PSA Talk|“L’Art et la Manière” de la Fondation Cartier

“L’Art et la Manière” de la Fondation Cartier

Date:April 25, 2pm-4pm

Location:Theater (3F)

Language:Chinese/English/French (simultaneous translation)

Panelists :  Hervé Chandès, Jean-Michel Alberola, Raymond Depardon, Claudine Nougaret, Marc Newson, Huang Yong Ping, Yue Minjun.

Moderator: Fei Dawei.

Please book your seat in advance through wechat platform: yancongpsa.


Introduction of the Discussion

Multidisciplinary, all-over-the-world cosmopolitan, based on long-term relationship with the artists of its community, the way of making exhibitions of the Fondation Cartier has always been pioneer.

Raymond Depardon, La France, Seine-Maritime, Dieppe, 2004-2010, color photograph, 33 x 26,5 cm, Collection of the Fondation Cartier pour l’art contemporain, Paris (acq. 2013). Photo © Raymond Depardon/ Magnum Photo, Paris

Marc Newson, Kelvin 40 , 2003. Collection of the Fondation Cartier pour l’art contemporain, Paris. Photo © Daniel Adric

Huang Yong Ping, Devons-nous encore construire une grande cathédrale ?, 1991, Tables, stools, Black-and-white photograph, paper mache, Collection of the Fondation Cartier pour l’art contemporain, Paris, Photo © Florian Kleinefenn

About Panelists

Hervé Chandès

Since 1994, Hervé Chandès, as General Director, manages all the Fondation Cartier’s activities, the exhibition program in Paris, the international program, the collection and the artist commissions.

He has organized numerous monographic exhibitions of very different artists such as Vija Celmins (1995), Matthew Barney (1995), Cai Guo Qiang (2000), William Eggleston (2001 and 2009), Daido Moriyama (2003 and 2016), Raymond Depardon (2004), Marc Newson (2004) David Lynch (2007), Ron Mueck (2005 and 2013), Lee Bul (2007), Moebius (2010), Yue Minjun (2013), Bruce Nauman (2015).

He has also conceived theme exhibitions, which, based on the stakes they raise, allow to cross contemporary creation and thoughts on the world:  Yanomami, Spirit of the Forest (Amazonian shamanism) in 2003, Native Land, Stop Eject (with Raymond Depardon, Paul Virilio and Diller+Scofidio) in 2008,  Mathematics, A beautiful elsewhere (internationally renowned mathematicians, artists and film directors) in 2011, The Great Animal Orchestra (with bio-acoustician and musician Bernie Krause and internationally renowned artists) in 2016.

Jean-Michel Alberola

Born in 1953 in Saïda, Algeria

Lives in Paris, France

Through his works, Jean-Michel Alberola reflects on history, religion, mythology, the artist’s role, and the power of the painted image. A genuine meditation on the world, his painting often extends into multiple modes of expression, such as sculpture, objects, texts, and films. In the interwoven “signs” and scattered references of his paintings, the abstract jostles with recognizable forms, and words encounter color. Jean-Michel Alberola had his first exhibition at the Fondation Cartier, L’Effondrement des enseignes lumineuses, in 1995. Since then, he has been part of the close community of artists who regularly participate in the Fondation Cartier’s international exhibitions. His works were thus presented by the Fondation Cartier in Tokyo (2008), Seoul (2017), and now Shanghai.

Left is Claudine Nougaret, right is Raymond Depardon

Raymond Depardon

Born in 1942 in Villefranche-sur-Saône, France

Lives in Paris, France

Claudine Nougaret

Born in 1958 in Montpellier, France

Lives in Paris, France

Privileging a taste for the real and extremely varied geographies, Raymond Depardon produces photo-reportage from around the world, often linking it to texts or notes. His desire to explore a territory or an idea exhaustively constitutes a major element of his work. As a result, from 2004 to 2010, he traversed the roads, regions, and landscapes of France with just an 8 × 10 view camera. In 2008, with French philosopher and urbanist Paul Virilio, he devised Native Land, Stop Eject for the Fondation Cartier pour l’art contemporain. For that exhibition, he realized the film Hear Them Speak with Claudine Nougaret. In this work, dealing with the question of roots and the relationship between a population and its lands, language, and history, we see nomads, farmers, islanders, and Yanomami Indians expressing their attachment to their native land in their endangered mother languages. For the exhibition Mathematics, A Beautiful Elsewhere in 2011, Raymond Depardon and Claudine Nougaret made the cinemascope film Au Bonheur des Maths, giving the floor to the mathematicians who collaborated on the project: nine scientists talk about the passion that drives them: Sir Michael Atiyah, Jean-Pierre Bourguignon, Carolina Canales González and Giancarlo Lucchini, Alain Connes, Nicole El Karoui, Misha Gromov, Cédric Villani, and Don Zagier. The extremely sober style of the filmmakers creates a very emotional gallery of close-ups of scientists, not talking about sciences or work but about passion and creativity.

Marc Newson

Born in 1963 in Sydney, Australia

Lives in London, United Kingdom

After several years spent in Japan, Australian designer Marc Newson moved to Paris in 1991. In 1995, he approached the Fondation Cartier pour l’art contemporain as a young designer with a project titled Bucky, de la chimie au design, a colorful installation made of modular chairs that could be assembled in the shape of a dome. This exhibition marked the beginning of the collaboration between the designer and the Fondation Cartier. Nine years later, for his solo exhibition, Marc Newson created Kelvin 40, a concept jet combining technical prowess, industrial engineering, and futuristic design. Between prototype, sculpture, and design object, this plane was the culmination of several years’ research by the designer on both form and materials. Taking its name from the nineteenth-century British physicist Lord Kelvin, combined with the age of the artist at the time of the project’s creation, Kelvin 40 explores the question of what defines an art object, all the while exploring the problematics of the relationship between art and design, as well as of childish dreams and creative acts.

Huang Yong Ping

Born in 1954 in Xiamen, Fujian Province, China

Lives in Paris, France

Taking its inspiration from both traditional Chinese thought and current events, Huang Yong Ping’s work underlines the importance of reciprocal influences between cultures. In the 1980s, the artist used found objects and employed ancient methods of divination, such as the Yi Ching, to determine the different elements of his artworks. He came to France in 1989, and the following year stayed at the Fondation Cartier pour l’art contemporain. As part of this residency program, he created an artwork in the grounds of the Fondation Cartier on the trunk of an uprooted tree that had been blown down during a violent storm. He “cared” for the tree trunk using pulp. This is a recurring material in his work and is produced by his “machine washing” of books and newspapers. It can also be found in the work Devons-nous encore construire une grande cathédrale ?. This piece was inspired by an encounter between Joseph Beuys, Anselm Kiefer, Jannis Kounellis, and Enzo Cucchi with Jean-Christophe Ammann, the curator of their exhibition at the Kunsthalle in Basel in 1988, resulting in the publication of interviews with these five major figures of the twentieth-century art scene under the title, Bâtissons une cathédrale. By displaying a photograph of this encounter, together with a table and five chairs covered in the remains of books, this artwork questions the oppressive influence of texts on history and culture. In 1997, Huang Yong Ping presented Péril de mouton, his first solo exhibition at the Fondation Cartier, and the following year, participated in Être nature, with a work consisting of bronze sculptures of Chinese animals and live snakes and turtles. He is also one of the many artists to have participated in the exhibition Vivid Memories organized for the thirtieth anniversary of the Fondation Cartier in 2014.

Yue Minjun

Born in 1962 in Daqing, Heilongjiang Province, China.

Yue Minjun started painting as a hobby. He went on to study art at the Normal University in Hebei Province in 1985. After joining the community of artists in the village of Yuan Ming Yuan near Beijing, in the early 1990s, he began to define his style and to explore the theme that would become omnipresent in his paintings: laughter. During this period, Yue Minjun was oft en regarded as one of the leading representatives of “Cynical Realism,” a new art movement characterized by disenchantment with the socio-political changes taking place in China at the time.

The painted or sculpted faces found in Yue Minjun’s works, with their closed eyes and mouths wide open in a burst of laughter, can thus be seen as a caricature of the homogenization of Chinese society, as a way of “grinning and bearing it” in a world that has become absurd, or simply as a form of self-derision. Initially inspired by the artist’s friends, these portraits gradually merged into a single face—that of Yue Minjun himself—to provide the artist with a never-ending supply of pictorial possibilities: the same characters with their stylized and unchanging traits constantly reappear throughout his paintings, depicted as single figures or reproduced ad infinitum.

After creating a sensation at the 48th Venice Biennale in 1999, Yue Minjun gained international fame. His works became extremely popular on the contemporary art market and were acquired by numerous museums and collections around the world. In the 2000s, he incorporated a variety of influences into his immediately recognizable style and produced several new series such as his labyrinths, Re-portraits or, more recently, Overlappings. Today, Yue Minjun continues to paint and sculpt in his studio near Beijing, and is considered one of the most infl uential artists of his generation. In 2012, the fondation cartier pour l’art contemporain presented L'Ombre du fou rire, Yue Minjun’s first major european exhibition in Paris. 

Moderator

Fei Dawei

Fei Dawei is a critic and curator of Chinese contemporary art. From 2002 to 2008, as director of the Ullens Foundation, he helped to build a collection of over 2,000 contemporary Chinese artworks and founded the Ullens Center for Contemporary Art in Beijing. Since 2008, Fei Dawei has worked as an independent curator. Fei Dawei and the Fondation Cartier have enjoyed a strong relationship since Fei Dawei’s residency in the 1980s at the Fondation Cartier in Jouy-en-Josas, along with Chinese artists like Huang Yong Ping and Cai Guo-Qiang.