Brâncuşi, suggesting the craft traditions of his and artificial, artists have been able to find in it a native country. The paradoxes rapidly come to source of inspiration, a regenerative power; as well the surface from a domain frequently associated as an object of critical analysis or of contention. with nationalistic claims, or instrumentalised by a political discourse - tensions at the heart of From the early stages of modern art to the most the initiatives of artists such as Jimmie Durham, current art, this exhibition, conceived by the Valentin Carron, Melanie Manchot or Amy O’Neill. Centre Pompidou-Metz, in collaboration with the Mucem (Museum of European and Mediterranean The exhibition continues with the folklore which Civilisations), recounts the relationships, sometimes also constitutes for artists a pool of forms and ambiguous, that artists nurture with folklore, from an inexhaustible repertoire of motives and the formal borrowing to the imitation of a method, techniques, having contributed to the renewal of from fascination, to critical irony. Concentrating the vocabulary of the visual arts, as the work from essentially on one definition and a European the Bauhaus workshops and of Sophie Taeuber- history of the term, the Folklore exhibition also Arp are there to illustrate, or the paintings of offers an encounter between the history of art and Natalia Gontcharova amongst others. However, the history of human sciences, because it unveils this formal reappropriation should not allow us to simultaneously the invention and the progressive forget that the motives and symbols contain from institutionalisation of a discipline, notably thanks time to time a subjacent language: in this way, the to the resources of the Mucem, the heir to the works of Július Koller or of Endri Dani also take on, National Museum of Popular Arts and Traditions. in the same way as certain folkloric expressions, a The definition of folklore generated and still subversive aspect. generates today important controversies: the 5 FOLKLORE The term "folklore" is fundamentally tied to the Curators : immaterial and to the oral tradition: dialects, Jean-Marie Gallais and Marie-Charlotte Calafat. proverbs, music, dances, rituals, beliefs, superstitions and fantastic creatures. It is this Jean-Marie Gallais, art historian and curator of the content which is more conceptual than material in exhibition is head of the programming department folklore which interests numerous post-war artists of the Centre Pompidou-Metz since 2016. He has amongst whom, Joseph Beuys or Constant, or more curated there the exhibitions Painting the Night in recently Michel Aubry or Susan Hiller, and who are 2018 and Lee Ufan. Inhabiting Time in 2019. Since also present at the heart of the exhibition. his studies, he has been particularly interested in the links between art and folklore, a subject he has Even though during the course of the 1970's the explored in several articles and lecture series. anthropological dimension of art came to the fore on the international scene, artists borrowed Marie-Charlotte Calafat is Heritage Curator, from ethnographers their research and data Assistant to the Head of the Department of collection methods, followed by classification and Collections and Documentary Resources and Head reconstitution, and would notably be fascinated of the Mucem's History Department. She is the by this new everyday museography, as Marcel co-curator of the following exhibitions : Bilingual Broodthaers, Raymond Hains and Claudio document, Photo- Novel in 2017 and Georges Henri Costabare testify, just as more recent generations, Rivière. Seeing is understanding in 2018. Jeremy Deller and Alan Kane, Pierre Fischer and . Justin Meekel, will enable us here to provide a clear picture of "the artist as a folklorist". Finally, the era of globalisation which accompanies a tendency towards uniformisation, in which are perpetuated, newly created folklores for the tourist industry, the exhibition will explore the paradoxical "new geographical areas of folklore" which like populations, continue to move around with them and never cease to be reinvented by artists: Bertille Bak, Corentin Grossmann, Pierre Huyghe, Johanna Kandl… Presented at first in Metz and then in Mucem in Marseille, from 2020, 10th anniversary year for the Centre Pompidou-Metz, to 2021, the Folklore Exhibition will be punctuated with associated events (concerts, projections, shows), which will be spread out over the four seasons as an echo to the natural rhythms celebrated in numerous folklores. Meret Oppenheim (coussin d’assise : Lilly Keller), Läbchuechegluschti [Le monstre du pain d’épices], 1967 Velours, bois, laine, 92,8 x 44 x 38,7cm Berne, Kunstmuseum Bern © Adagp, Paris 2020 ; photo Kunstmuseum Bern 6 FOLKLORE 2. THE EXHIBITION LAYOUT The exhibition scenography, designed by Pascal From outside the gallery, visitors are greeted by a Rodriguez (Modern Couples, Painting the Night series of Ed Hall banners. An architect by training, at Centre Pompidou-Metz, Prehistory at Centre he has been hand crafting since the 1980s banners Pompidou,...), is based on the pattern of the cross for various unions and associations. Intended to and crossroads. In each of the sections, one or be raised in protest or demand in the streets, they more crossbars are used to juxtapose and confront are since 2005 integrated into the Folk Archive several universes. of artists Jeremy Deller and Alan Kane. The latter inventoried contemporary popular forms of Immersed in a rather dark atmosphere, the expression on British territory, updating potential exhibition brings together groups, around an new definitions of folklore. A visible sign of living artist or a subject, sometimes in a deliberately and current folklore, these spectacular banners dense manner. Some picture rails evoke the walls invite the visitors to enter the exhibition. of artists' studios, notably that of Kandinsky and Münter, charged with references to folklore and popular art. In addition, installations or videos required specific arrangements and created a rhythm in the progression from section to section. COLLABORATION WITH ESAL The first room, like an introductory airlock, is Metz, as part of the EXTRA-TEXT program, within devoted to the thorny question of definitions, to a research group composed of students Camille which the term "folklore" always seems to evade. Bauer, Alice Cirendini, Mathilde Godard and The editorial design of this room, based on works Nesma Saïdoune, under the supervision of teachers on folklore preserved in the former library of the Elamine Maecha, Christina Poth
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