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Centre national des arts plastiques

Projects

2017

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Laureates of the 2016 Cnap curatorial research grants

  • Erica Baum
    Untitled (I Have Information), 1996
    FNAC 2014-0128
    Centre national des arts plastiques
    © Erica Baum, courtesy Galerie Crèvecœur, Paris / Cnap / photo : Yves Chenot

  • Sonia Delaunay
    Prismes électriques, n°41, 1912-1914
    FNAC 28998
    Centre national des arts plastiques
    © Pracusa S.A./Cnap/ photographe Yves Chenot

    Project The history of women in the Cnap collection by Liberty Adrien

  • Pierrette Bloch
    N°9, 1970-1971
    FNAC 30747
    Centre national des arts plastiques
    © Adagp/Cnap/

    Project The history of women in the Cnap collection by Liberty Adrien

  • Louise Bourgeois
    Seamstress/Mistress/Distress/Stress, 1998
    FNAC 980557
    Centre national des arts plastiques
    © Louise Bourgeois Trust / Adagp, Paris/Cnap/ photographe Yves Chenot

    Project The history of women in the Cnap collection by Liberty Adrien

  • Sophie Calle
    Prenez soin de vous. Chercheuse en lexicométrie, Micheline Renard, 2007
    FNAC 08-351 (1 à 7)
    Centre national des arts plastiques
    © Adagp/Cnap/ Photographe : Florian Kleinefenn

    Project The history of women in the Cnap collection by Liberty Adrien

  • Adrian Paci
    Per Speculum,2006
    FNAC 10-391
    Centre national des arts plastiques
    © droits réservés/Cnap

    Project The introduction and amplification of life in the Cnap collection by Alexandra Fau

  • Camille Henrot
    Robinson Crusoé, Daniel Defoe, 2012
    FNAC 2014-0005
    Centre national des arts plastiques
    © Adagp, Paris/Cnap

    Project The introduction and amplification of life in the Cnap collection by Alexandra Fau

  • Gabriel OROZCO
    Stone Drops, 1996
    FNAC 99237
    Centre national des arts plastiques
    © Gabriel Orozco / Cnap

    Project The introduction and amplification of life in the Cnap collection by Alexandra Fau

  • Michel Blazy
    Le voyage des météorites, 1999 – 2000
    FNAC 04-184
    Centre national des arts plastiques
    © Adagp, Paris / Cnap / photo : Galerie Art : Concept

    Project The introduction and amplification of life in the Cnap collection by Alexandra Fau

  • Mathieu Mercier
    Sans titre
    Scanned Flowers
    , 2011
    FNAC 2011-410
    Centre national des arts plastiques
    © Adagp, Paris / Cnap / photo : Galerie Mehdi Chouakri

    Project The introduction and amplification of life in the Cnap collection by Alexandra Fau

  • Guillaume Leblon
    Chrysocale I (Set d’habits), 2005
    FNAC 05-1231
    Dépôt du Centre national des arts plastiques au Musée régional d’Art contemporain Languedoc-Roussillon
    © Adagp, Paris / Cnap / photo : Yves Chenot

    Project The introduction and amplification of life in the Cnap collection by Alexandra Fau

  • Hubert Duprat
    Trichoptères, 1993
    FNAC 93548
    Dépôt du Centre national des arts plastiques au Château d’Oiron
    © Adagp, Paris / Cnap / photo : Hubert Duprat

    Project The introduction and amplification of life in the Cnap collection by Alexandra Fau

  • Man Ray
    The father of Mona Lisa, juin 1968
    FNAC 96066 (4)
    Centre national des arts plastiques
    © Man Ray Trust / Adagp, Paris / Cnap / photo : Yves Chenot

    Project Portrait(s) of the artist as (an) artist(s) by Matthieu Laurette

  • Louis Cane
    Louis Cane Artiste Peintre, 1967
    FNAC 90362
    Dépôt du Centre national des arts plastiques au Carré d’Art – Musée d’art contemporain de Nîmes
    © Adagp, Paris / Cnap

    Project Portrait(s) of the artist as (an) artist(s) by Matthieu Laurette

  • Jana Sterback
    Artist as a combustible, 1986
    FNAC 02-1005
    Dépôt du Centre national des arts plastiques au Musée des Beaux-arts de Nantes
    © Jana Sterback / Cnap / photo : Galerie Toni Tapies

    Project Portrait(s) of the artist as (an) artist(s) by Matthieu Laurette

  • Raymond Hains
    Les artistes horticulteurs, 1998 - 1999
    FNAC 02-310
    Centre national des arts plastiques
    © Adagp, Paris / Cnap / photo : Galerie Daniel Templon

    Project Portrait(s) of the artist as (an) artist(s) by Matthieu Laurette

For the second year, the Centre national des arts plastiques has launched an international call for projects for the awarding of curatorial grants, with the aim of starting a research programme in relation to the works listed in the inventory of the Fonds national d’art contemporain.

These grants enable the selected curators to try out new curatorial strategies and to envision the collection in its more experimental dimension, from its most historic to its most contemporary aspect.

The jury was composed of Étienne Bernard, director of the Contemporary art centre Passerelles in Brest; Mathilde Roman, doctor of arts & art science, and art critic; Émilie Pitoiset, artist and teacher; Yves Robert and Sébastien Faucon from the Cnap. Three projects were selected: The history of women in the Cnap collection, by Liberty Adrien; The introduction and amplification of life in the Cnap collection, by Alexandra Fau; and Portrait(s) of the artist as (an) artist(s) (provisionally title), by Matthieu Laurette.
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LIBERTY ADRIEN, THE HISTORY OF WOMEN IN THE CNAP COLLECTION
This curatorial research project consists of rewriting the history of the collection through the prism of the acquisition and public commission of works by women artists. Do we know which woman’s work of art was first acquired by the French Republic? Do we know how many women’s works the Cnap collection contains? The acquisitions of the collection, which was created in the 18th century, give us insight into the various stances and variations from the revolutionary period to this day. The status of women in the history of art, which fluctuates according to cultural systems, and the figure of the woman artist, compared with socio-political history, will be at the heart of this research. By attempting to define the obstacle that women artists were faced with, the project aims to discover the impact that the emancipation of women and feminism had on the arts from 1791 to this day. Is the moral, social, and political influence of liberation struggles visible in the Cnap collection? Does the timeline of acquisitions and state commissions reflect the history of women artists in France?

Liberty Adrien is a curator. She graduated from the École nationale supérieure des Arts Décoratifs (ENSAD) in Paris. She lives and works between Paris and Hamburg, where she founded the Âme nue gallery, a space dedicated to contemporary art, and more specifically the emerging scene.
www.ame-nue.com
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ALEXANDRA FAU, THE INTRODUCTION AND AMPLIFICATION OF LIFE IN CNAP COLLECTION
This research on the introduction and amplification of life in the Cnap collection is underpinned by the fetishisation of intensity – an eminently modern notion. It is exerted around objects by invisible forces, or by new experiments aiming to go beyond representation through the shock of showing things, followed by a slow process of settling, transformation, petrification and/or disappearance. The introduction of life in the Cnap collection serves as a “change of scene”, an invitation to reposition the institution as it faces the criticism of the mausoleum-museum implicitly formulated as from the 1960s. How has the Cnap transformed its acquisition policies in order to stay true to processes and to support transitional activities that bring out art where it is least expected? How important are protocol pieces in the Cnap collection? – fragile, unstable forms, everyday gestures so akin to healing that they become unqualifiable in the commonly accepted vocabulary of contemporary art. Living artworks are strangely torn between their requirement for intensity and their desire for inefficiency. They oscillate between the insignificance of found objects and the preciousness of a treasure. Most of them have passed into the flow of the ordinary, in a “zone” where the word “work” no longer seals the fate of a piece. Artistic productions can just as well be the result of an indistinguishable choice. They can resolve to be objects without impatience, moving around outside of time. Research on the introduction and amplification of life in the Cnap collection invites us to embrace the wider spectrum of creation. The study will concentrate on the institution’s ability to support a living reflection on art, to become an ideal partner for artists, and to maintain an “electrifying” relationship with artwork.

Alexandra Fau is a freelance curator, art critic, and art history teacher. She has overseen several exhibitions on the relationship between art and architecture (“Invisible architecture?”, “Bodily architecture”, “At home”), and between art and design (“The tyranny of objects”). The question of narration is also at the heart of each of her projects (“Micro-fictions”, “Archaeology: a contemporary myth”. She has also presented the French art scene in Russia on several occasions (“Philosophers and workers” for the Franco-Russian Year 2010, Moscow Biennale 2011, and “The Contemporary French painting, combinations of history” at the Perm Museum of Contemporary Art). 
www.alexandrafau.com
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MATTHIEU LAURETTE, PORTRAIT(S) OF THE ARTIST AS (AN) ARTIST(S) (PROVISIONALLY TITLE)
Portrait(s) of the artist as (an) artist(s) (provisionally title), is intended as an exploration of the figure of the artist in the Cnap collection since its beginnings. Halfway between an artist’s outlook on his peers and (a) collection(s) of portraits aiming to identify the different types of representation of the figure of the artist in a specific collection, this curatorial project will take (the) form “of” and “through” research and immersion in all the collections, be that “historical” (1791-1904), “modern” (1905-1960), or contemporary (1961 to this day), with no particular consideration for the mediums used, instead trying to identify the different types of representation of the figure of the artist. The proposed body of works will include as many types of representation as possible, selected from a collection of no fewer than 100,000 works. These typologies will address the aspects of the representation of the artist from a variety of points of view: economic, historical, biographical, documentary, sociological, philosophical, material, pragmatic, rhetorical, or semantic.

Matthieu Laurette (b. 1970 in Villeneuve-Saint-Georges) is a French artist who works with a variety of mediums, such as television, video, and installation, as well as interventions in the public space. Laurette uses various strategies to explore the relationships between Conceptual art, Pop Art, Institutional Critique, economy, and contemporary society. His work has been shown at the Solomon Guggenheim Museum, New York (1998); ICA, London (1999 and 2003); 49th Venice Biennale (2001); Castello di Rivoli, Turin (2001); Deichtorhallen Hamburg (2002); Artsonje Centre, Seoul (2002); Palais de Tokyo, Paris (2003 and 2006); MoMA, New York (2007); MNAM – Centre Pompidou, Paris (1997, 2000, 2004, 2007, 2009); Mac/Val, Vitry-sur-Seine (2012, 2015, 2016); Museo La Tertulia, Cali (2013); Parallel, Oaxaca (2014); Van Abbemuseum, Eindhoven (2015); FRAC Haute-Normandie, Rouen (2016); and Museo Experimental El Eco, Mexico D. F., Mexico (2016).
www.laurette.net

Dernière mise à jour le 25 Oct 2016