PRESS KIT BLAISE CENDRARS AT THE HEART OF ARTS 16

Transcription

PRESS KIT
BLAISE CENDRARS AT THE HEART OF ARTS
16th November 2014 to 1st March 2015
Opening night Saturday 15th November 2014 at 6pm
INTRODUCTION..........................................................................
EXHIBITION PLAN .......................................................................
EXHIBITION GUIDE .....................................................................
VISUALS FOR THE PRESS ..............................................................
PRACTICAL INFORMATION ..........................................................
CONCEPTION AND DEVELOPPEMENT ............................................
AROUND THE EXHIBITION ...........................................................
A SEASON AT THE HEART OF ARTS WITH BLAISE CENDRARS…………….
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Rue des Musées 33 CH-2300 La Chaux-de-Fonds
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[email protected] www.mbac.ch
INTRODUCTION
Novels and books of memories like L'or (Gold) or Bourlinguer established Blaise Cendrars
(1887 – 1961) as the ultimate writer of adventures and travels. But few people know he was
also one of the great adventurers of modern art. Amongst the thousand life stories he has
told, the least extraordinary were not those he dedicated to painting, music, cinema, graphic
design, ballet, advertising or African art. This well-kept secret has remained so for years,
mostly because Cendrars always preferred the excitement and fire of new beginnings to
patient developments: he let others tap the opportunities he pioneered. In accordance with
the name he chose for himself, his desire was always to rise again where one least expected
him to, where a new breath could revive the embers (braises) of creation hidden beneath the
cinders (cendres).
Each of the twelve sections of the exhibition is tied to one of these successive or parallel
lives of Blaise Cendrars: first of all we meet a young writer in the process of learning,
tormented and haunted by Symbolism. In order to tell his story of travel and exile, he
invented a new lyricism and revolutionised the art of the book with Sonia Delaunay. A prolific
poet, his "elastic poems" appeared in avant-garde journals all over Europe. They enter in a
dialogue with the works of Chagall, Robert Delaunay, La Fresnaye or Modigliani. Following
the trauma of war, in which he enlisted as a volunteer. He returned in 1915 with his right arm
amputated. Yet like a phoenix he rose again, this time a "left handed writer", the prophet of a
"profound today" in which the magic of primitive art and the wonders of the modern world
coexist.
Always one to pick up on new trends, Blaise Cendrars became an elusive actor of the art
world, a catalyst for talents and ideas that seemed to wait for him alone to bring them out into
the light. He dreamt of music with Honegger, Milhaud, Satie and Stravinsky, of cinema with
Fernand Léger and Abel Gance, or even advertising and typography with poster designer
Cassandre. However this vibrant artistic activity became paradoxically less significant as the
writer and reporter achieved more and more success in the 1930s; until a new
metamorphosis of the writer into an author of memoirs that are "memoirs without being
memoirs" brought it back to life as subject material for literary work, transfigured in "the dark
room of imagination".
The exhibition is thus a rich journey, a crossroads of the arts and proposes through the
more than 400 works, audiovisual extracts and rare documents exposed, a constant dialogue
with Cendrars' writings.
EXHIBITION CURATOR
Gabriel Umstätter
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With the partnership of the Swiss Literary Archives (Swiss National Library) and Miriam
Cendrars.
LENDERS
Bibliothèque Nationale Suisse ( Fonds Blaise Cendrars, Archives littéraires suisses), Berne;
Bibliothèque d’art et d’archéologie (Musées d’art et d’histoire), Genève ; Bibliothèque du
Conservatoire de musique, Genève ; Bibliothèque Jean Bonna, Genève ; Bibliothèque de la
Ville, La Chaux-de-Fonds; Bibliothèque publique et universitaire, Neuchâtel ; Centre
Pompidou, Musée national d’art moderne / Centre de création industrielle, Paris;
Cinémathèque française, Paris; Collection de l’Art Brut, Lausanne ; Collections d’art de la
Confédération, Berne ; Collection François Ditesheim, Neuchâtel; Dansmuseet, Stockholm;
Fondation Beyeler, Bâle; Fluxum Foundation, Genève ; Kunsthaus, Zurich; Kunstmuseum,
Soleure; Kunstmuseum – Fondation Im Obersteg, Bâle; Lobsters Films ; Matik SA,
Etagnières; Merzbacher Kunststiftung; MK2, Paris ; M.T. Abraham Foundation, Paris ;
Musées d’art et d’histoire, Genève; Musée d’histoire naturelle, La Chaux-de-Fonds ; Musée
du Petit Palais, Genève; Musée Picasso, Paris; Pathé, Paris ; SKF Machine Tools
Competence Center, Fribourg; Société des amis du Musée des beaux-arts, La Chaux-deFonds; Collections et fondations privées
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EXHIBITION PLAN
Room 8 –
Introduction: Lives and faces of Blaise Cendrars
Room 9 –
1. Before Cendrars
Room 10/11 – 2. In the cage of the meridians
Room 12 – 3. Publishing and the avant-garde
Room 13 – 4. Elastic poems – the poet and his painters
Room 14 – 5. I Killed
6. The Eubage and the birth of the left-handed writer
7. The ABC of Cinema
8. Unnatural Sonnets
Room 15 – 9. The Creation of the World
10. A dangerous life
11. Seven Wonders of the Modern World
12. The dark room of the imagination
Epilogue. By zero latitude
Entrance Hall – Under Orion's Sign
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EXHIBITION GUIDE
1. Before Cendrars
In his childhood, Frederic Sauser, who was yet to become Blaise Cendrars, moved
frequently between La Chaux-de- Fonds, Naples, Bern and Neuchatel, following his father,
whose career as an entrepreneur fluctuated in diversity as much as in success. Such
instability affected his mother's health. She found solace in teaching her youngest to read
and play the piano. A gifted organist, he dreamt for a while of becoming a composer. But his
passion for books soon took over: taking root in the illustrated natural history albums of his
mother, it was set ablaze when he discovered his father's library and, later, the Imperial
Library of Saint Petersburg. Three years spent in the Russian city doing an apprenticeship
with a Swiss jeweller put the finishing touches to a cosmopolitan and disorganised education.
He returned from Russia in 1907 with a will to write and study medicine, amongst other
subjects, at the University of Bern. Did his interest in psychiatry lead him to visit the Waldau
Institute and to meet outsider artist Adolf Wolfli, still unknown at the time, and who bears a
striking resemblance with the hero of future novel Moravagine? What we do know for sure, is
that he met Fela Poznanska while at university. The young Polish student would become his
companion in the first Bohemian years of his life, and inspired a few poems still very marked
by Symbolism. This influence is also notable in his tastes regarding visual arts, as testified by
the description of the theatre sets for a play that was never published.
2. In the cage of the merdidians
After several months of misery and wanderings between Brussels, Paris and Saint
Petersburg, he met up with his partner Fela in New York. This is where one can truly say that
Blaise Cendrars was born. The isolating and discouraging night of Easter 1912 inspired a
new poem, Les Pâques. (Easter in New York), published upon his return to Paris that same
year, under the name Blaise Cendrars. The doors to the Parisian avant-garde rapidly opened
up to him. He met painters Robert and Sonia Delaunay while visiting the poet Apollinaire.
Their friendship and passionate discussions led to the writing of La Prose du Transsibérien et
de la petite Jehanne de France (The Prose of the Trans-Siberian and of Little Jeanne of
France), "first simultaneous book", a two metre long dialogue of free verse and colourful
rhythms.
Did Cendrars ever travel on the Trans-Siberian? His famous retort to Pierre Lazareff
avoided him both to answer and to be asked further questions: "why do you care ? Didn't you
all take the trip thanks to me?" Nobody ever asked him, however, whether he and his parents
had visited the famous "Trans-Siberian Panorama" of the Exposition Universelle held in Paris
in 1900 … Either way, Cendrars was still dreaming about the railway ten years later in
America: he brought back timetables and line maps from his trip, which he used to illustrate
his third great poem, Le Panama ou les aventures de mes sept oncles (Panama - Or The
Adventures Of My Seven Uncles) – a work that expands his travelling legend to his family
and the whole world.
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3. Publishing and the avant-garde
The fame of Cendrars soon expanded to reach an international avant-gardist audience:
thanks to the connections of Apollinaire and the Delaunay, La Prose du Transsibérien is
presented in Saint Petersburg and Berlin; articles and poems are featured in Montjoie! and
Les Soirees de Paris, as well as German expressionist periodicals (Der Sturm, Die Aktion).
The war did not stop the international circulation of his work: sometimes unbeknownst to him,
his poems continued to appear in various movement periodicals: Dadaist (Cabaret Voltaire),
expressionist (Der Sturm), futurist or post-futurist (Noi, Valori Plastici). These are the same
Italian futurists that Cendrars taunts in Le lotissement du ciel (Sky: memoirs) in 1949. Even
then he is far from having forgotten the rivalries between the various avant-garde movements
of the time …
After the war, however, Cendrars grew increasingly wary of organised group adventures.
In 1919, in his artistic column in La Rose Rouge, he praises those he calls "his" painters – all
of them individualists or irregulars – but announces the end of the main surviving movement
from before the War ("the Cube is crumbling "). Despite his friendship with Cocteau, Soupault
and Picabia he stayed out of the conflicts of influence that tore up Dadaists and Surrealists.
In the Twenties he carried on giving texts to young independent periodicals. However he did
not neglect income from the more luxurious publications that came with his success as a
novelist.
4. Elastic Poems
The 19 poems of Dix-neuf poèmes élastiques were almost without exception written between
1913 and 1914. They are poems of circumstance, written to make a stand in an avant-garde
debate, as well as to react to the discovery of a work of art, to express the immediacy of an
emotion or to seize the spirit of the times. They appeared at first in periodicals or exhibition
catalogues, and were subsequently reunited in 1919. The title emphasises their plastic
quality in purpose and form, ranging from intimate confession to experimental literary collage.
When taken together they can also be read as a logbook. This is suggested in the title of one
poem, in which Cendrars confesses having himself "wanted to be a painter". Cendrars has
indeed left us some surprising oil paintings, which demonstrate knowledge of the latest
trends in the avant-garde. However this escapade into painting was short lived, despite the
encouragements of Robert Delaunay.
Painters are a central subject of these poems: the Delaunay, La Fresnaye, Léger and
especially Chagall, who was one of the very first artists that the novelist met in La Ruche
(literally The Beehive) in Montparnasse. The young painter, who only spoke Russian at this
point in time, asked Cendrars to give French titles to his first large paintings. However the
poems do not neglect more popular art forms: posters for Fantômas, adapted for cinema by
Louis Feuillade and released in 1913, as well as giant advertising signs that were taking over
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the walls of the city. The latter reminded him of the Calligrammes composed by Guillaume
Apollinaire, his friend and rival in terms of modernity.
5. I Killed
Cendrars signed a call to foreign artists to enlist in the French army. He took part in the war,
its atrocity and absurdities until 1915, when he was severely wounded and his right arm
amputated. 1916 was a "terrible year", made of frequent drunken roaming in the company of
Modigliani. La Guerre au Luxembourg, a poem about children playing war, of disenchanted
irony in tone, was released in the autumn of that year. It is illustrated by another survivor of
the Front, Moise Kisling. Had Cendrars seen the photographs published by Leon Gimpel in
Lectures pour tous, in 1915? They shared a similar theme. Whatever the truth may be,
Cendrars was indeed interested in photography. According to his own autobiographical book
La main coupée (The Bloody Hand, 1949), he sent some pictures back from the front to
periodical Le Miroir. He also appreciated cinema and learnt about film making while
appearing as an extra in J'accuse (1918 – 1919) and assisting director Abel Gance in
shooting the war film.
It would take Cendrars 30 years to write La main coupée, started in the 1910s. His first
publication about his war experience however is J'ai tué (I Killed), in 1918. Fernand Léger
illustrated the book with drawings inspired by those he brought back from the front. A raging
and disturbing text, halfway between lucidity and hallucination, it is in a same vein as Profond
Aujourd’hui (Profound Today, 1917), another work of the period written in poetic prose. It
ends with these words "I have a feel for reality. I am a poet. I took action. I killed. As does he
who wants to live."
6. The Eubage
Cendrars' "most beautiful night of writing" occurred in September 1917: he wrote La Fin du
monde filmée par l'Ange N.-D. (The End of the World Filmed by the Angel of Notre Dame) in
one go and was reborn as a "left handed writer". Several doubles of the author lurk around
this text: one is the disquieting Moravagine, who had haunted him ever since the war, and to
whom Cendrars attributes authorship of the text for a time; another is The Eubage, a
mysterious druid, poet of modern times. He invents for the latter an interstellar journey "to the
antipodes of Unity", thus responding to a commission from fashion designer and patron
Jacques Doucet. The source material for this tale is extremely diverse; it combines alchemy
and scientific imagination, and blurs the distinction between microcosm and macrocosm.
This story also describes a stationary journey, a psychedelic or mystic trip, the place of birth
of new contradictory identity.
One source of reverie is the recent art of cinema. In it everything still seems possible:
time can be inverted, a new perception or even a new reality can be born from the art of
editing. L'Eubage is thus in part a collage containing several fragments taken from other
sources. One of these is an article by Cendrars describing an astonishing film: the Colored
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Rhythms by painter Leopold Survage. This project for an abstract motion picture was passed
on to the Académie des Sciences in 1914, but the war definitively put an end to it. And yet
many key drawings survive today, scattered around the world. Cendrar's description is based
on the drawings Survage presented to him in the correct order. They could therefore be one
of the main sources of information were an animated version of the film to be made today.
7. The ABC of Cinema
Cinema was one of Cendrars' great passions. It was a source of new graphic and literary
forms, for example La Fin du monde filmée par l’ange N.-D. (The End of the World Filmed by
the Angel of Notre Dame), published in 1919 and illustrated by Fernand Léger. Cendrars'
messianic vision of an experimental cinema susceptible to revolutionise art and life is
expressed in a manifesto, L'ABC du cinema (1919 – 1926). Where should one look for
tangible traces of these very high ambitions? Perhaps in the Ballet mécanique, the famous
film by Léger, with whom he shared so many aesthetic convictions; or perhaps in the more
innovative scenes in La Roue (The Wheel, 1920 – 21). The writer assisted director Abel
Gance in shooting this film, but it is tricky to determine his precise role or the extent of his
influence. What we do know for sure though is that he convinced Gance to entrust Arthur
Honegger with arranging the musical accompaniment for the film. The young composer
would later draw on this experience to write Pacific 231, one of his most famous
compositions. Cendrars also shot a short film about the making of the film.
In addition, Cendrars also shot a film in Rome. La Venus noire was only briefly released
and no copies seem to have survived. However, and despite many other projects, the writer
would never accomplish his dream of the 1920s: to become a film director. Gold is adapted
in Hollywood in 1936 (Sutter’s Gold), without his assistance. In the end, his paper doubles, in
Dan Yack or Une nuit dans la Forêt (A Night in the Forest), will best embody his dreams
about cinema, too beautiful and disturbing to accommodate the contingencies of reality.
8. Unnatural Sonnets
However central literature may have been to his artistic life, only on rare occasions did it
enable him to make ends meet. He frequently invested his time in side activities which,
despite being more about subsistence, were never condemned to mediocrity. For example
upon his return from the front lines in 1916: Cendrars took part in various undertakings that
designated him as one of the central figures acting in the background of the artistic scene, in
which the trends that appeared after the war were already being prepared. Thus he was
literary and artistic director of the Editions de la Sirène, republishing the works of
Lautreamont and releasing musical scores by Satie and Stravinsky. He and Moise Kisling
also organised concerts, readings and exhibitions for the association "Lyre et Palette”. These
took place in an artist's studio, located № 6 Huyghens Street in Montparnasse.
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There he met and encouraged a group of young musicians united by an admiration for his
friend Eric Satie. Jean Cocteau, then following in Cendrars' footsteps in more than one way
(he also succeeded him at La Sirène), soon promoted them under the name Groupe des Six:
Auric, Honegger, Milhaud, Poulenc, Tailleferre and the very reserved Louis Durey, who wrote
a musical score for Cendrars' poem Le Musickissme. It is one of three Sonnets dénaturés
(Unnatural Sonnets) written by Cendrars in a similar vein to the Dadaists. Like a last
reminder of the Poèmes élastiques from before the war, they celebrate "Jean Cocto”, Erik
Satie or the Medrano circus, a place Cendrars liked to go to with poet Max Jacob or his
accomplice Fernand Léger, who had only just returned from the front lines.
9. The Creation of the World
Cendrars' profond aujourd’hui (Profound Today) not only celebrates the technical progress of
the modern world, it also incorporates a more unexpected aspect: the sudden proximity of a
fascinating otherness, from Africa to America and the Mayan civilisation, accessible to the
Western public like never before. This paradoxical new world needed intercessors, and
Cendrars became one for Africa : the stories and legends gathered in his Anthologie nègre
(African Folk Tales, 1921) reveal the richness of African culture beyond the visual shock of
the “great fetishes ”. He was of course himself sensitive to it, as some poems from 1916
testify. He might have written them on the occasion of a show at Salle Huyghens, which
presented to the public for the first time side by side works by Western artists and Negro
sculptures lent by art dealer Paul Guillaume.
The latter called upon Cendrars to organise a "negro party" in his gallery in 1919. Its
purpose was to promote the new market that he had chosen as his specialty. The
programme included a Negro dance, the first draft of a show that would cause a scandal later
in 1923. It was put together by the Ballets Suèdois (Swedish Ballets) of Rolf de Mare : La
Creation du monde (The Creation of the World), which brought together choreographer Jean
Borlin, musician Darius Milhaud and Fernand Léger, in charge of sets and costumes, around
Cendrars and his argument drawn from "an African legend of origins ”. Hence it should not
come as a surprise that Marie Vassilieff chose to represent Cendrars as an African fetish
when she added him to her gallery of doll-portraits of friends and leading artistic figures.
10. A dangerous life
In the first half of the 1920s Cendrars felt more and more constricted in the Parisian artistic
circles. His cinematographic experiments had been half-failures. The surrealist movement
had taken an ideological turn not to the liking of the staunch individualist that he was by
getting closer to the communist party. Rather, Cendrars dreamt of becoming a businessman,
like his Brazilian friend Paolo Prado, who had just invited him over – why not start afresh in a
new place? He embarked for Brazil in 1924. Far from the Parisian coterie, he was welcomed
as a hero by a generation of young and ebullient artists on a quest for a specifically Brazilian
form of modern art. He embarked on an initiatory trip, transformative for himself as well as
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his hosts. Testimonies to this are two books of obvious kinship. One is the modernist
manifesto Pau Brasil, by poet Oswald de Andrade, and the other is Cendrars' last book of
poetry, Feuilles de route. Both are illustrated by Tarsila do Amaral, a painter whose career
Cendrars helped to launch.
For Brazilians, this is the beginning of an original artistic revolution, which would
eventually lead to the "Anthropophagic movement”; for Cendrars, it was both the beginning of
a long love story with Brazil, a country he would visit twice more later in his life and which
would inspire many texts, and a moment when things click into place. Upon his return from
his first trip he wrote and published L’or (Gold, 1925), and began a new career in writing.
This book revealed him to the general public and helped launch his career as a novelist and
a reporter crowned with the prestige of adventure and faraway lands.
11. The seven wonders of the modern world
No works of art appear in Cendrars' 1927 listing of the seven wonders of the modern world,
with the exception of "the music of Satie which one can at last listen to without holding one's
head in one's hands”. In Aujourd'hui, a collection of works from the previous decade
published in 1931, he added an appendix to his articles of 1919 on modern painting. "Pour
prendre congé des peintres” expresses his disappointment in the development of the art of
his day. According to him it does not live up to modernity and its innovations: "Is there,
amongst all the Salon, Cenacle or School painters, their collectors and art dealers, is there
one person, a single person, who is able not to set foot rue La Boetie, and take a boat or a
plane instead?”
On the other hand Cendrars' enthusiasm for advertising was still strong, in particular for
the posters and typographic creations of Cassandre. In 1935 he entrusted him with the
design of the cover of Panorama de la pègre and praised him in Le spectacle est dans la rue,
a luxurious album of advertising posters edited by Draeger. Another advertising project,
linked to a printing type unknown to Cassandre, the Prestige, may date from this time. There
exists little documentation of their collaborative work, which must have started at the end of
the 1920s at least: Cendrars had indeed played a part in the design of the Bifur specimen
(1929) for the Deberny & Peignot type foundry. The Bifur typeface is the emblem of
Cassandre, and a modernist manifesto of French typography
12. The dark room of the imagination
At the end of the 1930s Cendrars became more and more trapped in his adventurer persona.
He wrote novellas and Press reports, and was afraid of having missed out on his greater
work. With the debacle of 1940 he moved to Aix-en-Provence, where he led a discrete life
and did not write for three years, at the end of which he was reborn once again as a writer of
"memoirs that are memoirs without being memoirs”. These four volumes occupied him
thoroughly from 1943 to 1949. Inspiration came from many past artistic experiences, as well
as new visual art works. They include prints by painter Valdo Barbey, which acted as a
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springboard to the writing of Bourlinguer (1948), and the pictures of Robert Doisneau, who
photographed the writer at work and later worked closely with him on the album La Banlieue
de Paris (1949), a collaborative effort.
But these "memoirs” are especially a vast laboratory in which memories, time and places
merge and mutate into another literary reality that claims to be more "real” than the original
one. This process is manifest in an episode of Le lotissement du ciel (Sky: Memoirs). In it
Cendrars tells the story of how he used, when he was still a jeweller's apprentice in Saint
Petersburg, precious stones to compose a sparkling image modelled after a 15th century
miniature painting by Jean Fouquet… Yet this experience secretly brings up others: a second
Jean Fouquet for example, an Art Deco jeweller who assembled gems as well, for his friend
Cassandre … This game of associations can be dizzying, but the crucial point is the
astonishing power of this image, which can be brought up for us in the work of contemporary
Brazilian artist Vik Muniz.
Epilogue
This historic journey centres on the various artistic collaborations and direct influences in the
life of Blaise Cendrars. A major part of the imagery of Cendrars has been left in the shadows,
and could one day be the subject of another exhibition: it would focus on the many works of
artists that he knew only a little, or not at all and that were inspired by his books. The "Saison
Cendrars” that runs alongside the show offers a glimpse of it. Young artists were given the
opportunity to tackle the extremely varied texts left to us by the writer. One work should
however stand in for the others: here the vast polyptich by Pierre Alechinsky plays the role of
ambassador for the rest.
The drawings gathered in this cycle enables both to open up the field and close the loop:
they are inspired by Le Volturno, a poem of 1912 recorded in a booklet alongside a few
sketches by Cendrars then crossing back from America. It tells the story of a "single boat”
lost in the middle of the Atlantic Ocean. On board, a young writer with a brand new name,
still unknown, reinvents himself for the first time as a poet of modernity. These drawings may
also echo one of Cendrars' first poems, Epitaphe, which brings him back once again to the
blue of the ocean.
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Images for the press
1.
FERNAND LÉGER
Deux disques dans la ville, 1919
Gouache and charcoal
Merzacher Kunststiftung
©ProLitteris, Zurich, 2014
2.
MARIE VASSILIEFF
Le Banquet Braque (le 14 janvier 1917) , 1929
Mixed technique on cardboard
Private collection
© Marie Vassilieff
3.
BLAISE CENDRARS
SONIA DELAUNAY
La Prose du Transsibérien et de la petite
Jehanne de France, Ed. Hommes
Nouveaux, 1913, advertising banner
Bibliothèque de la Ville de La Chaux-deFonds, Suisse
© Miriam Cendrars / Pracusa S.A. 2014
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4.
BLAISE CENDRARS
SONIA DELAUNAY
La Prose du Transsibérien et de la petite
Jehanne de France, Ed. Hommes
Nouveaux, 1913, detail
Bibliothèque de la Ville de La Chaux-deFonds, Suisse
© Miriam Cendrars / Pracusa S.A. 2014
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ÉTIENNE DELESSERT
Portrait de Blaise Cendrars, série "Suisse
flamboyante", 1997
Acrylic on wood
Kunstsammlung des Bundes, Bern
© ProLitteris, Zurich, 2014
6.
MARC CHAGALL
La Naissance, 1910
Oil on canvas
Kunsthaus, Zurich
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7.
AMEDEO MODIGLIANI
Portait de Blaise Cendrars, 1918
Oil on cardboard
Reproduction
©photoaisa, Esplugues de Llobregat
8.
AMEDEO MODIGLIANI
Portrait de jeune femme, 1918-1919
Oil on canvas
Collection Madeleine and René Junod
Musée des beaux-arts La Chaux-de-Fonds
9.
MAX JACOB
Au cirque, 1912
Oil on canvas
Musée du Petit Palais, Genève
Collection Association des Amis du Petit
Palais, Genève
Photo credits : Studio Monique Bernaz,
Genève
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10.
MOÏSE KISLING
Nature morte aux fruits, 1913
Oil on canvas
Musée du Petit Palais
Palais, Genève
Genève
11.
SONIA DELAUNAY
Maquette originale du catalogue de
l'exposition "Sonia Delaunay-Terk, ParisStockholm", 1916
Private collection
© Pracusa S.A. 2014
12.
LÉOPOLD SURVAGE
Etude des tons, premier Rythme coloré,
1912
Ink on paper
Private collection
© Right holder L. Survage
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13.
HENRI HAYDEN
Portrait de Kisling, 1914
Oil on Canvas
Musée du Petit Palais, Genève
Palais, Genève
Genève
14.
VIK MUNIZ
Louise Brooks (Pictures of Diamonds),
2005
Photography
Photo credits: Galerie Xippas, Paris / Vik
Muniz Studio, New-York
15.
LEONETTO CAPPIELLO
OXO
1911
Poster
© Musée des arts décoratifs, Paris
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16.
LÉON GIMPEL
La guerre des gosses : Les troupes
prennent un repos bien gagné tout en
savourant les sucres d'orge distribués par
l'opérateur, Paris, 5 septembre 1915
Autochrome
Société française de photographie, Paris
ONLY FOR PRINTED PRESS (NO INTERNET
DIFFUSION)
17.
PIERRE ALECHINSKY
Le Volturno, 1989
Ink on paper mounted on canvas
Detailed
©Archives P.A.
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18.
PIERRE ALECHINSKY
Le Volturno, 1989
Ink on paper mounted on canvas
Detail
©Archives P.A.
19.
FERNAND LÉGER
L'Horloge, 1918
Oil on rough cloth
Collection de la Fondation Beyeler,
Riehen (Bâle)
20.
BLAISE CENDRARS
FERNAND LÉGER
J'ai tué, Paris, La Belle Edition,
illustrations by F. Léger, 1918
The press kit and free to use images are available on the museum website (www.mbac.ch) or by
request.
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PRACTICAL INFORMATION
Museum of fine-arts of La Chaux-de-Fonds
Opening hours: Tuesday to Sunday from 10am to 5pm
(Free entry every Sunday from 10am to 12pm)
Rue des Musées 33, CH - 2300 La Chaux-de-Fonds
www.mbac.ch e-mail : [email protected]
Tel. + 41 32 967 60 76 (Head office, Tue-Sun 8h30-12h00)
Tel. + 41 32 967 60 77 (Reception desk, Tue-Sun 10h00-17h00)
Fax +41 32 722 07 63
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CONCEPTION AND DEVELOPPEMENT
MUSEUM OF FINE-ARTS OF LA CHAUX-DE-FONDS
Gabriel Umstätter (exhibition curator and project manager)
Sophie Vantieghem, Lada Umstätter (associated curators: management, research, coordination);
Nicole Hovorka (management departement, administrative management, research); Joël
Rappan (research, proofreading) ; Jonathan Carballo, Léa Marie d'Avigneau, Jason Huther,
Tristan Lüthi, (research, proofreading); Alexandra Zuccolotto, Joël Rappan, Jason Huther
(public relations, website) ; Mathias a Marca and his team : Laurent Güdel (multimedia
installation), Jean-Marie Antenen, Yannick Lambelet, Beat Matti, Benjamin Monnard, Victor
Savanyu (framing, set-up, transport) ; Anouk Gehrig Jaggi (condition reports); Maria
Walhström (documentation); Pierre Bohrer, (photography) ; Loyse Renaud (proofreading) ;
Priska Gutjahr, Joël Rappan, Alexandra Zuccolotto (opening night organisation) ; Tatiana
Armuna, Francine Barth, Irène Brossard, Wolfgang Carrier, Stéphanie Chambettaz, Philippe
Droz, Ivana Gvozdenovic, Priska Gutjahr, Daniel Hostettler, Marikit Taylor (cultural
mediation) ; Gabriel Umstätter (texts) ; Cédric Brossard and his team : Maryvonne Kolly,
Laurence Schmid, Vanni Stifani (maintenance) ;Tatiana Armuna, Florestan Berset, Priska
Gutjahr, Daniel Hostettler, Beat Matti, Daniela Moretti, Jean-Pablo Mühlestein, Romi Cattin,
Joël Rappan, Yves Regamey, Thomas Trippet, Bruno Wittmer, Alexandra Zuccolotto
(reception/ surveillance)
SPONSOR PARTNER
Pascal Couchepin
SCENOGRAPHY
Onlab, La Chaux-de-Fonds/Berlin (Thibaud Tissot and his team)
EXTERNAL MANDATES
Daniel Abadie (L. Survage project); AXA art Winterthur, Kessler (insurance) ; Hervé
Boulliane (framing) ; Département audiovisuel de la Bibliothèque de la Ville de La Chaux-deFonds, Hubert Cortat ; Galerie Triumph, Moscou (Pyassetski panorama project ) ; MarieThérèse Holzer (translation / German) ; Imprimerie des Montagnes (IDM), La Chaux-deFonds ; Institut suisse pour la conservation de la photographie, Neuchâtel, Christophe Brandt
and his team (photo prints); F. Locatelli Sàrl, La Chaux-de-Fonds (painting) ; Philip Maire
(translation/ English) ; Menuiserie-Ebénisterie Walzer SA, La Chaux-de-Fonds, Rénald
Langel et son équipe (carpenters); Publigraph Zybach & Cie, La Chaux-de-Fonds,
(serigraphy and wall texts); Ted Support (prints); SGA ; Studio 444/ La Chaux-de-Fonds
(label printing); Via Mat Artcare AG, Anouk Cateland, Kloten (transport).
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LENDERS
Bibliothèque Nationale Suisse ( Fonds Blaise Cendrars, Archives littéraires suisses), Berne;
Bibliothèque d’art et d’archéologie (Musées d’art et d’histoire), Genève ; Bibliothèque du
Conservatoire de musique, Genève ; Bibliothèque Jean Bonna, Genève ; Bibliothèque de la
Ville, La Chaux-de-Fonds; Bibliothèque publique et universitaire, Neuchâtel ; Centre
Pompidou, Musée national d’art moderne / Centre de création industrielle, Paris;
Cinémathèque française, Paris; Collection de l’Art Brut, Lausanne ; Collections d’art de la
Confédération, Berne ; Collection François Ditesheim, Neuchâtel; Dansmuseet, Stockholm;
Fondation Beyeler, Bâle; Fluxum Foundation, Genève ; Kunsthaus, Zurich; Kunstmuseum,
Soleure; Kunstmuseum –Fondation Im Obersteg, Bâle; Lobsters Films ; Matik SA,
Etagnières; Merzbacher Kunststiftung; MK2, Paris ; M.T. Abraham Foundation, Paris ;
Musées d’art et d’histoire, Genève; Musée d’histoire naturelle, La Chaux-de-Fonds ; Musée
du Petit Palais, Genève; Musée Picasso, Paris; Pathé, Paris ; SKF Machine Tools
Competence Center, Fribourg; Société des amis du Musée des beaux-arts, La Chaux-deFonds; Collections et fondations privées
SUPPORTING PARTNERS
City of La Chaux-de-Fonds: Jean-Pierre Veya (head of departement and communal
representative of cultural affairs, sport and youth of the City of La Chaux-de-Fonds) Xavier
Huther (administrator of the departement of cultural affairs, sport and youth of the City of La
Chaux-de-Fonds) ; Giovanni Sammali (head of communication and media relations) ; Cyril
Tissot (cultural delegate) ; Éric Tissot (head of external communication and promotion) ;
Société des amis du Musée des beaux-arts : Valérie Mathez, Angelo Melcarne, ClaudeAndré Moser and his comitee.
Loterie romande
Fondation Jan Michalski
Fondation Ernest Göner
Fondation culturelle BCN
Payot Libraire
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MEDIA PARTNERS
L’Hebdo
RTS Radio Télévisons suisse
Nascha gazeta
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AROUND THE EXHIBITION
GUIDED VISITS
By Sophie Vantieghem, museum curator and Gabriel Umstätter, exhibition curator:
Thursday 27.11.2014, 5.15pm
Reserved for teachers
Saturday 13.12.2014, 2.15pm
Only for members of the association Amis des Musées des beaux-arts de La Chauxde-Fonds et du Locle and members of the Club 44
Sunday 01.02.2015, 11.15am
Followed by a public presentation of the catalogue and drinks.
Sunday 01.03.2015, 11.15am
Closing of the exhibition and drinks
By Tatiana Armuna:
Free entry upon presentation of an entry ticket (Saturday)
Free entry (Sunday)
When art reveals its author
Sunday 07.12.2014, 11.15am and Saturday 14.02.2015, 11.15am
From one art to another
Sunday 21.12.2014, 11.15am and Saturday 24.01.2015, 2.15pm
READINGS AND PERFORMANCES
Readings, readings with images, performances
Complete programme: www.mbac.ch and in the programme "Blaise Cendrars. A
season at the heart of arts".
FOR YOUNG PUBLIC
Children's workshops (6-12 years old) by Priska Gutjahr and for teenagers (12-16
years old) by Tatiana Armuna.
Readings for children (5-12 years old) of African folk tales
Complete programme: www.mbac.ch and in the programme "Blaise Cendrars. A
season at the heart of arts"
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PUBLICATIONS
"Blaise Cendrars au cœur des arts", Musée des beaux-arts de La Chaux-de-Fonds,
Silvana Editoriale, publication early 2015
Public presentation followed by drinks
Sunday 01.02.2015 at 12.15pm (followed by drinks)
"Visitor's guide": available in three languages (French, German, English), comes free
upon purchase of an entry ticket
OTHER EXHIBITIONS AT THE MUSEUM
L’or
Exhibition of the 2nd years in jewellery of the Ecole d’arts appliqués de La Chaux-deFonds
7.12 – 23.12. 2014. Opening: Saturday 6.12 at 5pm
Around the collection – New acquisitions. 1st part
Until the 1.03.2015
BLAISE CENDRARS
A SEASON AT THE HEART OF ARTS
Exhibitions, concerts, shows, film projections, lectures, performances, conferences,
visits, workshops et and shows for children and teenagers : so many ways to be
suprised by the unexpected, and to (re)discover classic or unknown texts. More than
80 happenings around Blaise Cendrars organised by partners of the museum in La
Chaux-de-Fonds, Neuchâtel and Le Locle. Complete programme: www.mbac.ch
and in the programme "Blaise Cendrars. A season at the heart of arts"
For the exhibitions "L'art se livre" and "Blaise Cendrars at the heart of arts", the
Museums of fine-arts of La Chaux-de-Fonds and Le Locle collaborate: a reduction is
offered upon presentation of an entry ticket from the partner museum
GUIDED VISITS AROUND THE COLLECTION
Guided visits for adults and children: discover the museum's permanent collection in another
way! Detailed programme on website (www.mbac.ch)
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A SEASON AT THE HEART OF ARTS WITH BLAISE CENDRARS
A lone exhibition, however important it may be
would not suffice to evoke the thousands of lives
and echo the writings and words of Blaise
Cendrars. This is why the Museum is infinitely
grateful towards all the institutions and artists who
chose to participate, either by accepting to join in
the events around Cendrars or by developing an
original project themselves. Until the very last
minute, exciting projects and propositions came in
from La Chaux-de-Fonds, Le Locle or Neuchâtel
helping us make this a genuine "Season Blaise
Cendrars"
Exhibitions, concerts, shows, film screenings,
readings, performances, conferences, visits,
workshops and shows for children and teenagers:
so many opportunities to let oneself be surprised by
unexpected propositions, to (re)discover classic or unknown texts and, maybe for
some, give another chance to an author perhaps too often associated with an
intimidating school setting. The numerous young artists who spontaneously offered to
participate in this event show that Cendrars' texts can still attract and inspire a young
generation; let us hope that their enthusiasm will spread and that Blaise Cendrars will
find a renewed public.
INSTITUNTIONAL PARTNERS OF THE SEASON (LA CHAUX-DE-FONDS, LE LOCLE,
NEUCHÂTEL)
Association « La Nuit de la photo » ; Association « Maison blanche » ; Bibliothèque de la
Ville de La Chaux-de-Fonds; Centre de culture ABC, Club 44; Ecole d’arts appliqués ;
Ensemble symphonique neuchâtelois ; Galerie « Cabinet le labyrinthe »; Galerie La
Locomotive, Lycée Blaise-Cendrars ; Théâtre atelier de marionnettes La Turlutaine; Théâtre
populaire romand / l’heure bleue; Musée des beaux-arts du Locle; Librairie « Le cabinet
d’amateur.
Complete programme: www.mbac.ch and in the programme "Blaise Cendrars.
A season at the heart of arts"
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PRESS KIT BLAISE CENDRARS AT THE HEART OF ARTS 16

Transcription

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