: Doc Levin / Jeanne Triboul : Doc Levin

CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU 22.11.19 23.08.21

centrepompidou-metz.fr MNAM-CCI /Dist. RMN-GP Design graphique Pompidou, - Centre (Adagp) © Georges Meguerditchian - All rights reserved © Succession Brancusi Musée national d’art Moderne, Pompidou, , avant 1928. Centre #mondesconstruits

La Colonne sans fin III Constantin Brancusi, Constantin Brancusi,

CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU

CONTENTS

1. INTRODUCTION...... 5

2. EXHIBITION ITINERARY...... 8

3. FIVE QUESTIONS TO BERNARD BLISTÈNE, EXHIBITION CURATOR....23

4. LIST OF ARTISTS...... 25

5. RELATED EVENTS...... 26

6. EXHIBITION PARTNERS...... 29

7. IMAGES AVAILABLE TO THE PRESS...... 31 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU

Brancusi, accroupi, taillant à la hache une Colonne sans fin, vers 1924 - 1925 Épreuve gélatino-argentique, 23,9 x 29,7 cm © Georges Meguerditchian - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

4 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU 1. INTRODUCTION CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU FROM NOVEMBER 22, 2019 TO AUGUST 23, 2021 GALERIE 1

As early as the beginning of the 20th century, a materials and above all to space, clearly structured, large part of modern sculpture marked a radical even modular and dynamic, involving the spectator. shift away from tradition, by following the route Modernist artists wanted a transparency and a of abstraction. Paradoxically this was a way balance for their sculptures that they wanted to of analysing the world in a more objective and see transposed into human structures. The most universal manner: rather than modelling the surface important pieces which are assembled here from of things, certain artists like the cubists wanted to the Centre Pompidou call into question the spawning reveal their essential structure. They divided up the of this utopian abstraction, followed by the analysis objects they studied into lines, volumes and planes. of it and finally, its contemporary deconstruction. In their wake, sculptors and diverse avant- gardists baptised their works “constructions” or Curators: Bernard Blistène, Director of the Musée “structures”, opting for a radical abstraction, where national d’art moderne, with Jean-Marie Gallais, lines and right angles predominated. If industrial Head of the Programming department, Centre architecture encouraged these tendencies known Pompidou-Metz and Hélène Meisel, research and as “constructivist”, occasionally willing to produce exhibition manager. functional objects, sculpture also looked to redefine what is unique to it: the relationship to gesture, to

5 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU 2. EXHIBITION ITINERARY

Constructed Worlds, in the continuity of Phares, the simulated collapsings by Monika Sosnowska Musicircus and The Adventure of Colour, offers a (Rubble, 2008). Ceasing to be an object, sculpture thematic voyage over a long period, of the collection topples over into the “extended field” which the art of the Centre Pompidou - Musée national d’art historian Rosalind Krauss once described, to become moderne at the Centre Pompidou-Metz. Through a structure, an installation, an environment, a site, around fifty works, from Constantin Brancusi and a performance… to Bruce Nauman, Rasheed From the very beginning of the exhibition, the huge Araeen and Rachel Whiteread, this fourth part, timber carved by Joseph Beuys into the barely accompanied by a mediation through images, squared trunk of a tree and laid out on the ground like explores the sculptural research carried out by a sarcophagus, embodies the anonymous archaism artists from the beginning of the XXth century up of votive objects (Nasse Wäsche Jungfrau II, 1985). until today. In the same vein, the monoliths assembled by Ulrich Without following a strictly chronological order, Rückriem suggest the art of stone masons, going the exhibition layout approaches some of the from megalithic alignments to builders of cathedrals fundamental problems of sculpture, by thwarting (Dolomit, 1982). The direct size of the raw materials the presupposed classics: the placing of the gesture, presents as a starting point, a primordial gesture, the presence, absence or integration of the pedestal, doing away with superfluous transformations, in the invention and reinvention of sculpture beyond order to serve a sacred purpose. Further along, the statuary, of volume, gravitas or immobility. Robert Smithson's structures (Mirror vortex, 1964), The diversity of works and of currents represented Donald Judd (Untitled, 1978) and Gerhard Richter (6 in this exhibition navigates through possible stehende Scheiben, 2002/2011) on the contrary show “configurations” of a medium which is sometimes a perfectly industrial manufactured workmanship, pushed back to its outer reaches: graphic sculpture, of glass surfaces, metal or plexiglass without on the borderline of drawing, with the welded any faults. Just as anonymous, these minimalist silhouettes by Julio González (Femme à la corbeille, sculptures seem to be prototypes coming out of 1934) ; the sculpture “aboveground” and dynamic a factory, produced by machines rather than by with the mobiles by Alexander Calder (Fish Bones hand: objects without gestures, heralding other 1939) ; sculpture on the borderline of architecture venerations (technological, mercantile?). with the Architectones by Kasimir Malévitch (Gota, The paradoxes which punctuate this exhibition offer 1923 / 1989), the monumental impressions by Rachel a contrasted rereading of a slice of the history of Whiteread (Untitled (Room 101) 2003) ; or even sculpture from the 20th and 21st centuries, starting the sculpture on the point of disappearing with

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from the history of forms, revealing lines of descent As an introduction and conclusion to this exhibition just as much as fertile dissensions. In the room layout, the artist Falke Pisano born in Amsterdam devoted to the celebrated aesthetic duel opposing in 1979) has been invited to conceive an original verticality and horizontality, cohabiting as such installation, conceptualised as a " little history of in an exceptional manner the Colonne sans fin by modern sculpture". Since the middle of the first Constantin Brancusi, and the metallic expanding decade of this century, Falke Pisano questioned the netting on the ground by Carl Andre (4 Segment paradoxes of modern and contemporary sculpture: Hexagon, 1974). A great admirer of Brancusi – can a sculpture be at one and the same time “(before him) verticality was always determined: abstract and concrete? Can a sculpture become a the top of the head and the soles of the feet were the conversation? The artist's texts and conferences limits of sculpture. Brancusi's sculpture exceeds its develop the issues which are dear to her - language, vertical limits and continues beyond its terrestrial the body, and context. This research is then limits" – Carl Andre would nonetheless decide to spatialised and divided into mechanisms capable bring down the Colonne sans fin, by adopting an of accommodating works, diagrams, posters and overt horizontality. The exhibition plays on these projections as well as performances. tensions which constantly redefine modern and contemporary sculpture.

André Cadere

A Romanian artist born in Poland, André Cadere settled in Paris in 1967. In 1970, he abandoned abstract painting in order to devote himself to the production of “bars of round wood” composed of coloured segments. Of variable sizes and thicknesses, they could fit into a pocket or reach two metres high. Three to seven colours were aligned according to a mathematical system of permutations into which an error always slipped in. Being able to be placed, hung or moved around in the manner of a pilgrim’s rod, Cadere’s bars defied hierarchies: without neither back nor front, without neither height nor depth, the artist often introduced them into institutions without having been invited. André Cadere, Six barres de bois rond, 1975 12 cylindres de bois peint pour chaque barre. H.: 115 diam. 9,5 (chaque) The six roundwood bars were scattered Centre Pompidou, Musée national d’art Moderne, Paris throughout the exhibition area. © Courtesy Succession André Cadere © Philippe Migeat - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

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ROOM 1 UNBOXING

Rhetoric, diagrams or structures: since the middle Some questions to Falke Pisano, September 2019 of the first decade of the century, Falke Pisano has created systems likely to solve the mystery of Centre Pompidou-Metz: The history of sculpture modernist sculpture. Because of its abstraction, is central in your work, yet one could say that it can indeed seem to be an inscrutable enigma, it is language and discourse that are your main a purely formal game, indifferent to the course of material. How do the two articulate (sculpture and things. It is, however, always the fruit of a personal language)? or collective project. It appears in the form of Falke Pisano: The sculptural object, rather than tangible materials, it exists in a context; we have the history of sculpture, has indeed been a central an emotional experience from it, we argue about it; presence in my practice, especially in earlier it transforms us. works. The way I think about and use language as Suggesting light propaganda structures, material, has developed in relation to the sculptural. constructivist podiums and stands from the 1920’s, Paradoxically, while I have a genuine love for the Falke Pisano’s boxes create a mobile pedagogical material object of sculpture, I have always used these apparatus. Set up in the space, they are made up physical objects to think about all the things they are of tables and thematic panels on which can be read not. My first works, that were mainly text-based, all real or fictional conversations, between different started from questions such as “How can an object major figures of the exhibition. exist in different conditions?”, “Can a sculpture Unboxing, “unpacking”, thus reveals the exchanges consist of language?”, “How can a sculpture turn between artists, which, far from being anecdotal, into a conversation?”. So language has been a way have often had a determining impact on forms of to investigate and question the limits of materiality modernism, of which the purity led us to believe and objecthood, and sculpture has been a way to however that they had no story to tell. experiment with the potential of language to create material fictions.

CP-M: For this new commission, Bernard Blistène invited you to give your interpretation of the exhibition Constructed Worlds, and more generally about the collection. What does a collection like the Pompidou Center represent for you? As a contemporary artist, what relationship do you have with museums in general? FP: A museum collection of the size of the one housed by Centre Pompidou, that is historically built up out several collections, that over the years has followed different acquisition policies, that is supported by significant donations and seems to be, to a certain extent, decentralized and decompartimentalized, for me is almost like a city of art. As in a city, it is possible to see the institutional narratives that have been produced in interplay with economic and cultural values. I believe strongly that as a visitor we should question how inclusive they are and that the institution itself should commit to overcoming its own historical limits. At the same time, I think it is important to look as well beyond the institutional, to Portrait de Falke Pisano the collection as a very human space, that is made

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up of many different stories, encounters and the CP-M: Why did you choose to highlight in love, commitment and ambitions of many different Unboxing, through these conversations, what is people. There will always be problems, blind spots, called the "little story": anecdotes, encounters, messy corners, but as life, it is a work in process that asides, affinities, frictions, travel? requires a continuous engagement and rethinking. FP: I find it fascinating how, especially in the context of museums, the opening of the exhibition functions as CP-M: Your installation takes the shape of several a threshold moment between the complex processual thematic boxes, that could remind teaching nature of the making of the exhibition and the ‘fait materials or constructivist agit-prop props. Where accompli’ of the exhibition itself. When we visit an do these shapes, half-objects half-sculptures, exhibition, we are rarely aware of what has happened come from? before it opened its doors, of all the aspects that have FP: There is always a performative aspect to the objects played a role in determining this specific selection and installations I make. I want them to do something. of works, the way they are presented and how they The form of the boxes and the way they open up to are contextualized. We tend to accept that what is become a hybrid between sculpture and narrative presented to us, was meant to be this way and forget display, reflects the idea behind my installation: that it is preceded by a long and often quite complex How to create a presence of all those things that the institutional process. sculptures exist of besides their material existence? And of course something similar happens to the works At the same time I wanted to make clear that this itself. As an artist I know that whatever doubts I have is my reading, one of many possible ways to look at about the work, whatever compromises I have made, these objects and their histories and one of the many all the things that could be better or otherwise, the ways to bring them out in the open. That is why I did people and personal experiences that have influenced not choose for a more conventional display of archival the work indirectly – nothing of this is obvious for material and histories, but for a quite idiosyncratic the person that sees the work in an exhibition. I think system involving besides the objects, diagrams, this is one of the attractive qualities of art: even if fictional conversations, cartoonish drawings and an a work makes you think about many issues besides organisation of elements that demands a different itself, you engage with what is there. perspective than usual: remades of sculptures are However, as an artist, more than in the objects itself, hung upside down, boxes are place low on the bare I am interested in art as a situated practice that floor, images are displayed horizontally etc. This is to cannot be seen separate from the context in which say, we are not passive spectators, but we do things it takes place. With that I mean that for me the art with the art that we encounter. While we might want object is just one term that operates in a broader to place works in the proper art historical context, set of relations, some social, some phenomenological, we are also allowed to be more playful and creative, some conceptual... but all related to an expanded, when we are constructing our own relations with and and ultimately collective, experimental practice that individual narratives around the works of art we see concerns our relations to and engagement with the in museums. world of which we are a part, and to the past, present and the possible futures of this world. Les artistes Saloua Raouda Choucair et Heidi Bucher ont souligné le rôle que l’expérience joue dans l’accès à la connaissance et à la vérité, éloignant leurs œuvres des mouvements dominants comme le Constructivisme ou le Minimalisme. Les deux femmes ont bénéficié Pourquoi as-tu pelé les d’une reconnaissance tardive, leurs enfants se sont assurés du soin constant requis par murs de ta maison de famille ? l’œuvre de leurs mères. Est-ce que tu voyais cela comme un nettoyage des surfaces, Heidi ? Il y a eu quelques peaux que j’ai faites parce que je devais les faire. C’était une urgence...

...d’abandonner et d’avancer, de De prendre le contrôle prendre le contrôle... sur quoi ? Le passé ? Le présent ? Sur ton expérience ?

Unboxing Constructed worlds. The Love for Sculpture: Care copyright Falke Pisano, 2019

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ROOM 2 ARCHAIC FORMS

At the beginning of the 20th century, masks, totems, alignments or burial mounds, archeological sites talismans from African, Oceanian, Indigenous give to some post-war artists a taste for monumental American tribes fascinate Westerners by their scales and collective building sites as well as their expressive force and their ritual functions. The cosmic dimensions. Concerned about the integrity primitive avant-gardists find in their geometrical of the materials, they privilege the technique of simplicity and their raw materiality the path to carving directly, working by hand with blocks of abstraction. But even more than geographical wood or stone. Their idols and monuments synthesise boundaries, archaism emerges from the depths multiple influences: Paleolithic, Neolithic, Cycladic, of time, a survivor of immemorial origins, from Celtic, Gothic... prehistory or from antiquity. Caves, Megalithic

Mathias Goeritz

Before establishing himself in Mexico in 1949, the German artist Mathias Goeritz lived for several years in Spain, where he was in awe of the Altamira grotto. The artist founded there the ephemeral school of the “New Prehistoric”, assembling the personalities open to the fiery and diagrammatic delineation of cave paintings. In Mexico, he then conceived monumental projects which embodied his concept of “emotional architecture”: combining the influence of pre-Hispanic pyramids with constructivist modularity, his sculptures aspired to the universal spirituality of dolmens, totems, or obelisks. Here, the work of time can also be read on the surface of the different materials Mathias Goeritz, Pyramides mexicaines, 1959 5 éléments en tôle clouée, partiellement peinte sur âme de bois used, of which some are rusty. 279 x 324 x 138 cm Centre Pompidou, Musée national d’art Moderne, Paris © droits réservés © Philippe Migeat - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

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ROOM 3 VERTICAL / HORIZONTAL

That which is vertical follows the direction of the sans fin [The Endless Column], proposed in a variety thread of the lead weight, pointing under the effect of forms over forty years. This laid down important of weight towards the centre of terrestrial gravity. milestones for modern sculpture, like the abandon Verticality also symbolises humanity standing up of the pedestal, and the repetition of geometrical straight, leaving the ground, stretched out towards modules, essential for American minimal art of desires of elevation, like a growing tree. The column the 1960’s. Fascinated by The Endless Column, materialises this balance, solid and stable in its the minimalist Carl Andre nevertheless decided to role of an architectural support. There is therefore bring this heroic uprightness back down to earth – between the tree, the column and man, strong Brancusi dreamt of a column that would be higher symbolic ties, which culminate in the image of the than a skyscraper –, preferring instead a stretched axis of the world (axis mundi) which connects the out horizontality, which would simply become part terrestrial to the celestial. Constantin Brancusi of the exhibition space. produced the abstract synthesis of it in La Colonne

Constantin Brancusi

Constantin Brancusi made several versions of his Colonne sans fin [Endless Column], in different sizes and materials. The structure however remains the same, based on the repetition of rhomboidal forms rising one above the other, generating an upward dynamic to which rhythm, harmony and simplicity of form all contribute. The work seems to extend to infinity, the vehicle of a transcendence that links earth and sky, the terrestrial and the spiritual. The last version of the Column, installed at Târgu Jiu in 1938 in honour of the young Romanian dead of the First World War, is 30 metres high.

Constantin Brancusi, La Colonne sans fin III, avant 1928 Bois (peuplier) 301,5 x 30 x 30 cm Centre Pompidou, Musée national d’art Moderne, Paris © Succession Brancusi - All rights reserved (Adagp) © Georges Meguerditchian - Centre Pompidou, MNAM-CCI / Dist. RMN-GP

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ROOM 4 DRAWING IN SPACE

Both an exceptional goldsmith and blacksmith, Julio expression” by a line, a transparency and a void. González predicted at the beginning of the 1930’s Sometimes worked on a single plane, like Sculpture the emergence in modern sculpture of a “new Iron à deux dimensions [Sculpture in two dimensions] by Age”. In 1928 he assisted Pablo Picasso in the Berto Lardera, these works play between flatness creation of the models of welded wire for a project and volume, the shadow they project recalling their for a monument in memory of Guillaume Apollinaire. perforated materiality. Stretched like the strings of Highly graphic, these slender structures suggest the an instrument, radiating like beams of light, with poet’s calligrammes. González therefore defines the industrial means, their lines take on an architectural limits of a linear sculpture, enabling both writing dimension, particularly evident in the second part and “drawing in space”, by grasping “the essential of the 20th century.

Rasheed Araeen

At first a self-taught painter, Rasheed Araeen studied engineering in Pakistan. When he established himself in London in 1964, new British sculpture and the work of Anthony Caro fascinated him. But rapidly, he developed a very critical philosophy in the direction of the cultural colonialism of the west, which would lead to the creation of performances and militant reviews. For Araeen, western modernity, and notably minimalism, did not have the monopoly on geometry, which is fundamental in Islamic culture. His Cube of 1966, with its sides crossed through with a diagonal, would become the basic module of structures that he would not put into an order. Initially conceived to be manipulated Rasheed Araeen, One Summer Afternoon, 1968 by the public, the historical work One Summer Bois, peinture, colle Centre Pompidou, Musée national d’art Moderne, Paris Afternoon is installed here by the curators of © Rasheed Araeen the exhibition. © Georges Meguerditchian - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

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ROOM 5 ARCHITECTURE

Sculpture and architecture are traditionally defined Abstraction-Création in Paris or Concrete art in as two distinct disciplines – one decorative, the other Switzerland, were all looking to conquer a three- utilitarian – brought together within the context of dimensional space. Their abstract orthogonal complementarity, and sometimes in competition. geometrical structures made up only of lines and Numerous avant-gardists have however striven for right-angles, floating planes in primary colours, their consolidation during the first half of the 20th suggest the models of modernist architecture, which century. Suprematism and constructivism in Russia, had become much more flexible since the appearance De Stijl and neo-plasticism in the Netherlands, of reinforced concrete, the steel framework and the Bauhaus firstly in Germany, and then in the United glass shell. States, Cercle et Carré [Circle and Square] and

Kasimir Malevitch

For Malevich, the square, “new icon” of a world without a purpose, was the starting point for the vocabulary of suprematism. The volumes of the Architectones (from the Greek arkhitektoneo, “to be an architect, builder”), developed from 1923, result from the projection of squares into space, transformed into cubes and then into parallelepipeds. More than an architectural model, Gota is a theoretical model for a new spatial vision. When it entered the collection of the Centre Pompidou in 1977, the work was incomplete: 56 of the 243 elements of which it is composed were missing. These were reconstituted thanks to the collaboration of Troels Andersen (historian), Poul Pedersen (artist) and Chantal Quirot (restorer).

Kasimir Malevitch, Gota, 1923 / 1978 Plâtre, 85,2 x 48 x 58 cm Centre Pompidou, Musée national d’art Moderne, Paris © Jacques Faujour - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

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ROOM 6 MONUMENT

Whereas during the 19th century monuments Tower and house a sphere, a cube, a pyramid and glorified and commemorated the history of a nation by a glass cylinder supposed to accommodate various an heroic representation and enduring installations, administrations. Never built, this mythical project modern artists developed an abstraction and a founded the political orientation of constructivism dynamism more appropriate for portraying ideals as implied in public spaces and made claim to having pointing towards the future: technical progress, but cosmic dimensions. The very same which would be also democracy and pacifism. The Monument to the directly later taken over, in the 1960’s, by artists Third International, modelled by Vladimir Tatlin making the site and the landscape a contribution to in 1919 after the October Revolution, is exemplary monuments devoted to the elements or to geological in terms of scale and utopian vision. Its double forces. steel spire should have gone higher than the Eiffel

Antoine Pevsner

In 1920, Antoine Pevsner wrote in Moscow, with his brother Naum Gabo, the Realistic Manifesto, the founding milestone of constructivism. He settled definitively in Paris in 1923 where he would take part in the activities of Cercle et Carré [Circle and Square] and Abstraction- Création. Thought out in terms of dynamic, transparency and depth, his sculpture is made of thin rods of welded metal and of surfaces striped with a file. Monument symbolisant la libération de l’esprit [Monument symbolising the liberation of the mind] is the second version of a model produced for an international sculpture competition launched in 1952 by the International Contemporary Art Institute of London on the theme of the unknown political prisoner. At the centre of a geometrical netting emphasising the sequence, is a suspended cell, the transparency of which suggests the force of emancipation. Antoine Pevsner, Monument symbolisant la libération de l'esprit (Monument pour le prisonnier politique inconnu), 1955 - 1956 Bronze, laiton brasé et résine synthétique, 132 x 140 x 90 cm Centre Pompidou, Musée national d’art Moderne, Paris © Adagp, Paris 2019 © Georges Meguerditchian - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

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ROOM 7 FREE FORM

Without forming a specific current, and whilst Möbius strip by folding on itself a strip of paper, belonging to different groups, the promoters of to which he added a half-twist. This is the starting free form became liberated of all functionalistic point of his series Endless Ribbon produced from constraints during the 1950’s in order to inspire 1935 to 1953, in hard stones, perfectly mechanically themselves with organic forms and mathematical polished. The straight line no longer had the formulae. Geometry, and notably topology which monopoly of architectonic rigour; the curve, infinite is the study of the relationship of positions, is for and open forms become part of the reflections about example for Max Bill, “the primary element of any unknown spaces and more complex geometries, that work of visual art”. In 1934, whilst searching for an art helped to imagine. endless movement, he intuitively rediscovered the

Max Bill, Unendliche Schleife, version IV (Ruban sans fin, version IV), [1960 - 1961] Socle en granit: 18 x 175 x 40 cm 130 x 175 x 90 cm Centre Pompidou, Musée national d’art Moderne, Paris © Adagp, Paris 2019 © Jacqueline Hyde - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

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ROOM 8 MOVEMENT, BALANCE

At the beginning of the 20th century, numerous firstly as a playful makeshift production: a bicycle avant-gardists looked to transcribe into their wheel fixed onto a stool, actionable by whoever sculptures the dynamics which were acting upon wishes to contemplate the infinite rotation of industry, science and technology. Galvanised the cycle. The “ready-made” bicycle wheel by by “the beauty of speed”, the futurists became opens in 1913 the era of fruitless enthusiastic about the aggressive movement of machinery, authorising the spontaneous balance machines. The constructivists preferred to evoke of Calder’s mobiles or Bruno Munari’s Useless the speed of light (300.000 km/s) as being the most Machines. These objects celebrate impermanence, absolute manifestation of movement. However, far the random and the transformation peculiar to life, from these mechanical or cosmic debates, the first whilst stimulating the perception and interaction of veritable kinetic work (in movement) is presented the spectator, himself always moving.

Alexander Calder

In 1930, after having discovered Mondrian’s studio in Paris, Calder shifted towards an abstraction that he wanted to put into movement. After his miniature circus statuettes and his wire silhouettes, come the mobiles. Motorised and geometrical, the first ones suggest well- ordered worlds. The following ones adopt organic forms, like the Fish Bones, and freely sway under the influence of draughts. Brightly coloured sheets of metal, cut into the shape of leaves or of scales, are used as weights, hung onto the extremities of metallic rods serving as pendulums. Their structures suggest an arborescent form or frameworks. Far from any frenzy, movement with Calder undulates around a point of equilibrium, moving upwards calm and immobility. Alexander Calder, Fish Bones (Arêtes de poisson), 1939 Tôle, tiges et fils métalliques peints, 207,2 x 192 x 137,1 cm Centre Pompidou, Musée national d’art Moderne, Paris © Calder Foundation, New York / Adagp, Paris © Service de la documentation photographique du MNAM - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

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ROOM 9 STRUCTURES

In architecture the “structure” designates the Formica monoliths, glass cubes or lines of bricks, elements which make up the framework of the these minimalist works close to industrial design building, leaving to one side any covering. More seemed to come out of the factory. Of simple logic widely, a structure is an arrangement of the parts and totally neutral, they were described by the of a whole, an organisation, a system. In 1966, American artist Donald Judd as “specific objects”, the collective exhibition “Primary Structures” their specificity being the power to be grasped at the assembled in New York diverse three-dimensional first glance and to not refer to anything other than objects constituted of geometrical modules, arranged themselves. But this claimed literality sometimes according to the principles of seriality and of masked hidden references of interiority, of mystery, permutation. Steel girders, aluminium polyhedrons, of a critical, erotic or humorous tension.

Robert Smithson

Fascinated by geology and paleontology, Robert Smithson was inspired as much by natural sciences as he was by science-fiction. Some of his earth moving projects take place at the heart of landscapes sculpted by erosion or by fossil exploitation. Entropy is at the heart of his approach: this law of physics which expresses the irreversible evolution of matter towards the loss of energy and chaos is symbolised, with Smithson, by the vortex or the spiral. Like crystals, the three prisms of Mirror Vortex attract our eyes by shattering any spatial perspective. The iconic work of Land Art Spiral Jetty rolls up on the Great Salt Lake (United States) a whirlpool, suggesting the submersion Robert Smithson, Mirror Vortex, 1964 of the water towards a mythical siphon. Voyages Acier peint, miroir, 87,5 x 144,8 x 63,5 cm Centre Pompidou, Musée national d’art Moderne, Paris in time therefore correspond to this spatial © Adagp, Paris 2019 disorientation, between accelerated ruin and © Centre Pompidou, MNAM-CCI/Jean-Claude Planchet/Dist. RMN-GP crystalised time.

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ROOM 10 PROCESS

At the end of the 1960’s certain artists rejected the Morris, it was a question of finding the right affection for the pure forms of minimalist sculpture, balance between the tool, the manner of doing and of which the solid matters, made to last, seemed to the nature of the material, all “by going beyond the come from an outdated idealism. The representatives individuality of the hand for a more direct revelation of the antiform on the contrary preferred a supple of the matter itself”. In his essay Anti Form (1968), and movable materiality, the properties of which he made Jackson Pollock a precursor: at the end were not definitively set, but engaged in a process of the 1940’s, the painter had let paint freely run still ongoing, made up of impermanence and of off his paintbrush which was suspended above a risk. Rubber, string, rope, canvas, felt, sand, plaster, canvas placed on the floor, exploring the fluidity wax, etc.: as many unstable materials likely to be specific to its medium. transformed. For the American sculptor Robert

Robert Morris

Profoundly protean, the work of Robert Morris proceeds between conceptual art, minimal art and post-minimalism. His critical essays, mixing the history of art, philosophy and fiction, are considerable. This felt relief is a testimony to his interest for the “phenomenology of doing”, which he theorised in a text in 1970. Blurring in an unprecedented manner the frontiers between a tableau and a sculpture, the work owes its aspect and physical properties to its material and its mode of presentation. The five large parallel incisions, made at regular intervals in the felt, once on the wall, reveal yawning gaps which testify to contradictory forces: the Robert Morris, Wall Hanging (Pièce de feutre suspendu au mur, tension of the system of hanging, the weight Felt Piece), 1969 - 1970 of the heavy matter and the resistance of the Feutre découpé, 250 x 372 x 30 cm incisions put to the test. Centre Pompidou, Musée national d’art Moderne, Paris © Adagp, Paris 2019 © Philippe Migeat - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

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ROOM 11 THE IMPRINT OF THE SETTING

Rachel Whiteread produced her first sculpture cast at the headquarters of the BBC in London in in 1988 by pouring plaster into the interior of a 1932. Invited to test the memory of the place on cabinet tilted horizontally and then broken up to the occasion of redecoration work, Whiteread chose free the solidified cast inside. This technique of to capture the very enigmatic “room 101”, which hollow casting necessitates destroying the mould had become legendary after George Orwell, who in order to take out the negative imprint, which had himself worked at the BBC from 1941 to 1943, at first served as a means of revealing to her the had used the name to baptise the torture room in cavities of domestic objects: the convex container his novel 1984. In 2003, the artist turned into an of a hot water bottle or the soft volume of an old impenetrable bunker this space which had become mattress. The artist then cast the empty interior a technical room, petrifying from the inside all the of a living room, the whole of a house destined to walls’ irregularities, in an almost archeological be demolished. The large piece presented here was approach: “to mummify the air”.

Rachel Whiteread, Untitled (Room 101) (Sans titre (Chambre 101)), 2003 Jesmonite, revêtement coaxial, contreplaqué, acier nickelé, 300 x 643 x 500 cm Centre Pompidou, Musée national d’art Moderne, Paris © Rachel Whiteread, courtesy the artist and Gagosian Gallery © Georges Meguerditchian - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

19 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU

ROOM 12 INSTABILITY

From the hyper-realist moulding to the video tunnels in the shape of rings, lacking an access and performance and the neon, Bruce Nauman has a destination, proposed the absurd project of “going contributed since the middle of the 1960’s to a widened around in circles”. Symbol of the infinite and of practice of sculpture. Fascinated by mechanisms of repetition, this circularity is here doubled up by the control, this artist has called into question the way title Smoke Rings suggesting the vertical elevation in which space conditions our behaviour, modelling of horizontal forms as much as the transient breath architectural installations meant to create feelings of idle smokers. Created in several segments of of disorientation, confinement or instability. As plaster – the material of the first draft in sculpture early as 1969, narrow dead-end corridors imposed –, simply placed on the floor on wooden blocks, in a on visitors the experience of a physical and mental precarious equilibrium, these two fragile circles are stalemate. From 1977 to 1981, several projects of the models of imaginary monuments.

Bruce Nauman, Smoke Rings (Model for Underground Tunnels) (Ronds de fumée (Modèle de tunnels souterrains)), 1979 Plâtre vert: diam.: 340; h: 35 plâtre blanc: diam.: 330; h.: 50 cm Centre Pompidou, Musée national d’art Moderne, Paris © Adagp, Paris 2019 © Service de la documentation photographique du MNAM - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

20 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU

ROOM 13 THE SKIN OF THINGS

If constructivist sculptors have defended transparent or frustration? Produced by artists of different structures, with their works similar to wooden roof generations, the works in this room cover and frameworks or skeletal structures stripped bare, preserve domestic objects, sanctified in spite of on the contrary, others have practiced the art of their banality. Heidi Bucher’s imprints removed dissimulation and opacity. Envelope, wrap up, from her ancestors’ home have the appearance of bundle up, pocket, box . . . certain artists affiliated shrouds. The sheets of precious metals that Edith to Dada and to cover up mysterious Dekyndt applies to woolen blankets make them contents. In 1920, Man Ray swathed in a blanket into abstract icons. Finally, the Grande Chrysocale an object that he did not wish to reveal (l’Énigme [Oroide Cocoon] – an alloy of copper, tin and zinc – d’Isidore Ducasse [The Enigma of Isidore Ducasse]). woven by Guillaume Leblon in the proportions of a Was it to protect it or to hide it? To create curiosity sarcophagus encloses everyday objects kept secret.

Guillaume Leblon, Grande Chrysocale, 2006 80 x 370 x 70 cm Centre Pompidou, Musée national d’art Moderne, Paris © Adagp, Paris 2019 © G. Meguerditchian et Ph. Migeat - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

21 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU

ROOM 14 DECONSTRUCT

Since the beginning of 2000, Monika Sosnowska called “psychoactive spaces”: traps which are has been exploring the architectural relics of the both physical and logical (a succession of never- communist era, notably in Warsaw, where she lives. ending doors, impracticable stairways...). Rubble is “A very chaotic city, she says, being rapidly rebuilt presented as an enigma: why does the debris on the on the ruins of modernism, or rather, coexisting floor – apparently due to the collapse of the ceiling in symbiosis with them.” Guided by functionalist – have the charm of precious crystals? Inspired by principles as much as a social ideal, some of these the brutal vision of a fractured window as much buildings from the 1960’s have grown old prematurely, as by the trompe-l’œil of a baroque vault, where because of an excessive standardisation, of inhuman painted figures seem to drop, the artist suggests scales or substandard construction. Fascinated that a hidden order can emerge from the fall, from by these defeats, the artist conceived what she the accidental and from the destruction.

Monika Sosnowska, Rubble, 2008 Placoplâtre, bois, peinture, 23 x 560 x 900 cm Vue de l’installation dans l’expositions 'Projects 83: Monika Sosnowska'. MoMA, NY, 30 Août 2006 – 27 Novembre 2006 © Monika Sosnowska Photographer: Jonathan Muzikar © The Museum of Modern Art, New York. Object Number: IN1979.2. New York, Museum of Modern Art (MoMA). © 2019. Digital image, The Museum of Modern Art, New York/Scala, Florence

22 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU 3. FIVE QUESTIONS TO BERNARD BLISTÈNE, EXHIBITION CURATOR

Centre Pompidou-Metz: After “What is Modern CP-M: What are the specific features of the Sculpture?”, the large -scale exhibition which sculpture collection of the Museum of Modern took place at the Centre Pompidou in 1986, Art? directed by Dominique Bozo and Margit Rowell’s commission, why have you chosen yet again to BB: A proliferation of multiple groupings, the examine sculpture in the collection today? collection is of an incredible richness. Brancusi’s Workshop, which the artist bequeathed in its entirety to the State in 1956, is a priceless contribution to Bernard Blistène: The idea came from your the understanding of modern sculpture. In recent institution and from Emma Lavigne, when she years, I have endeavoured to create an important was Director of the Centre Pompidou-Metz. The position for sculpture in the layout of the permanent exhibition “What is Modern Sculpture?”, which took collections of the museum in Paris. Such an exercise place thirty-five years ago was undoubtedly for her is not simple, we cannot present sculpture and its the first great exhibition by the Centre Pompidou developments – the installation or the environment devoted to the subject. It had an anthological – with as much ease as with other disciplines. ambition which would cover the whole of the century, For all that, I persist in thinking that it is often according to a principally western perspective. This in the very radicalness of sculpture, and in the exhibition, was also the point of view of Margit connections it has maintained with other visual- Rowell, a curator with a very specific career path, art forms, that certain aspects of modernity have and whose exhibition in 1979 at the Guggenheim been more decisive. This is undoubtedly the reason “The planar dimension – Europe, 1912-1932” had why the groundwork which presides over the revealed the importance of the plane in modernist presentation which we are making together today, sculpture, from an authentic historical perspective. attempts to propose an interpretation that does It appeared to me legitimate to come back today to not aim to be anthological, but which will follow a history, in a period which claims to overlook it. At governing principle. Through this method, the very the same time, it also seemed to me to be necessary notion of sculpture is approached in its historical to refuse to show “everything, a little”, with the evolution, which, from Brancusi to minimalism and risk of creating an indecipherable hotchpotch... In to the critical perspectives which developed in addition, it was also necessary to show how much different regions of the world, reveal perspectives the museum’s collection had developed as much by which are currently too often ignored. In a way, this historical acquisitions as through an attention to project, by its simplicity, also aims to be a return to modernity “off the beaten track”. the history of forms which have marked me and that I still consider as a valid interpretative framework.

23 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU

CP-M: The exhibition brings together around CP-M: As part of this exhibition, you wanted to fifty works all by different artists. This selection invite the young Dutch artist, Falke Pisano, to enables a wide diversity, nevertheless the create a new work, likely to reflect this selection governing principle which you mentioned is that of sculptures from the Musée national d’art of abstraction in sculpture, and at the heart of moderne. Why did you ask her, and what do you this, the constructivist approach in particular. expect from such a contemporary commission The connection to architecture, to the idea of with regard to the collection? construction and of deconstruction can be found throughout the exhibition. Why have you chosen BB: From the beginning of the project, it appeared this axe in particular? to us that this linear idea needed to be thought over in all its complexity, in the light of “plural BB: Sculpture, assemblage, construction… As modernities3”. Because for about fifteen years now many paradigms which have been pioneering and she is leading a reflection on history, on marginalised productive in the development of XXth and XXIst aesthetic categories and on the relationship of the century sculpture. But I believe that the essential work to its context, it appeared to me important is to show the porosity which can exist between to associate Falke Pisano by saying to her: here different disciplines and notably, the relationship is what we are showing, bearing in mind that we which was established during the XXth century cannot show everything, what reflection could you between sculpture, architecture and public spaces. construct from this story, from this reality which It is for that matter from this essential relationship is a collection, which we know is made up of large that the project is organised at different moments groups, but which also has shortcomings? Falke in history. Pisano espoused the story of the collection, but also that of its margins, in order to construct a mechanism CP-M: Some of the works presented do indeed which makes us realise that a collection, and even tend towards the exterior and public spaces, but more so, that an exhibition are never closed systems. others also go towards the interior, through the These are open systems, both through the questions practice of prints (impression of a room for Rachel that they generate, by the particularity of the point Whiteread, of a floor for Heidi Bucher). Other of view of each one of us has of them; systems in works, similar to skins or sheaths are rather at which what makes history cannot have a set form, the frontier of the interior and the exterior. The but a form continually redefining itself. exhibition concludes with the deconstruction of space, with Monika Sosnowska’s installation, simulating the collapse of space. Is it the progressive exit from the museum space which unites these approaches?

BB: By simplifying to the extreme, I would willingly say that the principle concern of deconstruction obviously worked on sculpture’s space in the last third of the XXth century and in the XXIst century, but that also sculpture, as Rosalind Krauss said in her day, was thought of as an “expanded field”. We could not mount such a project without opening up a reflection going beyond the museum. It is the case with Robert Smithson and other artists who, after having questioned the museum within its limits, engaged their propositions into an open space, both literally and figuratively, in spite of and at the expense of the museum itself.

3 With reference to the exhibition of the collections of the Centre Pompidou-Musée national d’art moderne Modernités plurielles de 1905 to 1970, presented from 23 October 2013 to 26 January 2015.

24 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU 4. LIST OF ARTISTS

Carl Andre Gyula Kosice Giovanni Anselmo Berto Lardera Rasheed Araeen Guillaume Leblon Joseph Beuys Kasimir Malévitch Max Bill Etienne-Martin Constantin Brancusi Gordon Matta-Clark Heidi Bucher Robert Morris Andre Cadere Bruno Munari Marcelle Cahn Bruce Nauman Alexander Calder Antoine Pevsner Anthony Caro Falke Pisano Saloua Raouda Choucair Gerhard Richter Edith Dekyndt Ulrich Rückriem César Domela Reiner Ruthenbeck Barry Flanagan Richard Serra Alberto Giacometti Robert Smithson Mathias Goeritz Monika Sosnowska Julio González Vladimir A. Stenberg Jean Gorin Gueorgii A. Stenberg Gottfried Honegger Takis Francisco Infante-Arana Jean Tinguely Enio Iommi Georges Vantongerloo Robert Julius Jacobsen Isabelle Waldberg Donald Judd Rachel Whiteread

25 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU 5. RELATED EVENTS

YOUNG VISITORS While Centre Pompidou-Metz is about to celebrate the real or fictional world that the children and its 10th anniversary, the exhibition Constructed adults accompanying them create in a collective Worlds reaffirms the place of mediation at the heart and/or individual way. of the institution's cultural project. This sensitive approach is particularly developed for very young children.Families give themselves, Giving as many keys as possible while leaving during a visit, the opportunity to discover together the visitor free to create their own relation to the that a sculpture can be as graphic as a drawing, artwork, choosing pleasure and play to stimulate the as functional as the design, as built up than youngest, to create moments of conviviality, dialogue architecture or as mobile as dance! and sharing, within the family or individually, this is how we at Centre Pompidou-Metz define mediation. At Centre Pompidou-Metz, to experiment is also to be in direct contact with the artworks.The workshop The exhibition route was conceived in its "Sculpture de poche", designed by Camille Renault, pedagogical approach as a field of experimentation offers this unique experience of building and feeling for the visitors, to let them dive into a universe of what is creating with a goal of transmission and shapes, materials, solids and voids, lines and curves, appropriation. playing in turn with the accumulation or simplicity In La Capsule, it is a real story and a fantastic world of a module. to build that the young designer Apolline Muet In (re)visiting the history of sculpture in modern and offers. With the interactive installation "Mobile", contemporary art, visitors are led to experiment, presented for the first time in Metz, the visitors to wonder and to create. The scientific content are actively creating, since everyone is invited to transmission is embodied through the feelings and complete the structure imagined by the artist to sensations provided by sculpted materials, through make it live.

26 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU

WORKSHOPS THE CAPSULE 15.02 → 11.05 POCKET SCULPTURE The Capsule is a place of encounters, exchanges and of artistic practices open to everyone. WORKSHOP 5-12 YEARS OLD Camille Renault WED. + SAT. + SUN. + PUBLIC HOLIDAYS (except 1st May) SAT. + SUN. + PUBLIC HOLIDAYS (except 1st May) 2 PM → 6 PM | Landing of Gallery 1 | Continuously Aged 5-7: 11 AM Free admission upon presentation of an entrance Aged 8-12: 3 PM ticket to the exhibitions, without reservation 90’ | 5€ (subject to availability) Supplementary times during the school holidays Sign up online or on the spot (subject to for the Zone B: availability). Supplementary times during the MON + WED + THU. + FRI. – 2 PM → 6 PM public holidays for the Zone B: Aged 5-7: WED. | 3 PM Aged 8-12: MON. + THU. + FRI. | 3 PM 15.02 → 11.05 MOBILE! Camille Renault studied the history of art, painting Apolline Muet and space design at the École Duperré. In between time, the numerous shows (theatre, puppets, circus) Apolline Muet, a graduate from the ENSAD in Reims that she discovered in Paris led her towards light. (2017), creates small moving objects. Having always Fascinated by this so sensitive matter, she began been in awe of the period of childhood, she makes studying management (lighting/sound/flying) at the use of it in her design and illustration work, seeing TNS School and then changed direction towards the in it as a means of inventing playful objects with a visual arts. She finally entered the HEAR in 2013 in narrative content which make everybody happy. It the section “book/object” where her artistic work is the recreational or re-creative experience which settled into books and Object theatre. will be experienced by users which interests her Today she pursues her work in Strasburg at the heart and not the object in itself, the object being for her of an artists’ collective where she has opened an a “useful tool”. engraving/screen printing/bookbinding workshop. For la Capsule, the production of a moving mate- She is above all interested in the emotion which is rialtheque. Visitors will be able to exchange views created by an object which comes alive. When the and choose the materials which compose a large living becomes visible or when the visible comes moving sculpture and thus create their own instal- alive. lation, a tribute to the useless machines imagined by Bruno Murani and presented in the exhibition As part of the exhibition Constructed worlds, it Constructed worlds. has been proposed to Camille to conceive a pocket workshop, to encourage children to think about the very nature of sculpture. The workshops for children benefit from the support of the Group UEM and its affiliate efluid:

© Apolline Muet

27 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU

ASSOCIATED PROGRAMMING

DES MONDES CONSTRUITS Loïc Guénin / Pascale Berthelot 22.11 | 20:00 | Studio 15€ | 10€ (tarif réduit pour les titulaires du PASS-M, du PASS-M Jeune)

At the invitation of the Centre Pompidou-Metz, “Sculpture and music have an intimate relationship. Loïc Guénin is devoting himself to the writing of a I am not looking to describe or depict in sound a cycle of pieces for piano and a few chosen objects. gesture or a material, but to reveal a hidden, buried Performed by the pianist Pascale Berthelot, the sound world by working on forms, characteristics, piece has been conceived in 15 movements, each density and even vibration. Each movement becomes of which, is devoted to a work, an artist, a process a small world of possibles which reveal themselves and takes care to follow the layout of the exhibition thanks to the initial sculpture, from where it Constructed Worlds. A choice of Sculptures from the originates and from where it escapes from with joy Pompidou Centre. and mischievousness.” - Loïc Guénin

© Loïc Guénin / Le Phare à Lucioles

28 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU 6. EXHIBITION 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

With the participation of Muse and Vranken-Pommery Monopole.

29 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU

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, Wendelhas 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, IHS, Constantia Flexibles, Allied Universal, Cromology, 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 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU 7. IMAGES AVAILABLE TO THE PRESS

31 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU

Les artistes Saloua Raouda Choucair et Heidi Bucher ont souligné le rôle que l’expérience joue dans l’accès à la connaissance et à la vérité, éloignant leurs œuvres des mouvements dominants comme le Constructivisme ou le Minimalisme. Les deux femmes ont bénéficié Pourquoi as-tu pelé les d’une reconnaissance tardive, leurs enfants se sont assurés du soin constant requis par murs de ta maison de famille ? l’œuvre de leurs mères. Est-ce que tu voyais cela comme un nettoyage des surfaces, Heidi ? Il y a eu quelques peaux que j’ai faites parce que je devais les faire. C’était une urgence...

...d’abandonner et d’avancer, de De prendre le contrôle prendre le contrôle... sur quoi ? Le passé ? Le présent ? Sur ton expérience ?

Portrait de Falke Pisano Falke Pisano André Cadere, Six barres de bois rond, 1975 Nouvelle commande, titre provisoire “The Love 12 cylindres de bois peint pour chaque barre. H.: 115 for sculpture” diam. 9,5 (chaque) Centre Pompidou, Musée national d’art Moderne, Paris © Courtesy Succession André Cadere © Philippe Migeat - Centre Pompidou, MNAM-CCI / Dist. RMN-GP

Mathias Goeritz, Pyramides mexicaines, 1959 Constantin Brancusi, La Colonne sans fin III, avant 1928 Rasheed Araeen, One Summer Afternoon, 1968 5 éléments en tôle clouée, partiellement peinte sur Bois (peuplier) Bois, peinture, colle âme de bois 301,5 x 30 x 30 cm Centre Pompidou, Musée national d’art Moderne, Paris 279 x 324 x 138 cm Centre Pompidou, Musée national d’art Moderne, Paris © Rasheed Araeen Centre Pompidou, Musée national d’art Moderne, Paris © Succession Brancusi - All rights reserved (Adagp) © Georges Meguerditchian - Centre Pompidou, MNAM- © droits réservés © Georges Meguerditchian - Centre Pompidou, MNAM- CCI /Dist. RMN-GP © Philippe Migeat - Centre Pompidou, MNAM-CCI / CCI /Dist. RMN-GP Dist. RMN-GP

Kasimir Malevitch, Gota, 1923 / 1978 Antoine Pevsner, Monument symbolisant la libération Max Bill, Unendliche Schleife, version IV (Ruban sans Plâtre, 85,2 x 48 x 58 cm de l'esprit fin, version IV), [1960 - 1961] Centre Pompidou, Musée national d’art Moderne, Paris (Monument pour le prisonnier politique inconnu), 1955 Socle en granit: 18 x 175 x 40 cm © Jacques Faujour - Centre Pompidou, MNAM-CCI / - 1956 130 x 175 x 90 cm Dist. RMN-GP Bronze, laiton brasé et résine synthétique, 132 x 140 x 90 cm Centre Pompidou, Musée national d’art Moderne, Paris Centre Pompidou, Musée national d’art Moderne, Paris © Adagp, Paris 2019 © Adagp, Paris 2019 © Jacqueline Hyde - Centre Pompidou, MNAM-CCI / © Georges Meguerditchian - Centre Pompidou, MNAM- Dist. RMN-GP CCI /Dist. RMN-GP

32 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU

Alexander Calder, Fish Bones (Arêtes de poisson), 1939 Alberto Giacometti, [Maquette pour "Circuit"] (La piste), Robert Smithson, Mirror Vortex, 1964 Tôle, tiges et fils métalliques peints, 207,2 x 192 x 137,1 cm [1931 - 1932] Acier peint, miroir, 87,5 x 144,8 x 63,5 cm Centre Pompidou, Musée national d’art Moderne, Paris Plâtre original, 4,5 x 47,5 x 48 cm Centre Pompidou, Musée national d’art Moderne, Paris © Calder Foundation, New York / Adagp, Paris Centre Pompidou, Musée national d’art Moderne, Paris © Adagp, Paris 2019 © Service de la documentation photographique du © Succession Alberto Giacometti (Fondation © Centre Pompidou, MNAM-CCI/Jean-Claude MNAM - Centre Pompidou, MNAM-CCI /Dist. RMN-GP Giacometti, Paris et Adagp, Paris) Planchet/Dist. RMN-GP © Adam Rzepka - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

Robert Morris, Wall Hanging (Pièce de feutre suspendu Rachel Whiteread, Untitled (Room 101) [Sans titre Bruce Nauman, Smoke Rings (Model for Underground au mur, (Chambre 101)], 2003 Tunnels) (Ronds de fumée (Modèle de tunnels Felt Piece), 1969 - 1970 Jesmonite, revêtement coaxial, contreplaqué, acier souterrains)), 1979 Feutre découpé, 250 x 372 x 30 cm nickelé, 300 x 643 x 500 cm Plâtre vert: diam.: 340; h: 35 plâtre blanc: diam.: 330; Centre Pompidou, Musée national d’art Moderne, Paris Centre Pompidou, Musée national d’art Moderne, Paris h.: 50 cm © Adagp, Paris 2019 © Rachel Whiteread, courtesy the artist and Gagosian Centre Pompidou, Musée national d’art Moderne, Paris © Philippe Migeat - Centre Pompidou, MNAM-CCI / Gallery © Adagp, Paris 2019 Dist. RMN-GP © Georges Meguerditchian - Centre Pompidou, MNAM- © Service de la documentation photographique du CCI / Dist. RMN-GP MNAM - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

Monika Sosnowska, Rubble, 2008 Placoplâtre, bois, peinture, 23 x 560 x 900 cm Vue de l’installation dans l’expositions 'Projects 83: Guillaume Leblon, Grande Chrysocale, 2006 Monika Sosnowska'. MoMA, NY, 30 Août 2006 – 27 80 x 370 x 70 cm Novembre 2006 Centre Pompidou, Musée national d’art Moderne, Paris © Monika Sosnowska © Adagp, Paris 2019 Photographer: Jonathan Muzikar © G. Meguerditchian et Ph. Migeat - Centre Pompidou, © The Museum of Modern MNAM-CCI /Dist. RMN-GP Art, New York. Object Number: IN1979.2. New York, Museum of Modern Art (MoMA). © 2019. Digital image, The Museum of Modern Art, New York/Scala, Florence

33 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU NOTES

34 LE 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.

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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€ ac- cording 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, PassTime, 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

CENTRE POMPIDOU-METZ AGENCE CLAUDINE COLIN Regional press National and International press Marion Gales Francesca Sabatini Phone number: +33 (0)3 87 15 52 76 Phone number: +33 (0)1 42 72 60 01 [email protected] [email protected]