BE RBER MUSEUM Jardin Majorelle Marrakech

1/31 SUMMARY

I. OVERVIEW 4

II. BERBER MUSEUM 5 1. AN INTRODUCTION TO THE BERBER PEOPLE 7 2. SAVOIR-FAIRE 11 3. JEWELLERY 14 4. FINERY 16

III. SYMPOSIUMS AND EXHIBITIONS 19

IV. USEFUL INFORMATION 21

V. THE JARDIN MAJORELLE 22

VI. THE FONDATION JARDIN MAJORELLE 25

VII. THE FONDATION PIERRE BERGÉ – YVES SAINT LAURENT 28

2/31 PRESS KIT

Under the High Patronage of His Majesty Mohammed VI, King of Morocco, the Berber Museum at the Jardin Majorelle was o!cially inaugurated in Marrakech on December 3, 2011 by Mr. Pierre Bergé, President of the Fondation Pierre Bergé – Yves Saint Laurent, in the presence of Mr. Bensalem Himmich, Minister of Culture of the Kingdom of Morocco, Mr. Frédéric Mitterand, Minister of Culture and Communication of the French Republic, and His Excellency Mr. Bruno Joubert, Ambassador of France to Morocco.

The Berber Museum at the Jardin Majorelle

Berber Museum Jardin Majorelle rue Yves Saint Laurent Open every day of the year 40090 Marrakech, Morocco October 1 – April 30: 8am to 5.30pm Tel. +212 (0)5 24 31 30 47 May 1 – September 30: 8am to 6pm www.jardinmajorelle.com During the month of Ramadan: 9am to 5pm

3/31 I. OVERVIEW

The Berber Museum, inaugurated in 2011, is housed in the former painting studio of the artist Jacques Majorelle. It presents a panorama of the extraordinary creativity of the Imazighen (Berber) people, the oldest of North Africa. More than 600 objects from the Rif Mountains to the Sahara, collected by Pierre Bergé and Yves Saint Laurent, attest to the richness and diversity of this vibrant culture, still very much alive today.

The collection is displayed in four distinct spaces, each devoted to a particular theme:

The "rst presents the history and geography of the Berber people – or Imazighen (Amazigh, sing.) – of Morocco, as well as a map showing the most signi"cant tribal regions. A comprehensive audiovisual documentation accompanies visitors throughout their tour of the museum.

The public is then invited to discover the tangible and intangible savoir-faire that turns various base materials into mundane or ceremonial objects and utensils. The diversity of handmade cra#s is "nely expressed in woodwork, leatherwork, pottery, and basketry.

Ornaments, in turn, hold an important place in the museum. Cra#ed by outstanding, o#en nomadic jewellers, they are an expression of tribal identity and the social status of the women who wear them; a form of disposable savings, well suited to the economic uncertainties of a rural society. The necklaces are designed by women who, in the style of their particular regions, combine amber, coral, and amazonite with silver elements – a profusion of materials and symbolic forms – imbued with medicinal virtues.

Berber groups throughout Morocco, whether sedentary or nomadic, show a very de"nite taste for !nery. Clothing, jewellery, and accessories re$ect their identity and form their ‘festive apparel’, the variety of which is displayed during large social gatherings. The museum’s fourth and last exhibition space is thus entirely dedicated to costumes, as well as weapons, weavings, carpets, embellished residential doors, and musical instruments.

Every year, the Berber Museum organizes a symposium which explores contemporary issues related to Berber identity and heritage. Their proceedings, published as the Cahiers du Musée Berbère, are widely disseminated to museums and international institutions. The programming of travelling exhibitions and the mobility of the museum’s collection are also part of this dynamic process, resulting in the exhibition, Berber Women of Morocco, presented in 2014 at the Fondation Pierre Bergé – Yves Saint Laurent in Paris. In 2015, it will travel to the National Museum of Bahrain in Manama, and the Bibliothèque Nationale du Royaume du Maroc in Rabat.

4/31 II. THE BERBER MUSEUM

SURFACE AREA: 200m², 600 objects on view

COLLECTION : 1,400 objects

ARCHITECTURE AND SCENOGRAPHY: Christophe Martin

MUSEOLOGY: Björn Dahlström

SCIENTIFIC TEAM: Salima Naji - Architect and Doctor of Anthropology, Rabat Romain Simenel - Ethnologist, researcher at the Institut de recherche et développement, Rabat Ahmed Skounti - Anthropologist at the Institut national des sciences de l’archéologie et du patrimoine, Rabat

LIGHTING - Sébastien Debant

SOUND - Cyril Métreau

COSTUMES - Nadège Gaubour, Sarah Pinson, Valérie Simonneau

GRAPHIC DESIGN - Anthea Pender

BERBER MUSEUM SCIENTIFIC STEERING COMMITTEE: Pierre Bergé - President of the Fondation Jardin Majorelle Madison Cox - Vice-President of the Fondation Jardin Majorelle Björn Dahlström - Curator of the Berber Museum, Jardin Majorelle El Mehdi Iâzzi - Professor at the Université Ibn Zohr, Agadir Driss Khrouz - Director of the Bibliothèque Nationale du Royaume du Maroc, Rabat Salima Naji - Architect and Doctor of Anthropology, Rabat Ahmed Skounti - Anthropologist at the Institut national des sciences de l’archéologie et du patrimoine, Rabat

115,000 people visited the Berber Museum in 2013, of which 17% were Moroccan citizens. The museum expects 150,000 visitors in 2014.

5/31 THE BERBER MUSEUM

Since my arrival in Marrakech in 1966, I have remained fascinated by Berber art and culture. Over the years, I have collected and admired this art which extends over many countries at the same time. The Berbers have always been rightly proud of their culture, and have not ceased to reclaim their identity in spite of the vicissitudes they have faced.

In Marrakech, in Berber country, in the Jardin Majorelle created by an artist who painted so many scenes of Berber men and women, the idea of this museum occurred to us quite naturally.

It is with great pride and pleasure that we open the museum to the public, so that they share our enthusiasm and accompany us in the footsteps of a culture very much alive today.

Pierre Bergé

Jacques Majorelle, Berber Woman, Marrakech, 1921.

6/31 1. AN INTRODUCTION TO THE BERBER PEOPLE

The Imazighen (singular Amazigh) or Berbers, are among the original peoples of North Africa. Their myths, legends and history span 9,000 years, and can be traced to the Proto-Mediterraneans. They have achieved unity by maintaining their unique language and culture which are, like their land, both African and Mediterranean.

The Berbers of Morocco share this duality, re$ecting the diversity of their nature and stormy history. %rough close contact with other peoples of the Mediterranean, they created kingdoms as well as vast territories organised into powerful, democratic, warmongering, tribal communities. Both aspects of this sociopolitical organisation have le# a mark on recent historical events and the country’s history spanning two millennia.

As opposed to the pagan Mediterranean kingdoms of antiquity, Berber empires developed inland and were Muslim. Judaism continued to be practiced, and the Sunni Islam majority gradually took on a Berber hue with its brotherhoods, zaouias, marabouts and rituals.

Imilchil region, High Atlas

7/31 The roots of Berber culture reach deep into Morocco’s protohistory. They are illustrated by a strong link with the land, a sense of community, hospitality, sharing food and a speci"c relationship with spirituality. Its openness to many in$uences, whether Mediterranean, African, Oriental, European, or International have helped de"ne its current characteristics.

The Berber language, an Afro-Asian idiom, is a historical and cultural melting pot of the country. It has outlived most languages of antiquity such as Ancient Greek, Latin, Phoenician and Egyptian. It used to be written but is now mainly oral. Although there are fewer now that can speak it, the language is nevertheless still used by a substantial number of Moroccans. A true symbol of identity, the language crystallizes political demands and unleashes passions. The recent recognition of the country’s Berberity would seem to signify a will to preserve the language for future generations, including its ancient alphabet called Ti"nagh.

Ahmed Skounti Anthropologist at the Institut national des sciences de l’archéologie et du patrimoine, Rabat.

Berber women from the Souss region, (Besancenot, 1936-39)

8/31 M N E D A I T E R R A N E Ta•n gier S E Tetou•an A

R Rhomara • THE KINGDOM OF MOROCCO I F Nador Ouez•zane Aït Beni Ouriaghel Sidel Oujda• • Beni Taounate Bou Ifrah Meknes • Tsoul R•abat Fes Zemm•our Aït Aït Ndhir Ouaraïn Cas•ablanca Aïn Leuh Aït Aït Sgougou• Sadden Aït S Zaïane Mguild A • L N Khenifra E T L A D N Beni Mellal D Aït I Seghrouchen • Aït M A Oumalou W E Marrakech E S T A F I L A L T A Aït Essaouira • L Aït Hadiddou • T Rissani C H A Aït Bou Guemmez • G Bou Oulli T O D R H A T I Glaoua Telouet Ihahane H Aït • D A D È S S S O Ouaouzguite •Ouarzazate A S I R O U A Taznakht E Agadir • Aït H • S D R A A Atta T C S O U S S A U Ida L Zenaga O MassaOu Zeddoute A T Ida Foum Zguid •Zagora S I • - Ou Nad•if •Tamgrout Tahala T I Ida T N Ou Kensous Ti•znit • A Tagm•out Tata B A N I Issaffène Ak•ka Ida Tafrao•ut • A R A N Ou Semlal A H Ammeln - S A Lakhsass E R L • P T Guelmim A Tan•-Tan Tekna K E Y :

Laâyoune R I F : mountains • A T O D R H A : geographical and historical regions

Aït Ouriaghel : tribe, confederation of tribes R

Zagora : city, locality, or named place

• A

0 50 100 150 200 km

H

A

S Principal places of origin of the exhibited objects

The map shows only the provenance in Morocco – either regions, • Dakhla places, or social groups – of the Berber Museum’s collection. The Berber domain covers a vast crescent which extends from the Mediterranean to the fringes of the desert, including the land towards the Sahara (beyond the Tekna), the Atlantic plains of Casablanca and Rabat, the Fes-Saiss basin, and the Tingitana (Tangier) Peninsula. In

• Lagouira all these regions, place-name studies and the culture – both material and immaterial – show evidence of a very real Berber in$uence. The Berber language

In Morocco, the Berber language includes three major dialects: tari!t in the North, tamazight in the Centre and Southeast, and tachelhit in the Southwest. In addition, there are many people who speak Berber in the large urban areas such as Casablanca, Rabat, Fes and Tangier. Since the creation of the Royal Institute of the Amazigh Culture (IRCAM) in 2001, an attempt has been made to standardize the Berber language, with a goal of raising the language’s visibility in contemporary Morocco.

9/31 Berber from the Middle Atlas, Midelt region

As for moral virtues, one can cite: respect for one’s neighbours, the protection of guests, the observance of obligations and commitments, faithful adherence to promises and treaties, resolve in misfortune, indulgence towards the failings of others, renouncement of vengeance, kindness to the unfortunate, respect for the elderly, veneration for men of science, hatred of oppression, !rmness towards governments, determination to win in matters of power, devotion to God in matters of religion.

Ibn Khaldun (1332-1406) People and Nations of the World, Ibar 6

10/31 2. SAVOIR-FAIRE

11/31 From top to bottom: Men’s bag, choukara, Rif Stove, kenoun, Rif Men’s boots, Aït Ouaouzguite, Siroua

12/31 Mosque pulpit, Minbar, Anti-Atlas

13/31 3. JEWELLERY

Above: Anti-Atlas region and the Souss region Below: region of Northern Morocco and Guelmim region, Sahara

14/31 Ornaments from the Souss region

The custom of these women is to wear solid silver hoops or rings in their ears. Some of them wear up to four. To attach garments over their shoulders, they also use special rings in the form of buckles, which are so thick that they sometimes weigh up to an ounce. They also wear, around their !ngers and legs, special silver bands – but only the nobles and rich, because the poor, not having the means to o"er themselves such heavy jewellery, wear only iron and copper.

Leo Africanus (c.1485 - c.1554) Description of Africa

15/31 4. FINERY

16/31 Above: Headscarf, Aït Bou Yahia, Anti-Atlas Below: Shepherd boy’s cape, akhnif, Siroua

17/31 18/31 III. SYMPOSIUMS AND EXHIBITIONS

Since its founding in 2011, the Berber Museum has been active in programming cultural events in Morocco and overseas.

Every year, a symposium organized by the museum explores contemporary issues related to Berber identity and heritage.

Their proceedings, published as the Cahiers du Musée Berbère, are widely disseminated to museums and international institutions.

The programming of travelling exhibitions and the mobility of the museum’s collections are also part of this dynamic process.

In 2014, the Fondation Jardin Majorelle mounted the Berber Women of Morocco exhibition at the Fondation Pierre Bergé – Yves Saint Laurent in Paris. The exhibition will travel in 2015 to the National Museum of Bahrain in Manama, and the Bibliothèque Nationale du Royaume du Maroc in Rabat.

COLLOQUE du Musée Berbère du Jardin Majorelle

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PROGRAMMATION g a n # i Salima Naji & Ahmed Skounti T INTERVENANTS Ahmed Assid Pierre Bergé El Mehdi Iâzzi Hassan Legzouli Salima Naji Mustapha El Qadery Ahmed Skounti

CONTACTS [email protected] [email protected]

19/31 20/31 IV. USEFUL INFORMATION

Jardin Majorelle and the Berber Museum rue Yves Saint Laurent 40090 Marrakech Maroc

Open every day of the year October 1 – April 30: 8am to 5.30pm, May 1 – September 30: 8am to 6pm During the month of Ramadan: 9am to 5pm

The garden and museum are accessible to people who are mobility impaired.

Entrance fees Garden: 50 DH Museum: 25 DH

The bookshop The Berber Museum’s bookshop o&ers a wide selection of publications about Berber culture.

CONTACTS

Jardin Majorelle, Marrakech

Quito Fierro Director of Communications Tel.: +212 (0)5 24 31 30 47 Fax: +212 (0)5 24 30 18 94 Mobile: +212 (0)6 61 44 21 32 quito."[email protected]

Fondation Pierre Bergé – Yves Saint Laurent, Paris

Laetitia Roux Head of Communications 5, avenue Marceau, 75116 Paris Tel.: +33 (0)1 44 31 64 17 Fax: +33 (0)1 47 20 62 13 [email protected]

21/31 V. THE JARDIN MAJORELLE

History

In 1919, during the French Protectorate, the French painter Jacques Majorelle (1886 – 1962) arrived in the medina of Marrakech.

In 1922, he purchased a palm grove on the outskirts of the city, and seven years later built the Villa Bousafsaf, inspired by classical Moroccan architecture. In 1980, it was acquired by Yves Saint Laurent and Pierre Bergé, who renamed it the Villa Oasis.

In 1931, Majorelle commissioned the architect Paul Sinoir to build an artist’s studio in an astonishingly modern Art Deco style. The building included an apartment upstairs, and a ground $oor studio where he could paint large canvases.

The garden he planted around the studio re$ected his passion for botany. Designed around a long, central basin, he composed several di&erent ambiances with a luxurious vegetation that became a refuge for hundreds of birds. The garden developed into a living work of art, embellished by exotic and rare plant species that Majorelle would bring back from his worldwide travels: cacti, yucca, water lilies, jasmines, bougainvilleas, palms, coconut and banana trees, bamboos . . .

In 1937, the artist created an ultramarine blue colour that was intense and luminous at the same time – referred to today as Majorelle Blue – with which he painted the walls of his studio and later the entire garden, which he opened to the public in 1947. Following an automobile accident, Majorelle was taken to Paris, where he died in 1962. The garden fell into a state of neglect.

It was saved from becoming a real estate project in 1980, when the garden was acquired by Pierre Bergé and Yves Saint Laurent, who brought it back to life.

A#er the death of Yves Saint Laurent in 2008, Pierre Bergé donated the Jardin Majorelle to the Fondation Pierre Bergé – Yves Saint Laurent. 22/31 Majorelle, A Moroccan Oasis

The Jardin Majorelle, located in the southern Moroccan desert oasis of Marrakech, is one of the 20th century’s most enchanting, even mystical, garden experiences. Created over the course of nearly forty years, the garden complex is a labyrinth composed of bisecting pathways and interconnected levels, Moorish and Art Deco-inspired structures, and bold palettes, all assembled among a vast, opulent array of exotic plants and trees collected from the far reaches of the world. Conceived as a walled inner sanctum and laboratory by French-born painter Jacques Majorelle, the garden is a place of individual expression and great power rarely seen in contemporary garden design. [ . . . ]

Like fellow artist Claude Monet, Majorelle was to become one of the most important plant collectors of his time, and his garden became the backdrop for his canvases. Similar to Monet in his vast quest for new plants, Majorelle !nanced plant expeditions, imported rare varieties, and corresponded with other collectors and botanical gardens around the world. [ . . . ]

Madison Cox

23/31 #e Café Bousafsaf

In its shade-"lled Moroccan courtyard, the Café Bousafsaf welcomes guests during opening hours at the garden. A choice of Moroccan or Continental breakfast is available, and lunch is served à la carte (salads and hot food).

It’s an ideal place to enjoy a peaceful moment, on the terrace under the trees and white bougainvillea, or inside in the cosy, traditional Moroccan salons, heated by chimney "res in winter.

24/31 VI. THE FONDATION JARDIN MAJORELLE ©

D i d i e r

F è v r e

A non-pro"t association was created in 2001, with the goal of protecting the ecological, historical and cultural patrimony of the Jar din Majorelle. Granted state approval by decree N° 2.11.647 on November 4, 2011, it became the Fondation Jardin Majorelle.

Since 2010, the Jardin Majorelle has been the property of the Fondation Pierre Bergé – Yves Saint Laurent, recognized by the French government.

The garden welcomes nearly 800,000 visitors a year, both foreign tourists and Moroccan citizens. It is open every day of the year and employs 85 people. Students are o&ered a reduced admission price, and upon request in advance, free admission is provided to school groups and non-pro"t organisations. Funds generated from ticket receipts are used to ensure the ongoing maintenance of the garden and to acquire new pieces for the museum’s collection. Surplus funds are used by the Fondation Jardin Majorelle to "nance cultural and educational projects in Morocco.

Projects funded by the Fondation Jardin Majorelle include

• Scholarships for the École Supérieure des Arts Visuels de Marrakech, (ESAV)

• Scholarships in partnership with the Marrakech Museum for Photography and the Visual Arts (MMP+) to bene"t Moroccan students studying museology at the University of Arizona, USA

• The Association Cinémathèque de Tanger, a non-pro"t organization

• Dar al-Ma’mûn, an international centre for artistic residencies, Marrakech

25/31 • The Philharmonic Orchestra of Morocco in Rabat, (OPM), and its socio-educational Mazaya programme for disadvantaged children

• The Marrakech and Tangier branches of the Association de lutte contre le Sida au Maroc, (ALCS), a non-pro"t organization battling AIDS in Morocco

• The Tangier American Legation Institute for Moroccan Studies, (TALIM) and other charitable and social non-pro"t organisations in Marrakech and Tangier.

Donations to the Fondation Jardin Majorelle

In 2014, the Berber Museum received important collections of Berber textiles as generous gi#s from private collectors. The Fondation Jardin Majorelle is hoping to enrich its collection by encouraging donations from other private collectors, both in Morocco and overseas. Donated objects and textiles enjoy a high visibility – both at the museum and via travelling exhibitions – and an optimal conservation environment.

Symposiums and exhibitions organized by the Fondation Jardin Majorelle

Berber Museum symposium: Berber Migrations 6 December 2014 at the Institut du monde arabe, Paris

Symposium organized by the Fondation Jardin Majorelle: Jean Cocteau and Africa 15 March 2014 at the Institut français de Marrakech

Botanical symposium of the Jardin Majorelle: Flora of Morocco 22 February 2014 at the École Supérieure des Arts Visuels de Marrakech

Berber Museum symposium: Amazigh Knowledge and Know-how: Disappearing or Adapting? 11 May 2013 at the Institut français de Marrakech

Berber Museum symposium: The Berbers in Morocco Today 12 May 2012 at the Institut français de Marrakech

Berber Women of Morocco exhibition Bibliothèque Nationale du Royaume du Maroc, Rabat, 15 May – 15 July 2015 National Museum of Bahrain, Manama, 15 January – 17 April 2015 Fondation Pierre Bergé – Yves Saint Laurent, Paris, 21 March – 20 July 2014

26/31 Fondation Jardin Majorelle publications

Éditions Jardin Majorelle

Femmes berbères du Maroc 2014, co-edition Artlys & Fondation Pierre Bergé – Yves Saint Laurent, 192 pages Price: 350 dirhams

Berber Women of Morocco 2014, co-edition Artlys & Fondation Pierre Bergé – Yves Saint Laurent, 192 pages Price: 350 dirhams

Les Cahiers du Musée Berbère No. II, (bilingual: French, English), 2013, 159 pages Price: 200 dirhams

The Street Trades of Marrakech, Moulay Abdellah Nassih; illustrations Lawrence Mynott 2013, 51 pages Price: 90 dirhams

Les petits métiers des rues de Marrakech, Moulay Abdellah Nassih; illustrations Lawrence Mynott 2012, 51 pages Price: 90 dirhams

Les Cahiers du Musée Berbère No. I, (bilingual: French, English), 2012, 127 pages Price: 200 dirhams

Bill Willis, Marian McEvoy; photographer: Nicolas Mathéus, 2011, 262 pages Price: 800 dirhams (with slipcase: 1300 dirhams)

Musée Berbère, miniguide (trilingual: French, English, Arabic), 2011, 79 pages Price: 85 dirhams

Joint publications

L’art chez les Juifs du Maroc, André Goldenberg, Somogy éditions d’art, 2014, 240 pages Price: 490 dirhams

Yves Saint Laurent. A Moroccan Passion, Pierre Bergé, éditions de La Martinière, 2013, 92 pages Price: 300 dirhams

Maroc. Les artisans du cuir, Marie-Rose Rabaté, éditions Magellan & Cie, 2013, 151 pages Price: 320 dirhams

Yves Saint Laurent. Une passion marocaine, Pierre Bergé, éditions de La Martinière, 2010, 92 pages Price: 300 dirhams

27/31 VII. THE FONDATION PIERRE BERGÉ – YVES SAINT LAURENT ©

S a c h a

Established in 2002, the Fondation Pierre Bergé – Yves Saint Laurent retraces the work of a fashion designer who revealed dynamic fundamentals of society over the course of forty years. By employing masculine codes, Yves Saint Laurent o&ered women self-assurance, audacity and power, while maintaining their femininity. These clothes are part of the history of the 20th century. They accompanied women in every domain of their liberation, whether private, social or political.

Continuing an adventure which began long ago, the foundation transforms memories into projects.

O!cially recognized by the French state on 5 December 2002, the Fondation Pierre Bergé – Yves Saint Laurent’s mission includes:

Conserving 5,000 haute couture garments, 15,000 accessories, and 35,000 objects and drawings that bear witness to the creative genius of Yves Saint Laurent

Organizing exhibitions related to fashion, painting, photography, drawing, etc.

Supporting cultural, artistic, and educational projects

The Jardin Majorelle in Marrakech, saved from destruction by Yves Saint Laurent and Pierre Bergé in 1980, was added to the foundation’s holdings in 2010. The Berber Museum at the Jardin Majorelle opened its doors in 2011.

5 avenue Marceau F-75116 Paris tel. +33 1 44 31 64 00 www.fondation-pb-ysl.net 28/31 Exhibitions at the Fondation Pierre Bergé – Yves Saint Laurent

Hedi Slimane, Sonic, 2014

Femmes berbères du Maroc, 2014

Hiroshi Sugimoto, Accelerated Buddha, 2013/2014

Art sacré du Tibet, Collection Alain Bordier, 2013

Du côté de chez Jacques-Émile Blanche, Un salon à la Belle Époque, 2013

Kabuki, Costumes du théâtre japonais, 2012

Gisèle Freund, L’Oeil frontière, Paris 1933-1940, 2011

Saint Laurent rive gauche, La révolution de la mode, 2011

David Hockney: Fleurs fraîches, 2010

Vanité. Mort, que me veux-tu ?, 2010

Les derniers Maharajas, 2010

Jean-Michel Frank, un décorateur dans le Paris des années 30, 2009

Le costume populaire russe, 2009

David Seidner, Photographies, 2008/2009

Une Passion marocaine, Ca#ans, Broderies, Bijoux, 2008

Yves Saint Laurent, $éâtre, Cinéma, Music-hall, Ballet, 2007/2008

Yves Saint Laurent, Nan Kempner, une américaine à Paris, 2007

Yves Saint Laurent, Voyages Extraordinaires, 2006/2007

André Ostier, Photographies, 2006

Yves Saint Laurent, Smoking Forever, 2005/2006

Robert Wilson, Les Fables de La Fontaine, 2004/2005

Yves Saint Laurent, Dialogue avec l’art, 2004

5 avenue Marceau F-75116 Paris tel. +33 1 44 31 64 00 www.fondation-pb-ysl.net 29/31 Yves Saint Laurent retrospective, touring exhibition

United States The Denver Art Museum, Denver, 25 March – 7 July 2012 Spain Fundación MAPFRE, Madrid, 5 October 2011 – 8 January 2012 France Le Petit Palais, 2010

Overseas exhibitions

Morocco Yves Saint Laurent et le Maroc, Villa des Arts, Fondation ONA Casablanca, 15 April – 17 July 2011

Yves Saint Laurent et le Maroc, Jardin Majorelle Marrakech, 27 November 2010 – 18 March 2011 Brazil Viagens Extraordinarias, Centro Cultural de Brasil, Rio, 2009

United States Yves Saint Laurent Style, de Young Museum, San Francisco, 2008/2009

Canada Yves Saint Laurent Style, Museum of Fine Arts, Montreal, 2008

Spain Dialogo con el Arte, Fundación Caixa Galicia, La Coruña, 2008

The Fondation Pierre Bergé – Yves Saint Laurent is a patron of the following in Paris

Festival d’Automne à Paris Palais de Tokyo: Modules Fondation Pierre Bergé – Yves Saint Laurent Musée du quai Branly Nuit Blanche 2010 Amis de Jean Cocteau Prix Jean Giono Institut Français de la Mode, (IFM) Association Nationale pour le Developpement des Arts de la Mode, (ANDAM)

5 avenue Marceau F-75116 Paris tel. +33 1 44 31 64 00 www.fondation-pb-ysl.net 30/31 BERBER MUSEUM

Fondation Jardin Majorelle rue Yves Saint Laurent, 40090 Marrakech, Morocco Tel: + 212 (0)5 24 31 30 47 Fax: + 212 (0)5 24 30 18 94 [email protected] www.jardinmajorelle.com

Fondation Jardin Majorelle

31/31