Take Me (I'm Yours)

PRESS RELEASE TAKE ME (I’M YOURS)

FROM 16 SEPTEMBER TO 8 NOVEMBER 2015

From 16 September to 8 November 2015, Monnaie de Paris presents Take Me (I'm Yours), a collective and interactive exhibition which brings together the work of fortyforty----fourfour international artists under the curatorship ofof Christian Boltanski, Hans Ulrich Obrist and Chiara Parisi. Take Me (I’m Yours) at Monnaie de Paris

Transformed into Paul McCarthyMcCarthy's Chocolate Factory for its reopening in October 15 september 2015 2014, then into Marcel Broodthaers' Musée d’Art Moderne ––– Département des

MONNAIE DE PARIS Aigles Monnaie de Paris is once again inviting visitors to rediscover its spaces 11, Quai de Conti through an unusual artistic project: Take Me (I’m Yours) will turn the Quai de 75006 Paris Conti’s 18th-century rooms into a venue for free and creative exchange, designed

to unsettle the conventional relationship between a work of art and its viewer. Communications Director Visitors are invited, even encouraged, to touch, use and take away the invited Guillaume Robic artists’ projects and ideas. tel: + 33 (0)1 40 46 58 18 [email protected] The exhibition curators, Christian Boltanski and Hans Ulrich ObristObrist, have taken

the original principle which motivated them in 1995 at the Serpentine Gallery and Claudine Colin Communication brought it up to date. They are joined by Chiara ParisiParisi,Parisi director of Monnaie de Paris Avril Boisneault cultural programmes, who brings a fresh perspective. With more than forty tel: + 33 (0)1 42 72 60 01 [email protected] projects, the Paris exhibition is greater in magnitude and scope. The project sees the return of artists who took part in the first event (ChristianChristian Boltanski, Maria EicEicEichhornEic hhornhhorn, HansHans- ---PeterPeter FeldmannFeldmann, Jef GeysGeys, Gilbert & GeorgeGeorge, Douglas GordonGordon, VISITOR INFORMATION Opening hours: Christine HillHill, Carsten Höller, Fabrice HyberHyber, Wolfgang TillmansTillmans, Lawrence Open every day, 11 a.m. --- 7 p.m. Weiner and Franz WestWest), and has given rise to new collaborations (EtelEtel Adnan & Late Thursday opening till 10 p.m. Simone Fattal, Paweł Althamer, Kerstin Brätsch & Sarah Ortmeyer, James Lee Byars, Heman Chong, Jeremy Deller, Andrea Fraser, Gloria Friedmann, Felix Monnaie de Paris Flammarion bookshop GonzalezGonzalez----Torres,Torres, Bertrand Lavier, Jonathan Horowitz, Koo JeoJeongngng----A,A, Alison 11, Quai de Conti Knowles, Angelika Markul, Gustav Metzger, Otobong Nkanga, Roman Ondák, 75006 Paris Yoko Ono, Philippe Parreno, Sean Raspet, Takako Saito, Daniel Spoerri, Rirkrit Open every day, 11 a.m. --- 7 p.m. Late Thursday opening till 10 p.m. Tiravanija, Amalia UlmanUlman, Franco VaccariVaccari, Danh Võ and the artists Ho Rui An, Felix Gaudlitz and Charlie Malgat from 89plus, the multiplatform international Monnaie de Paris boutique research project designed to map the generation born on and after 1989 by Hans 2, Rue Guénégaud Ulrich Obrist and Simon CastetsCastets. The exhibition is also an outlet for distributing 75006 Paris Open Monday to Saturday issues of point d'ironie (agnès b.). 11 a.m. --- 7 p.m. Displayed on the walls of the last factory in the centre of Paris, the exhibition is an GROUPS opportunity to revisit the myth of the unique artwork and question its methods of Monnaie de Paris hosts a wide range of tours and workshops every day of production. Like coins, works of art are destined to be disseminated. This the week for all types of groups. A exhibition, designed to create interaction between visitors and artists, is programme of conferences will run characterised by its open form which evolves in time. When it ends, the pieces will for the duration of the exhibition. [email protected] have disappeared, distributed in their entirety. Going beyond conventional economic channels, Take Me (I’m Yours) will present a model based on exchange FIND US ON and sharing, thus raising questions about the exchange value of art, an issue of monnaiedeparis.fr fundamental importance to Monnaie de Paris. facebook.com/monnaiedeparis twitter.com/monnaiedeparis youtube.com/monnaiedeparis Take Me (I’m Yours) centres the exhibition around its visitors, by inviting them to instagram.com/monnaiedeparis take the artworks away with them, and in doing so, contribute to their dissemination. The talents of the artists involved enable the public to pass through

this physical and moral barrier which separates them from works of art as they appropriate them and give them a new lease of life.

The artists choose to give visitors a variety of objects, created specifically for the

exhibition - such as the wishbones produced on a 3D printer (AngelikaAngelika MarkulMarkul) - or in the artist's studio (SimoneSimone FattalFattal). Other examples include badges (GilbGilbertert &

GeorgeGeorge), DVDs which gradually wipe their content

as they are played ( Philippe Parreno ), bookmarks made of leather, ( Amalia UlmanUlman), lost property such as clothing that can be taken away in a bag (ChristianChristian BoltanskiBoltanski), objects that we are all familiar with such as small models of the Eiffel Tower (HansHansHans----PeterPeter FeldmannFeldmann), paper items like cards featuring the names of poets (EtelEtel AdnanAdnan), brochures offering a cultural service to institutions and companies (AndreaAndrea FraserFraser), a bibliography with a selection of works by the three curators of the exhibition (MariaMaria EichhornEichhorn), pink paper confetti bearing the words "Be Quiet" (JamesJames Lee ByarsByars), business cards painted in black (Heman ChongChong), posters, (FelixFelix GonzalezGonzalez----TorresTorresTorres), stencils, tattoos (LawrenceLawrence WeinerWeiner), postcards (HansHansHans----PeterPeter FeldmannFeldmann, Yoko OnoOno, Danh VõVõ), a newspaper specially published for Monnaie de Paris (JefJef GeysGeys), and magazines created by artists (pointpoint d’ironied’ironie). Artists also present works which disappear through consumption by visitors such as tins of sardines and pieces of a marzipan skeleton (DanielDaniel SpoerriSpoerri), distilled rose water with holy wafers (RirkritRirkrit TiravanijaTiravanija), pills with unknown effects (CarstenCarsten HöllerHöller), sky-blue sweets (FelixFelix GonzalezGonzalez----TorresTorresTorres) and eggs (KerstinKerstin Brätsch & Sarah OrtmeyerOrtmeyer).

Visitors may also participate in other forms of interaction such as monetary transactions to acquire an object, especially by vending machine (FabriceFabrice HyberHyber, Christine Hill, Yoko OnoOno), but also through bartering (PawełPaweł Althamer, Roman OndákOndák) or even a self-service area (JonathanJonathan HorowitzHorowitz,Horowitz Bertrand Lavier, Sean RaspetRaspet, Wolfgang TillmansTillmans). The public is also invited to follow the instructions given by the artists to take part in a game (DouglaDouglass GordonGordon), to personalise objects (JeremyJeremy DellerDeller), or contribute to the daily creation of a work (GustavGustav Metzger, Yoko Ono, Franco Vaccari, Lawrence WeinerWeiner). Other artists offer a service to visitors such as a chance to have a rest (FranzFranz WestWest) or take a dog for a walk (KooKoo JeongJeong----AAAA).

With each day that passes, it is the show’s visitors who will transform it. The exhibition extends beyond the rooms dedicated to it: artists will use the Google app

(CharlieCharlie Malgat and Ho RHo RuiR ui AnAn) to offer a virtual tour combining the exhibition's past at the Serpentine in London in 1995, its present at the Monnaie de Paris in 2015, and its future - with forthcoming versions destined to travel further afield. It also makes its presence felt at the stand of a Parisian bouquiniste - a second-hand bookseller opposite Monnaie de Paris (FelixFelix GaudlitzGaudlitz)Gaudlitz - and gets a breath of fresh air every day through the actions of the artists who surprise visitors during impromptu artistic interventions: featuring Etel AdnanAdnan,Adnan Paweł Althamer, James Lee ByarsByars, Kerstin Brätsch & Sarah Ortmeyer, Gloria Friedmann,Friedmann, Gilbert & George, Fabrice HyberHyber, Alison Knowles, Otobong Nkanga,Nkanga, Roman Ondák, Sean Raspet, Takako Saito et Daniel Spoerri (during the exhibition and more frequently during the FIAC from 22 to 24 OctoberOctober). Alongside these events, the writer Federico Nicolao will post a daily report on the exhibition on Instagram (#kikerikidide#kikerikidide#kikerikidide).

On 16 and 17 September, a special event will take place in the Paris metro to mark the opening of the exhibition, during which passengers will be invited to take a pieces of the poster with them. This part of the poster will give them free entry for one person to the exhibition (station corridors: Châtelet; Opéra; Saint Lazare; Montparnasse; Nation; République; Gare de l’Est; Place d’Italie)

Monnaie de Paris: Revamped Cultural Programme

Founded in 864, Monnaie de Paris is the oldest of French institutions. Its artistic workshops in Paris have been in existence since 1775.

Monnaie de Paris is committed to an ambitious transformation of its Parisian buildings in order to present this vast heritage to visitors. Since 2014, the new cultural presentation has included: an arts programme based on large-scale projects commissioned to experienced and emerging artists (Rob Pruitt, John Baldessari, Mohamed Bourouissa, Paul McCarthy, Marcel Broodthaers, etc.) in the restored 18th-century rooms opposite Guy Savoy's gastronomic restaurant.

The Take me (I’m Yours) exhibition has been created in association with Eva Albarran et Three Steps to Heaven. Et avec le soutien agnès b., Briochine, Ecotextile, Givaudan, Google Cultural Institute, Kolor GoPro, 89plus, Photomaton® , Presstalis and Sony mobile.

Take Me (I’m Yours) at Monnaie de Paris

Chiara Parisi Director of Cultural Programmes and Exhibition Co-curator

Every work of art has a narrative of consumption and dispersal. The artistic act as a means of dispersal is a construct of the energy exerted by the artist during the creative process and the efforts involved in production to which the work is subjected. It is perhaps in this progressive abandonment of the self - of one's own thoughts, one's own body - that the artist's foremost gift to those who view the work is made manifest. Quoting Paul Valéry, Maurice Merleau-Ponty explained it thus: "The painter 'takes his body with him,' [...] Indeed we cannot imagine how a mind could paint. It is by lending his body to the world that the artist changes the world into paintings". 1

In all fairness to Merleau-Ponty, the word "painter" could be replaced by that of "artist" these days. A more inclusive term certainly, and one which represents the diversity of contemporary artistic mediums. And yet, Merleau-Ponty's premise still has currency. The notion of bringing one's own body to the work has informed the attitude with which the artists of Take Me (I'm Yours) at Monnaie de Paris offer themselves to the exhibition's public; a public invited to play the part of actor rather than spectator . Such an exercise requires application, dedication and trust. It demands an act of faith. In this sense, then, there is almost something of the ritual journey about Take Me (I'm Yours ).

One of the first times we met to discuss the exhibition, Christian Boltanski asked me what came to my mind when I thought of a first holy communion (and who knows to what extent the childhood memory of his mother eating the edges of the wafers as they were being prepared inspired the concept behind the exhibition?) In Rome - the city where I was born and raised - it was common to see priests eating and chatting in the trattorias. I would hear stories about first communion day, this event that came ever closer, the rhythm of its approach unbroken, its pace unstoppable until you took the host in your mouth.

There is a strong correlation between a ritual of this sort and the curation of Take Me (I'm Yours). Even its title implies a conception of the work of art as a gift and an image of the artist as a sharing creator, the friendly demiurge. Equally significant is the link with the edible dimension of the ceremony. The artists' works become things from which one can "take nourishment" - sometimes quite literally as with pieces by Felix Gonzalez-Torres or Rirkrit Tiravanija - and one can experience them in the same way as the young person who, reaching that long-anticipated moment, takes the communion wafer.

The table set by Christian Boltanski and Hans Ulrich Obrist - reunited twenty years after that first, ground-breaking "holy communion" and taking the seats of honour - is packed with forty-four exceptionally eminent guests.

The exhibition is like some huge, evolving endeavour of creativity and industry situated on the banks of the Seine. The route through it is unpredictable, often of uncertain destination, and unquestionably impartial (each artwork is a genuine gift from the artist, to be considered as such). The pieces featured should be approached with humour, used up, touched and consumed. Only in this way can the work of art - behind which the artist's body tends to disappear - be experienced. The process engenders a change of state that encourages the initiated visitor to take responsibility. Many of the works in Take Me (I'm Yours) accept

1 Maurice Merleau-Ponty, L’Œil et l’esprit , Paris, Gallimard, coll. « Folio Essais », 1993, p. 16. Translation: The Merleau Ponty Aesthetics Reader: Philosophy and Painting , Edited by Galen A. Johnson, Northwestern University Press, 1993, Part 2: 6, Eye and Mind, p.123 the consequences of an interactive and inter-relational intervention, during which artist and viewer manage potentially to merge one with the other, and the artist takes on the role of stage director. 2

Take Me (I’m Yours) presents the notion of the exhibition as rite, divested of the deference and conventional endorsement that are part and parcel of the dedicated exhibition space. The idea is one that Christian Boltanski is deeply familiar with. At Monnaie de Paris, he is exhibiting a re-enactment of a work first shown in London at the Serpentine Gallery, where the whole concept for the exhibition was born in 1995. At the time, the artist and Hans Ulrich Obrist saw a lot of Julia Peyton-Jones and Andrea Schlieker. It was Julia Peyton-Jones, director of the Serpentine Gallery, who asked Hans Ulrich Obrist to stage the original exhibition. Its success marked the start of a long collaboration between Obrist and Peyton-Jones, who would become the art world's emblematic duo.

The title of Boltanski's work remains unchanged: Dispersion . This word encapsulates the underlying theme of the whole exhibition, like a sub-heading that defines the stance of the works by the artists featured: edible works, "retail-ready" objects, gadgets to collect and instructions to follow that contradict the clichés of the untouchable, the unique and the eternal traditionally associated with artistic creation. Take Me (I'm Yours) at Monnaie de Paris sees the original group (Christian Boltanski, Maria Eichhorn, Hans-Peter Feldmann, Jef Geys, Gilbert & George, Douglas Gordon, Christine Hill, Carsten Höller, Fabrice Hyber, Wolfang Tillmans, Lawrence Weiner and Franz West) joined by new artists (Etel Adnan & Simone Fattal, Paweł Althamer, Kerstin Brätsch & Sarah Ortmeyer, James Lee Byars, Heman Chong, Jeremy Deller, Andrea Fraser, Gloria Friedmann, Felix Gaudlitz, Felix Gonzalez-Torres, Jonathan Horowitz, Koo Jeong-A, Alison Knowles, Bertrand Lavier, Charlie Malgat, Angelika Markul, Gustav Metzger, Otobong Nkanga, Roman Ondák, Yoko Ono, Philippe Parreno, Sean Raspet, Ho Rui An, Takako Saito, Daniel Spoerri, Rirkrit Tiravanija, Amalia Ulman, Franco Vaccari and Danh Võ). The exhibition represents a coming together of generations and a mix of approaches that only an exceptional "connector" such as Hans Ulrich Obrist could make possible.

Gift and dispersal, exchange and participation: this reincarnation of Take Me (I'm Yours) intends to perturb visitors who will test the enduring quality of works previously shown in London, now in Paris, and bound for new destinations in the future.

2 Nicolas Bourriaud, Esthétique relationnelle , Dijon, Les presses du réel, coll. « Documents sur l’art », 1988, p. 62 4

Take Me (I’m Yours) Genesis

Christian Boltanski and Hans Ulrich Obrist Exhibition co-curators

The following are extracts from a conversation between Christian Boltanski, Hans Ulrich Obrist, Arnaud Esquerre and Patrice Maniglier reproduced in the Take Me (I'm Yours) exhibition catalogue published by Éditions Dilecta.

Christian Boltanski (CB)(CB): It started twenty years ago. Hans Ulrich and I used to spend a lot of time in cafés together, and because we enjoyed talking about it, we used to try and reinvent exhibition formats, and ways not only of working as an artist, but of how to show artistic work. We came up with a lot of projects, some of them completely hare-brained that luckily never went any further. But then there were those that did.

Like do it . This idea for an exhibition was based on a manual that we put together, in which all the artists involved described a work. The manual was then sent out to arts centres that were supposed to make the work, but we never saw the finished piece. It was like a musical score, it introduced the possibility of personal interpretation, for better or worse. We imagined that in some places the "score" was played well, in others, badly. But we never checked. Later on, Hans Ulrich compiled a version called Home do it , this time for individuals, who could produce the works in their own homes. At the same time, we had the idea for point d’ironie, a free, 8-page magazine with a large print run of up to 200,000 copies and one artist as the sole contributor. In principle, it only contained 100 words so there would be no translation issues. The project was financed by agnès b., and we used her boutiques, in cities all over the world, as distribution points. It meant there was someone there who was responsible for leaving copies in cafés, in art colleges, and so on. Take Me (I’m Yours) represents a similar attempt to change the way art is shown. The common denominator of these three projects is a questioning of the concept of the holy relic. For do it , the object was made not by us, but by others. Although we created point d’ironie , it was distributed by people we didn't know at all. I live next door to a a small psychiatric centre. They papered the walls with point d’ironie ; they didn't know who I was. It could have been wrapping paper for presents. Our work was used by people who didn't necessarily have an artistic purpose in mind, or who in any case might not have known who we were.

Take Me (I’m Yours) intended to break the taboo that holds sway in museums, dictating that we can touch nothing, because the work of art is sacred. We've all experienced this. One of my large-scale works, in the museum in Hamburg, is made of biscuit tins. When I showed it in the Oslo museum, the 500 biscuit tins arrived wrapped in tissue paper. The curator made the museum staff wear white gloves to handle them, which were soon red with the rust on the tins. For them, the tins were sacrosanct. Obviously, I told them, if a tin is damaged, we'll get another, it couldn't matter less. At the time, it was a concern for us all to think about the rules, or rather what makes or doesn't make a relic.

Hans Ulrich Obrist (HUO)(HUO): I remember my first conversation with Christian. I was on a school trip to Paris in 1985. I didn't do what the school had organised, I went to see Christian Boltanski and Annette Messager in Malakoff instead. The first thing Christian said me made a deep impression: he said we only remember the exhibitions that invent the rules of play. These rules can be strategic, spatial, or temporal. So we began to ask ourselves: what exhibitions had never been done? We needed to rewrite the rulebook. The first thing Christian and I became aware of was a loss of intimacy in art, because the art world had significantly expanded during the 80s. We wanted to go back to the kitchen (The Kitchen Show, "World Soup", 1991) and do something very intimate. Then we thought about how art could travel, how we could create different structures to enable dissemination. We came up with do it first: an instruction manual based on the concept that individuals the world over could create this exhibition and interpret it in their own way. Art could travel, not as an object but as a sort of musical score that could still be played even 50 or 100 years' after it was first written. I remember we had discussed how artists might create sets of instructions, for works to be created at a later date, following these instructions. But it was already an old idea. What was

5 new was that we had entered a period of global awareness. It was important that we did it in a way that encompassed the whole world, by taking the idea to 60 or so countries where it could be interpreted.

The starting point for these things is always the tangible work of the artist. For Take Me , it started with a work by Christian, Quai de la Gare . We had asked ourselves how to move from an immaterial to material form of dissemination; where the work would be broken up and taken away; where people could do everything they couldn't usually do at an exhibition.

CBCBCB:CB For Quai de la Gare , I had a friend who had a big space in a sort of squat in what was a poor area back then. I filled the place with heaps of second-hand clothes and bags with the word "Dispersion" written on them. You could buy the clothes and, for the equivalent of a euro today, fill the bag. Lots of people came, and most of them thought it was a good deal to be able to take away so many clothes for a euro. Others, who knew me, kept the bag with the clothes in it, and treated it as they would have treated one of my works. It came to the same thing, but each individual made use of the bags of clothes in a different way. I talked to Hans about it. It was the piece I did for the Serpentine, and that I'm going to do again here in Paris. Naturally, for me - with my Fluxus connection and as an admirer of Beuys - all that can be contextualised by an art movement. Perhaps more so than for Hans, who was born after 1968. To be honest, you have to understand it as a political gesture that negated itself, because we all continued with our lives as normal artists, showing in galleries. I do it less and less, but I still do it. We all have things to sell. There was no total break with the way the art world operates. What you can say, is that it was more about games, experimentation, in a tradition that began with the Surrealists' exquisite corpses. Exquisite corpses that didn't stop them creating large works and showing them in museums. For me, the concept of the relic has always been a subject of reflection, on what it was, and even more so today when I destroy all my works with the idea of redoing them later. [...]

HUOHUOHUO:HUO The dispersal, the dissemination of a work is the rule of play. All types of artist, of every generation, have works to which this can be applied. The idea is to bring these artists together. There are four or five generations of artists involved in this exhibition. In 1995, we focused on the West, because that was the art world we were in. But today a polyphony of artistic hubs means that artists from every continent are featured. The exhibition has been reborn through Chiara Parisi's initiative. It's the polar opposite of do it , which has never ended and which, each time it goes somewhere, takes on board something new, like a sponge, becoming ever more intelligent and complex. There are so many ways of restaging an exhibition. Here we have an exhibition that the artists, Christian especially, who was there at the beginning, are looking at again with new eyes. [...]

CBCBCB ::: Two huge changes have taken place over the last twenty years. On the one hand, there is the extreme commercialisation of art, which was already happening before, but to a lesser extent. On the other hand, there's the internet, Wikipedia, Facebook. Nowadays, so many things can be shared that didn't exist twenty years ago. If I put a photo on Facebook, I can give it to everyone. The idea of the collectively appropriated object seems to me to be even more prevalent today. As a concept, taking something for free, via networking and digital technology, is more and more widespread. This is sharing.

HUO: It has to be said, though, that this question has been about for a long time in art. William Morris addressed ways of developing greater artistic democracy - art for the people (Gilbert and George's Art for AllAllAll ). And then there's the idea of "commons", which is by no means new. Even in his day, Joseph Conrad was already saying that the artist appeals to that part of our being that is a gift, not an acquisition. Starobinski has also been an inspiration, with his writing on the notion of the gift in the history of art; he believes we don't just give things, we also give words, and signs. Giving is not always objects passed from one person to another, it is the fabric of life itself: "Things can be given, but so can signs, words, missions, and duties. Gifts do not always pass from one hand to another... In truth, giving and receiving (in which a substance offered becomes mine) form the very fabric of every life, beginning with the first mouthful of food. Giving and receiving are first behaviours, which belong to a language of the body prior to speech: the maternal breast in contact with the child's lips. Simultaneously, as the human being is constructed, the acts of appropriating and giving, of monopolizing and dispensing, are made manifest through different intermediaries, through more complex paths - from the mother's lips to the child's ear - and through a changing series of more or less

6 codified symbolic elements. The gift of speech cannot be separated from the gift of the first nourishment." It's what Lewis Hyde says in The Gift. It's a recurring theme in art.

As for the idea that the economic context has changed so radically since 1995, I both agree and disagree. All areas of artistic endeavour have become industrialised. The only one that hasn't is poetry. [...] Rather, it's a question of degree. It's like globalisation. It existed in 1987. But it's solely as a result of technology that we can say it's a thousand times more predominant today than it was then. And on that point, do it and Take Me belong in a globalised world. These exhibitions are designed to become global entities. Alighiero Boetti's puzzles or Christian's objects are taken away by people from all over the world. Take Me is held in Paris, but the exhibition will be visited by people from countless countries, and afterwards, objects from the exhibition will turn up anywhere and everywhere. This is why Édouard Glissant has been an important influence for me. Glissant draws our attention to the dangers of homogenisation that go hand in hand with globalisation. We must therefore invent rules of play that make this homogenisation more difficult. It's the idea behind do it , which spans the planet, yet is in constant flux. The preface to do it goes into this in depth: how do we create an exhibition that is learning, evolving and transforming itself? These things all play a part. I don't think there's been a categorical paradigm shift. It's just become more extreme. So it's true, restaging the exhibition today involves making a more direct gesture. Because in this case it acts as a call to practice generosity.

The Artists

* The artists marked with an asterisk took part in the 1995 exhibition at the Serpentine Gallery, London.

Etel Adnan & Simone Fattal Felix Gaudlitz (1925, Beirut and 1942, Damascus) (1990, Munich) Live and work in Paris. Lives and works in Vienna.

Paweł Althamer Jef Geys* (1967, Warsaw) (1934, Leopoldsburg, Belgium) Lives and works in Warsaw. Lives and works in Balen, Belgium.

Christian Boltanski* Gilbert & George* (1944, Paris) (1943, the Dolomites, Italy and 1942, Devon, England) Lives and works in Malakoff. Live and work in London.

Kerstin Brätsch & Sarah Ortmeyer Felix GonzalezGonzalez----TorresTorres (1979, Hamburg and 1980, Frankfurt) (1957, Guáimaro, Cuba) Live and work in New York and Vienna. Lived and worked in New York.

James Lee Byars Douglas Gordon (1932, Detroit) (1966, Glasgow) Lived and worked in New York, Venice, San Lives and works in Berlin, Glasgow and New York. Francisco, Kyoto, Bern, the Swiss Alps, Los Angeles and the American southwest. Christine Hill* (1968, Binghamton, New York) Heman Chong Lives and works in Berlin and New York. (1977, Muar, Malaysia) Lives and works in Singapore. Carsten Höller* (1961, Brussels) Jeremy Deller Lives and works in Stockholm. (1966, London) Lives and works in London. Jonathan Horowitz (1966, New York) Maria Eichhorn* Lives and works in New York. (1966, Bamberg, Germany) Lives and works in Berlin. Fabrice Hyber* (1961, Luçon, France) HansHans----PeterPeter Feldmann* Lives and works in Paris. (1941, Düsseldorf) Lives and works in Düsseldorf. Koo JeongJeong----AA (1967, Seoul) Andrea FraserFraser* Lives and works in London (1965, Billings, United States) Lives and works in Santa Monica. Alison Knowles (1933, New York) Gloria Friedmann Lives and works in New York. (1950, Kronach, Germany) Lives and works in Aignay-le-Duc, France. Bertrand Lavier (1949, Châtillon-sur-Seine, France) Lives and works in Aignay-le-Duc, France.

Charlie Malgat (1990, Bergerac, France)

Lives and works in Paris. Takako Saito (1929, Sabae, Japan) Angelika Markul Lives and works in Düsseldorf. (1977, Szczecin, Poland) Lives and works in Paris. Daniel Spoerri (1930, Gala ți, Romania) Gustav Metzger Lives and works in Vienna and Seggiano, Italy. (1926, Nuremberg) Lives and works in London. Wolfgang Tillmans* (1968, Remscheid, Germany) Otobong Nkanga Lives and works in London and Berlin. (1974, Kano, Nigeria) Lives and works in Antwerp. Rirkrit Tiravanija (1961, Buenos Aires) Roman Ondák Lives and works in Berlin, New York and Bangkok. (1966, Zilina, Slovakia) Lives and works in Bratislava. Amalia Ulman (1989, Argentina) Yoko Ono Lives and works in London and Gijón, Spain. (1933, Tokyo) Lives and works in New York. Franco Vaccari (1936, Modena, Italy) Philippe Parreno Lives and works in Modena. (1964, Oran, Algeria) Lives and works in Paris. Danh Võ (1975, Bà Ria, Vietnam) Sean Raspet Lives and works in Mexico City. (1981, Washington) Lives and works in Los Angeles. Lawrence Weiner* (1942, New York) Ho Rui An Lives and works in New York. (1990, Singapore) Lives and works in New York and Singapore. Franz West* (1947, Vienna) Lived and worked in Vienna.

9 point d’ironie

Issues featured in the exhibition:

Christian Boltanski Itsuko Hasegawa and Dan Graham Hans-Peter Feldmann Frédéric Bruly Bouabré John Giorno / Ugo Rondinone Rosemarie Trockel Ken Lum / Chen Zhen Raymond Hains Gilbert & George Thomas Hirschhorn Navin Rawanchaikul Matthew Barney Hanne Darboven Raqs Media Collective Édouard Glissant Paul-Armand Gette Abattoirs agnès b. collection Yona Friedman Nancy Spero Damien Hirst Homage to Raymond Hains Tobias Büche Hreinn Fridffinsson Hugues Reip / Melanie Counsell Robert Crumb Carlos Cruz-Diez Koo Jeong-A Ryan McGinley Agnès Varda

Guest Curators

Christian Boltanski

Christian Boltanski is a French contemporary artist. In 2010, he took over the nave of the Grand Palais for the Monumenta exhibition and the following year represented France at the 54th Venice Biennale (2011). Major exhibitions of his work have been held at the Centre Pompidou in Paris (1984), the Chicago and Los Angeles Museums of Contemporary Art (1998) and at London's Whitechapel Gallery (1990). He also took part in documenta V (1972), VI (1977) and VIII (1987). More recently, the artist has shown at the Fondation Louis Vuitton (2014), Park Avenue Armory in New York (2010) and the Serpentine Gallery in London (2010). He has won a number of distinguished awards: the Kaiser Ring (2001), the Kunstpreis given by Nord/LB, Braunschweig (2001), Créateurs sans frontières (2007) and the Praemium Imperiale Award (2007). In 2015, he received the Generalitat Valenciana’s International Julio González prize.

Hans Ulrich Obrist

One of the most influential curators on the contemporary art scene, Hans Ulrich Obrist has organised numerous solo exhibitions (Olafur Eliasson, Philippe Parreno, Jonas Mekas, Pierre Huyghe, Anri Sala, Doug Aitken, among others) and group shows (such as do it ; Cities on the Move , 1997; the 1st Berlin Biennale, 1998; Mutations , 2000; Utopia Station , 2003; and the 9th Lyon Contemporary Art Biennale). In 1993, he oversaw the "Migrateurs" programme at the Museum of Modern Art in Paris, where he was curator for contemporary art. Since 2006, he has co-directed the Serpentine Gallery in London. Hans Ulrich Obrist became interested in the history of curation very early on. His conversations with pioneering figures in exhibition curation were published in 2008 in A Brief History of Curating , followed in 2011 by Everything You Always Wanted to Know About Curating But Were Afraid to Ask . In 2009, he became an honorary member of the Royal Institute of British Architects. In March 2011, he received the Bard College Award for Curatorial Excellence and the same year launched the Institute of the 21st century (i21c), a collaborative initiative devoted to archiving and distributing his Interview Project, for which the Van Alen Institute awarded him the New York Prize Senior Fellowship for 2007-2008.

When you leave Take Me (I'm Yours) at Monnaie de Paris, you will be given:

A paper bag - Christian Boltanski A small white bag stamped with Take Me (I’m Yours) Monnaie de Paris 2015 Labels stamped with Take Me (I’m Yours) Monnaie de Paris 2015 ...so that you can carry, organise and label the artists' works.

Created objects:

Badges - Gilbert & George A wishbone - Angelika Markul DVDs which erase themselves when played - Philippe Parreno Leather bookmarks - Amalia Ulman

Found objects:

Clothes - Christian Boltanski Any object left by visitors to the exhibition - Jonathan Horowitz Any object to swap - Roman Ondák

Distributed objects:

Mini Eiffel Towers - Hans-Peter Feldmann

Objects to purchase:

Pens, coins - Christine Hill An écu, the exhibition's currency - Fabrice Hyber Air capsules - Yoko Ono Photos taken in a photo booth on site together with a certificate of participation - Franco Vaccari

Paper objects:

Pink confetti printed with the words "Be quiet" - James Lee Byars Black-painted business cards - - Heman Chong A bibliography of recommended texts compiled by the exhibition curators - Maria Eichhorn Postcards of the Eiffel Towers - Hans-Peter Feldmann A prospectus of the services offered by the artist - Andrea Fraser A pale blue poster - Felix Gonzalez-Torres A red poster - Felix Gonzalez-Torres A white poster with two golden circles - Felix Gonzalez-Torres A poster of a photo of a bird in the sky - Felix Gonzalez-Torres Leaflets for Bateau-Mouche boat trips on the Seine - Bertrand Lavier Postcards - Yoko Ono A flyer - Yoko Ono Postcards - Danh Võ NAU EM I ART BILONG YUMI stencils - Lawrence Weiner NAU EM I ART BILONG YUMI tattoos - Lawrence Weiner

Newspapers:

The special issue of KEMPENS Informatieblad for Monnaie de Paris - Jef Geys Various issues of point d'ironie

12 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

Food:

Eggs - Kerstin Brätsch and Sarah Ortmeyer Mint-flavoured blue sweets - Felix Gonzalez-Torres Pills with unknown effects - Carsten Höller Soylent drinks - Sean Raspet Tins of sardines - Daniel Spoerri Pieces of human skeleton made of marzipan - Daniel Spoerri Rosewater communion wafers - Rirkrit Tiravanija Rosewater - Rirkrit Tiravanija

Virtual works (Monnaie de Paris Google app):

A video - Ho Rui An A route for taking a dog for a walk in the area around Monnaie de Paris - Koo Jeong-A A virtual reality audio guide - Charlie Malgat

Books can be purchased at:

The Monnaie de Paris Flammarion Bookshop, where you will find the publications featured in the bibliography compiled by the exhibition curators - Maria Eichhorn The second-hand bookseller opposite Monnaie de Paris, where a pop-up stall will have a selection of works on the exhibition artists available, produced by a young publishing house - saxpublishers/Felix Gaudlitz

Sound works are exhibited in:

The exhibition rooms - Franck Krawczyk The peristyle and the Escalier d'Honneur - Yoko Ono

You can take part in the exhibition by using objects made available by the artists:

Draw a picture and trade it for a free place on one of the Monnaie de Paris workshops and the opportunity to visit the contemporary art exhibitions organised by TRAM (Paris/Ile de France contemporary art network) - Paweł Althamer Use newspaper cuttings to display in the exhibition - Gustav Metzger Write a wish on a label and hang it on the Wish Trees - Yoko Ono Put a photo taken in the photo booth up on the wall - Franco Vaccari Enjoy the rest places - Franz West by bringing objects, to give or exchange:

Any object - Jonathan Horowitz Any object to swap - Roman Ondák by actively participating in the works:

Take a dog for a walk in the area around Monnaie de Paris following a route planned by the artist - Koo Jeong- A Play for, and perhaps win, a one-to-one dinner with the artist - Douglas Gordon Download and take away artists' books - Wolfgang Tillmans

13 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr A full programme of impromptu events will run throughout the exhibition, and especially during the FIAC (Paris Foire Internationale d'Art Contemporain) from 22 to 24 October. At the end of these events, you might leave in possession of:

Paper objects:

Cards made of Japanese paper with the names of poets hand-written on them - Etel Adnan The 22 POF flyers (Prototypes d'Objets en Fonctionnement (POF), Protoypes of Functioning Objects) - Fabric Hyber

Objects from the artist's studio:

Painted eggs - Kerstin Brätsch and Sarah Ortmeyer

Words and rumours:

Gilbert & George's talk with Hans Ulrich Obrist Launch of the Bourg-Lastique Biennale - Bertand Lavier

There will also be poetic and political interventions:

Poetry readings - Etel Adnan A surprise performance - Paweł Althamer A ghost performance - James Lee Byars A discussion with a gorilla - Gloria Friedmann A new ephemeral creation - Otobong Nkanga A work from the exhibition revisited - Roman Ondák A creative workshop - Takako Saito and you will be able to participate interactively:

Come and create a work with red objects - Alison Knowles

14 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Visitor Programme

The exhibition will be transformed every day by the actions of visitors and the presence of the artists. Performances will take place at regular intervals and surprise visitors as they walk through the exhibition rooms.

Etel AdnanAdnan's piece - a series of poetry readings - will invite poets to read their own works or pay homage to others. Visitors will take away with them not only the experience of the reading, but also drawings and verses as a gift from the artist.

A fuller events programme is scheduled for the three days of the FIAC, from 22 to 24 OctoberOctober, when artists Etel AdnanAdnan, Paweł Althamer, James Lee ByarsByars, Kerstin Brätsch & Sarah Ortmeyer, Gloria Friedmann,Friedmann, Gilbert & George, Fabrice HyberHyber, Alison Knowles, OtobongOtobong Nkanga, Roman Ondák, Sean RRaspet,aspet, TTTakakoTakako Saito and Daniel Spoerri will be encouraging visitors to get involved interactively.

On 5 November, Federico Nicolao, writer and Theory of Images teacher at the ENSAPC (École Nationale Supérieure d'Arts de Paris, Cergy) and three young artists, JoaJoaquimquim Brissaud, Maï Ito Delhomme and Charli Tapp will hold three concerts in recognition of the open-ended, evolving form of Take Me (I'm Yours) , conceptualised in response to the notion of dissemination and the spirit of the exhibition.

Events

/// European Heritage Days: Saturday 19 and Sunday 20 SSeptembereptember Take Me (I’m Yours) brings together contemporary artists who are, every day, engaged in constructing the cultural heritage of the 21st century. For the 2015 European Heritage Days, artists involved in the 89plus research project, all born in or after 1989, will take centre stage. The particular focus will be on their digital works, which explore new artistic media such as the Monnaie de Paris Google app.

Monnaie de Paris will be offering "European Heritage Day" guided tours and special workshops which will look at the idea of modern-day heritage against a backdrop of the Quai de Conti's 18th-century rooms overlooking the Seine. Guided visitor tours will take place every hour from 11 am to 6 pm. WorWorWorkshopsWor kshops for Young People (free if you book in advancadvance)e) 45-minute workshop for 3- to 5-year-olds accompanied by an adult at 11 am 1-hour workshop for 6- to 12-year-olds accompanied by an adult at 2 pm

/// Nuit Blanche: Saturday 3 October The Nuit Blanche will highlight Jonathan Horowitz's work, Free Store - a market that aims to encourage the free-flowing exchange of merchandise with no need for cash. Parodying the standard art fair model, the artist creates "an alternate economy parallel to that of the art fair." Visitors can thus exchange a work for an object they've brought with them, or interact with the piece by contributing to it or taking an object from it with no strings attached. Free admission from 7 pm to 7 am.

15 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Cultural Initiatives

Monnaie de Paris guided tours prioritise discussion and dialogue with visitors. During this exhibition, where visitors have a vested interest in what happens to the works, mediators will be available every day in the exhibition rooms to providprovidee information on visitor routes through the exhibitexhibition,ion, workshops for young people, sign language tours, and audio described tours for the visually impaired.

The Educational Team: Monnaie d’Échange An internship programme for students puts each individual in charge of a project that he or she is required to lead from start to finish, from the original concept prior to the opening of the exhibition right up to its completion. This project is designed as a "laboratory" that stimulates ideas about new forms of mediation, and new formats for tours and workshops, through an approach based on the visitor's personal discovery during discussions and conversations with the guide. Run in partnership with the École du Louvre and the École Nationale Supérieure des Beaux Arts.

Cultural Mediation The Monnaie d'Échange team is permanently on hand in the exhibition spaces. Cultural mediators will approach visitors from time to time to offer them additional information or to engage with them in conversation. Visitors are free to take advantage of this service or not.

VISITOR TOURS Visitors who explore the exhibition independently can then talk about it with a mediator in a maximum of 10 per group. Because the individuals in the group vary, so does the form and content of each discussion. All tours are included in the price of the admission ticket and are also available in English and sign language.

/// Focus Monnaie Who has never felt pressed for time while visiting an exhibition? Monnaie de Paris cultural mediators will give you an introduction to the exhibition that focuses on a specific theme so that you can approach the works of art in an original way. 20-minute tour, Tuesdays 4 pm / Thursdays 7 pm / Saturdays 5 pm On Thursday 24/09 and Thursday 22/10 at 7 pm in French and sign language On Thursday 01/10 and Thursday 29/10 at 7 pm in English Tour included in the price of the admission ticket, subject to availability

/// Expo Monnaie The visitor's own observations and comments provide the direction for guided tours led by mediators. Reflecting its history, architecture and mission, Monnaie de Paris gives visitors the opportunity to approach contemporary art exhibitions in a unique way, tailored to them. 50-minute tour, Tuesdays 5 pm / Thursdays 8 pm / Saturdays 4 pm On Thursday 24/09 and Thursday 22/10 at 8 pm in French and sign language On Thursday 01/10 and Thursday 29/10 at 8 pm in English Tour included in the price of the admission ticket, subject to availability

/// Archi Monnaie This tour puts the spotlight on the history and architecture of Monnaie de Paris and gives an introduction to the exhibition. 50-minute tour, Wednesdays at 5 pm On Wednesday 23/09 and Wednesday 21/10 in French and sign language On Wednesday 30/09 and Wednesday 28/10 in English Tour included in the price of the admission ticket, subject to availability

16 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr WORKSHOPS FOR CHILDREN, TEENS AND FAMILIES

Monnaie de Paris's mediators, the Monnaie d'Échange team, will be running a series of original events based on the exhibition that children will experience as giant workshops where freedom and creativity have free rein. A different workshop will be organised each time. Heads or Tails and Clan Monnaie workshops are available in English and French sign language.

/// Heads or Tails Workshop These Wednesday afternoon workshops for 6- to 9-year-olds and 10- to 12-year-olds aim to stimulate and develop the ways in which children see the works using creative tools consistent with the pieces on show such as cameras, sketch books and microphones. They will be guided by Monnaie d'Échange mediators. 50-minute workshop on Wednesdays at 3 pm for 6- to 9-year-olds and 4 pm for 10- to 12-year-olds On Wednesday 23/09 and Wednesday 21/10 in French and sign language On Wednesday 30/09 and Wednesday 28/10 at in English Price: €8 per child

/// Clan Monnaie Saturday afternoons provide an opportunity for 3- to 5- year olds and 6- to 12-year-olds and their parents to come and talk about the works on display. Monnaie d'Échange mediators are full of ideas to enrich the discovery process for young and older children alike: stories, role plays and experiments requiring several pairs of hands all make the afternoon an original experience. 50-minute workshop on Saturdays for children accompanied by their parents at 11 am for 3- to 5- year-olds and 2 pm for 6- to 12-year-olds On Saturday 26/09 and Saturday 24/10 in French and sign language On Saturday 03/10 and Saturday 07/11 in English Price: €14 for one child and one adult.

/// Mini Monnaie Mini Monnaie reserves the exhibition spaces for parents and children from 0 to 18 months, giving them the freedom to discover the exhibition at their own pace and in their own time. There are opportunities to handle objects on display to develop the child's sense of touch, while other works stimulate their capacity to see and hear. Visiting the exhibition becomes an experience of sharing between parents and children, who are introduced to contemporary art in a sensory awakening. Tuesday 29/09 and Tuesday 27/10 at 10 am Price: €14 for one child and one adult

WORKSHOPS FOR ADULTS

// Le Grand Monnayage - Series workshop A young artist leads this video workshop based on the exhibition and Aiming to move participants to "the other side": visitors become artists. The result is a collective endeavour with participants and the guest artist making a video work together. Everyone is involved at every stage of the process, from scenario development, production and filming through to editing. Participants become co-directors of one episode in a series, as this workshop unfolds over six sessions. 2-hour workshop in six sessions. Monday evenings at 7 pm from 28/09 to 02/11 Price: €30 for the whole workshop including unlimited access to the exhibition

17 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr ACCESSIBILITY

// Sign language tours and workshops These tours provide opportunities for visitors who would not normally meet to experience the exhibition together. Monnaie de Paris has put time and thought into how we communicate about artworks by signing in order to offer bilingual French and French sign language tours. The tours On Thursday 24/09 and Thursday 22/10: Focus Monnaie tour at 7 pm (20 mins) and Expo Monnaie tour at 8 pm (50 mins). Tours included in the price of the exhibition admission ticket

Workshops for young people Wednesday 23/09 and Wednesday 21/10: Heads or Tails workshop for 6- to 9-year-olds at 3 pm and 10- to 12-year-olds at 4 pm (50 mins). Archi Monnaie tour at 5 pm (50 mins) Price: €8 per child.

Saturday 26/09 and Saturday 24/10: Clan Monnaie workshop for 3- to 5-year-olds at 11 am and 6- to 12-year-olds at 2 pm (50 mins) Price: €14 for one child and one adult.

// Audio described tours for visually impaired visitors A mediator from the Monnaie d'Échange team accompanies visually impaired visitors as they explore this exhibition that involves touching, handling and even taking works away. The audio described tour takes visitors through the sensory experience this exhibition offers. Saturday 31 October at 10 am Tour included in the price of the exhibition admission ticket

// "Souffleurs d’images" for visually impaired visitors In partnership with the Centre de Recherche Théâtre et Handicap, Monnaie de Paris facilitates access to cultural events for visually impaired visitors through the "Soufffleurs d'image" initiative. Art students accompany visitors, providing them with the information they need to gain an understanding of the works on display. It's a service tailor-made for you! For further information and/or to make a booking (requested 15 days prior to the date of the tour) call +33 (0)1 42 74 17 87 or email [email protected] Free accompanied tour

In partnership with the École du Louvre, the École Nationale Supérieure des Beaux-Arts de Paris, the École Supérieure d’Interprètes et de Traducteurs, the ESAG Penninghen, the École Nationale Supérieure d’Arts de Paris-Cergy, the Université de Paris-Ouest Nanterre La Défense and Sciences Po.

18 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Discover our mobile app

Visit Monnaie de Paris with a free mobile app for company, created in partnership with the Google Cultural Institute. Available on iTunes and Google Play, this app for smartphones and tablets offers an unprecedented, multimedia approach to the temporary art exhibitions. It gives an introduction to the architecture of the Palais Conti and takes a brief look on video at the projects by contemporary artists developed as part of the Factory programme. Visitors can use their own devices or borrow tablets at the ticket desk to take with them around the exhibition and use when they want to access a virtual tour.

You can use the app to participate interactively in Take Me, (I’m Yours) through the contributions of three artists:

Koo JeongJeong----AAAA Gravissimousss Pmomd , 2015 Come to Monnaie de Paris and set off on a walk with a one of man's best friends. Koo Jeong-A's dog walks offer a fun experience of discovery and sharing . With canine companion in tow and equipped with the mobile app, the visitor follows one of the four routes planned by the artist and, for the duration of the walk, experiences Paris in a different way.

Charlie Malgat Mariage entre les zones 15 & 95 , 2015 Charlie Malgat has designed an audio guide for Monnaie de Paris's Google app based on the spatio-temporal fissure between the two exhibitions (1995 - 2015) with a narrative that superimposes the past within the present. With exceptional input from Fabrice Hyber, it will take you right into the Salle Guillaume Dupré and give you an in-depth insight into the works on display there.

Ho Rui An Handle (with care) , 2015 The artist presents a 7-minute video created from the textual and visual archives of the 1995 Take Me (I'm Yours) exhibition at the Serpentine Gallery in London.

On Instagram

Writer Federico Nicolao will produce an digital, daily news feature during the exhibition to be posted on Instagram at #kikerikidide#kikerikidide, a tribute to the writings of curator Hans Ulrich Obrist. Theoretical texts and images will provide a narrative for the exhibition throughout its duration.

19 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Publication

30 x 22 cm 66 pages

Retail price : €39 Limited edition, available at the ticket desk

Interaction with the object, touching it and holding it, is the fundamental principle which guided the design of this publication, continuing the underpinning theme of Take Me (I'm Yours) at Monnaie de Paris.

The intrinsic nature of the exhibition is reflected in this atypical catalogue. It takes the form of a sticker book, where the reader peels off images and sticks them in the empty boxes corresponding to the works of the 44 featured artists.

Commentary by Christophe Beaux and Chiara Parisi complete the catalogue, as well as the transcript of a conversation between Christian Boltanski, Hans Ulrich Obrist, Arnaud Esquerre and Patrice Maniglier, who examine the issues presented by an exhibition such as Take Me (I'm Yours) from different angles (philosophical, sociological, artistic and economic).

20 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Exhibition currency

Fabrice Hyber, un écu , 19891989----2015201520152015

25 mm, 8g Retail price: 1 euro

A product of cutting-edge technology and the very latest, most innovative research carried out by Monnaie de Paris, this mini-medal made of a copper-nickel alloy has a golden obverse and a silver reverse

Fabrice Hyber worked collaboratively with the Monnaie de Paris workshops to create this piece, which is 25 centimetres in diameter. By continuing to work with a range of materials through partnerships with businesses offering unique expertise, the artist questions notions of exchange and monetary value, both from a complex European perspective but also simply from the point of view of craftsmanship and technique. The mini-medal's obverse depicts the different ways of indicating the number one using the hands.

This écu extends the scope of a project started in 1989 for which Fabrice Hyber created three limited edition pieces using traditional methods. For this fourth piece, the artist has been introduced to the knowledge, skills and large-scale production processes of Monnaie de Paris.

Visitor Information

21 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

Monnaie de Paris https://billetterie.monnaiedeparis.fr 11, Quai de Conti Monnaie de Paris Flammarion bookshop 75006 Paris 11, Quai de Conti, 75006 Paris Open every day, 11 am --- 7 pm Take Me (I’m Yours) Late Thursday opening till 10 pm Open to visitors from 16 September to 8 November 2015 Monnaie de Paris boutique Open every day, 11 am --- 7 pm (ticket desk closes 2, Rue Guénégaud, 75006 Paris at 6.30 pm) Open Monday to Saturday, 11 am --- 7 pm Open Thursday until 10 pm (ticket desk closes at 9.30 pm) Cultural initiatives / Visitor programme La Monnaie de Paris offers a wide range of visits /// Student Nights and workshops for all, every day. Free admission for students on Thursdays from 6 Visitor information and reservations from Monday pm to Friday, 10 am to 6 pm: +33 (0)1 40 46 57 57 For all requests: [email protected] Visitor programme: [email protected] /// Prices

Full price: €12 FIND US ON Concessions: €8 www.monnaiedeparis.fr Under 18s, students, teachers, tourism facebook.com/monnaiedeparis professionals, Monnaie de Paris employees and twitter.com/monnaiedeparis companions, tourism professionals, partners: youtube.com/monnaiedeparis holders of a UGC card instagram.com/monnaiedeparis Free admission: Under 13s, affiliate Maison des Artistes artists, job seekers/those receiving minimum social benefits, large families, people with disabilities and a companion, press representatives, ICOM (International Council of Museums) members, partners: Ecole Nationale Supérieure des Beaux Arts (students and staff), Ecole du Louvre (students and staff), students on the "Médiation Culturelle, Patrimoine et Numérique" master's course at Université de Vincennes à Saint-Denis (Paris 8) and Université Paris Ouest Nanterre La Défense (Paris 10), Ateliers des Beaux Arts de la Ville de Paris students, professionals from TRAM member institutions (Paris/Ile de France contemporary art network), student "Souffleurs d’images" volunteers

/// 33----dayday Performance Pass Unlimited admission from 22 to 24 October Full price €18 / Concessions €12

Online booking

22 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Visuals available after the exhibition opening

***In situ visuals of the exhibition will be available from 17 September 2015

The exhibition poster

23 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

Etel AdnanAdnan, 2015 Courtesy of the artist

24 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

Paweł AlthamerAlthamer, 2015 Courtesy of the artist and neugerriemschneider, Berlin

25 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Christian BoltanskiBoltanski, Take Me (I’m Yours) , Serpentine Gallery, London Photo © Armin Linke, 1995

Christian BoltanskiBoltanski, Personnes, 2010 © Agostino Osio Courtesy of the artist, the HangarBicocca Foundation and the Marian Goodman Gallery, Paris

Christian BoltanskiBoltanski, Personnes , 2010 Installation, Monumenta 2010, Grand Palais, Paris Photo © Didier Plow Courtesy of the artist and the Marian Goodman Gallery, Paris

26 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

Heman ChongChong, Monument to the people we've conveniently forgotten (I hate you) , 2008 Courtesy of the artist and the Wilkinson Gallery, London

Andrea FraserFraser, Please Ask For Assistance, exhibition, 1993, installation with Preliminary Prospectuses , American Fine Arts, Co., New York, USA Courtesy of the artist

27 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

28 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

Jef GeysGeys, !questions de femmes! , 1980/2015 Courtesy of the artist

29 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

Gilbert & GeorgeGeorge, 2015 Courtesy of the artists

30 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Felix GonzalezGonzalez----TorresTorresTorres, Untitled , 1990 © The Felix Gonzales-Torres Foundation / CNAP / Musée départemental d'art contemporain de Rochechouart

Felix GonzalezGonzalez----TorresTorresTorres, Untitled , 1990 © The Felix Gonzalez-Torres Foundation Courtesy of the Andrea Rosen Gallery, New York

31 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

Christine HillHill, Vendible , 1995 Interactive installation Photo © Steven White Courtesy of Ronald Feldman Fine Arts, New York

32 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

33 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

34 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

Fabrice HyberHyber, un écu , 1989-2015 Courtesy of the artist

35 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Koo JeongJeong----AAAA, arrogation © The artist Courtesy of Pilar Corrias, London

36 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Angelika MarkulMarkul, L’os du bonheur, 2015 Courtesy of the artist

Gustav MetzgerMetzger, MASS MEDIA: Today and Yesterday, 2009 Installation, Gustav Metzger Decades: 1959 – 2009, Serpentine Gallery, London Photo © Jerry Hardman- Jones Courtesy of the Serpentine Gallery, London

Gustav MetzgerMetzger, MASS MEDIA: Today and Yesterday, 2009/2013 . Installation, Mass Media / Media Mess , Christine König Galerie, Vienna Photo © Leanne Dmyterko

37 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Otobong NkangaNkanga, Contained measures of Shifting states, 2012 The Tanks, Tate Modern, London

Roman OndákOndák, Swap , 2011 Courtesy of the artist and gb agency, Paris

38 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Sean RaspetRaspet, CCCCC1CCC(=O)O1 CCCCCCC1CCC(=O)O1 CCCCCCCCC1CCC(=O)O1 CCCC1CCCC(=O)O1 CCCCCC1CCCC(=O)O1 CCCCCCCC1CCCC(=O)O1 (Technical Milk)

CC1=CC=CC(C)=N1 CCC1=CN=C(C=C1)C CCC1=CN=CC=C1 CC1C(=O)C(=C(O1)C)O CCC1C(=O)C(=C(O1)C)O (Technical Food), 2015

Courtesy of the artist and Rosa Labs

39 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Ho Rui AnAn, 2015 Courtesy of the artist

Rirkrit TiravanijaTiravanija, Untitled, 2015 (Eau de RRose of Damascus) Commissioned by the Sharjah Art Foundation Installation, Sharjah Biennial 12 Photo © Shanavas Jamaluddin Courtesy of the artist and the Sharjah Art Foundation

40 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Rirkrit TiravanijaTiravanija, Untitled, 2015 (Eau de RRose of Damascus) Commissioned by the Sharjah Art Foundation Installation, Sharjah Biennial 12 Photo © Shanavas Jamaluddin Courtesy of the artist and the Sharjah Art Foundation

Amalia UlmanUlman, What to do about money , 2015 Courtesy of the artist and James Fuentes, New York

Franco VaccariVaccari, Esposizione in tempo reale N.4 Lascia su queste pareti una traccia fotografica del tuo passaggio Installation, Venice Biennale, 1972 Courtesy of the artist and P420, Bologna

41 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Danh VõVõ, ydob eht ni mraw si ti , 2015 Photo © Danh Võ

42 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr Lawrence WeinerWeiner, NAU EM I ART BILONG YUMI , 1995-2015 Courtesy of the artist and the Marian Goodman Gallery

Lawrence WeinerWeiner, THE SECOND ONE AFTER & DIRECTLY IN FRONT IN FRONT OF THE SUN AT THE LEFT OF THE LAST + A RISE IN THE ROAD + A STONE IN THE ROAD BEHIND THE SUN & STRAIGHT ON , 1998 Courtesy of the artist and the Marian Goodman Gallery

43 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr

44 Monnaie de Paris 11, quai de Conti - 75006 Paris www.monnaiedeparis.fr