press kit - Martinique

PRESS KIT
OPENING OF ITS NEW BUILDING AND
ITS EXHIBITION "HERVÉ TÉLÉMAQUE " SUNDAY 24TH JANUARY 2016
LE FRANÇOIS — MARTINIQUE
Fondation Clément
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TABLE OF CONTENTS
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I. FONDATION CLÉMENT
THE NEW BUILDING OF THE FOUNDATION
PRESENTATION OF THE PROJECT DESIGN
BIOGRAPHY OF BERNARD REICHEN
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II. INAUGURAL EXHIBITION
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III.IMAGES AVAILABLE FOR THE PRESS
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IV.CONTACTS AND VISITORS INFORMATIONS
PRESENTATION BY THE CURATOR
LIST OF WORKS
BIOGRAPHY OF HERVÉ TÉLÉMAQUE
FONDATION CLÉMENT
HABITATION CLÉMENT
HISTORIC HERITAGE
EXHIBITION "HERVÉ TÉLÉMAQUE"
PORTRAITS OF BERNARD HAYOT,
HERVÉ TÉLÉMAQUE ET BERNARD REICHEN
EXHIBITION CATALOGUE
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Press kit
I.
THE NEW BUILDING :
PRESENTATION OF
THE PROJECT DESIGN
© Fondation Clément /Jean-François Gouait
© Fondation Clément /Jean-François Gouait
The Habitation Clément is a concentration of Martinique
reveries. Rum, a large rural landscape, lush grounds, an
exceptional industrial site, storehouses and a historical
mansion make this a very unique property.
The plantation buildings, from the smallest - the cabins,
to the largest - the distillery, fit within the surrounding
countryside and blend in with a setting dotted by
monumental trees.
To this harmonious and fragile balance, a new element
has been added: the Fondation Clément, dedicated to
contemporary art. Plans were made several years ago to
locate the Fondation in the vat room, and within the
structure of the industrial site, Caribbean Art has found its
home.
The three spaces of the Fondation Clément are located at
the north of the original industrial site of the Plantation, in
what was formerly the bottling area.
Each space has its own personality:
The “vat room” converted into a museum gallery is a
rectangular shape under a beautiful old metal frame.
The sleek white “square room” offers a sober,
minimalist exhibition space that can be easily modified.
The “nave” is designed as an irregular polyhedron
following the contours of the old lava stone walls. This room
features high ceilings and a picture rail at a height of 8m, by
30m in length. This room welcomes large format works for
exhibit, as well as installations.
Each of the rooms measures 200 m2 and they have all
been designed for separate or combined use, for purposes
of an exhibition visit. Their sleek white walls can feature a
diverse range of works and exhibition design approaches.
Today, the Fondation has created three spaces radiating out
like flower petals from a central area. While the vat room is
a part of the history of the property, the “nave” and the
“square room” lend that space a more contemporary vision.
These areas, with their simple and precise volumes,
complete the industrial site located along the central lane
of the Plantation. The project has made use of materials
found in the original structures: stainless steel, lava stone
and concrete mashrabyias. This time, however, such
materials serve a contemporary design with minimalist lines
that allow it to meld with the topography and complex
contours of the existing site.
On two levels, these spaces are connected by a foyer,
corridors and lower room.
Unlike the exhibition spaces, the latter are open areas
with large windows looking out over the grounds and cabins
of the historical site. Picture windows orient the space and
invite the spirit of the Plantation into the Fondation, day or
night.
A third level completes the Fondation with a 200m2 library
to house its document collections.
Rather than erecting a museum “object” outside the
historical site, the Fondation opted to continue making
history, with all due respect to the past, but with the intent
to embody the hopes and challenges of the present. A
historical, listed site has thus evolved, its purposes have
been transformed and complement one another while the
soul of the place, its spirit and identity, are preserved and
enhanced.
Fondation Clément
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© Fondation Clément /Jean-François Gouait
© Fondation Clément /Jean-François Gouait
The integrated concept is found in the architecture and
exterior facades. The challenge was to fully blend the new
addition into the original site while still expressing a
contemporary feel and fulfilling its role as a museum.
The vat room extended by a pair of scales and a small
square installed along the central lane root this project in
its historical setting.
The “square room” is a “solid” that ends the original
central lane. This space is pure volume, completely covered
by a sheath of fiber concrete designed to recall the
cinderblock mashrabyias of the distillery. This sheath is
based on a monogram of the letters H and C (Habitation
Clément). At night, the space becomes a kind of lantern, a
beacon visible from the distillery, grounds or site entrance.
The nave has a different role. It is located at the north
entrance to the site and is not visible from the central lane.
It is nonetheless the first space that one sees upon arrival
at the Plantation, and was designed to be a polyhedron in
perforated, embossed stainless steel.
This complex mirror absorbs the colors of the historical
buildings and vegetation. But even more, it reveals the
ever-changing light and skies of Martinique.
The Fondation has thus used restraint in erecting a home
within the reveries of an exceptional historical site. It is a
timeless space that will continue the long and rich history of
the rum Plantation.
© Fondation Clément /Jean-François Gouait
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Press kit
© Fondation Clément /Jean-François Gouait
© Fondation Clément / Reichen et Robert & Associés
© Fondation Clément / Reichen et Robert & Associés
Fondation Clément
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© Fondation Clément /Jean-François Gouait
© Fondation Clément / Reichen et Robert & Associés
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Press kit
I.
© Fondation Clément / Reichen et Robert & Associés
Fondation Clément
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BIOGRAPHY
OF BERNARD REICHEN
Bernard Reichen founded the architectural firm Reichen et
Robert in 1973 with Philippe Robert.
The firm rapidly became known for its conversions of
spinning factories in the north and west of France.
Long-ignored industrial heritage and an approach that had
been nearly forgotten in the era of functionalist architecture
were brought back to center stage.
The transformation of great halls (La Grande Halle
de la Villette and Pavillon de l’Arsenal in Paris, La Halle Tony
Garnier in Lyon) proved an essential second step for such
architectural heritage and its importance from an urban
planning standpoint.
Today the “already there” has taken on a new dimension:
environmental (gray energy), architectural and urban.
The firm considers natural and building heritage and
contemporary architecture as two complementary elements.
The Nestlé headquarters in the Meunier chocolate
factory in Noisiel, les Grands Moulins de Pantin for BNP
Paribas and the Cité du Cinéma for Luc Besson all
represent benchmarks in the development of the firm’s
practices.
Next, the firm expanded its urban attitude at the
territorial level (the SCOT territorial coherence program of
Montpellier) in cities facing challenges by new forms of
transport (the firm has designed five tramways, including
the Paris tramway in its eastern and northern lines).
This work on the “ville territoire” earned Bernard
Reichen the Grand Prix de l’Urbanisme (France’s top urban
planning distinction) in 2005.
© Nathalie Euvrie
Reichen et Robert became Reichen et Robert & Associés in
2004, and today the firm has a staff of 70, including 50
architects and urban planners, who are involved with
sustainable city challenges at every level. The firm designs
projects for many different types of clients: commercial (the
Docks du Havre), hospitals (Annecy General Hospital and
the CHU of Nice), universities (Jussieu), public housing,
service industries and cultural buildings.
The firm also has offices in Rabat in Morocco. Its projects
include the cité financière of Casablanca, the eco-city of
Zenata (1,600 hectares), the University of the
Mediterranean Union in Fez (100,000 m²) and the
reconstruction of the port of Tanger- Ville.
Bernard Reichen is a member of the Académie
d’Architecture. He is Officier des Arts et des Lettres and
Chevalier de l’Ordre National de la Légion d’Honneur.
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Press kit
Coupe, n° 1 , 1972, Acrylic on canvas, 146 x 114 cm
Private collection, courtesy galerie Louis Carré & Cie
Fondation Clément
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INAUGURAL EXHIBITION :
"HERVÉ TÉLÉMAQUE"
PRESENTATION BY CURATOR
CHRISTIAN BRIEND
II.
24 January
- 17 April 2016
Exhibition designed and
produced by the
Centre Pompidou, Paris, in
collaboration with the
Fondation Clément
Having started out in New York, under the auspices of a
waning abstract expressionism in which he found little
satisfaction, young Télémaque decided to go back to the
surrealist source by moving to Paris. With the aim of
confronting American and English pop art and armed with
his awareness of the growing influence of the media, both of
which served Télémaque, like his narrative figuration
friends, to “revitalize painting”, Télémaque also began to
include everyday objects in his paintings, in the footsteps of
Robert Rauschenberg (the “combines”). In 1968, he
stopped all pictorial activity to devote himself to a radical
critique of the medium: thus began the “sculptures
maigres” period, often parodying pictorial activity. Renewing
his interest in easel painting in 1970 by remaining faithful
to the “clear line”, Télémaque in the following years would
make several detours to collage-making: another means, via
craftsmanship, to tackle pictorial and assembly challenges
(a “painter’s sculpture”, in the artist’s words). As described
to art critic Gérald Gassiot-Talabot,
“what interests him is the elasticity of the metaphor, its
capacity to renew itself in the face of the complexity of the
world and to uncover archetypal structures”. In this twin
quest, painting remains the benchmark medium for the
artist who ceaselessly explores, in acrylic, the relationship
between the “the Literal and the Figurative” according to
the metamorphoses of an increasingly baroque pictorialism
which does not preclude delving into abstract language from
time to time. This fascinating, non-linear, sometimes uneven
itinerary, manifesting an inventiveness that is constantly
alive, alone justified such alterations to the original
conception of our exhibition — made of course in close
consultation with the artist.
The “Hervé Télémaque” exhibition open to visitors at the
Fondation Clément is the continuation of a popular
retrospective successively presented by the Centre
Pompidou and the Musée Cantini of Marseille last year. The
exhibition in Martinique has nonetheless turned out to be a
very different show, both in terms of its selection of works
and its conception.
As per the artist’s wishes, the double exhibition in mainland
France favored French public collections. With his initial
immigrant status in mind, the Haitian painter thus sought to
manifest his gratitude toward a host country whose cultural
leaders had from early on regularly acquired his works for
public collections. However, the national and territorial
collections did not prove fully sufficient to gather works fully
representative of Télémaque’s career. Of the seventy-four
paintings, graphic works and sculptures that made up the
Paris and Marseille shows, thirteen were from private
collections. At Fondation Clément, the proportion is
inverted, since only twenty-two out of fifty-three works shown
are from public collections. Practical reasons (including
painting formats incompatible with air transport, but also
conservation requirements for the drawings and collages)
meant not only that the selection had to be reduced, but
also that certain unavailable pieces would be replaced by
new works: twenty-three in all. Profound changes were thus
made to the initial project. Having to forgo works on paper
as well as the “ sculptures maigres” from 1968-1969, both
important in the development of Télémaque’s art, the
Martinique exhibition became, with very few exceptions, a
retrospective focused on his painted works.
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Press kit
Infirmière de couleur, bouchon de canopée (Alchimie carnavalesque)
2011, Acrylic on canvas, 160 x 130 cm and 37 x 81.5 cm
Fondation Clément, La Martinique
About twenty works were shown at La Casas de las
Americas, including a rare and beautiful work from 1962,
offered at the time by Télémaque to the Cubans in tribute to
their revolution, and whose loan we originally hoped to
obtain. The exhibition at the Fondation Clément is thus the
most ambitious show devoted to the Haitian artist ever held
in this part of the world. In this way, the exhibition may this
time truly be akin to a “return to the native country” sung by
the great Martinique poet of black identity, Aimé Césaire,
under the aegis of whom Télémaque sought to place his
three exhibitions.
Compared to the two mainland exhibitions, the Fondation
Clément show – with its layout of the galleries – does more
justice to recent paintings, those from “ La Canopée” series
in particular, which confirmed Télémaque’s return to painting
following serious health problems. In Le François, inside the
new building designed by Reichen et Robert & Associés that
this show is inaugurating, the visit ends with De la jeune
Flamande… au canal Saint-Martin whose conception, like
that of the emblematic Moine comblé (Amorces, avec
Arshile Gorky) in 2015, would directly coincide with that of
the planning of the exhibition. Another addition to the
present exhibition, and not the least given the Caribbean
setting, resulted from a clear need to reinforce the presence
of works bearing a direct relationship to the West Indies and
African sources. Included thus is the 1975 masterpiece Le
Silence règne à Saint-Marc (Haïti), also featured on the
catalogue cover, as part of this effort.
Full of intimate references, the complex work of Télémaque
has naturally generated commentaries and analysis. Among
those who happily undertook the task, art critic Anne
Tronche authored a remarkable monograph published in
2003. She had also conducted some years before one of
the most enlightening interviews that exists with the artist.
It is to this great observer of contemporary art, with her
sensitive and generous views, who suddenly passed away
last October, that we would like to dedicate this exhibition.
This is not the first time that Télémaque has shown in the
Caribbean. Three exhibitions of his prints were previously
exhibited in his home country of Haiti and in Martinique,
where Télémaque briefly taught. However, it was in Cuba, for
the Havana Bienniale in 1986, that his largest solo
exhibition to date was held.
Fondation Clément
CHRISTIAN BRIEND
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Fiche, 1965, Huile sur toile
97 x 130 cm, Collection particulière
My Darling Clementine
1963, Oil on canvas, pasted paper,
painted wooden box, rubber doll, Plexiglas
194.5 x 245; box: 25.3 x 25.3 x 24.9 cm
Paris, Centre Pompidou, Musée national d’art moderne
Et si c’était ainsi n° 2 (Âne et Sarko/Plantu)
2003, Acrylic on canvas, 130 x 130 cm, private collection
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Press kit
Convergence
1966, Acrylic on canvas, various
collages and jump rope, 198 x 273 cm
Musée d’art Moderne,
Saint-Etienne Métropole
Acquired with funds from FRAM, 1982,
Inv. 82.15.1
Fondation Clément
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Dérive, n° 2
1985, Acrylic on canvas, 200 x 310 cm
FRAC Martinique/collectivité territoriale de la Martinique
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Press kit
II.
INAUGURAL EXHIBITION:
LIST OF WORKS
1.
L’Annonce faite à Marie, 1959
Oil on canvas
134 x 118.5 cm
Puteaux, Centre national des arts plastiques /
Fonds national d’art contemporain
Acquired in 1990
Inv. FNAC 90080
On permanent loan to Musée des Beaux-Arts de
Dole since 1991
9.
Voir ELLE, 1964
Casein on canvas
195 x 130 cm
Private collection,
courtesy of Galerie Louis Carré & Cie
18.
Batailler sa peine, n° 2, 1967
Acrylic on canvas, wood and textiles
116 x 64 cm
Private collection,
courtesy of Galerie Louis Carré & Cie
10.
Olympia, 1964
Oil on canvas
130 x 195 cm
Private collection
19.
Le Large (ensablé), 1968
Acrylic on canvas, wire mesh, wood and textiles
257.5 x 103 cm
Paris, Galerie Louis Carré & Cie
11.
Fiche, 1965
Oil on canvas
97 x 130 cm
Private collection
20.
Passage, 1970
Acrylic on canvas
120 x 60 cm
Private collection
12.
Petit célibataire un peu nègre et assez joyeux, 1965
Oil on canvas
80 x 80 cm
Paris, Centre Pompidou,
Musée national d’art moderne
Acquired in 2002
21.
Elévation rose (gai savoir…), 1970
Acrylic on canvas
120 x 60 cm
Private collection
2.
Histoire sexuelle, 1960
Oil on canvas
150 x 171 cm
BNP Paribas contemporary collection
3.
Toussaint Louverture à New York, 1960
Oil on canvas
176.9 x 195 cm
Dole, musée des Beaux-Arts
Acquired in 1988
4.
Eclaireur, 1962
Oil on canvas
130 x 195 cm
Private collection
5.
Aérolithes pour rire, 1962
Huile sur toile
140 x 110 cm
Paris, collection particulière,
courtesy galerie Louis Carré & Cie
6.
Ciel de lit, 1962
Acrylic and oil on canvas with bottle
inlaid zip closure
195 x 130 cm
Nice, Musée d’Art Moderne et d’Art Contemporain
Acquired in 1988
Inv. 988.10.1
7.
My Darling Clementine, 1963
Oil on canvas, pasted paper, painted wood box,
rubber doll, Plexiglass
194.5 x 245; box: 25.3 x 25.3 x 24.9 cm
Paris, Centre Pompidou,
Musée National d’Art Moderne
Acquired in 1991
8.
Femme merveille, 1963
Casein on canvas
159 x 169 cm
Villeurbanne, Institut d’Art Contemporain,
Rhône-Alpes
Acquired in 1983
Fondation Clément
13.
Confidence, 1965
Oil and glued wood; wood stepladder
195 x 130 x 86 cm
Genève, Fondation Gandur pour l’Art
14.
Le Mal des hauteurs, 1966
Acrylic on canvas and objects
170 x 50 cm
Private collection
15.
Convergence, 1966
Acrylic on canvas, various collages and jump rope
198 x 273 cm
Musée d’Art Moderne, Saint-Etienne Métropole
Acquired with funds from FRAM, 1982
16.
Le Poète rêve sa mort, n° 2, 1966
Oil on perforated hardboard, wood frame
125 x 275 cm
Carquefou, Frac des Pays de la Loire
Acquired in 2004
17.
Un Homme en raccourci lent, n° 2, 1967
Oil on canvas
150 x 350 x 107 cm
Puteaux, Centre National des Arts Plastiques /
Fonds National d’Art Contemporain
Acquired from the artist in 1970
On permanent loan to the Musée des Beaux-Arts
d’Orléans since 1995
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22.
Caca-Soleil !, 1970
Oil on canvas
120,5 x 315,5 cm
Paris, Centre Pompidou,
Musée National d’Art Moderne
Gift of the artist, 2014
23.
Objets usuels, pour Vincent van Gogh ?
1970
Oil on canvas
120,5 x 180,4 x 6 cm
Paris, Centre Pompidou,
Musée National d’Art Moderne
Acquired in 1972
Inv. AM 2009-481
24.
Suite à Magritte. Les Vacances de Hegel, n°1, 1971
Acrylic on canvas
81 x 65 cm
Marseille, [mac] Musée d’Art Contemporain Acquired
in 1972
Inv. C.72.1.23
25.
Suite à Magritte. Les Vacances de Hegel, n° 4 , 1971
Acrylic on canvas
81 x 65 cm
Private collection,
courtesy of Galerie Louis Carré & Cie
26.
Coupe, n° 1, 1972
Acrylic on canvas
146 x 114 cm
Private collection
New works requested for loan for the Fondation
Clément exhibition are in blue.
27.
Par le sang, n°3 (avec clefs), 1973
1973 Acrylic on canvas
130 x 162 cm
Paris, Musée d’Art Moderne de la Ville de Paris
Acquired in 1973
28.
Le Silence veille à Saint-Marc (Haïti), 1975
1975 Acrylic on canvas
Diam. 150 cm
Private collection
29.
L’Amour, n° 1, 1977
Acrylic on canvas
147 x 117 cm
Collection Ville de Lille
30.
Selles comme montagne, 1979
Drawing, collage, crayon
155.5 x 108 cm
Marseille, Musée d’Art Contemporain
Acquired in 1979
31.
La Mère patrie, 1981
Oil on canvas (triptych)
146 x 342 cm
Dunkerque, Frac Nord-Pas de Calais
Acquired in 1983
32.
Mère-Afrique, 1982
Lead pencil, paper cutouts glued on paper,
photographic print, metal eyelets, tracing paper and
leather 83 x 148 cm
Bordeaux, FRAC Collection Aquitaine
Acquired in 1984
33.
Gardeur de mare, 1982
Acrylic on canvas
Diam. 150 cm
Private collection
34.
Le Modèle rouge, 1983
Acrylic on canvas
Diam. 100 cm
Le François, Fondation Clément
35.
Dérive, n° 2, 1983
Acrylic on canvas
200 x 310 cm
Collection Régionale d’Art Contemporain,
La Martinique
36.
Port-au-Prince, n° 2, 1987
Acrylic on canvas
110 x 70 cm
Private collection
37.
Marée, 1987
Acrylic on canvas and wood
85 x 105 cm
Paris, Galerie Louis Carré & Cie
38.
Clôture martiniquaise, 1988
Acrylic on canvas
130× 100cm
Private collection
39.
Fil, 1989
Acrylic on canvas
245 x 124 cm
Marseille, Frac Provence-Alpes-Côte-D’azur
Acquired in 1989
40.
Caraïbe I (La ville des nègres, baie,
Fonds-des-Nègres), 1993
Painted, carved wood glued on wood, metal ring and
wall writing
47 x 122.5 x 9.4 cm
Vitry-sur-Seine, MAC/VAL,
Musée d’Art Contemporain du Val-de-Marne
Acquired in 1996
41.
Coco-fesse, 1993
Coffee grounds on wood
95 x 95 cm
Private collection
45.
Le Voyage d’Hector Hyppolite en Afrique, n° 1, 2000
Oil on canvas
162 x 243 cm
Paris, Musée d’Art Moderne de la Ville de Paris
Acquired in 2010
46.
Deep South, 2001
Acrylic on canvas
162 x 162 cm
Private collection
47.
Saison n° 1 (Marchande, étude de genre),
2001
Acrylique sur toile
116 x 89 cm
Collection particulière
48.
Et si c’était ainsi n° 2 (Âne et Sarko/Plantu),
2003
Acrylic on canvas
116 x 89 cm
Private collection
49.
A l’Escalier, Permaculture, 2010
Acrylic on canvas
145,7 x 114 cm
Paris, Centre Pompidou, Musée National d’Art
Moderne
Anonymous gift, 2014
50.
Mode autre, l’inachevé, la canopée,
2006-2010
Acrylic on canvas
162 x 147 cm
Private collection
42.
Chauve-souris, 1994
Colored coffee grounds on carved wood glued on
wood; metal ring
60.5 × 56 × 8.5 cm
Private collection,
courtesy of Galerie Louis Carré &
Cie
51.
Infirmière de couleur, bouchon de canopée
(Alchimie carnavalesque), 2011
Acrylic on canvas
162 × 130 cm and 37 × 81.5 cm
Collection Fondation Clément
43.
Chauve-souris IV et la Gonâve, 1994
Charcoal and pigment on paper
124 x 135 cm
Private collection
52.
Pansement de ciel, 2013
Acrylic on canvas
120 x 120 cm
Paris, Galerie Louis Carré & Cie
44.
La Séancière, 1996
Colored coffee grounds on carved wood glued on
wood; metal ring
60 × 73 × 14 cm
Private collection
53.
De la Jeune flamande…au canal Saint-Martin, 2015
Acrylic on canvas
162 x 324
Villejuif, artist’s studio
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Press kit
INAUGURAL EXHIBITION :
BIOGRAPY OF
HERVÉ TÉLÉMAQUE
II.
CAREER HIGHLIGHTS
Catalogue extracts
1966
Beginnings of his Combine paintings in which Télémaque
introduces increasing numbers of real objects. He
abandons oil painting for acrylic.
1937
Hervé Télémaque is born on 5 November in Port-au-Prince in
Haiti where he attends primary and secondary school. At
sixteen, he spends a year at school in France. Upon his
return in 1955, he starts to build a relationship with the
Center for the Arts in Port-au Prince.
1967
Hervé Télémaque participates in the inaugural exhibition of
the “Animation Recherche Confrontation” (ARC) directed by
Pierre Gaudibert at the Museum of Modern Art of Paris: “La
Fureur Poétique”, organized by José Pierre.
Birth of his
daughter Élodie-Anne on 14 August.
1957
Télémaque leaves for New York when Francis Duvalier
comes to power in Haiti. He enrolls in the Arts Students
League, where he attends courses taught by Julian Edwin
Levi, American painter (1900-1982). In museums, he
discovers American expressionist paintings (Willem de
Kooning,
Arshile Gorky), as well as works by neo-dada
artists (Robert Rauschenberg, Jasper Johns, etc.). From
1960, he begins to tire of abstract expressionism and turns
to surrealism.
1968
Télémaque stops painting to produce objects, his first
sculptures maigres. Final year of participation in the Salon
de Mai in Paris and documenta in Kassel.
1970
Returning to easel painting, he introduces new objects in
his works and begins two series: Les Passages and the
Suites à Magritte.
1961
Hervé Télémaque and his wife Maël leave New York due to
the pervasive racism he feels there. They relocate to Paris
that fall.
1972
Participates in “60-72: douze ans d’art contemporain en
France”, at the Grand Palais, Paris.
1962
He exhibits for the first time in Paris at the L’Art latinoaméricain à Paris exhibition at the Modern Art Museum of
Paris. Télémaque catches the eye of art critic John Ashbery
and galerist Édouard Jaguer, and meets other young
surrealists (Jorge Camacho, Jean-Claude Silbermann, José
Pierre), as well as André Breton.
1973
During the summer, Télémaque returns for the first time to
Haiti, where he sees his mother again after having left the
country in 1960. After this trip, he gives up the episcope for
good, returns to drawing and begins a series of collages.
1963
Although he continues to be on good terms with André
Breton, he slowly distances himself from surrealism and
begins to paint pop.
1974-1976
First large format acrylic paintings with new forms, primarily
his tondi, to be shown in the exhibition presented at the
ARC, Museum of Modern Art of Paris, in 1976. Télémaque
acquires an old farm in the Berry region, at Pierrefitte-èsBois in the Loiret, where he will live until 1981.
1964
Télémaque discovers the episcope, a device imported from
the United States allowing him to project images directly
onto the canvas. His first solo exhibition in Paris is held by
Mathias Fels – who continues to show him until 1971 –,
with another in London at the Hanover Gallery. Together
with Bernard Rancillac, he organizes the “Mythologies
quotidiennes” show at the Modern Art Museum of Paris, as
a counter to the American pop art championed in Paris by
the Galerie Sonnabend.
First appearance at the Salon de
Mai in Paris and documenta in Kassel.
Fondation Clément
1977-1979
He stops painting and begins a large series of collages
called Selles for exhibition in 1979 at Galerie Maeght in
Paris.
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© Michel Lunardelli
1995 - 1999
Several important retrospectives including, in 1997, an
exhibition organized by the Fondation Électricité de France
and the Institut Français of South Africa, at the Electrical
Workshop in Johannesburg; in 1998, an exhibition in
Valence (Spain) at the Valencian Institute of Modern Art
(IVAM), Centro Julio González, organized by Emmanuel
Guigon; and finally, in 1999, “ Hervé Télémaque: des Modes
& Travaux 1959–1999”, organized by the Centre d’Art de
Tanlay in Burgundy.
1980
He begins Maisons rurales and produces large format
collages.
1981
Hervé Télémaque moves to Villejuif, a Parisian suburb,
where he still lives and works. He receives his first public
art commission, the mural painting À l’Anse, 1981, at the
Lycée Briffaut de Valence, Drôme.
1982
October: the Galerie Adrien Maeght devotes its entire stand
at the Foire Internationale d’Art Contemporain (FIAC) to
Télémaque.
2001 - 2013
The Galerie Louis Carré & Cie regularly exhibits in turns
both recent works such as “Trottoirs d’Afrique à l’Acrylique”
in 2001, and older works such as “ Combine Paintings
1965–1969” in 2009. Despite health problems beginning
in 2003 and a stroke in 2006, Télémaque finds in his
condition of frustrated lefty the will to begin painting again.
1984
He completes Maman, a public art commission for the
Pavillon de l’Enfant et de l’Adolescent at the PitiéSalpêtrière Hospital in Paris.
2014
The artist makes an important donation of four works to the
Centre Pompidou (Caca soleil! 1970; Blême (La Chambre
noire n°5),1991; Entre-jambes (avec le garde du
corps),1994; La Femme adultère (à partir de Nicolas
Poussin),1995). An anonymous gift of A l’escalier
permaculture, 2010 completes the ensemble.
1985
Hervé Télémaque is granted French citizenship.
1986
He paints a monumental work of nearly 13m in length,
Vallée de l’Omo, commissioned by the Cité des Sciences et
de l’Industrie, for “L’Homonisation”, on the importance of
man’s appearance in prehistoric times.
Inspired by the final work of Arshile Gorky, Hervé Télémaque
begins a “last” painting, Le Moine comblé (Amorces avec
Arshile Gorky), for the exhibition held at Centre Pompidou.
1989
First solo show, “New York 1960”, featuring works from his
American period, at Galerie Jacqueline Moussion, which
began to represent the artist.
2015
Hervé Télémaque retrospective presented by the Centre
Pompidou followed by the Musée Cantini of Marseille.
Representation by Galerie Louis Carré & Cie ends.
1991
Retrospective of collages at Galerie Jacqueline Moussion,
presenting a series from 1973 as well as the last series, La
Chambre noire.
In the summer, he returns to Haiti where
Jean-Bertrand Aristide, known as Père Aristide, had just
overthrown Jean-Claude Duvalier.
2016
The Fondation Clément in Martinique presents a new
version of the retrospective organized the previous year in
mainland France. In honor of the occasion, Télémaque
paints a new work entitled De la jeune Flamande... au canal
Saint-Martin, 2015.
1994
First exhibition at Galerie Louis Carré & Cie, newly
representing the artist, “Fusain et marc de café
– Deuil: le dessin, l’objet ”. His coffee grounds assemblies
are introduced for the first time. Once again, he distances
himself from painting.
19
Press kit
III.
IMAGES
AVAILABLE
FOR THE PRESS
1.
THE NEW BUILDING
© Fondation Clément /
Reichen et Robert & Associés
Fondation Clément
© Fondation Clément / Jean-François Gouait
20
2.
HABITATION CLÉMENT
Habitation Clément -
Back of the main house
©Henri Salomon / Habitation Clément
Habitation Clément - Sculptures garden
Luz Severino, Avançons tous ensemble, 2011
©Jean-François Gouait / Habitation Clément
Christian Berti - Eia ! Eia !! Eia !!!
Installation over the shop of Habitation Clément,
2010
© Robert Charlotte / Fondation Clément
Habitation Clément -
Animals mill
©Henri Salomon / Habitation Clément
Habitation Clément - Sculptures garden
Jonone, 2013
©Jean-François Gouait / Habitation Clément
Habitation Clément
- Rhum storehouse of ageing
Georges-Louis Clément
© Jean-François Gouait / Habitation Clément
Habitation Clément - Sculptures garden, 2014
©Jean-François Gouait / Habitation Clément
Habitation Clément -
Former distillery
©Henri Salomon / Habitation Clément
Habitation Clément - Sculptures garden
Thierry Alet, BLOOD
© Henri Salomon / Habitation Clément
Julie Bessard - Les ailes
Installation in the tanks of fermentation, 2007
© Anne Chopin / Fondation Clément
Habitation Clément - Sculptures garden
Christian Lapie , Jusqu’à l’ombre, 2011
© Jean-François Gouait / Habitation Clément
Habitation Clément - Sculptures garden
Christian Bertin , Ombres, 2014
© Jean-François Gouait / Habitation Clément
Habitation Clément
Entrance of the main house
© Henri Salomon / Habitation Clément
Habitation Clément - Sculptures garden
Bernar Venet, 2000
© Jean-François Gouait / Habitation Clément
Habitation Clément -The cursed fig tree
© Henri Salomon / Habitation Clément
Hervé Beuze - Machinique, 2007
© Anne Chopin / Fondation Clément
Habitation Clément - Sculptures garden
Pablo Reinoso, Huge Sudeley Bench, 2009
©Fondation Clément
Habitation Clément - Rhum storehouse of ageing
©Henri Salomon / Habitation Clément
Habitation Clément - Machines and former distillery
garden
©Henri Salomon / Habitation Clément
21
Press kit
3.
HISTORIC HERITAGE
4.
EXHIBITION "HERVÉ TÉLÉMAQUE"
Habitation Pécoul, 2013
©Gérard Germain / Fondation Clément
Toussaint Louverture à New York
1960
Oil on canvas
176.9 x 195 cm
Dole, musée des Beaux-Arts
Acquired in 1988
Elévation rose (gai savoir…)
1970
Acrylic on canvas
120 x 60 cm
Private collection
Habitation La Sucrerie, 2011
©Gérard Germain / Fondation Clément
My Darling Clementine
1963
Oil on canvas, pasted paper, painted wood box,
rubber doll, Plexiglass
194.5 x 245; box: 25.3 x 25.3 x 24.9 cm
Paris, Centre Pompidou,
Musée National d’Art Moderne
Acquired in 1991
Library Fondation Clément 2014
© Henri Salomon / Fondation Clément
Fiche
1965
Oil on canvas
97 x 130 cm
Private collection
Coupe, n° 1
1972
Acrylic on canvas
146 x 114 cm
Private collection
Convergence
1966
Acrylic on canvas, various collages and jump rope
198 x 273 cm
Musée d’Art Moderne, Saint-Etienne Métropole
Acquired with funds from FRAM, 1982
Fondation Clément
Objets usuels, pour Vincent van Gogh ?
1970
Oil on canvas
120,5 x 180,4 x 6 cm
Paris, Centre Pompidou,
Musée National d’Art Moderne
Acquired in 1972
Inv. AM 2009-481
22
Dérive, n° 2
1983
Acrylic on canvas
200 x 310 cm
Collection Régionale d’Art Contemporain,
La Martinique
5.
PORTRAITS
Le Voyage d’Hector Hyppolite en Afrique, n° 1
2000
Oil on canvas
162 x 243 cm
Paris, Musée d’Art Moderne de la Ville de Paris
Acquired in 2010
Portrait of Bernard Hayot
© Denis Bellegarde
Portrait of Hervé Télémaque
© Michel Lunardelli
Et si c’était ainsi n° 2 (Âne et Sarko/Plantu)
2003
Acrylic on canvas
130 x 130 cm
Private collection
Portrait of Bernard Reichen
© Nathalie Euvrie
Infirmière de couleur, bouchon de canopée
(Alchimie carnavalesque)
2011
Acrylic on canvas
162 × 130 cm and 37 × 81.5 cm
Collection Fondation Clément
Pansement de ciel, 2013
Acrylic on canvas
120 x 120 cm
Paris, Galerie Louis Carré & Cie
23
Press kit
III.
Format :
24.6 cm x 28 cm,
paperback,
216 pages,
129 illustrations
Retail price: €25
Fondation Clément
EXHIBITION CATALOGUE
CATALOGUE HERVÉ TÉLÉMAQUE
ed. Christian Briend,
with the assistance of Bénédicte Ajac.
Co-edition Somogy éditions d’Art /
éditions du Centre Pompidou / Fondation Clément
Foreword by Serge Lasvignes and Bernard Blistène.
Preface by Bernard Hayot.
In collaboration with Jean-Paul Ameline
and Renaud Faroux.
24
IV.
CONTACTS AND
VISITORS INFORMATIONS
OPENING HOURS
9am-6pm, 7days a week, last entry at 5pm
Opening of the new building and the
exhibtion "Hervé Télémaque"
Sunday 24th January, 9am
Tours of the exhibition with curator
Christian Briend, 10am and 11am
DIRECTION
In the village of François take the RD 6 in direction
of Saint-Esprit. Entry on the left after two kilometers.
Admission is free to all exhibitions.
CONTACT US
www.fondation-clement.org
facebook.com/fondationclement
Tel : +596 (0)5 96 54 75 51
INTERNATIONAL PRESS
Dimitri Besse,
Claudine Colin Communication
Tel : +33 (0)1 42 72 60 01
mail: [email protected]
LOCAL PRESS
Régine Bonnaire,
Fondation Clément
Tel : +596 (0)5 96 54 75 47
mail: [email protected]
Marie-Christine Duval,
Agence COMÉCLA.
Tel : +33 (0)6 61 50 98 09 / +596 (0)6 96 84 10 02
mail: [email protected]
25
Press kit