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Beneficiaries of Cnap curatorial research grants, 2015

Centre national des arts plastiques
november 18 2015
  • Salle des Épis, Cnap reserves © Cnap / Photo: Simon Proffitt

    Project Sur la réserve (On reserve) by Anne-Lou Vincente and Raphaël Brunel

  • Ernest T.
    Portrait d'enfant (1908) / Portrait of a Child (1908)
    1991
    FNAC 03-325
    Centre national des arts plastiques
    © Ernest T. / Cnap / Photo: Yves Chenot

    Project La recherche curatoriale confrontée à la reproduction d’œuvres d’art : pour une exploration culturelle du Fonds national d’art contemporain (Curatorial research and the reproduction of artworks: a cultural exploration of the Fonds national d'art contemporain) by Francesca Zappia

  • Henri Matisse
    La Chasse / The hunt
    1894
    FNAC 1012
    Centre national des arts plastiques
    © Succession H. Matisse / Cnap / photo : Yves Chenot

    Project La recherche curatoriale confrontée à la reproduction d’œuvres d’art : pour une exploration culturelle du Fonds national d’art contemporain (Curatorial research and the reproduction of artworks: a cultural exploration of the Fonds national d'art contemporain) by Francesca Zappia

  • Walker Evans
    Untitled
    1938
    FNAC 99630
    Centre national des arts plastiques
    © Estate of Walker Evans, The Metropolitan Museum of Art, New York / Cnap / Photo: Yves Chenot

    Project La recherche curatoriale confrontée à la reproduction d’œuvres d’art : pour une exploration culturelle du Fonds national d’art contemporain (Curatorial research and the reproduction of artworks: a cultural exploration of the Fonds national d'art contemporain) by Francesca Zappia

  • Robert Malaval
    Germination d'un fauteuil Louis XV / Germination of a Louis XV Armchair
    1963
    FNAC 10334
    © Adagp, Paris / Cnap / Photo: Muriel Anssens - Ville de Nice

    Project France 1947-1968: les arts de faire (France 1947 – 1968: the arts of doing) by Géraldine Gourbe and Florence Ostende

  • William Klein
    Courrèges en boite / Courrèges Boxed
    1963
    FNAC 04-812
    © SAIF / Cnap / Photo: visual courtesy of the artist

    Project France 1947-1968: les arts de faire (France 1947 – 1968: the arts of doing) by Géraldine Gourbe and Florence Ostende

  • Nicolas Schöffer
    Untitled
    From the Sur Ab.pa.pe pi 1 (P.I.P.L.4) series
    1946-1948
    FNAC 03-059
    © Adagp, Paris / Cnap / Photo: Yves Chenot

    Project France 1947-1968: les arts de faire (France 1947 – 1968: the arts of doing) by Géraldine Gourbe and Florence Ostende

In 2015, the Centre national des arts plastiques (Cnap) launched its first international Call for Proposals for the attribution of three curatorial research grants. These were intended to fund projects involving works in the French national contemporary art collection (Fonds national d’art contemporain/Fnac).

Beneficiaries of these grants are invited to try out new curatorial strategies and to envisage the collection in its most experimental dimension, from its earliest to its most contemporary elements.

A panel comprising Marie Cozette, director of the Synagogue de Delme arts centre, Marie de Brugerolles, an independent curator, the artist Pierre Leguillon, Dirck Snauwaert, director of the WIELS contemporary art centre, and the Cnap’s Yves Robert, Xavier-Philippe Guiochon and Sébastien Faucon convened on October 2nd 2015.

The three projects which they selected are: Sur la réserve (On reserve) by Anne-Lou Vincente and Raphaël Brunel ; La recherche curatoriale confrontée à la reproduction d’œuvres d’art : pour une exploration culturelle du Fonds national d’art contemporain (Curatorial research and the reproduction of artworks: a cultural exploration of the Fonds national d'art contemporain) by Francesca Zappia ; and France 1947-1968: les arts de faire (France 1947 – 1968: the arts of doing) by Géraldine Gourbe and Florence Ostende.

The researchers will report back on their work in 2016, through publications, symposia, exhibitions, or any other type of physical or virtual media.
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SUR LA RÉSERVE (ON RESERVE) BY ANNE-LOU VICENTE AND RAPHAËL BRUNEL (WHAT YOU SEE IS WHAT YOU HEAR)
This project focuses on works in the Fnac’s contemporary collection which, for mainly technical or material reasons, can no longer – or very rarely – be exhibited. How can we compensate for this lack of visibility and accessibility? How can we bring them out of the reserves, put them back into circulation and, despite their physical absence, recreate ways for the public to experience and interpret them?
Once the body of works has been determined, the next step will be to draft a portrait and a story for each one. This will then be passed on to an artist, who will in turn produce his or her own version of the work. The works are thus kept alive and circulating, but in new forms that favour the spoken word, music, and sound in general.

Anne-Lou Vicente and Raphaël Brunel are Paris-based independent art critics, exhibition curators and the founders of VOLUME, a magazine of contemporary art and sound which they published from 2010 to 2013. The pair have since continued their research into the connections between sound and the visual arts, right up to their outermost margins, through publications, events (performances, concerts, lectures, etc.) and exhibitions.
http://www.wysiwyh.fr/
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LA RECHERCHE CURATORIALE CONFRONTÉE À LA REPRODUCTION D’ŒUVRES D’ART : POUR UNE EXPLORATION CULTURELLE DU FONDS NATIONAL D’ART CONTEMPORAIN BY FRANCESCA ZAPPIA / CURATORIAL RESEARCH AND THE REPRODUCTION OF ARTWORKS: A CULTURAL EXPLORATION OF THE FONDS NATIONAL D'ART CONTEMPORAIN
While searching through the Fnac collection database, Francesca Zappia was struck by the extraordinary number of copies, photographs, appropriations of and extracts from works and objets d’art which are part of our universal heritage. Their presence in the collection bears witness to an entire strand of references and quotations within art history that challenges the fundamental "evolutionary" narrative of the discipline.
Her project sets out to study what lies behind their production and their existence in the collection. A transversal study will reveal the various socio-political, aesthetic and technological contexts which underlie the creation of these works, and in doing so help reconsider the concept of originality within the art history discourse – which currently differentiates between copies of paintings produced in the nineteenth century and appropriations made in the 1980s – and present these various forms of reproduction from one and the same angle.
Once linked back to their original context, these works can be considered autonomously, within their own "micro-stories". An analysis of changing aesthetic taste through which the original/copy dualism emerged will reveal certain facets of the collection’s cultural and acquisitions policy.

Francesca Zappia is an independent curator, living and working in Glasgow. Her research focuses on the transmission of memory and the construction of knowledge in artistic practice, which she reflects in her own curatorial practice as she tries out new ways of presenting works, both online and offline (past-forward.net and East End Transmissions)
http://www.past-forward.net
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FRANCE 1947-1968: LES ARTS DE FAIRE BY GÉRALDINE GOURBE AND FLORENCE OSTENDE (FRANCE 1947 – 1968: THE ARTS OF DOING)
This research eschews a historical account of established events and episodes, and focuses instead on the signs and practices that traverse and transform the cultural history of art and ideas. It asks the following question: what if we found out that the future of May ’68 actually began in 1947?
During the post-war period, French culture experienced an unprecedented epistemological crisis. The founding idea of humanism and its associated values had been profoundly shaken. "French identity", which had been reduced and essentialized during the Second World War, underwent inevitable deconstruction. Thus 1947 appears as a pivotal year.
From 1947, everyday life came under scrutiny, whether in terms of philosophy, with the publication of Henri Lefebvre’s Critique of Everyday Life, literature, thanks to writers such as Simone de Beauvoir and Georges Pérec, or technology, as demonstrated in Jacques Tati’s film, Mon Oncle. Visions of an empowered future could only be based on observations and analyses of the present, as described and interpreted by the rapidly emerging social sciences.
Antonin Artaud’s 1947 radio recording To Have Done With the Judgement of God triggered a major movement towards new languages, uniting in its wake lettrists, Beat Generation writers living in Rue Gît le Cœur, and artists such as Orlan, Pierre Molinier and Robert Malaval.

Géraldine Gourbe is a philosopher and specialist in the Los Angeles art scene. She has taught aesthetics in universities, art schools and political science faculties. She is currently preparing a monographic exhibition with Andrea Zittel, to be staged at Villa Arson in summer 2017.

Florence Ostende is an art historian and exhibition curator. She is a lecturer at Geneva University of Art and Design and recently organised the Ugo Rondinone exhibition I Love John Giorno at Palais de Tokyo.

Dernière mise à jour le 02 Feb 2018
Centre national des arts plastiques 92911
France
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