EXHIBITIONS IN 2020 : • Constructed Worlds. A choice of sculptures from Centre Pompidou From 22 November 2019 to 23 August 2020 Exhibition - Galerie 1 • Folklore From June 12 to October 04, 2020 Exhibition – Galerie 2 • The Sky as a Studio. Yves Klein and his contemporaries From July 18 to February 1, 2021 Exhibition • Chagall. The light passer From November 21, 2020 to March 15, 2021 Exhibition • Aerodream. Architecture, design and inflatable structures, 1950-2020 From January 30 to July 26, 2021 Exhibition – Galerie 2 VISUALS OF THE EXHIBITIONS ARE AVAILABLE ON THE PHOTOTOGRAPHY (centrepompidou-metz.fr/phototheque). IDENTIFIER : press / PASSWORD : Pomp1d57 3 Constructed Worlds. A choice of sculptures from Centre Pompidou Exhibition - Galerie 1 From 22 November 2019 to 23 August 2020 Fabricated Worlds, In the continuity of Phares, Musicircus, the Adventure of Colour, offers a thematic voyage over a long period of time of the Centre Pompidou Musée national d’art moderne’s collection at the Centre Pompidou-Metz. By way of some fifty major works, by Constantin Brancusi and Alberto Giacometti to Bruce Nauman, Rasheed Araeen and Rachel Whiteread, this fourth stage, accompanied by a mediation through images, will explore the sculptural research led by artists from the beginning of the 20th century up until today. Without following a strict chronological order, the layout of the exhibition will address certain fundamental issues concerning sculpture, whilst avoiding the presumed classics: the role of gesture, the presence, absence or integration of the pedestal, invention and reinvention of sculpture beyond the statuary, of volume, of seriousness or of immobility. The diversity of works and currents represented in this exhibition navigates through the possible "configurations" of a medium which is sometimes pushed back to its outer reaches: graphic sculpture, on the boundary line of drawing, with the welded silhouettes by Julio González (Femme à la corbeille, 1934) ; the sculpture « above ground » and dynamic with the mobiles by Alexander Calder (Petit panneau bleu, circa 1936, Fish Bones, 1939) ; sculpture on the border line of architecture with the architectones by Kasimir Malevitch (Gota, 1923/1989), the monumental prints of Rachel Whiteread (Untitled (Room 101), 2003) or even sculpture on the verge of disappearance with the simulated breakdowns by Monika Sosnowska (Rubble, 2008). Ceasing to be an object, the sculpture thus shifts into the "wider field" that the art historian Rosalind Krauss has been able to describe as becoming a structure, an installation, an environment, a site, a performance... From the very beginning of the exhibition, the huge timber carved by Joseph Beuys into the barely squared trunk of a tree and laid out on the ground like a Copyrights : sarcophagus, embodies the anonymous archaism of votive objects (Nasse Wäsche Francisco Infante-Arana, Maquette Espace-Mouve- ment-Infini, 1963 – 1965 Jungfrau II, 1985). In the same vein, the monoliths assembled by Ulrich Rückriem Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. suggest the art of stone masons, going from megalithic alignments to builders RMN-GP © Francisco Infante-Arana of cathedrals (Dolomit, 1982). The direct size of the raw materials presents as a 4 starting point, a primordial gesture, doing away with superfluous transformations, in order to serve a sacred purpose. Further along, Robert Smithson’s structures (Mirror vortex, 1964), Donald Judd (Untitled, 1978) and Gerhard Richter (6 stehende Scheiben, 2002/2011) on the contrary show a perfectly industrial manufactured workmanship, of glass surfaces, metal or plexiglass without any faults. Just as anonymous, these minimalist sculptures seem to be prototypes coming out of a factory, produced by machines rather than by hand: objects without gestures, heralding other venerations (technological, mercantile?). The paradoxes which punctuate this exhibition offer a contrasted rereading of a slice of the history of sculpture from the 20th and 21st centuries, starting from the history of forms, revealing lines of descent just as much as fertile dissensions. In the room devoted to the celebrated aesthetic duel opposing verticality and horizontality, cohabiting as such in an exceptional manner the Colonne sans fin by Constantin Brancusi, and the metallic expanding netting on the ground by Carl Andre (4 Segment Hexagon, 1974). A great admirer of Brancusi – "(before him) verticality was always determined: the top of the head and the soles of the feet were the limits of sculpture. Brancusi’s sculpture exceeds its vertical limits and continues beyond its terrestrial limits" – Carl Andre would nonetheless decide to bring down the Colonne sans fin, by adopting an overt horizontality. The exhibition plays on these tensions which constantly redefine modern and contemporary sculpture. As an introduction and conclusion to this exhibition layout, the artist Falke Pisano born in Amsterdam in 1979) has been invited to conceive an original installation, conceptualised as a " little history of modern sculpture". Since the middle of the first decade of this century, Falke Pisano questioned the paradoxes of modern and contemporary sculpture: can a sculpture be at one and the same time abstract and concrete ? Can a sculpture become a conversation ? The artist’s texts and conferences develop the issues which are dear to him - language, the body, and context. This research is then spatialised and divided into mechanisms capable of accommodating works, diagrams, posters and projections as well as performances. Curators : Bernard Blistène, Director of the Musée national d’art moderne, with Jean-Marie Gallais, Head of the Programming department, Centre Pompidou-Metz Research and Exhibition Manager : Hélène Meisel 5 FOLKLORE Exhibition – Galerie 2 From June 12 to October 04, 2020 Who knows that Wassily Kandinsky started his career as an ethnographer in Russia? That Constantin Brancusi’s great grandfather was a traditional wood churches builder in Romania? That Natalia Gontcharova developed an abstract painting inspired by Spanish costumes? That Joseph Beuys declared seeing in folklore a tool for the comprehension for the future, or that Marcel Broodthaers intended adding a "folklore section" to his Modern art museum - Département des Aigles? Associated with tradition, and therefore in appearance opposed to the notion of avant-garde, the world of folklore, subject to multiple controversies, infiltrates in different ways large areas of modernity and of contemporary creation. Far from the clichés of being backward-looking and artificial, artists have been able to find in it a source of inspiration, a regenerative power; as well as an object of critical analysis or of contention. From the early stages of modern art to the most current art, this exhibition, conceived by the Centre Pompidou-Metz, in collaboration with the Mucem (Museum of European and Mediterranean Civilisations), recounts the relationships, sometimes ambiguous, that artists nurture with folklore, from the formal borrowing to the imitation of a method, from fascination, to critical irony. Concentrating essentially on one definition and a European history of the term, the Folklore exhibition also offers an encounter between the history of art and the history of human sciences, because it unveils simultaneously the invention and the progressive institutionalisation of a discipline, notably thanks to the resources of the Mucem, the heir to the National Museum of Popular Arts and Traditions. Copyrights : Vassily Kandinsky, Die Raben, 1907 Linogravure, 43,8 x 28,1 cm The definition of folklore generated and still generates today important Paris, Centre Pompidou - Musée national d’art controversies: the term, created in England in the middle of the 19th century, and moderne © Philippe Migeat - Centre Pompidou, MNAM-CCI / meaning literally "the knowledge of the people", whipped up intense quarrels Dist. RMN-GP at the heart of the intellectual and scientific circles, because of ideological recuperation or of the amateurism of self-proclaimed specialists - to such a point 6 that we sometimes have considered the folklorist as an artist and vice versa. The exhibition opens on the fantasy of a search for origins, the appeal of an "exoticism of the interior", or of supposed archaic throw-backs which guide Paul Gauguin, Paul Sérusier and les Nabis in Brittany at the end of the 19th century, Wassily Kandinsky and Gabriele Münter when they establish themselves in Bavaria or indeed Constantin Brâncuși, recalling the craft traditions of his native country. The paradoxes rapidly come to the surface from a domain frequently associated with nationalistic claims, or instrumentalised by a political discourse - tensions at the heart of the initiatives of artists such as Jimmie Durham, Valentin Carron, Melanie Manchot or Amy O’Neill. The exhibition continues with the folklore which also constitutes for artists a pool of forms and an inexhaustible repertoire of motives and techniques, having contributed to the renewal of the vocabulary of the visual arts, as the work from the Bauhaus workshops and of Sophie Taeuber-Arp are there to illustrate, or the paintings of Natalia Gontcharova amongst others. However, this formal reappropriation should not allow us to forget that the motives and symbols contain from time to time a subjacent language: in this way, the works of Július Koller or of Endri Dani also take on, in the same way as certain folkloric expressions, a subversive aspect. The term "folklore