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Centre national des arts plastiques

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2017

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The Promenade

A walk through Cnap’s long-term loan

Musée régional d’art contemporain , Sérignan
may 20 2016 • february 19 2017
  • Mike Kelley, Spread-Eagle, 2000, FNAC 01-006,
    Centre national des arts plastiques, © The Mike Kelley
    Foundation for the Arts / Kelley Studio / Cnap.

  • Carsten Höller, Canary, 2009, FNAC 2011-0165,
    Centre national des arts plastiques, © ADAGP, Paris / Cnap / photo Galerie Air de paris.

  • Jimmie Durham, Almost Spontaneous n°1, 2004,
    FNAC 05-520, Centre national des arts plastiques,
    © Jimmie Durham / Cnap / photo Yves Chenot.

  • Jessica Stockholder, Inventory n°334, 2000, FNAC
    04-430, Centre national des arts plastiques, © Jessica
    Stockholder / Cnap / photo Galerie Nathalie
    Obadia.

  • Kelley Walker, Black Star Press (Rotated 180 degrees), Press Black Star, 2006, FNAC 07-407, Centre
    national des arts plastiques © droits réservés / Cnap / photo Paula Cooper Gallery.

  • Xavier Antin, Untitled (News from Nowhere, or an Epoch of Rest), 2014, FNAC 2015-0424, Centre national des arts plastiques, © Xavier Antin / Cnap / photo Aurélien Mole.

Thanks to the creation of a new storage, the Mrac will benefit from an exceptional loan of works from the National Collection of Contemporary Art managed by the Cnap. This loan covers five years, and is exceptional in size (170 works loaned, that is, an increase of 38% in the museum’s collection), thereby offering new possibilities for hanging more varied and historically rooted collections, and from 2017 will allow us to invite artists from different disciplines to cast a subjective look over this enlarged collection.

With this long-term loan, the Mrac joins a prestigious group of French museums — Centre Pompidou, CAPC in Bordeaux, Museums of Saint-Etienne and Grenoble — to which the Cnap has granted longterm loans.
Resulting from collaboration with the Cnap’s scientific teams, the choice of works was made through dialogue and with an intelligent awareness of the existing collection, strongly influenced by the artistic history developed in the region, around Support/Surfaces, Narrative Figuration and geometric abstraction.
The choice consisted of both developing the originality of the Mrac collection around painting
and its issues, strengthening its collection of drawings for the graphic arts cabinet and also filling in some gaps in the existing collection, in particular by offering a wider choice of historic works from the 1960s to the 1980s a wider range of media used and an openness to the international scene, taking into account the current context of globalisation.
The inaugural exhibition presents only a tiny fraction of this five-year donation, as the objective was that the works should be discovered through subsequent themed installations. Sharing the name of La Promenade (1920) by Robert Walser, the inaugural exhibition offers a poetic stroll through the heart of this works, exploring the rooms devoted to the collection. In La Promenade, the writer-narrator leaves his work desk to rush into the street, thus abandoning the world of the imagination for the real world. The illusion is lost over the course of the stroll, during which the narrator, through emotions and encounters, realises that there is nothing more imaginary than playing with reality.

As in the book by Walser, the eponymous exhibition acts as a lightning conductor for emotions, ideas and sensations delivered during the course of the exhibition. Artists have this ability to refresh the way we look at the world and introduce an interplay with our fantasies, which transforms our real and everyday lives. The landscape crossed is also a mental landscape, which, enables us, as Walser emphasises, “to provide intensity and to maintain links with the world”. During the exhibition, you will come across a fallen eagle (Mike Kelley), traces of forgotten possessions on a beach (Allison Knowles) or strange genetically modified birds (Carsten Höller). Evoking the idea of nature which surrounds us, as well as the nature of man himself, the exhibition also sets up a tacit dialogue with Bruno Peinado’s proposition, whose benevolent and committed view of the world it attempts to share.

Dernière mise à jour le 20 Feb 2017
Musée régional d’art contemporain
146 avenue de la plage BP4
34 410 Sérignan
France