Press Kit 12.06 04.10.20

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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 and Claire Tenu. Musée national des Arts et Traditions populaires, was created by Camille Bauer, a fourth-year student of the École supérieure d'art de Lorraine -

7 FOLKLORE

SECTION 1: A SEARCH FOR ORIGINS?

As early as the 19th century, many artists searching for traces of the past looked for folkloric The Nabi in wooden clogs expressions, in their native regions – which they Paul Sérusier and Brittany had often left – or in lands they explored during their travels. From Paul Gauguin, Paul Sérusier Paul Sérusier discovered Brittany in 1888, during and the Nabis in the quest for mysticism in a stay at Pont-Aven, already a famous artistic Brittany, Wassily Kandinsky investigating in community, where he met Paul Gauguin. The the Russian province of Vologda, collecting folk following year, the two artists retreated to a less art then exploring the Bavarian traditions, with touristic village, Le Pouldu. Sérusier also explored Gabriele Münter and the Blaue Reiter (Blue the legendary Huelgoat forest then settled in Rider) group, or even Constantin Brâncuşi, Mihai Châteauneuf-du-Faou. With his friends of the Olos and Mircea Cantor working with wood and Nabi movement (prophet in Hebrew), they sought the Romanian myths of Oltenia. Folklore appears the myth of a land of traditions and superstitions to play a role as an antidote against academism in the Breton landscapes as much as in faces, in the same way as "primitivism" and becomes costumes and customs, whose original character a source of rich inspiration for the renewal formed a breeding ground for the revival of of modern art. This gave artists the illusion art. Folklore, assimilated to the primitive, was of touching a deep past which would neither a recurring element–Sérusier went as far as be spoiled by industrialisation nor by social to invent rituals by combining several cultural conventions and cultural norms. This vision of references in his painting, which took a more folklore as a relic of an archaic and natural state spiritual turn at the end of the century. is deeply rooted in the history of the discipline.

Paul Sérusier, Le Feu dehors ou les Mammau ou Mammen, 1893 Huile sur toile, 73 x 92,4 cm Collection particulière | Dépôt au musée de Pont-Aven © photo Bernard Galéron

8 FOLKLORE

To the popular origins of abstraction Russian toys Wassily Kandinsky and Gabriele Münter, from Russia to Bavaria

In 1889, Wassily Kandinsky, a young law and economics student, took part in an ethnographical expedition to the province of Vologda, in the north-western region of the Russian empire. The discovery of the popular forms of expression of the Zyrians, or Komis, left a deep impression on him. He continuously tried to rediscover these sensations through his art, from his first figurative works to abstraction. When the painter and his wife, Gabriele Münter, moved to Murnau, Bavaria, in 1908, their taste for popular objects, subjects and techniques was reflected in their home, where sculptures and toys, paintings under glass, prints and icons lived side-by-side… This interest in folk art and folklore, seen as models of inspiration and spontaneity, was shared by other artists of the Blaue Reiter [The Blue Rider] group.

In the early 1900s, while living in Germany, Wassily Kandinsky was inspired by Russian folk art prints (loubki) to create a series of woodcuts entitled Poetry without words. Blending aesthetic Jouet (femme), Dymkovo, Kirov (ancienne Viatka), Russie, 2e moitié du XXe siècle Argile modelée et peinte, 10 x 5,3 x 5,3 cm idealisation of the past with fairy tales, pagan Marseille, Mucem, collection d’ethnologie d’Europe, dépôt du Muséum national and orthodox ornamentation, these engravings d’histoire naturelle are inhabited by characters in traditional photo © Mucem / Yves Inchierman headdresses and costumes, sometimes dancing to the sound of ancient instruments. They often Egor Pokrovskij’s collection has fostered the feature elements of the order of the fabulous, interest of scholars and artists in Russian toys. such as knights or dragons. A paediatrician at St. Sophia Children's Hospital in Moscow, he collected objects related to childhood in Russia and presented them at the Anthropology Exhibition in Moscow in 1879 in a section entitled "Collection on children's primary education among different peoples", and then at the Universal Exhibition in Paris in 1889. He donated one hundred and twenty-nine objects to the Trocadero Museum of Ethnography. Another collection was exhibited at the same time in Paris, that of Nathalie Ehrenbourg, who was close to the artistic world and organised the exhibition "Russian folk art in pictures, toys and gingerbread" at the 1913 Autumn Salon.

Vassily Kandinsky, Lied [Chanson], 1906 Tempera sur carton glacé, 49 x 66 cm Paris, Centre Pompidou, Musée national d’art moderne © Centre Pompidou, MNAM-CCI / Georges Meguerditchian / dist. RMN-GP

9 FOLKLORE

The Carpathian peasant? Pasarea Maiastra Constantin Brancusi and Romania The motif of Pasărea Măiastră, mythical bird of old tales (comparable in some respects to The Born in Oltenia, Constantin Brâncuşi can be Firebird, made famous in 1910 by Igor Stravinsky), seen as the heir to the ancestral woodworking was a central motif for Brâncuşi, who declined tradition of his native region, which is expressed and refined the subject over and over again. from the little spoons to the monumental farm The sculpture exhibited here belonged to the gates. Nevertheless, the simplification of photographer Edward Steichen, a great friend forms that the sculptor uses is a synthesis of and supporter of the sculptor, who bought it at Romanian and non-Western influences, as well the Autumn Salon of 1911 and erected it at the as archaeological ones. In 1937, Brâncuşi gave top of a high pillar in his garden in Voulangis the column and the porch a monumental symbolic (where he later installed the Endless Column), expression throughout Târgu Jiu. In homage to reminiscent of the representations of the souls of the victims of the Great War, the artist deploys the deceased on some Romanian funerary pillars. a cosmic cycle with the Endless Column, linking earth and sky, the Gate of the Kiss and the Table of Silence, creating bridges between ancestral Mihai Olos beliefs and the forms of modernity. The influence of Romanian folklore in the work of Brâncuşi Painter, sculptor, then a performer close to can also be found in the recurring motif of the Joseph Beuys, Mihai Olos worked from shapes mythical bird Măiastră. found in wooden constructions from the region of Maramureş, in the north of Romania, including knots and joints. His sculptures, heirs to the art Endless Column of Constantin Brâncuşi is of Brâncuşi, were conceived as objects to be exhibited on level 1, in the exhibition Constructed turned on. In 1974, he began the project O statuie Worlds. umblă prin Europa [A statue haunts Europe], photographing one of his sculptures in dialogue with natural or cultural sites across Europe.

Constantin Brâncuși, Projets pour une Porte du baiser et la Măiastră, v. 1930-1936 Encre violette sur papier collé sur carton,53,5 x 38 cm Paris, Centre Pompidou, musée national d’Art moderne © Succession Brâncuşi - All rights reserved (Adagp, Paris, 2020) photo © Centre Pompidou, MNAMCCI, dist. RMN-Grand Palais / Jean-Claude Planchet

Mihai Olos, Untitled [Sans titre], 1988 Bois, 97 x 57 x 57 cm Courtesy Olos Estate et Galeria Plan B, Cluj – Berlin © Courtesy Olos Estate and Plan B / Cluj, Berlin ; photo Nicu Ilfoveanu

10 FOLKLORE

SECTION 2: AMBIGUITIES AND PARADOXES

Folklore is regarded as reflecting the popular tradition of a region or a country, transmitted Farandolers in New York City from generation to generation, whether it is the The "Barbentane Mission" at the 1939 International Exhibition language, costume, rituals and customs, know- how or lifestyles. However, folklorists’ studies and testimonials demonstrate that it was heavily stereotyped and oriented, even entirely concocted at the time of the emergence of national identities in Europe in the 19th century. Thus, it became an ideological and nationalist, then economic lever, with the development of tourism. What remains truly authentic in folklore ? Does it consist of invented traditions, of fictions ? Is it frozen in time or can it be updated depending on changing conditions in society ? Since the 19th century, it is frequently associated with nationalistic claims and is often instrumentalised by rhetoric from both ends of the political spectrum. The questions of identity and of authenticity are at the heart of Guy Pison, Femmes en costumes lors de la parade d’inauguration de l’Exposition many critical approaches among contemporary internationale, New York, États-Unis, 1939 artists, who question the ambiguities and Marseille, Mucem © Mucem / Guy Pison paradoxes of folklore. In 1939, the theme of the New York International Exhibition was "the world of tomorrow". France chose to honour art, luxury, gastronomy, but also The recovery of folklore by the Vichy regime folklore in order to emphasise the attractiveness The testimony of the collections of the country and its villages. On the initiative of the director of the National Museum of Popular Folklore cannot be understood outside its Arts and Traditions, Georges Henri Rivière, the historical and geopolitical context. In France, French pavilion became a farmer’s museum. the links between folklore and the Popular Front A real counterpoint to the idea of an industrialised were more quickly established and studied than and standardised future, the village of those maintained by the Vichy regime. It was Barbentane in Provence was chosen to constitute not until the work of historians at the very end this rustic museum in the heart of New York, of the 1980s that it was possible to show how next to Arlesian, Alsatian, Breton and Savoyard folklore was hijacked in the service of Marshal interiors. The farandole, a traditional Provençal Pétain's propaganda, based on regionalism, the dance, makes this Provençal village famous. return to the land, the figure of the peasant and popular festivities. The republican motto "Liberty, Equality, Fraternity" is replaced by the slogan "Work, Family, Homeland". The francisca becomes the symbol of the Head of State and the regime. Popular imagery and production take up these formulas, parables or emblems and bear witness to the cult of the person as much as to the promotion of traditional lifestyles.

11 FOLKLORE

A folk artist in troubled waters : René-Yves Creston Between the authentic and the fake Switzerland, a folklore factory René-Yves Creston (1898-1964) was one of those folklorists whose career was shaped by the political antagonisms of France in the first half of the 20th century. Painter, ceramist and furniture designer, in 1923 he founded the Seiz Breur group - the Seven Brothers, in Breton. His wrestling drawings present a robust and energetic line and give a new vigour to "modern graphic art in Brittany". An activist and supporter of the Breton autonomists, Creston became involved during the war in the Resistance's actions within the network of the Museum of Mankind; he was imprisoned in 1941. Freed through nationalist friends, Creston became a columnist and occasional illustrator for the pro- Melanie Manchot, Perfect Mountain [La montagne parfaite], 2011 Nazi or Pétainist press, while at the same time Épreuves photographiques et vidéo, 9 min 36 sec Courtesy de l’artiste, Parafin London, UK et Galerie m, Bochum, Allemagne joining the French Communist Party. © Adagp, Paris, 2020 / © Courtesy Melanie Manchot, Parafin London, UK et Galerie m, Bochum, Allemagne Switzerland's mountainous massifs have helped Endri Dani to preserve local particularities, while the development of the railways from the mid-19th The Albanian artist Endri Dani has erased the century onwards fostered a real folklore industry traditional clothes painted on clay statuettes for tourists. Contemporary artists are perplexed found in his country. An emblematic souvenir by identity aspirations that oscillate between for tourists, but also a sign of identity for the the authentic and the fake. The construction as Albanians, these figurines show only their early as the period of the Universal Exhibitions material, terracotta, after the artist has removed of a national identity based on traditions, the all cultural signs of questionable authenticity. atmosphere of strangeness, between the idyllic and the kitsch, of landscapes and in particular of Swiss chalets, the proliferation of imagery intended for mass tourism, the stereotypes of an idealised land that has become decor, are questioned in many works, whether the artists themselves are Swiss or foreign.

Endri Dani, Souvenir of my HomeLAND [Souvenir de ma patrie], Tirana, Albanie, 2012 Installation, céramique, dimensions variables, vidéo (4’40’’) Marseille, Mucem © Endri Dani

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The Swiss village Valentin Carron

Valentin Carron's works probe the "pseudo- authenticity" of Swiss culture, particularly that of the canton of Valais, where he lives. The artist appropriates and reproduces vernacular elements in ostensibly synthetic materials, such as this bear that seems to be carved out of a tree trunk. He also asked a craftsman, who specialises in the names of wrought-iron chalets, to shape the word Authentik, without giving him any stylistic indication. The modified spelling of the word echoes both a false-sounding authenticity and urban culture.

À l’arrière-plan Maquette de chalet du canton de Valais ou des Grisons, Suisse, v. 1900 À gauche Maquette de grenier du canton de Valais, Suisse, v. 1900 Au premier plan Maquette de chalet du canton de Berne, Suisse, v. 1900 Marseille, Mucem, collection d’ethnologie d’Europe, dépôt du Muséum national d’histoire naturelle photos © Mucem / Yves Inchierman Models of the Swiss village at the National Exhibition in Geneva (1896) were donated by its director, Charles Henneberg, to the Trocadero Museum of Ethnography on the occasion of a new presentation at the Paris Universal Exhibition in 1900. Sometimes felt as an expression of authenticity, sometimes as the manifestation of a counterfeit, the chalet became the architectural emblem of a folklore on which, like other European countries, the modern Swiss identity was based at the time of the "invention of nations".

Valentin Carron, Blind Bear [Ours aveugle], 2000 Polypropylène expansé, fibre de verre, résine acrylique, 330 x 90 x 90 cm Genève, musée d’Art moderne et contemporain © Valentin Carron ; photo Ilmar Kalkkiken © MAMCO, Genève

13 FOLKLORE

SECTION 3: A POOL OF FORMS

For artists, folklore constitutes an inexhaustible repertoire of techniques, forms and motives, Natalia Gontcharova symbols of an abstract and codified vision of the world. For the folklorist, the concept of "motif" is not limited to the visual arts and their applications, such as furniture or costumes, it is also found in music and the spoken word. Besides, it reaches further than aesthetic quality, since it is described, analysed, interpreted and is subjected to comparisons in order to capture its permanence and its specificity within a given group. Apart from the question of its study, there is the question of its collection and safeguard. The aesthetic dimension of design appears to prevail among modern artists, particularly in the studios that sought to bring together the visual and decorative arts and handicrafts in the early 20th century. These artists, driven by an appropriation approach, also contribute to its preservation by building repertoires on which to draw in order to regenerate art.

Natalia Gontcharova, Espagnole, 1916-1919 Gouache au pochoir sur papier vélin, 42,4 x 26,2 cm Strasbourg, musée d’Art moderne et contemporain, Cabinet d’Art Graphique © Adagp, Paris, 2020 © Photo Musées de Strasbourg, M. Bertola A pioneer of Russian neo-primitivism, Natalia Gontcharova brought together the European avant-garde and the folk art of her native Russia at the beginning of the 20th century, before joining the Ballets Russes troupe on tour in Spain in 1915. She was impressed by the abundance Échantillons de broderie, Bulgarie, Finlande, République tchèque, Slovaquie of geometric patterns in Iberian costumes. photos © Mucem / Yves Inchierman She then began a series of works on Spanish women, which she continued long afterwards, in which the abstraction of traditional dress and accessories worn by women was pushed to the limit, sometimes absorbing the painted bodies in their intermingling.

14 FOLKLORE

Július Koller Janek Simon

The village of Čičmany, in Slovakia, is famous for its traditional wooden houses with walls covered with repetitive geometric patterns. Július Koller decorated one of them with the question mark symbol, characteristic of his works, which he called "anti-images". An indefinite question rather than an affirmation, this sign encourages awareness of the framework in which it is expressed. As a means of circumventing censorship, the question mark questions the present, past and future politics of socialist Czechoslovakia.

Július Koller, Univerzálny Folkloristický Obyčaj (U.F.O.) – Čičmany [Coutume folklorique universelle (U.F.O.) – Čičmany], 1978 Épreuve photographique Janek Simon, Synthetic Folklore v0.1.2, 2019 Bratislava, Slovenská národná galéria Résine synthétique (impression 3D), Peinture latex sur bois, 15,5 x 95 x 2,5 cm 140 x 100 cm Vienne, courtesy de la galerie Martin Janda © Courtesy de l’artiste © Julius Koller / Slovak National Gallery © Janek Simon ; Courtesy of Raster Gallery The Polish artist Janek Simon experiments with synthetic folklore through technology. In 2018, the artist created an algorithm that he regularly incites to mix and combine different folk motifs: from weaves from all over the world to aesthetics borrowed from video games, for example. A 3D printer can then be used to produce artificial paintings, solid and momentary images of this constantly evolving synthetic folklore.

15 FOLKLORE

SECTION 4: EXPLORING THE IMMATERIAL

Folklore differs from folk art by its fundamentally immaterial dimension. Etymologically defined as Lionel Bonnemère "the knowledge of the people", it brings together A lawyer at the court of Paris during the Second elements such as dialects and languages, tales Empire, Lionel Bonnemère (1843-1905) was also and proverbs, music and dances, customs and a poet, musician, playwright and sculptor. beliefs… Rituals dedicated to nature, pagan He collected about three thousand objects related ceremonies or even superstitions attracted the to finery, ritual and magic, half of which were attention of artists of the post-war era because collected in France. The origins, mixed with of their conceptual and social character. The sometimes comical anecdotes, were transcribed Surrealists saw folklore as the expression of in his notebooks and were shared at the Mother the natural tendency of people for the irrational Goose dinners, monthly meetings of folklorists or, according to Benjamin Péret, the reflection in Paris. Lionel Bonnemère donated this of a "poetic awareness of the world". If oral important collection to the Trocadero Museum of transmission seems to be the common denominator Ethnography. of these elements, peddling also played an early role in the flow of ideas and customs, amongst others, through the popular images of almanacs or shepherds’ calendars. From the ancient Pausanias to the famous Brothers Grimm, folklorists see in the storytellers the precursors of their discipline.

Lionel Bonnemère (aut.), Carnet, Cabinet de Lionel Bonnemère, v. 1900 Encre sur papier, 23 x 18 x 2 cm Marseille, Mucem, fonds Lionel Bonnemère photo © Mucem / Yves Inchierman

Amulette pour la divination amoureuse, flacon contenant des noyaux de cerise Bretagne, 2e moitié du XIXe siècle Verre, noyau, 3,4 x 1,7 cm Marseille, Mucem photo © Mucem / Yves Inchierman

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Music and dance Orality and invention Borrowing, imitation, creation The peddler and the collector

Folklorists and artists are part of a craze for Oral literature is a fundamentally shifting form popular music and dance. It allows, for some, despite the fixity of its themes. The peddler, to give a place to arts considered as minor and, this itinerant salesman who travels the roads for others, to emancipate themselves from the and moves his goods from town to village, is an hegemony of an academic system, in order to essential player in oral tradition and transmission. develop new means of communication. He ensures the dissemination of popular imagery, The reconstruction part is assumed and claimed from prints to almanacs, through objects and by some, while others castigate cosmopolitanism, tales, which are transformed along the way. The denying exchanges and circulation in order to figures of the storyteller, like that of the peddler, promote intangible heritage as the legitimate have for several centuries been the subjects of holder of the identity of a group or territory. For a rich iconography, both in the popular field many musicians and choreographers who develop (imagery, postcards) and in that of the fine arts. an imagined and synthetic folklore, syncretism Those who pass on oral literature are not always is such that it is very difficult to disentangle the studied and represented in an ethnographic or sources, to know whether the turns are borrowed realistic way, and most of the time they are the or imitated. Contemporary dance frequently plays subject of invention. with these references, drawing inspiration from collective gestures and movements or offering a critical interpretation.

Tales

Paul Delarue (1889-1956), a specialist in oral literature, compiled a survey of tales which reflect a rigorous and shared methodology. He brought together researchers within the French Society of Ethnology and the National Museum of Popular Arts and Traditions, encouraged them in their investigations and collected their work in his collection of French folk tales. Following the Aarne- Thompson classification model (international indexation of folk tales based on common narrative patterns, or "standard tales"), they perform a Paul Delarue, Ensemble de fiches de collecte de contes, France Encre sur papier, 22 x 15 cm balancing act between fixation and consideration Marseille, Mucem of the changing nature of the field, by seeking to photo © Mucem / Yves Inchierman define motifs, themes and their variants..

17 FOLKLORE

Creatures, myths and rituals related to nature Neo-primitivism From neo-primitivism to shamanic art In Russia, the Donkey's Tail group, founded in 1912 Rituals to nature and references to supernatural by Mikhail Larionov and Natalia Gontcharova, forces, perceived as archaic pagan survivals, believed that the avant-garde was too subservient are at the heart of early folklorist studies. In to Western art and should draw more inspiration June 1938, the newly created Office of Folklore from national folk art. In 1912, Mikhail Larionov Documentation, then part of the National Museum painted the cycle of seasons, considered as the of Folk Arts and Traditions, published an appeal pictorial manifesto of Russian neo-primitivism. entitled "Let us rekindle the fires of St. John's Borrowing a grotesque and naive style mixing Day" to revive local customs. Among the objects drawing and text from popular imagery and collected, torches, firebrands and call trumpets pottery decorations, the artist depicted for the designed to chase away evil spirits bear witness four seasons the deities and the cycle of work to this quest, linked to the summer solstice, for in the fields. He reinforced the orality of the renewal, fertility and collective festivities - all message by writing a poem with childish writing signs of a regeneration in osmosis with nature and mistakes on his canvases. that inspired many artists, particularly in the post-war period.

Jouets, Ille‑et‑Vilaine Bois, 8,5 x 2,3/8,7 x 1,8/7,3 x 6/2,33 x 2,45/8 x 9/9 x 2,5/20 x 1,6/6,8 x 6/5,7 x 8,8/6,2 x 9,7 Marseille, Mucem | Don de Paul Sébillot photo © Mucem / Yves Inchierman

Mikhail Larionov, L'automne, 1912 Huile sur toile, 136 x 115 cm Paris, Centre Pompidou, Musée national d’art moderne © Adagp, Paris 2020 photo © Centre Pompidou, MNAMCCI, Dist. RMN-Grand Palais / Philippe Migeat

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Joseph Beuys CoBrA

In the post-war period, the CoBrA group placed After the Second World War, Joseph Beuys set out the notion of popularity at the heart of its concerns to find a new relationship between man, nature and campaigned for experimental art, both and the cosmos. In his graphic works of the aesthetic and political. Some of its artists revived late 1940s and early 1950s, the artist achieved a fascination with paganism and fantastic forces, a synthesis between elements from paganism sometimes combined with the world of childhood. (mountain spirits, divinities linked to nature...) With The Sorcerer's Animal (1949), Constant, and Christ-like figures such as the deer, which who was passionate about popular traditions appeared in scenes of sacrifice or metamorphosis. and studied Scandinavian amulets in particular, He also drew druids, shamans, and other figures evoked bestiality and the return to nature. In his of orality and healing, such as the shepherd series of "Modifications", Asger Jorn intervened (Beuys exhibited in a stable in 1953 and 1963). on a classical landscape by adding Dovre Gubben The artist's ambition was to shift the artistic act [The Lord of the Mountain Trolls], a creature to the side of myth, drawing from the Celtic and from the Nordic pantheon surrounded by spirits, Eurasian sources of Germanic culture. whom the artist had the power to bring out of the landscape.

Constant, L'animal sorcier, 1949 Huile sur toile, 110 x 85 cm Paris, Centre Pompidou - Musée national d'art moderne © Fondation Constant / Adagp, Paris 2020 © Service de la documentation photographique du MNAM, Centre Pompidou, MNAM-CCI / dist. RMN-GP

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SECTION 5: INVESTIGATE, COLLECT, CATEGORISE

In the "breeding" section of the National Museum of Popular Arts and Traditions (conceived in 1937 and inaugurated in 1972) was exhibited a saddled guardian from the collections donated by Émile Marignan to the Trocadero Museum of Ethnography in 1901. The guardian's costume, like that of the Arlésienne, was formally created and fixed in the 1900s by folklorists. This showcase bears witness to the museography of the director of the National Museum of Popular Arts and Traditions (MNATP), Georges Henri Rivière. In a showcase on a black background, the use of nylon thread allows the rider's costume and his horse's accessories to be hung in a realistic position without the use of mannequins, which were considered distracting and anecdotal.

Folklore and prehistory

Un gardian en selle, Camargue, fin du XIXe siècle, photographie d’une vitrine de la galerie culturelle du musée national des Arts et Traditions populaires, 1975- 2005 Marseille, Mucem © Mucem / Hervé Jézéquel How can the arts and popular traditions, in part immaterial, be studied, safeguarded and presented? Folklorists have been preoccupied with this question since the creation of the discipline, and museums would appear to be the saving grace for vanishing heritages. As the field becomes progressively institutionalised, the methods of survey-collection, classification and analysis of data and objects are being developed. Museums of folklore and ethnology De gauche à droite et de haut en bas followed by those of society or of civilisation, Manche de canne, Camargue, Corne, 15,5 x 6,9 x 2,3 cm - Outil, Camargue, Os stand out and fascinate artists through their perforé, 7,7 x 7 x 3,2 cm - Piège, Camargue, v. 1860, Bois, fer, corde, 11,5 x 13,5 x 2 cm - Marseille, Mucem staging of everyday life. Furthermore, folklorists’ photo © Mucem / Yves Inchierman methods provide a model for artistic creation. The approach to the folk object in the 19th From the 1970s, contemporary art has integrated century bears witness to fruitful crossovers with an anthropological dimension: field surveys, a constituted discipline: archaeology. Émile collection of objects, exhibition of situations, as Marignan, who took part in the creation of the can be seen by the works of Marcel Broodthaers, French rooms of the Trocadero museum, close to Raymond Hains or Claudio Costa, and the next Frédéric Mistral (1830-1914), poet and creator of generations, Jeremy Deller and Alan Kane, Florian the Museon Arlaten, an Arlesian museum created Fouché, Pierre Fisher and Justin Meekel, drawing in 1896, was a doctor who devoted himself to the a portrait of "the artist as folklorist". study of prehistory and folklore, both nationally and regionally. According to him, "Ethnography is the auxiliary of Prehistory from which it is inseparable."

20 FOLKLORE

A prolific author of articles published in the journals of learned societies, he crossed Claudio Costa archaeological findings with ethnographic Museum of Active Anthropology studies, seeking to highlight a continuum of practices and customs.

Marcel Broodthaers The Folklore Section/Cabinet of Curiosities

Marcel Broodthaers was a poet and artist who reflected very early on the relationship between the work of art, the museum and the public. Between 1968 and 1972, he introduced himself as the director of the Museum of Modern Art, Department of Eagles, of which he orchestrated several sections. The Folklore Section/Cabinet of Curiosities was designed in 1970 at the Zeeuws Museum in Middelburg (Netherlands), around cabinets containing objects from the heterogeneous collection of the Royal Zeeland Science Society, which is related to natural history, archaeology, folk arts or crafts. Photographs taken by Maria Gilissen document the exchanges with the museum's director, Piet van Daalen. Broodthaers donated a small canvas embroidered by his daughter to the museum with the inscription "Museum - Museum of Eagles".

Claudio Costa, Ensemble de photographies documentant le projet Monteghirfo, Museo di Antropologia Attiva, 1975 Diaporama © Courtesy Archive Claudio Costa © Adagp, Paris, 2020 ; Archivio Claudio Costa, photo Claudio Grimaldi In September 1975, in Monteghirfo, a remote village in the Genoese hinterland, Claudio Costa inaugurated the "Museum of Active Anthropology". The experience began with the discovery of an abandoned house whose interior had remained intact. Like an ethnographer, Costa dusted off, shed a light on and catalogued in the local dialect all the objects he found there. The term "active anthropology" (or "active museum") is claimed to mean that the visitor comes to meet the object of study on the spot, in its context. In his sculptures, Costa evokes ancient myths and allows rust to act irremediably. He also conducts performances that take the form of collective rituals inspired by local superstitions.

21 FOLKLORE

TOWARDS PLANETARY FOLKLORE?

If, by definition, folklore is linked to a defined territory or group, it now circulates openly on a Com & Com planetary scale, between industry and tourism. BLOCH Project With poetry or irony, artists are the observers and the actors of a new geography. Intended as feedback, oral transmission, in the absence of technology, and like a place of syncretism, a common ground for mankind, far from the first closed definitions of the term, folklore constitutes a material that artists seize by virtue of its capability to reenchant the world and to evolve over time. As Joseph Beuys said, folklore has the power to take us on a journey between the past, present and future, and paradoxically, to open universal horizons.

Slavs and Tatars Mollah Nasreddine, the Antimodern

Com & Com, Bloch au Chili (2019) © Thomas Rickenmann In 2011, Marcus Gossolt and Johannes M. Hedinger (Com&Com) won at auction the Bloch carnival of the villages of Urnäsch and Herisau: according to custom, the last trunk cut during the winter is sold to the highest bidder, who usually uses it to make a piece of furniture. The Swiss duo decided to take it all over the world. Each stage was an opportunity for encounters and collaborations between different cultures, changing its appearance or giving rise to the creation of new folklores. The Bloch project Slavs and Tatars, Molla Nasreddin the Antimodern [Mollah Nasreddine l’antimoderne], 2012 has already travelled through Europe, Asia, North Acier, fibre de verre, résine, laque, 180 x 180 x 80 cm America, Africa and South America, where it is Berlin, Kraupa-Tuskany Zeidler et Varsovie, Raster © Courtesy of Raster Gallery currently based. © Slavs and Tatars Mollah Nasreddine is a mythical medieval figure who can be found under different names throughout the Muslim world, from the Balkans to Mongolia and the Maghreb. This religious philosopher, half scholar, half buffoon, collected traditions and distributed his moral through humour or absurdity – he gave his name to a satirical journal at the beginning of the 20th century. Often portrayed as "anti-modern", riding a donkey back to front, trotting towards the future but looking back, this folk figure is here transformed by the Slavs and Tatars collective into a playground superhero, inviting children to join him in his adventures.

22 FOLKLORE 3. THE PRESENTED ARTISTS

Michel Aubry Asger Jorn Bertille Bak Wassily Kandinsky Émile Bernard Johanna Kandl Joseph Beuys Clément Kieffer Henri Blackburn et Randolph Caldecott Frederick Kiesler Constantin Brâncuşi Július Koller André Breton Georges Lacombe Marcel Broodthaers François Hippolyte Lalaisse Mircea Cantor Mikhail Larionov Valentin Carron Pierre Leguillon Auguste Cazalis Le Creurer Com&Com (Marcus Gossolt et Johannes M. Melanie Manchot Hedinger) Gabrielle Münter Constant Emil Nolde Claudio Costa Mihai Olos René-Yves Creston Amy O’Neill Endri Dani Meret Oppenheim Jeremy Deller et Alan Kane Man Ray Marcel Duchamp Rúrí Jimmie Durham Yves Saint Laurent Peter Fischli et Hilar Stadler Slavs and Tatars Pierre Fisher et Justin Meekel Paul Sérusier Florian Fouché Janek Simon Eugène Grasset Andreas Slominski Paul Gauguin Maria Tănase Natalia Gontcharova Sophie Henriette Taueber-Arp Corentin Grossmann Victor Vasarely Raymond Hains Ed Hall Choreographic pieces extracts: Susan Hiller Dominique Brun, François Chaignaud et Nino Pierre Huyghe Laisné, Mickaël Phelippeau, Christian Rizzo, Alessandro Sciarroni Johannes Itten

23 FOLKLORE 4. THE EXHIBITION CATALOGUE

The catalogue of the exhibition Folklore offers FOLKLORE a novel encounter between art history and the humanities. EXHIBITION CATALOGUE PROJECT MANAGEMENT: JEAN-MARIE Illustrated by nearly two hundred and fifty GALLAIS, HEAD OF THE PROGRAMMING DEPARTMENT OF THE CENTRE POMPIDOU- reproductions of works, objects and documents, METZ, AND MARIE-CHARLOTTE CALAFAT, it retraces, by following the exhibition's path, a HEAD OF THE HISTORY OF THE MUCEM. crossed story between artists and folklorists in PUBLISHER: COEDITION LA DÉCOUVERTE, Europe, from the end of the 19th century to the CENTRE POMPIDOU-METZ, MUCEM present day. In addition to the exhibition curators, PAPERBACK, 224 PAGES historians, sociologists and art historians DATE OF PUBLICATION: 12 MARCH 2020 (including Anne-Marie-Thiesse, winner of the PRICE: 35 €. Prix Femina Essai, and Manuel Charpy, researcher at the CNRS) contributed to it. They enrich the work with historical perspectives and open the debate that this exhibition aroused.

La Découverte CONTACT: Carole LOZANO Press relations 01 44 08 84 22 [email protected]

24 FOLKLORE 5. ASSOCIATED PROGRAMMING

native culture-Tyrolean vocals, schuhplattler, a MER. 08.04 trunk that becomes a bench, a whip chasing evil spirits-he exposes them, plays them, and strips Florian Fouché them bare in the literal sense, since he dances this 6 PM | Meeting | ESAL's Auditorium | 60' | solo, naked. Free access within the limit of available seating At one and the same time a virtuoso dancer, a Meeting with Florian Fouché, one of the artists musician transforming his body like props into instruments, a clever and moving choreographer, of the Folklore exhibition, about his work around Simon Mayer brilliantly brings into dialogue the Romanian Peasant Museum in Bucharest. differing worlds often considered irreconcilable: In partnership with the École Supérieure d'Art de evocations of nature and urban codes, the tradition Lorraine (ESAL). and the contemporary, constraint and liberty. Laure Dautzenberg. SUMMER SOLSTICE In partnership with the Festival Perspectives FROM FRI. 19.06 TO SAT. 20.06.20 SAT. 20.06 FRI. 19.06 URBAN PIPES SUNBENGSITTING Erwan Keravec (2017) Simon Mayer (2014) 7 PM | Forum and Studio | Concert | 60’ Free access within the limit of available seating 8 PM | Studio | Concert | 75’ Erwan Keravec is a Scottish bagpiper, composer €15 / €10 (PASS-M and young PASS-M members and improviser. By developing research on ways benefit from the reduced rate) of playing and listening to his instrument, far removed from his original culture, he explores improvised music, from free jazz to noise, and is constituting a repertoire of contemporary music for solo bagpipes, trio with voice and chorus. Curious about movement, relationships and situations suitable for reinvention, he also collaborates with choreographers such as Boris Charmatz or Emmanuelle Huynh.

Since 2007, he has been refining his research with the projects Urban Pipes I (2007) and Urban Pipes II (2011) for which he has composed and improvised as a soloist, with his brother Guénolé Keravec playing the bombard or with the Basque singer © Gerhard F. Ludwig Beñat Achiary. He presents his version of what it means to be a folk musician today: both respectful In Upper Austrian dialect, sunbeng means the of his heritage and in search of new music. bench in the sun in front of the farms. Simon Mayer, himself born in the Austrian countryside, revisits in his own manner the traditions from which he comes. Using elements from the folklore of his

25 FOLKLORE

For Pierre Huyghe, folklore allows "to accentuate the coefficient of fiction contained in reality". With Streamside Day, the artist creates a community celebration for the new inhabitants of a suburban American city that has emerged from the earth in the middle of a natural site. With The Host and the Cloud, he takes over the former National © Antoine Cognet Museum of Popular Arts and Traditions in Paris, La Nòvia is a collective based in Haute-Loire to orchestrate situations, strange rituals where which brings together musicians residing in a large imagination, collective history, legends and area: Auvergne, Rhône-Alpes, Béarn, Limousin, science-fiction mingle. Cévennes, Franche-Comté. This collective is a place for reflection and experimentation around Certain scenes are likely to offend the sensitivity traditional and/or experimental music. The plurality of some viewers. From the age of 16. of its actors - musicians, a graphic designer, art school or music school teachers - creates a strong dynamic and aesthetic coherence. Invited for the second time to the Centre Pompidou - Metz, they return for the Folklore exhibition to present 9 new concerts that invite both listening and dancing. After the concerts, let's go have a ball!

An all-nighter with Occitan accents will transform the garden into a traditional dance-floor...

In partnership with the association Fragment.

With the support of DRAC Auvergne Rhône-Alpes and ADAMI.

26 FOLKLORE

“OFF-SITE” FOLKLORE: FROM THE LEARNED TO THE IN THE FOOTSTEPS OF FOLKLORE POPULAR As a complement to the Folklore exhibition, the Guided tours in partnership with the Metz Cité Musicale-Metz is organising special events Tourist Office. around the heritage of popular arts and traditions in contemporary music and dance : WED. 15.04.20 Dress for the occasion TUE. 05.05.20 | 6.30 PM family visit | 2.30 PM FOLK MUSIC under the microscope of modernity Corinne Schneider 90’ - €4 Conference | Free admission SAT. 30.05.20 TUE. 05.05.20 | 8 PM The Graoully of Metz JORDI SAVALL - BAL•KAN : Honey and Blood, Franco-German visit | 2.30 PM the Cycles of Life 75' - Free upon registration Hesperion XXI Baroque concert | from €8 to €43 SAT. 27.06.20 Tales & Legends of Gorze THU. 07.05.20 | 8 PM visit for night owls | 9.30 PM SUPER PARQUET + SOURDURURANT Folk music concert : from €13 to €18 90’ - €8 (reduced tariff for PASS-M holders) WED. 08.07.20 WED. 13.05.20 | 8 PM The influence of the Graoully in the history of ALL ABOUT LEARNED AND POPULAR MUSIC Metz Raphaël Jouan, Bruno Maurice Guided tour | 2.30 PM Chamber music concert | from €8 to €26 90’ - €8 THU. 14.05.20 | 8 PM SAT. 14.07 + 05.09.20 BEWITCHED LOVE Tales and legends of Lorraine Aïcha M'Barek & Hafiz Dhaou, Jean-Marie Machado Guided tour | 2.30 PM Dance | from €8 to €26 90’ - €8 (reduced tariff for PASS-M holders) FRI. 15.05.20 | 8. PM HUNGARIAN DANCES WED.29.07 Orchestre national de Metz Symphonic concert | from €8 to €34 CAFÉ KLATSCH SAT 16.05.20 | 8.30 PM Meeting | Tourism Office Metz | 90' | Drink and HEILUNG delicacy included Folk concert | from €26 to €32

If the expressions "ça getz", "avoir du schpeck", In partnership with the Cité musicale-Metz "spritzer les carreaux", "manger un schneck More information on citemusicale-metz.fr entre midi" or "enfiler ses schlapps" puzzles you, Folklore PASS : - 30 % for 3 concerts chosen from then come and knock at the door of the Tourist among these special events. Office and learn to speak Lorraine by having a chat over a gourmet coffee!

Registration is compulsory, subject to availability: 03 87 39 00 00 / [email protected]

27 FOLKLORE 6. YOUNG PUBLIC

The childrens' programme conceived around the Folklore exhibition will enable children to discover traditions in which both young and old alike can learn about regional legends and revisit them in the light of their own imagination! THE WORKSHOPS 11.07 → 07.10 MIX & MATCH Camille Audibert Workshops 5-12 years old SAT. + SUN. + PUBLIC HOLIDAYS (except May 1st) 5-7 years old: 11 AM 8-12 years old: 3 PM Online and on-site registration (subject to availability) Additional hours during school holidays in Zone B: 5-7 years old: WED | 3 PM 8-12 years old: MON. + THU. + FRI. | 3 PM On the occasion of the Folklore exhibition, the Mix & Match workshop is proposing to revisit the most famous legends of the Lorraine region, but not just that ! Using pre-cut and padded fabric shapes to mix and match, children will be able to bring back to life the folk monsters from their storybook. This summer, it is certain, we are shaking up traditions, dusting off the old dragons, the Graoully has just got to behave !

The children's workshops are supported by the © Camille Audibert UEM Group and its subsidiary efluid :

28 FOLKLORE 7. THE PARTNERS

Le Centre Pompidou-Metz constitutes the first example of decentralisation of a great national cultural institution, the Centre Pompidou, in partnership with the regional authorities. An autonomous institution, the Centre Pompidou-Metz benefits from the experience, skills and international renown of the Centre Pompidou. It shares with its elder the values of innovation, generosity pluridisciplinarity and openness to all audiences. The Centre Pompidou-Metz produces temporary exhibitions based on loans from the collection of the Centre Pompidou, Musée national d’art moderne, which is, with more than 120 000 works, the most important collection of modern and contemporary art in Europe and the second in the world. It also develops partnerships with museum institutions over the whole world. As an extension to its exhibitions, the Centre Pompidou-Metz also proposes dance performances, concerts, cinema and conferences. It benefits from the support of Wendel, the founding sponsor.

Mécène fondateur

The exhibition Folklore was conceived and organized by Centre Pompidou-Metz in partnership with the Mucem, Musée des Civilisations de l’Europe et de la Méditerranée. It will be presented in the institution in Marseille from October 21st, 2020 to February 22nd, 2021.

With the support of

BANQUE POPULAIRE ÉQUIVALENCE RVB / HTML Logo RVB 25/07/2018 DÉGRADÉ R25 V42 B107 / #192a6b With the endorsement of VERS R66 V184 B235 / #42b8eb 24, rue Salomon de Rothschild - 92288 Suresnes - FRANCE Tél. : +33 (0)1 57 32 87 00 / Fax : +33 (0)1 57 32 87 87 Web : www.carrenoir.com R25 V42 B107 / #192a6b

Ce fichier est un document d’exécution créé sur Illustrator version CS6. R0 V163 B225 / #00a3e1

With the participation of Vranken-Pommery Monopole.

In media partnership with

29 FOLKLORE

GRAND MECENE DE LA CULTURE

WENDEL, FOUNDING SPONSOR OF THE CENTRE POMPIDOU-METZ

Wendel has been involved with Centre Pompidou-Metz since its opening in 2010. Trough this patronage, Wendel has wanted to support an emblematic institution with a broad cultural influence. In acknowledgement of its long-standing commitment to cultural development, Wendel was awarded the title of "Grand Sponsor of Culture" in 2012. Wendel is one of Europe’s leading listed investment companies. It operates as a long-term investor and requires a commitment from shareholder which fosters trust, constant attention to innovation, sustainable development and promising diversification opportunities. Wendel excels in the selection of leading companies, such as those in which it currently owns a stake: Bureau Veritas, Allied Universal, Constantia Flexibles, Crisis Prevention Institute, Cromology, IHS, Stahl or Tsebo. Founded in 1704 in the Lorraine region, the Wendel Group expanded for 270 years in various activities, in particular in the steel industry, before becoming a long-term investor in the late 1970s. The Group is supported by its core family shareholder group, which is composed of more than one thousand shareholders of the Wendel family, combined to form the family company Wendel-Participations, which owns 37.7% of the Wendel group’s share capital.

CONTACTS: Christine Anglade Pirzadeh + 33 (0) 1 42 85 63 24 [email protected] Caroline Decaux + 33 (0) 1 42 85 91 27 [email protected]

30 FOLKLORE

THE SANEF GROUP, COMMITTED PARTNER FOR CULTURE IN REGION

The Sanef group, which manages 2,000 km of motorways in France, is committed to promoting economic, cultural and touristic dynamism all across the areas it extends over, including the Grand Est region with the A4 motorway (Paris-Strasburg). For many years, the group has pursued an active policy of sponsorship in the regions, helping to promote regional cultural events and attract new audiences.

The Sanef group has also chosen to commit itself to vocational integration in the regions in order to help people in great difficulty to return to work. It has created bridges between its cultural sponsorship and its social cooperation commitments, convinced that culture creates links and helps reintegration.

It is in this context that the Sanef group has decided, for the first time, to support the Centre Pompidou- Metz and to contribute to the promotion of the two flagship exhibitions of its 10th anniversary: Folklore from 21 March to 21 September 2020 and Chagall, the Light Passer from 17 October 2020 to 15 February 2021.

THE SANEF GROUP

The Sanef group operates 2,071 km of motorways, mainly in Normandy, northern and eastern France. The group employs around 2,500 people and had a turnover of €1.806 billion in 2019. Its investment programme is over €1 billion. Main subsidiaries: Sapn and Bip&Go.

CONTACTS:

Sanef Institutional Relations and CSR Department Sandrine Lombard Head of patronage and cultural partnerships [email protected]

WWW.SANEFGROUPE.COM

31 FOLKLORE

FOLKLORE EXHIBITION AT THE MUCEM IN MARSEILLE FROM OCTOBER 21ST, 2020 TO FEBRUARY 22ND, 2021

The Museum of the Civilisations of Europe and the Mediterranean (Mucem) is a national public institution, under the supervision of the Ministry of Culture. Opened in Marseille in June 2013, it is one of the Top 5 most visited museums in France. In 2019, it confirmed its attractiveness with 1,207,000 visitors.

The Mucem is establishing itself as the great museum dedicated to the Mediterranean. Its unique feature is to retrace, analyse and illuminate, in the same spirit and in the same place, the ancient foundations of this basin of civilisation and the tensions that run through it up to the present day. It is a place of exchange on Mediterranean issues. In its exhibitions as in its cultural programme, it offers a multidisciplinary vision combining anthropology, history, archaeology, art history and contemporary art, in order to show the public the various facets of the Mediterranean world and its permanent dialogue with Europe.

Among the 360 works and objects presented in the exhibition, 190 come from the Mucem collections, direct heirs to those of the Musée d'ethnographie du Palais de Trocadéro in Paris (1878-1936) and its successor museums from 1936 onwards, the Musée de l'Homme and the Musée national des arts et traditions populaires (MnATP).

Alongside the Folklore exhibition presented at Mucem J4, an exhibited artist will be invited by the curators, in the form of a carte blanche, to take over the exhibition room of the Mucem's Conservation and Resource Centre for a rereading of pieces from collections from September 18th 2020 to January 8th 2021.

32 FOLKLORE 8. IMAGES AVAILABLE FOR THE PRESS

The pictures of artworks, among which the pictures listed hereafter, can be downloaded at the following url: centrepompidou-metz.fr/phototheque Username: presse Password: Pomp1d57

33 FOLKLORE

Meret Oppenheim, (coussin d’assise : Lilly Keller), Paul Sérusier, La guirlande de roses, 1898 Paul Sérusier, Le Feu dehors ou les Mammau ou Läbchuechegluschti [Le monstre du pain d’épices], Huile sur toile, 194 × 175 cm. Mammen, 1893 1967 Genève, Association des Amis du Petit Palais. Huile sur toile, 73 x 92,4 cm Velours, bois, laine, 92,8 x 44 x 38,7cm © akg-images Collection particulière | Dépôt au musée de Pont-Aven Berne, Kunstmuseum Bern © photo Bernard Galéron © Adagp, Paris 2020 ; photo Kunstmuseum Bern

Jouet (femme), Dymkovo, Kirov (ancienne Viatka), Josif Kestler, maquette de maison, Olténie du Nord, Vassily Kandinsky, Lied [Chanson], 1906 Russie, 2e moitié du XXe siècle Roumanie, v. 1930 Tempera sur carton glacé, 49 x 66 cm Argile modelée et peinte, 10 x 5,3 x 5,3 cm Bois, pierre, écorce, paille, 16 x 43,5 x 24,5 cm Paris, Centre Pompidou, Musée national d’art moderne Marseille, Mucem, collection d’ethnologie d’Europe, Marseille, Mucem, collection d’ethnologie d’Europe, © Centre Pompidou, MNAM-CCI / Georges dépôt du Muséum national d’histoire naturelle dépôt du Muséum national d’histoire naturelle Meguerditchian / dist. RMN-GP photo © Mucem / Yves Inchierman photo © Mucem / Yves Inchierman

Endri Dani, Souvenir of my HomeLAND [Souvenir de ma patrie], Tirana, Albanie, 2012 Guy Pison, Femmes en costumes lors de la parade Mihai Olos, Untitled [Sans titre], 1988 Installation, céramique, dimensions variables, vidéo d’inauguration de l’Exposition internationale, New York, Bois, 97 x 57 x 57 cm (4’40’’) États-Unis, 1939 © Courtesy Olos Estate et Galeria Plan B, Marseille, Mucem Marseille, Mucem Cluj, Berlin © photo Nicu Ilfoveanu © Endri Dani © Mucem / Guy Pison

34 FOLKLORE

À l’arrière-plan Maquette de chalet du canton de Valais ou des Grisons, Melanie Manchot, Perfect Mountain [La montagne Suisse, v. 1900 parfaite], 2011 À gauche Épreuves photographiques et vidéo, 9 min 36 sec Maquette de grenier du canton de Valais, Suisse, v. © Courtesy de l’artiste, Parafin London, UK et Galerie 1900 Valentin Carron, Blind Bear [Ours aveugle], 2000 m, Bochum, Allemagne Au premier plan Polypropylène expansé, fibre de verre, résine acrylique, © Adagp, Paris, 2020 / © Courtoisie Melanie Manchot, Maquette de chalet du canton de Berne, Suisse, v. 1900 330 x 90 x 90 cm Parafin Marseille, Mucem, collection d’ethnologie d’Europe, Genève, musée d’Art moderne et contemporain London, UK et Galerie m, Bochum, Allemagne dépôt du Muséum national d’histoire naturelle © Valentin Carron ; photo Ilmar Kalkkiken photo © Mucem / Yves Inchierman © MAMCO, Genève

Échantillons de broderie, Bulgarie, Finlande, Natalia Gontcharova, Espagnole, 1916-1919 Tablier de femme dit delantal appartenant à un République tchèque, Slovaquie Gouache au pochoir sur papier vélin, 42,4 x 26,2 cm costume de fête dit charra, Salamanque, Espagne, XXe photos © Mucem / Yves Inchierman Strasbourg, musée d’Art moderne et contemporain, siècle Cabinet d’Art Graphique © Adagp, Paris, 2020 Drap de laine, soie damassé, velours, toile de coton © photo Musées de Strasbourg, M. Bertola imprimé, perles brodées, 73,5 x 56,5 cm Marseille, Mucem, collection d’ethnologie d’Europe, dépôt du Muséum national d’histoire naturelle photos © Mucem / Yves Inchierman

Július Koller, Univerzálny Folkloristický Obyčaj (U.F.O.) – Čičmany [Coutume folklorique universelle (U.F.O.) – Amulette pour la divination amoureuse, flacon Čičmany], 1978 - Épreuve photographique contenant des noyaux de cerise Bratislava, Slovenská národná galéria Janek Simon, Synthetic Folklore v0.1.2, 2019 Bretagne, 2e moitié du XIXe siècle Peinture latex sur bois, 15,5 x 95 x 2,5 cm, Vienne Résine synthétique (impression 3D), 140 x 100 cm Verre, noyau, 3,4 x 1,7 cm © Courtesy de la galerie Martin Janda © Courtesy de l’artiste Marseille, Mucem © Julius Koller / Slovak National Gallery © Janek Simon ; Courtesy of Raster Gallery photo © Mucem / Yves Inchierman

35 FOLKLORE

Emil Nolde, Bergriesen [Les géants de la montagne], 1895/96 Huile sur toile, 93,5 x 151,5 cm Lionel Bonnemère (aut.), Carnet, Cabinet de Lionel Paul Delarue, Ensemble de fiches de collecte de Neukirchen, Stiftung Seebüll Ada und Emil Nolde Bonnemère, v. 1900 contes, France © Nolde Stiftung Seebüll Encre sur papier, 23 x 18 x 2 cm Encre sur papier, 22 x 15 cm Photo : Fotowerkstatt Elke Waldord, Hamburg, und Marseille, Mucem, fonds Lionel Bonnemère Marseille, Mucem Dirk Dunkelberg, Berlin photo © Mucem / Yves Inchierman photo © Mucem / Yves Inchierman

Jouets, Ille‑et‑Vilaine Mikhail Larionov, L'Automne, 1912 Constant, L'Animal sorcier, 1949 Bois, 8,5 x 2,3/8,7 x 1,8/7,3 x 6/2,33 x 2,45/8 x 9/9 x Huile sur toile, 136 x 115 cm Huile sur toile, 110 x 85 cm 2,5/20 x 1,6/6,8 x 6/5,7 x 8,8/6,2 x 9,7 Paris, Centre Pompidou, Musée national d’art moderne Paris, Centre Pompidou - Musée national d'art Marseille, Mucem | Don de Paul Sébillot © Adagp, Paris 2020 moderne © Fondation Constant / Adagp, Paris 2020 photo © Mucem / Yves Inchierman photo © Centre Pompidou, MNAMCCI, Dist. RMN- © Service de la documentation photographique du Grand Palais / Philippe Migeat MNAM - Centre Pompidou, MNAM-CCI / dist. RMN-GP

De gauche à droite et de haut en bas Claudio Costa, Ensemble de photographies Manche de canne, Camargue, Corne, 15,5 x 6,9 x 2,3 cm documentant le projet Monteghirfo, Museo di Un gardian en selle, Camargue, fin du XIXe siècle, Outil, Camargue, Os perforé, 7,7 x 7 x 3,2 cm Antropologia Attiva, 1975 photographie d’une vitrine de la galerie culturelle du Piège, Camargue, v. 1860 Diaporama musée national des Arts et Traditions populaires, 1975- Bois, fer, corde, 11,5 x 13,5 x 2 cm © Courtesy Archive Claudio Costa 2005 Marseille, Mucem Marseille, Mucem, photos © Adagp, Paris, 2020 ; Archivio Claudio Costa, photo © Mucem / Hervé Jézéquel © Mucem / Yves Inchierman Claudio Grimaldi

36 FOLKLORE

Slavs and Tatars, Molla Nasreddin the Antimodern [Mollah Nasreddine l’antimoderne], 2012 Acier, fibre de verre, résine, laque, 180 x 180 x 80 cm Berlin, Kraupa-Tuskany Zeidler et Varsovie, Raster © Courtesy of Raster Gallery © Slavs and Tatars

37 FOLKLORE NOTES

38 THE CENTRE POMPIDOU-METZ 1, parvis des Droits-de-l’Homme 57000 Metz +33 (0)3 87 15 39 39 [email protected] centrepompidou-metz.fr

Centre Pompidou-Metz PompidouMetz centrepompidoumetz_

OPENING HOURS Every day except Tuesday and 1st May 01.11 > 31.03 MON. | WED. |THU. | FRI. | SAT. | SUN.: 10 A.M. – 6 P.M. 01.04 > 31.10 MON. | WED. | THU.: 10 A.M. – 6 P.M. FRI. | SAT. | SUN.: 10 A.M. – 7 P.M.

HOW DO YOU GET THERE? The shortest route via the railway network

EXHIBITION PRICES Individual fare: €7 / €10 / €12 according to the number of exhibition spaces open Group fare (starting from 20 persons): €5,50, €8, €10 according to the number of exhibition spaces open

Profit from the numerous advantages of the Centre Pompidou-Metz’s partners with the following offers: C.G.O.S. ticket combined offer Centre Pompidou-Metz/SNCF TER Grand Est, combined offer voyage + entrance of the CFL (Chemins de Fer Luxembourgeois- Luxemburg Railways), Pass Lorraine, Museums Pass Musées, City Pass. Beneficiaries of free entrance to the exhibitions are: active French teachers (on presentation of their professional card or their education pass duly filled out and currently valid) persons under the age of 26, students, unemployed persons registered in France and those drawing RSA or social benefit (on presentation of documentary proof less than six months old), artists members of the Maison des artistes, handicapped persons and one accompanying person, Holders of the Elderly persons minimum compensatory allowance, interpreter -guides and national lecturers, holders of Icom, Icomos, Aica and Paris Première cards, holders of a press card. PRESS CONTACTS

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