from giverny to amazonia - centre pompidou …1 infinite garden from giverny to amazonia press kit...

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INFINITE GARDENFROM GIVERNY TO AMAZONIA

PRESS KIT

INFINITEGARDEN18.03 > 28.08.17

centrepompidou-metz.fr#jardininfini

Some of the creations and proposals of this exhibition were carried out within the framework of the project “NOE-NOAH”. This operation is supported by the European Union under the INTERREG V Grande Région program (2014-2020).

Ernesto Neto, Flower Crystal Power, 2014. Vue d'installation d'Ernesto Neto : Gratitude à Aspen Art Museum, Aspen, 2014. Photographe : Tony Prikryl. Courtesy the artist and Tanya Bonakdar Gallery

FROM GIVERNY TO AMAZONIA


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1. EXHIBITION OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03

2. EXHIBITION LAYOUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 05

3. A GARDEN FOR SCENERY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

4. ARTISTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

5. CATALOGUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

6. THREE GARDENS OUTDOOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

7 PARTNERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

8. PRESS VISUALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

9. PRESS CONTACT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

CONTENTS

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INFINITE GARDEN FROM GIVERNY TO AMAZONIA

From March the 18th to August the 28th 2017 Gallery 2, Gallery 3, Forum, Studio, Outdoor

1.EXHIBITION OVERVIEW

It was believed that gardens had been buried by modernity under the triumph of green spaces limiting the organic to functional areas. Yet, they remain a source of fertile inspiration all along the 20th century and continue to deeply appeal to many artists. The garden captivates, not only for its nourishing, curative and ornamental virtues but also for its subversion. Beyond the enclosed and organised space, the garden of this exhibition is a harbour for blurred, licentious and undisciplined private passions. A place of resistance and dissidence, of the most exquisite refinement as of the most wild exuberance, it becomes a biological, ethical and political laboratory. Backward intellectual currents such as Mannerism, the Decadent movement or Surrealism invade this space, opened to the incongruous and the irregular. Mostly contemporary, the works gather together for this exhibition draw the outlines of an obscure, chaotic and unpredictable experimental garden.

This exhibition of the Centre Pompidou-Metz depicts nature in the perspective of a metaphorical spring. Germination, blossoming and degeneration suggest the cycles of Earth, where the winter stop is the promise for future revolutions. Many artists venerate this vital momentum. Around 1912, in his essay about Creation in the Plastic Arts, František Kupka who is fascinated by the sexual reproduction of flowers, worships “a real pollen festival in the gynoecium bathed in sunlight” and translates theses celebrations in the organic impulse of Cosmic Spring (1913-14). Fertile ground of forms, the garden inspires artists with morphologies and fantastic metamorphoses revealing the intelligence of a non-human world. The explorations of the Earth lead to the ends of the known nature towards unspoiled territories that become new reserves of forms and motifs. Thus, fantasising the exotic nature, Dominique Gonzalez-Foerster creates a tropical diorama, a proliferating garden-library in line with a series of installations inspired from illusionist’s devices of the 19th century. The Brazilian Ernesto Neto takes the Forum of the Centre Pompidou-Metz with a monumental sculpture, Leviathan-Main-Toth (2005), whose membranes take the shape of a biological landscape on a building scale.

František Kupka, Printemps cosmique I, 1913-1914


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The garden is also the place of genetic bifurcation which alters determinisms in favour of evolution. While he immortalises in his glass framed herbarium a cherished flora, Émile Gallé takes interest for the anomalies – Are the Orchids wonders or monstrosities? At the same time, Claude Monet creates hybrids and gets plants from all over the world, triggering the ire of the local farmers who fear poisoning by these foreign flowers. A century later, Pierre Huyghe creates “condensates of Giverny” in climate-programmed aquariums. If acclimation awakes the naturalists' curiosity, it also serves the interest of a “botanic of power”, working on the colonisation then the eradication of “green pests”. Yto Barrada, Thu Van Tran and Simon Starling study the problematic of coexistence between “native” and “neophyte” plant species. Beyond the exoticism, the tropical and biomorphic alternatives of Roberto Burle-Marx or Lina Bo Bardi in Latin America and in Brazil revivify the functionalism of the European modernity. At a time of intense intermixing, melting pot and migration phenomena which constantly reconfigure the biodiversity, the original fence of the garden, being material or conceptual, needs to be revaluated. The exhibition takes the garden out of itself, going beyond the dialectic on which Michel Foucault had articulated during his conference “Of Other Spaces” in 1967, his heterotypic definition of the garden as “the smallest parcel of the world” and as the “totality of the world.” During the symposium Rethinking boundaries: architecture through space, time and disciplines, organised at the INHA (National Institute for Art History) in 2005, the garden historians Monique Mosser and Hervé Brunon postulate that “it is now necessary to think the enclosure as an open, material and living system at the same time.” Henceforth, the abolition of borders opens on an incessant quest, started as early as in the 16th century with the Dream of Poliphilus, where the garden, ideal place for research and initiation, opens on an infinity of gardens.

For Infinite Garden, Daniel Steegmann Mangrané creates an organic, earthly and solar scenery where he invites the visitor to wander among the immersive installations of the exhibition with the delight of a gardener.

Imagined like a territory without borders, the exhibition expands to the city of Metz through different gardens set up by the artists Peter Hutchinson, François Martig and Loïs Weinberger. A catalogue realised by the graphic designer Fanette Mellier and an anthology of texts from many artists on gardens, first compilation of a new collection launched by Centre Pompidou-Metz, comes along with the exhibition.

Curators :Emma Lavigne, Director, Centre Pompidou-MetzHélène Meisel, Research and Exhibition Officer, Centre Pompidou-Metz

Research : Tristan Bera

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I. COSMING SPRING GALLERY 3

At the dawn of the 20th century, the symbolist quest of the origin of the world spreads into the plastic arts. Some artists seek to depict the beginnings of life through botanical perspectives, using abstract shapes. With a few years' intervals, a world in constant metamorphosis appears with František Kupka and Hilma af Klint, both assiduously transcribing in organic or geometric shapes the process of germination, blossom, flowering and pollination.

At the beginning of the 16th century, these natural processes become a source of inspiration for the Mannerist artists who adopt its generating capacities. Representing in many myths the principles of origin and of universal mutation, the motif of the garden hosts this first vital impulse. It also evolves into a playground where the distinction between artificial and natural is blurred as much as the boundaries between the reigns of plants, minerals and animals. The garden turns into a place of “indistinctness”, auspicious for oddness, licentiousness and whim.

The gallery “Cosmic Spring” opens on a primary garden that would cease to be Eden-like to become more telluric and geological. This shapeless garden, between sterility and fertility is made of earth, mud, silt and manure: life and death of all things. These elementary forces fascinate the Surrealists at an early stage. In 1935, André Breton was in awe of the “Jurassic fauna” of the botanical garden of Tenerife, whose thousand-year old veteran dragon tree seemed to have its roots plunge into the Prehistory. Source of eroticism and oneirism, this world, continuously gestating in a larva state, dwells upon The Dark Garden (1928) of Yves Tanguy imbued with an uncertain life, while it inspires Max Ernst with ambiguous images such as the enigmatic Shell Flowers (1929).

2.EXHIBITION LAYOUT

Hilma af Klint, The Birch [Le Bouleau], 1922


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Formulated during the Antiquity, the intuition of the Panspermia theory (from the Greek pan, “all” and sperm “seed”) presumes that the whole universe is crossed by suspended seeds. In the 19th century this hypothesis, retaken and modernized, is seen as a controversial scientific theory which postulates that micro-organisms such as cells, germs and spores, distributed by comets and meteoroids, would be at the origin of life on Earth. The animated film Panspermia (1990) by Karl Sims illustrates this extravagant scenario: a stone fruit coming from space land on a desert planet where it releases thousands of small seeds. Theses multicoloured jewels will then give birth to quantity of plants such as reeled ferns like fractals or branches in the shape of DNA. “In a world with two suns, the vegetation would be black”, Philippe Parreno imagines this scenario to create in 2011 an anti-garden in Portugal, capturing its dark and gleaming essence in his immersive film Continuously Habitable Zone (C.H.Z).

Through botanic, the artists express different life concepts from its beginning to its end. In the 18th century, Carl von Linnaeus established a rational classification system of naming and classifying plants in a scientific manner defending the thesis of different and unchangeable species while other minds embrace a moving conception of the living where it is unpredictable, open to mutation, hybridisation and evolution. Jean-Jacques Rousseau, who wanted to become a plant himself, inspired Johann Wolfgang von Goethe with a devouring passion for botany. The latter already senses the abilities of the plants to change and adapt. Charles Darwin's studies of carnivorous plants, climbing plants mobility, fertilisation of orchids and evolution nourish a fecund imaginary where plants are humanised, proving to be, at the same time, one of the possible origins of Mankind. Darwin's reading inspired many artists such as Emile Gallé, Odilon Redon, Eugen Gabritschevsky or Edward Steichen who had a life-long passion for the hybridisation of delphiniums.

Adepts of shady and depopulated lands, Jean Dubuffet and Thierry de Cordier cultivate “badly treated” gardens left to stones and brambles, which serve as their primordial retreats from the world. In Vence, Dubuffet is absorbed in his contemplation of the soil. During the summer of 1955, he describes his fascination for “sandy and stony soil, twigs and dead leaves, the humus and the tiny plants close to the ground mixed with small stones”. The garden that he creates then, the Ubac, is a small botanical theatre made of “stone brought back from the mountains”, “slabs of grass torn from stony uplands like scraps of skin”. At the end of the 1990's, Thierry de Cordier confided in his writings that he became a gardener in order to flee the world. Ultimately using his various gardens as areas of contemplation and open-air writing, he eventually defines himself to be a “gardener in his mind”.

After a barren winter, spring heralds the renewal of the earth with its power of germination and pollination. Seeds that laid dormant in the wasteland pop up, and just like flowers, the artworks capture light and deck out colours, resolutely exercising their vital power of attraction. Painted motif, the garden turns into an open-air workshop as well as a place for life and regeneration sometimes even mystical. František Kupka does his daily workout sessions in the garden. Naked, he indulges in a ritual facing the sun. “I experience magnificent moments, he waves in his Creation in the pastic arts, bathed by hues flowing from the titanic keyboard of colour.” Inhabited by the same pantheistic feelings, Pierre Bonnard walks the countryside of Cannet every morning. The acid yellow of the mimosa facing his studio invades his canvas, like volatile pollen. This vitality which presides over plant growth and reproduction is embedded in the choreographic and vitalist parades of Max Ernst or Isamu Noguchi who creates a set design for Martha Graham's Embattled Garden (1958).

Jean Dubuffet, Jardin au sol, 1958

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In Yayoi Kusama's works, the diversity of plants, their extravagant shapes, sparkling colours and heady fragrances, provokes hallucinogenic effects. She grew up in a family of nursery owners; her childhood is inseparable from the flowery universe in which she evolves. Later, while she is at the heart of the New-York avant-garde of the 1960's, she transcribes her visions in psychedelic and orgiastic Happenings. Then, the fusion with nature heralds the symbolic disappearance of the artist. The immersion in a garden sometimes goes as far as the act of absorption, leading to the culture and consumption of psychotropic plants whose effects are observed by Carsten Höller and Michel François. Healing, intoxicating or poisoning chemistry, the ingestion of plants produces recreational and toxic uses, leading to new states of consciousness. Alchemy can even go further. In his short story Dysphylaxie, Primo Levi pushes this symbiosis to its utmost limit and imagines a “fantastic universe of seeds, germs and ferments where the human species would have become permeable to the plant and animal kingdoms.”

The Mannerist gardens of the Renaissance, close to sacred woods, turns into places for initiation into the mysteries of nature. The rediscovery of the Garden of Bomarzo by par Salavador Dalí astonishes the Surrealists. In Bomarzo (2011), Laurent Grasso explores the historical legacy of this garden inhabited by deities, stone monsters and haunted by multiple rumours. Corey McCorkle wanders across the Désert de Retz, an Anglo-Chinese garden of the 18th century, peppered with false ancient and Gothic ruins and exotic follies. In her essay Les châteaux de la subversion (1982) the French writer, poet and critic Annie Le Brun points out that, during the 18th century, “it is primarily in the enclosed space of a garden that classical and even encyclopaedic anthropocentrism disappears with the first errands of a quest for nature”. The garden turns into a stage of voyeurism, illusion and hallucination inspired by the synaesthetic and erotic experience of the symbolist literature, from Charles Baudelaire to Joris-Karl Huysmans. It also becomes the scene of fantasy and political metaphors; such as The Torture Garden (1899) by Octave Mirbeau, where refinement is confined to horror as to better express the violence of the colonisation.

The dazzling pantheism of “Cosmic Spring” is completed underground, by a return to burying and decomposition. Gardens are also cemeteries, where the memories of the bodies are kept and where certain struggles of history are crystallised. Like the Japanese artist Tetsumi Kudo who incorporates human limbs in his toxic flower beds installation Grafted Garden / Pollution – Cultivation - New Ecology (1970-1971). This grafted, mutant garden embodies the ecological visions of the artist who wrote, in the catalogue of the exhibition "Tetsumi Kudo: pollution" at the Stedelijk Museum in 1972 that: “conquered nature is starting to take its revenge on humanity”. In the same kind of nature “distorted” by history and pollution, between the Channel and a nuclear plant, the British filmmaker Derek Jarman establishes there is last garden, before dying of AIDS. Settled in a territory that seems to be hostile, rocky and windy, it will prove to be astonishingly luxuriant and life-saving for the artist.

Tetsumi Kudo, Grafted Garden / Pollution-cultivation-nouvelle écologie [Jardin greffé / Pollution-Cultivation-Nouvelle écologie], 1970-1971


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II. FROM GIVERNY TO AMAZONIA GALLERY 2

“From Giverny to Amazonia”: the second part of the path recalls the irreversible and extensible scale of a garden, microcosm and macrocosm at the same time. To translate this duality, the scenery of the second gallery is completely open and proposes a stroll in immersive installations where the principle of closure is deeply questioned. Just as the edges between garden and forest fade, the distinction between nature and culture is abolished and the difference between native and non-native gets blurry.

Despite Linné's rationalisation attempts, it is very complex today to identify the mutating or endangered species. The time is now for dispersal, graft and hybridisation. Remnants and symptoms of the colonial empire, the botanical gardens have bet on the acclimatisation of exotic species, transferring in the green sphere, the cultural problem of integration and rejection. When he starts to create his famous garden in Giverny, where he paints his Water Lilies, Claude Monet meets with local resistance, people fear that the specimens imported from Japan would poison the surrounding streams. Far from being anecdotal, this struggle reflects the fantasy of an invasive alterity that foreign plants convey.

Contemporary artists revisit these transplantation and colonisation phenomena, reviewing carefully their underlined economic and political motivations as well as their environmental and human impact. From the relegation of the iris tinigitana to the borders of the city to the invasion of geraniums respecting tourist standards and the overbid of palm trees that have become the insignia of a shoddy exoticism, Yto Barrada explores what she contemplates as the “botany of power”. Thu Van Tran investigates the history of Brazilian rubber trees transplanted by the French in Vietnam to produce rubber at the beginning of the 1930’s. Simon Starling tracks the history of the rhododendron imported to Scotland in the 18th century by a naturalist. The plant has proliferated so well that it is considered a parasite to eliminate.

Pierre Huyghe, Nymphéas Transplant, (Fall 1917), 2014

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At the beginning of the 20th century, public parks, these functional and hygienic green urban spaces of European Modernity, replace the gardens of private passions. It is outside Europe and especially in Latin America that modernity is once again taking roots in natural territories. The tropical metamorphosis of the modernity, phenomena of acculturation and hybridisation, constitute one of the strong focal point of the exhibition. The Cannibalist Manifesto, written by the Brazilian poet Oswald de Andrade in 1928, advocates the symbolic consumption of the colonist and the repossession of his culture as a vengeful assimilation. “We never had grammars, nor collections of old plants” claims this manifesto in a struggle against the old “European green elites”. Andrade's companion, the Brazilian artist Tarsila do Amaral paints in 1924 the canvas A Cuca, where she depicts a fantastic flora and fauna, free of any traditions or geographic references. Spreading abroad, the European Modernity finds a new impetus in Brazil in the green works of landscape architect Roberto Burle Marx who sublimates a tropical forest paradoxically rediscovered in the greenhouse of the botanical garden of Berlin. This fusion of the avant-garde with indigenous and popular cultures, intensified by the Brazilian Tropicàlia movement in the 1960's, spread out of South America to the counter-culture of North America and then, Europe.

The exhibition Infinite Garden ends by the wideness introduced in its titles, summoning the Amazon Forest. Immense, impenetrable and indomitable, the Amazon seems yet to be the antithesis of the garden. In 2005, the anthropologist Philippe Descolain testifies in Beyond Nature and Culture that scientific studies have shown that “the jungle is a space as domesticated than the gardens”. In 1978 during an expedition with the Brazilian artist Frans Krajcberg, Pierre Restany shares the artist's “Amazonian shocks” and writes the Manifesto of Integral Naturalism. When interviewed on the deforestation of this “ultimate refuge of integral nature” during an exhibition at the gallery of Charles Sablon in 1992, Krajcberg feels that “the Amazonian nature is questioning [his] modern man's sensibility”. Years later, Ernesto Neto has the same revelation after living with the Amazonian tribes of the Huni Kuin who initiate him into the healing rituals of the forest. Following this experience, he creates immersive and olfactory installations made of lycra net fabric containing flowers and therapeutic stones, such as Flower Crystal Power (2014), half-way between sculpture and architecture. Penetrating in this world of sensations not only allows the viewer to experience a fusion with the organic body but also to interact with others, simultaneously experiencing a social body.

Beyond a geographical otherness, the final removal of partition walls disrupts the alterity that orders the realm of the livings in the West: here at the bottom of the ladder, the organic appears as a superior power in the Amazon. Finally, Dominique Gonzalez-Foerster's tropical diorama especially revived for the Centre Pompidou-Metz, calls up the literary and fantasised dimension of the virgin forest. This immersive optical device reconstructs an artificial and impenetrable jungle where the artist hides works of her personal library, from Joseph Conrad to J.G Ballard. ,

Ernesto NETO, Flower Crystal Power, 2014


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For the exhibition “Infinite Garden” the artist Daniel Steegmann Mangrané creates an unprecedented landscape scenery encompassing the works in a comprehensive environment. The architecture of the exhibition breaks with the usual codes of neutral museum space to become a vast garden, organised in two contrasted times, shadow and light.

The first gallery of the exhibition invites to a walk in a nocturnal garden. The visitor walks in a village-like atmosphere, discovering the “private gardens” of several artists in an alternation of pavilions and courtyards, conveying a sensation of back and forth between indoors and outdoors.

The second gallery is less compartmentalised, allowing light and colour to outburst on its full length. Enclosures marked up with metal curtains host the works and give form to copses among which the visitor can walk. The absence of a didactic route invites the visitor to stroll, open to inspiration and curiosity. Big installations become benches under foliage, sources and fountains, caves or pergolas, all suitable places for contemplation. Daniel Steegmann Mangrané reconfigures the perception of the exhibition space by playing with lighting and materials. This option offers the possibility of a visit under a variable sun, and on a slightly undulating ground: the visitor ventures on “forking paths” to borrow Jorge Luis Borges' expression.

Spanish artist born in 1977 in Barcelona, Daniel Steegmann Mangrané lives and works in Rio de Janeiro, in Brazil. As a child he wanted to become a biologist. Nature continues to have a significant influence on his work whether it is to film a portion of the Amazonian forest, to follow the mutations of stick insects, or to detect hidden geometrical shapes in the leaf of a tree. The various mediums used by the artist – watercolour, sculpture, installation, video or films etc. – play on the perception and frequently transform space, depicting the research of the Brazilian architect Lina Bo Bardi. The social significance of this aesthetic bias is also in line with the Neo-Concrete movement incarnated by Lygia Clark and Helio Oiticica since the late 1950s in Brazil.

Several exhibitions have been devoted to him at the CRAC (Centre Rhénan d'Art Contemporain), Altkirch, at the Maison France-Brésil of Rio de Janeiro, at the Halfhouse and at the Foundation La Caixa of Barcelone. He also took part in numerous collective exhibitions, at the New Museum of New York, at the Renaissance Society of Chicago or at Museu de Arte Moderna of São Paulo.

3.A GARDEN FOR SCENERY

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IN THE FORUM OF CENTRE POMPIDOU-METZ ERNESTO NETO, LEVIATHAN-MAIN-TOTH

After being unfolded at the Panthéon of Paris (2006), then in the patio of the Musée des Beaux-Arts of Nantes (2009), the Leviathan-main-toth of the Brazilian artist Ernesto Neto invades the forum of the Centre Pompidou-Metz. Gigantic lycra net fabric equipped with several weighted “legs” the sprawling and organic installation transforms space. Its title brings two mythological beings to minds: Leviathan - primary monster of chaos, who also impersonates a united and heterogeneous State body, in Thomas Hobbes' philosophy during the 17th century - and Thoth, the Egyptian god of calculation, writing and occult sciences. Creature, landscape or suspended garden at the same time, this environment lives, only through tension and elasticity. Ernesto Neto alludes to a continual adjustment work that he compares to the phenomenon of “organic mutualism in a tropical forest”.

IN THE STUDIO OF THE CENTRE POMPIDOU-METZ JEAN-LUC VILMOUTH, JUNGLE SCIENCE 1In 1996 and 1997, Jean-Luc Vilmouth visited the Amazon in two occasions with an ethnologist. “During my visit to the Amazon jungle”, he recounts, “I intended to make a film that would tell my journey, but I realised that waving a video camera around in this context was not the most appropriate thing to do. So I decide not to film but to record only the sound instead. For me this soundtrack is like a film but a film with no images, it is the viewer that must create the images using the sounds that I make him hear with this device”. During the opening weekend of the exhibition “Infinite Garden”, the 18 and 19 of March, this installation is revived at the Studio of the Centre Pompidou Metz.

Ernesto Neto, Leviathan-main-toth, 2006-2007Billes de polystyrène, billes de polypropylène, sable, lycra et tulle, dimensions variablesParis, Centre national des arts plastiques© Ernesto Neto © Cnap/ photo Yves Chenot

Jean-Luc Vilmouth, Jungle Science 1, 1998Exposition: Institute of visual arts, University of Wisconsin, Milwaukee.Bande son, Spots, fumée© Adagp, Paris 2017

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4.ARTISTS

Hilma af Klint

Laure Albin Guillot

Giovanni Anselmo

Laëtitia Badaut-Haussmann

Yto Barrada

Denise Bellon

Joseph Beuys

Lina Bo Bardi

Pierre Bonnard

Stan Brakhage

Brassaï

Roberto Burle Marx

Salvador Dalí

Oswald de Andrade

Thierry De Cordier

Tarsila do Amaral

Óscar Domínguez

Jean Dubuffet

Buby Durini

Max Ernst

Öyvind Fahlström

Peter Fischli et David Weiss

Lucio Fontana

Michel François

Eugen Gabritschevsky

Émile Gallé

Charles Gérard / Le Corbusier

Dominique Gonzalez-Foerster

Félix Gonzalez-Torres

Laurent Grasso

João Maria Gusmão et Pedro Paiva

Hans Haacke

Jim Hodges

Carsten Höller

Rebecca Horn

Peter Hutchinson

Pierre Huyghe

Derek Jarman

Paul Klee

Frans Krajcberg

Tetsumi Kudo

František Kupka

Yayoi Kusama

Félix Labisse

Georges-Louis Le Rouge

Richard Long

François Martig

Maria Martins

André Masson

Corey McCorkle

Sine MacKinnon

David Medalla

Mario Merz

Kathryn Miller

Claude Monet

Teresa Murak

Ernesto Neto

Paul Nicolas

Isamu Noguchi

Georgia O'Keeffe

Gabriel Orozco

Claudio Parmiggiani

Philippe Parreno

Enzo Ragazzini

Arnulf Rainer

Odilon Redon

Albert Renger-Patzsch

Lamberto Scipioni

Kazuo Shiraga

Karl Sims

Valeska Soares

Simon Starling

Dana Steichen

Edward Steichen

Martha Swope

Yves Tanguy

Wolfgang Tillmans

Tindersticks

Thu Van Tran

Jean-Luc Vilmouth

Lois Weinberger

James Whitney

David Wojnarowicz

Jud Yalkut

Avec des documents du la

Fondation Jean Dubuffet

John Craven

Philippe Eggermont

Jean Weber

Avec des ouvrages de la

Bibliothèque

du Muséum national d’histoire

naturelle

Joseph Banks, Daniel Solander

Jacques-Ernest Bulloz

Charles Darwin

Nehemiah Grew

Ernst Haeckel

Charles Lemaire

Jacques Elisée Reclus

Pierre Jean François Turpin

Hendrik Adriaan van Rheede tot

Drakenstein

Nikolaus Joseph von Jacquin

Sur une scénogaphie de

Daniel Steegmann Mangrané

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5.CATALOGUE

CATALOGUEThe catalogue of this exhibition, which is also a real multi-sensorial graphic object, is realised by the graphic designer Fanette Mellier in resonance with the immersive dimension of Infinite Garden. This collective work directed by Emma Lavigne and Hélène Meisel submit the imaginary of the garden to the research and thoughts of authors such as Patricia Falguières, Arnauld Pierre, Emanuele Quinz or Bénédicte Ramade.

256 pages, 42 EuroPublication date: March 8, 2017

ANTHOLOGYAn anthology of texts on gardens inaugurates a new collection launched by the Centre Pompidou-Metz. It is the opportunity for some thematic exhibitions, to promote pieces of literature and artists' writings linked to the theme. This array of texts, including passages of fictions letters, interviews poems, essays and autobiographies calls forth the proximity between gardening and writing, walking and reading. Do they not say that the ancestor of pocket format book was design to allow reading in a garden?

260 pages, 22.90 EuroPublication date: March 2017


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As part of the exhibition Infinite Garden. From Giverny to Amazonia, the Centre Pompidou-Metz goes beyond its walls and partners up with the city of Metz to organise “Art in gardens”, an ephemeral implantation of three gardens made by artists who explore the theme of the movement of plants. In addition to the exhibition, the Centre Pompidou-Metz emphasises the gardens planted around its buildings; the southern garden designed by Pascal Cribier, with its low prunus canopy forming a mysterious vegetal ceiling and the garden of Jean-Baptiste Keune, thought by Nicolas Michelin with the agency Paso Doble, whose undulating lawns take the shape of regular waves.

METZ, JARDIN DES RÉGATES PETER HUTCHINSON, THROWN ROPES FOR METZ 2017Born in 1930, the English-American artist Peter Hutchinson is a major artist of the Land Art movement which is also presented in the exhibition Infinite Garden. From Giverny to Amazonia. For the “Jardin des Régates”, he revives his work Thrown Ropes : ropes are thrown on the ground to delineate winding and random flowerbeds then planted with flowers and stones.

CENTRE POMPIDOU-METZ, PARVIS LOÏS WEINBERGER, GARDENBorn in 1947, the Austrian artist Lois Weinberger defines himself as a field researcher. He takes part in the documenta of Kassel in 1997 with an iconic project, Railway track, neophytes from South and Southeast Europe, where he plants weeds coming from the Mediterranean region and Eastern Europe, along an abandoned railway track. In the age of globalisation, the opposition between native and neophyte does not make sense any more. In front of the Centre Pompidou-Metz the artist, interested by the phenomena of spontaneous vegetation, uses anarchic means to create a garden made up of hundreds of plastics pots filled with earth, left in the open air and offered to the spontaneous sowing of wind, insects and birds.

CENTRE POMPIDOU-METZ, TRIANGLE NORD FRANÇOIS MARTIG, GLEIS 1In his films, sound pieces and installations, the young Belgian artist and film-maker François Martig, born in 1978, questions the economic, memorial and aesthetic policies which secretly determine the environment. In the immediate vicinity of the Centre Pompidou-Metz, François Martig creates a garden named Gleis 1. Summoning the history of the Lorraine region, this garden is made up of “obsidional” plants (from the Latin obsis “under state of siege”), which were brought voluntarily or not by enemies or allies during the war and have spread across Lorraine.

| These three operations are carried out within the framework of the project “Noe-Noah” which seeks support from the European Union under the INTERREG V Grande Région program (2014-2020).

6.THREE OUTDOOR GARDENS

Peter Hutchinson, Thrown Ropes at Highfield Hall, 2015Falmouth, MA USAPhoto credit: Peter Donnelly© Peter Hutchinson

Lois Weinberger, Mobiler Garten, 1994/2014Seaux plastique, terre, végétation spontanéeMerkelpark / Villa Merkel, Esslingen am Neckar (DE)photo: Studio Weinberger / Galerie Salle Principale, Paris

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Centre Pompidou-Metz is the first offshoot of a major French cultural institution, Centre Pompidou, in partnership with regional authorities. An independent body, Centre Pompidou-Metz benefits from the experience, expertise and

international reputation of Centre Pompidou. It shares with its older sibling values of innovation and generosity, and the same determination to engage a wide public through multi-disciplinary programming.

Centre Pompiou-Metz produces temporary exhibitions which f-draw on loans from the holdings of Centre Pompidou, Musée national d’art Moderne. With more than 100,000 works, it is the largest collection of modern and contemporary art

in Europe and the second largest in the world.

Centre Pompidou-Metz also develops partnerships with museums around the world. A programme of dance, music, films, lectures and children’s workshop further explore themes raised in the exhibitions.

Financial support is provided by Wendel, its founding sponsor

Patrons

In a media partnership with

Some of the creations and proposals of this exhibition were carried out within the framework of the project “Noe-Noah”. This operation is support by the European Union under the INTERREG V Grande Région program (2014-2020).

In partnership with “l’Art dans les Jardins” and the “Les 150 ans du Jardin botanique de Metz” organised by the city of Metz.

7.PARTNERS

|

24, rue Salomon de Rothschild - 92288 Suresnes - FRANCETél. : +33 (0)1 57 32 87 00 / Fax : +33 (0)1 57 32 87 87Web : www.carrenoir.com

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Wendel, Founder Patron of centre Pompidou-Metz

"Wendel has been commited for five years alongside Centre Pompidou-Metz. Since the opening of the Centre in 2010, Wendel wanted to support a flagship institution whose cultural influence reaches the most people. Thanks to its commitment for many years in"favor of Culture, Wendel received the title of Grand Patron of Culture in 2012."

Wendel is one of the leading quoted investment companies in Europe, acting as an investorand professional shareholder, promoting the long-term development of companies whichare global leaders in their sectors: Bureau Veritas, Saint-Gobain, IHS, Materis Paints, Stahl,Mecatherm or CSP Technologies.

Founded in 1704 in Lorraine, Wendel Group was committed during 270 years to thedevelopment of various activities, especially of the steel industry, before beginning alongterm investor in the late 1970s.

The Group is supported by its reference family shareholder, made up of more than onethousand Wendel family shareholders, who are united in the family company Wendel-Participations, which owns 36% of Wendel.

Press Relations:Christine Anglade-Pirzadeh :+ 33 (0) 1 42 85 63 [email protected]

Caroline Decaux+ 33 (0) 1 42 85 91 [email protected].

www.wendelgroup.com

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UEM,Patron of Centre Pompidou-Metz since 2010,

Partner of the Warhol Underground exhibition

Energy provider since 1901, for Metz and 141 surrounding municipalities, UEM is proud to be associatedwith the Warhol Underground exhibition that highlights part of the high priest of pop art's work throughhis connections with New York's underground scene, and which is certain to be a great success.

Implicated in the lives of the local population and committed to neighbouring cultural institutions, UEMplaced the Warhol Underground exhibition at Centre Pompidou-Metz on its list of great events to support.As a sponsor of Centre Pompidou-Metz, UEM has been supporting this nationally and internationallyimportant cultural venue since 2010.

UEM has more specifically decided to commit to workshops for children 5-11 years old with the aim ofgetting them familiar with modern and contemporary art by combining learning activities with creationand meet-the-artist events.

This goal is part of UEM's commitment to placing its energy in developing pedagogical activities for schools,in particular through its partnership with the local school board, the Inspection Académique de la Moselle,in which over 1000 children take part in a tour of the hydroelectric plant in Argancy or the Museum inPontiffroy. It further promotes this aim via the learning tools set up on its kid-focused internet site 'EnergyKids'.

This new partnership with Centre Pompidou-Metz provides UEM with the opportunity to continue to workin favour of the distribution of culture and allows its unique contribution to help transform the City of Metzinto a capital for Contemporary Art.

UEM — Facts and FiguresUEM is the first independent Local Power Supplier in France. It provides energy to 160 000 customersincluding 15 000 professionals.The company has been dedicated to sustainable development for a number of years and produces renewableelectricity in its three hydro-electric plants along the Moselle river and in its biomass unit inaugurated in2013.It is part of the UEM group, which is made up of 5 entities (UEM, URM, énergem, énergreen production andefluid) and employs 600 workers.The UEM group is a vital player in the local and regional economies.

Contacts presse :UEMClaire LARDIN / Valérie COZETTE LE BAIL2, place du Pontiffroy – 57 000 METZTél : +33 (0)3 87 34 45 48 / 03 87 34 37 58Mail : [email protected] / [email protected]


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8.PRESS VISUALS

The pictures are availables online, at the adress below :centrepompidou-metz.fr/phototheque

Login : presse Password : Pomp1d57

Max Ernst, Pétales et jardin de la nymphe Ancolie, 1934

Huile sur enduit, transférée sur panneaux de bois ; 415 x 531 cm

Kunsthaus Zürich

© Adagp, Paris, 2016

František Kupka, Printemps cosmique I, 1913-1914

Huile sur toile, 115 × 125 cm

Prague, Národní Galerie v Praze


akg-images / Universal Images Group / Sovfoto \ UIG

Hilma af Klint, The Birch [Le Bouleau], 1922Aquarelle sur papier, 17,3 × 24,9 cm

Järna, The Hilma af Klint Foundation

HaK 639

© The Hilma af Klint Foundation

Photo Albin Dahlström / Moderna Museet

Jean Dubuffet, Jardin au sol, 1958Éléments botaniques, 24,5 x 37,5 cm

Collection Fondation Dubuffet, Paris

© Fondation Dubuffet/ADAGP, Paris

Pierre Bonnard, L'atelier au mimosa, hiver 1939, octobre 1946

Peinture, huile sur toile, 127,5 x 127,5 cm

Paris, Centre Pompidou - Musée national d'art moderne

© Adagp, Paris 2016

Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais

/ Philippe Migeat

Edward Steichen, Sunflowers Seeds (« Graines de tournesol »), vers 1925-1930Épreuve gélatino-argentique, 34,9 × 27,3 cm

Paris, Centre Pompidou, Musée national d’art moderne

© The estate of Edward Steichen / ADAGP, Paris, 2016


/ Georges Meguerditchian

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Albert Renger-Patzsch, Fingerhut [Digitale], 1928

Épreuve gélatino-argentique, 23,1 x 16,6 cm

Paris, Centre Pompidou, Musée national d'art moderne

© Centre Pompidou, MNAM-CCI/Guy Carrard/Dist. RMN-GP

© Albert Renger-Patz-Archiv / Ann und Jürgen Wilde / Adagp,

Paris, 2016

Tetsumi Kudo, Grafted Garden / Pollution-cultivation-nouvelle écologie [Jardin greffé / Pollution-Cultivation-Nouvelle écologie],

1970-1971Installation

Métal, contreplaqué, isorel, fleurs plastiques, lumière noire

électronique, cheveux artificiels, grillage, ampoules, ficelles,

écriteau avec texte, 270 x 430 cm

Paris, Centre Pompidou - Musée national d'art moderne



/ Georges Meguerditchian

Émile Gallé, Pot couvert : Eaux dormantesParis, musée d'Orsay

Photo © Musée d'Orsay, Dist. RMN-Grand Palais / Jim Purcell

Michel François, L. à la datura, 1998Affiche, Impression sur papier, 180 x 120 cm

Paris, Centre Pompidou, Musée national d'art moderne



/ Philippe Migeat

Gabriel Orozco, Color Travels through Flowers, 1995 (détail)

Teinture sur papier, dimensions variables

Courtesy de l’artiste, Marian Goodman Gallery, New York et

Chantal Crousel, Paris

© Gabriel Orozco

Jean Dubuffet à Vence, 1959Épreuve photographique, 24 x 18 cm

© Archives Fondation Dubuffet / photographie : John Craven

David Wojnarowicz, I Feel a Vague Nausea, 1990

Photographie noir et blanc, acrylique, corde, texte sur panneau,

152,4 × 121,92 cm

New York, collection Michael Hoeh

© The Estate of David Wojnarowicz / P.P.O.W. Gallery , New York


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João Maria Gusmão et Pedro Paiva, Fruit Polyhedron, 2009

Film cinématographique 35 mm, couleur, silencieux, 2’55’’

Paris, Centre Pompidou, Musée national d’art moderne

Achat, 2015

AM 2015-F8

© João Maria Gusmão et Pedro Paiva

Courtesy des artistes

Hans Haacke, Directed Growth, 1972Installation, Plants de haricots, fil de nylon et métal. Dimensions

variables

Museum Haus Lange, Krefeld

© Hans Haacke / Adagp, Paris 2016. Courtesy the artist and

Paula Cooper Gallery, New York

Pierre Huyghe, Nymphéas Transplant, (Fall 1917), 2014

Écosystème de l’étang de Giverny, 200,5 × 143,5 × 128,5 cm

Courtesy de l’artiste


Photo credit: Alex Delfanne

Ernesto NETO, Flower Crystal Power, 2014Vue d'installation d'Ernesto Neto: Gratitude à Aspen Art

Museum, Aspen, 2014

Photographe : Tony Prikryl

Courtesy the artist and Tanya Bonakdar Gallery

Anonyme, L'étang des nymphéas à GivernyParis, musée d'Orsay

Photo © Musée d'Orsay, Dist. RMN-Grand Palais / Patrice

Schmidt

Peter Hutchinson, Berlin-Aruba, 1992Photographies couleurs, craies grasses, 102 x 141 cm

Collection FRAC Limousin

© Peter Hutchinson

Mario Merz, Tavolo a Spirale in Tubolare di Ferro per Festino di Giornali Datati il Giorno

del Festino, 1976 Métal, verre, pierre, fagot, fruits, légumes

Hauteur : 70/200 cm, Ø 630 cm

Collection Kunstmuseum Wolfsburg

© ADAGP, Paris 2016

Simon Starling, Island For Weeds (Prototype) [« Île pour mauvaises herbes (prototype) »],

2003 Terre, rhododendrons, eau, tuyaux en plastique, métal, système

à pression autorégulée, 244 × 610 × 366 cm

Vue d'installation au Pavillon Écossais, Biennale de Venise, 2003

Courtesy de l’artiste et The Modern Institute, Andrew Hamilton /

Toby Webster Ltd, Glasgow

© Simon Starling

Photo: Jeremy Hardman-Jones


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CENTRE POMPIDOU-METZ

Diane JunquaCommunication Officer

Department of Communications and Development +33 (0)3 87 15 39 66

[email protected]

International PressAgence Claudine Colin Communication

Pénélope Ponchelet+ 33 (1) 42 72 60 01

[email protected]

9.PRESS CONTACT

from giverny to amazonia - centre pompidou …1 infinite garden from giverny to amazonia press kit...

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