Previous Exhibitions - Musée d'Art Moderne

Fischi and Weiss

Flowers& Questions

A Retrospective 22 February-13 May 2007

The Musee d’Art Moderne de la Ville de Paris presents the first french retrospective of Peter Fischli and David Weiss.

Since 1979, these Swiss artists have worked collaboratively, using various media such as installation, sculpture, photography, film and video. Their art, often ludique and experimental, situates itself within the spirit of Dadaism. They view our society from a distance, creating slight twists and barely perceptible alterations to reveal the incongruous, poetic dimension of the real. Playing with the expectations of the spectator, they question artistic conventions of art by bringing together references to high and popular culture. Today Peter Fischli and David Weiss are among those contemporary artists whose work has an ability to evoke a humour both subtle and “trash”, turning around the uneasiness in today’s society in a particulary reinvigorating manner.

The exhibition brings together more than twenty works, among them:

-The photography series Airports (1987-2006), in confrontation with the series Fleurs, Champignons (1997-1998) plays with cliches of the beauty and banality of landscapes.

-Soudain Cette Vue d’Ensemble (1981-2006), a hundred sculptures fashioned from unbaked clay, evoke a history of our world.

-The film, Le Droit Chemin (1983), sees the artists in rat and bear costumes, voyaging across the world in the search of minor and major truth.

-The Film, Le Cours des Choses (1987), proposes a fascinating array of everyday objects, teapots, tyres, buckets and balloons among them, coinciding with one another and thus provoking absurd chain reactions

-The photography series Un Apres-Midi Tranquille (Equilibre) (1984-1985), presents domestic utensils in precariously unstable assemblages.

-Polyurethane sculptures (1992-2000), painstakingly realised, faithfully reproduce a multitude of objects found in Fischli and Weiss’ studio.

-Monde Visible (1987-2000), brings together in the form of projections, an encyclopedic collection of 3000 photos taken during the artists’ travels.

-The slide projection, Projection de Question (2002-2003), gives birth, in French, English, German, Japanese and Arabic, to hundreds of philosophical, annecdotal or profound questions such as “Will I find happiness?”

-Fotographias (2004-2005) consists of a series of black and white photos the artists have based on paintings.

This exhibiton is organised by the Musee d’Atrt Moderne de la Ville de Paris, in association with Tate Modern, London and Kunsthaus, Zurich.

Rouault, Matisse, correspondances

October 27-February 11, 2007

The Musee d’Art Moderne de la Ville de Paris presents, in collaboration withthe Fondation Rouault and the Matisse archives in Paris, a reexaminating of the Georges Rouault (1871-1958) collections in regards to those of Henri Matisse (1869-1954)

Basing itself on the recently discovered letters which bring to light a profound friendship between the artists, the exhibition draws parallels between their aesthetics:
-their formative years in Gustave Moreau’s studio

-the landscapes of 1917-1919

-their shared passion for performers and the circus, represented by Matisse’s Jazz and Rouault’s Cirque de l’Etoile Filante et Divertissement

-their collaboration with Teriade for the magazine Verve in the 1940s

-their personal interpretation of Baudelaire’s poetry, both artists having illustrated Les Fleurs du Mal.

The exhibition also evokes the relationships Rouault had with his dealer, Ambroise Vollard, and with the Parisian collector Maurice Girardin, whose collection, bequeathed to the city of Paris in 1953 made possible the opening of the Musee d’Art Moderne.

The Museum’s Rouault collection consists primarily of works from 1905-1917, bringing together thirty paintings, gouaches, etchings and books. The exhibition has been enriched by loans from parisian institutions and private collection, particularly dealing with the themes of christian pastorals and the circus.

The exhibition also benefirs from loans from the Musee Gustave Moreau, the Musee National d’Art Moderne, the Centre Georges Pompidou and the Musee departemental Matisse in Le Cateau-Cambresis. With no retrospective objective, the exhibition echoes the sense of present so important in Georges Rouault’s work.

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