PROGRAMME - Le Jeu de Paume · PROGRAMME CHÂTEAU DE TOURS ... Texts by Ariella Azoulay, Eduardo...

JEU DE PAUMECONCORDE — CHÂTEAU DE TOURS

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PROGRAMME2018

PARTNERS

The Jeu de Paume receives public funding from the Ministère de la Culture.

Our principal corporate sponsor is the NEUFLIZE OBC BANK

with further support from MANUFACTURE JAEGER-LECOULTRE

The Amis du Jeu de Paume support us in our activities.

The Fondation Nationale des Arts Graphiques et Plastiques

contributes to producing works from the Satellite events programme.

OVERVIEWPROGRAMMECONCORDE

SUSAN MEISELAS02 | 06 – 05 | 20 | 2018

RAOUL HAUSMANN02 | 06 – 05 | 20 | 2018

GORDON MATTA-CLARK06 |0 5 – 09 | 23 | 2018

BOUCHRA KHALILI 06 | 05 – 09 | 23 | 2018

DOROTHEA LANGE10 | 16 | 2018 – 01 | 27 | 2019 ANA MENDIETA10 | 16 | 2018 – 01 | 27 | 2019

PROGRAMMESATELLITE 11

DAMIR OCKO02 | 06 – 05 | 20 | 2018

DAPHNÉ LE SERGENT06 | 05 – 09 | 23 | 2018

ALEJANDRO CESARCO10 | 16 | 2018 – 01 | 27 | 2019

PROGRAMMECHÂTEAU DE TOURS

LUCIEN HERVÉ11 | 18 | 2017 – 05 | 27 | 2018

DANIEL BOUDINET06 | 16 – 10 | 28| 2018

JEU DE PAUME

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Cover Susan Meiselas Muchachos await counterattack by the Guard Matagalpa,Nicaragua,1978 ©SusanMeiselas/MagnumPhotos

Raoul Hausmann Untitled,1931 ©RaoulHausmann Dorothea Lange Migrant Mother, Nipomo, California, 1936 ©TheDorotheaLangeCollection,theOaklandMuseumof California,CityofOakland

Bouchra Khalili The Tempest Society.Film, 60min. 2017 ©BouchraKhalili

Gordon Matta-Clark Graffiti: Linda,1973 ©GordonMatta-Clark

Ana Mendieta Untitled: Silueta Series, 1978 ©TheEstateofAnaMendietaCollection,LLC.Courtesy GalerieLelong,NewYork

EVENTS PROGRAMMECONCORDE

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SUSAN MEISELASMEDIATIONS02 | 06 – 05 | 20 | 2018

The retrospective devoted to the American photographer Susan Meiselas (b. 1948, Baltimore) brings together a selection of works from the 1970s to the present day. A member of Magnum Photos since 1976, Susan Meiselas questions documentary practice. She became known through her work in conflict zones of Central America in the 1970s and 1980s in particular due to the strength of her colour photographs. Covering many subjects and countries, from war to human rights issues and from cultural identity to the sex industry, Meiselas uses photography, film, video and sometimes archive material, as she relentlessly explores and develops narratives integrating the participation of her subjects in her works. The exhibition highlights Susan Meiselas’ unique personal as well as geopolitical approach, showing how she moves through time and conflict and how she constantly questions the photographic process and her role as witness.

Her early works already illustrate her interest for documentary photography. Her very first project, 44 Irving Street (1971), was a series of black and white portraits. Here, she used her camera as a means of interacting with the other tenants of the boarding house where she lived during her time as a student. For Carnival Strippers (1972-1975), Meiselas followed strippers working in carnivals in New England over the course of three consecutive summers. The reportage is completed with audio recordings of the women, their clients and managers.

From this period originates also Prince Street Girls (1975-1992), which was shot in the district known as Little Italy, in New York, where Susan Meiselas still lives. She photographed a group of young girls over several years, capturing the changes that took place in their lives as they were growing up, constituting a chronicle of the evolving relationship between the young girls and the photographer.

Three important series represent the central axe of the exhibition: Nicaragua, El Salvador and Kurdistan. Made between the late 1970s and 2000, the works reveal the way in which the artist challenges and practises photography. During the course of her extensive travels in Latin America, over a number of decades, in times of war and peace, Meiselas returns to the sites where she took the original photographs, using the images to find the people she had met in order to pursue a record of their testimonies. With her project Mediations (1982), Susan Meiselas reveals how the meaning of images changes according to the context

of their diffusion. Her novel approach is almost prophetic in a world where the diffusion of the image is facilitated by technology.

As from 1997, Meiselas addresses each conflict in a different way according to the context. Kurdistan: In the Shadow of History (1997) is an archive of the visual history of a people without a nation. Meiselas, who gathered those elements all around the world in collaboration with Kurdish people, constructed her work as an installation composed of a compilation of documents, photographs and videos.

In 1992, Meiselas, asked to contribute to an awareness campaign exposing domestic violence, began by photographing crime scenes, accompanying a team of police investigators, and then selected a number of documents with photographs from the archives of the San Francisco Police Department. This research led her to create Archives of Abuse, collages of police reports and photographs, exhibited in the city’s public spaces as posters on bus shelters.

For the retrospective at the Jeu de Paume, Susan Meiselas has created a new work, begun in 2015, based on her involvement with Multistory, an organization based in the United Kingdom. This last series A Room of Their Own was shot in a refuge for women and focuses on domestic violence. The installation includes five narrative video works, featuring Meiselas’ photographs, first-hand testimonies, collages and drawings.

The exhibition of the Jeu de Paume is the most comprehensive retrospective of her work ever held in France. It retraces her trajectory since the 1970s as a visual artist who associates her subjects to her approach and questions the status of images in relation to the context in which they are perceived.

Catalogue Mediations. Texts by Ariella Azoulay, Eduardo Cadava, Carles Guerra, Marianne Hirsch, Corey Keller, Kristen Lubben, Isin Onol and Pia Viewing.Co-edition Jeu de Paume / Damiani / Fundació Antoni Tàpies, Barcelone.

Curators: Carles Guerra and Pia Viewing

Coproduction Jeu de Paume / Fundació Antoni Tàpies, Barcelone

Jeu de Paume | Concorde

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Susan Meiselas Muchachos await counterattack by the Guard,Matagalpa,Nicaragua,1978 ©SusanMeiselas/MagnumPhotos

Susan Meiselas Sandinistas at the walls of the Esteli National Guard headquarters:‘MolotovMan’Esteli‘,Nicaragua,July16th,1979 ©SusanMeiselas/MagnumPhotos

Susan Meiselas Dee and Lisa, Mott Street,LittleItaly,NewYork,1976 ©SusanMeiselas/MagnumPhotos

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RAOUL HAUSMANNVISION IN ACTION 02 | 06 – 05 | 20 | 2018

To this day, Raoul Hausmann’s photography has not had a dedicated museum exhibition in France. As a photographer, Hausmann has long remained underrated and unheralded. However his key position in 20th century avant-garde photography has continually been re-evaluated and his importance is widely acknowledged these days.

We know Hausmann as the prominent artist of Dada Berlin, as the author of assemblages, collages, lautgedichte, etc, yet the vicissitudes of history caused the obliteration of his photography, an essential facet of his oeuvre. From 1927 onwards Hausmann became an avid and restless photographer. His photographic practice quickly became a cornerstone of his multi-faceted reflections and activities, pushing him in a new direction which culminated in his forced departure from Ibiza in 1936.

Between 1927 and 1936, Hausmann engaged in a discussion about the nature and the role of photography with August Sander. He published a body of theoretical texts and was part of a group that included such notorious figures as Raoul Ubac, Man Ray, Elfriede Stegemeyer, and Lázló Moholy-Nagy. The latter once stated : ‘All that I know, I’ve learnt it from Raoul‘.

Considering Hausmann’s clandestine crossing of the century, it is no surprise that his photographic oeuvre was forgotten. Labelled a ‘degenerate‘ artist by the Nazis, he hastily left Germany in 1933. As an exile, Hausmann suffered the dispersion, and sometimes the destruction, of his work. His photography was seldom displayed and survived unnoticed until the late seventies. It was long supposed to be lost, until an archive (now at the Berlinische Galerie) was almost miraculously discovered at his daughter’s home after her death.

The French photographic archive of Hausmann’s work, kept mainly at the Musée de Rochechouart and opened in 1985, continued to grow up until 2010. This institutionalization of his work has generated an on-going re-appraisal. Hausmann the photographer is astonishing. In contrast to the sarcastic and biting tone generally associated with his Dada period, his photographs are a means to pacification. They convey a sense of reconciliation, a serenity that did not prevail before. In the late twenties Hausmann felt more and more oppressed in Berlin. He took long vacations in small villages by the North Sea and the Baltic, villages described by his partner Vera Broïdo as ‘shelters‘ and ‘hide-outs for artists‘. There, he took photographs of the sand, the foam, the bogs, trees, naked bodies, curvy dunes, wheat, weeds, insignificant things that dazzled him. His attention

also focused on humble objects, cheese graters, cane woven chairs, wicker baskets, which he transformed through the use of light and shadow. Hausmann calls these experimentations ‘melanography‘. They strikingly exemplify his definition of what an image is : ‘the dynamics of a living process‘.

Hausmann’s arrival in Ibiza in 1933, shortly after the Reichstag fire, opened a new perspective. Fascinated by the peasant houses built in the shape of white cubes, he began a photographic inventory of this ‘architecture without architects‘. Photography became partly a study dedicated to vernacular architecture from an anthropological point of view. Hausmann also discussed notions such as ‘origin‘ or ‘race‘ that emerged in contemporary architectural circles. Fully integrated in the island’s life, he lived in a ‘state of dream‘, as if outside time. Hausmann also pursued a project begun in Germany that revolved around two broad categories, portraits and the vegetational or organic forms.

The outbreak of the Spanish Civil War, in which he briefly took part as a Republican (Ibiza being the first territory abandoned to the Francoists as early as 1936), marks the beginning of his wandering across Europe. During his exile, Hausmann no longer had the possibility of dedicating himself so passionately to photography.

Catalogue Raoul Hausmann. Photographs 1927-1937Texts by Cécile Bargues and Nick CohnCoedition Jeu de Paume / Le Point du Jour / Musée départemental d’art contemporain de RochechouartEnglish version edited by Koenig 264 pages, €39

Curator: Cécile BarguesAssociate Curator: David Barriet

Coproduction Jeu de Paume / Le Point du Jour, Cherbourg

With the collaboration of Musée départemental d’art contemporain de Rochechouart, Musée d’art moderne and contemporain de Saint-Étienne Métropole, Berlinische Galerie in Berlin, Musée national d’art moderne / Centre Georges Pompidou, and private collections.


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Raoul Hausmann Untitled (Vera Broïdo),circa1931 ©BerlinischeGalerie/VGBild-Kunst,Bonn

Raoul Hausmann Nude (Vera Broïdo, view from behind),1927 ©Muséedépartementald’artcontemporaindeRochechouart

Raoul Hausmann Untitled (Dünenlandschaft),undated ©BerlinischeGalerie/VGBild-Kunst,Bonn

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GORDON MATTA-CLARKANARCHITECT 06 | 05 – 09 | 23 | 2018

Featuring one hundred artworks by Gordon Matta-Clark, the exhibition Gordon Matta-Clark: Anarchitect explores the importance of Matta-Clark’s practice towards a rethinking of architecture after modernism. Ranging a diversity of media that include photography, film and printmaking, the exhibition features a number of works related to contemporary urban culture that further contextualize Gordon Matta-Clark’s compelling critique of architecture.

Soon after completing his studies at Cornell University School of Architecture (1962-1968), Matta-Clark moved to New York and started developing a series of artworks in situ that seemed to perform an anatomy of sorts onto the very body of the urban landscape by literally cutting structures apart and exhibiting the remnants as demonstration.

An important part of these actions were realized in the South Bronx during a period marked by the borough’s steep economic decline prompted in great part by the massive exodus of its middle class to suburbia. As a consequence, a great number of abandoned buildings in the area provided raw material for Matta-Clark to intervene on. One of the most iconic series from this period, Bronx Cuts, became emblematic of Matta-Clark’s practice and was later expanded onto highly ambitious works such as Conical Intersect (Paris, 1975).

In addition to undermining the vocabulary of modulation and repetition that characterized modernist architecture, Matta-Clark also recognized the growing tendency toward public interaction exemplified by the proliferation of graffiti. Despite its ancient roots in history, graffiti had become a worldwide phenomenon since the postwar particularly among impoverished post-industrial communities. Countering the bleakness of urban sprawl, graffiti became a means of expression for youth everywhere to rebel against conformity and ultimately the authority of the architect.

Ironically, Matta-Clark’s cut-up method, borne out of the rubble of industrial era landscape, would later become extremely influential among younger architects, particularly those associated with deconstruction theory, such as Frank Gehry, Peter Eisenman and Daniel Libeskind. More recently, with the reevaluation of urban culture, Matta-Clark’s works on graffiti have also proved prescient in pointing to new directions to architecture as a growing number of designer are looking at graffiti for inspiration.

Gordon Matta-Clark: Anarchitect offers a renewed reading of Gordon Matta-Clark’s work and the influence it has cast onto contemporary art and architecture.

Catalogue Gordon Matta-Clark Texts by Sergio Bessa, Cara Jordan, Xavier WronEditions Jeu de Paume184 pages, €42

Curators: Sergio Bessa and Jessamyn Fiore Organized by The Bronx Museum of the Arts, in collaboration with the Jeu de Paume, made possible by the Henry Luce Foundation, National Endowment for the Arts, Graham Foundation for Advanced Studies in the Fine Arts, Blue Rider Group at Morgan Stanley, David Zwirner and the Estate of Gordon Matta-Clark.


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Gordon Matta-Clark Gordon Matta-Clark making Day’s End (Pier 52),1975 ©2017EstateofGordonMatta-Clark/ArtistsRightsSociety(ARS),NewYorkandDavidZwirner,NewYork.

Gordon Matta-Clark Graffiti: Linda,1973 ©2017EstateofGordonMatta-Clark/ArtistsRightsSociety(ARS),NewYorkandDavidZwirner,NewYork.

Gordon Matta-Clark and Gerry Hovagimyan working on Conical Intersect,1975 PhotoHarryGruyaert ©2017EstateofGordonMatta-Clark/ArtistsRightsSociety(ARS),NewYorkandDavidZwirner,NewYork.

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BOUCHRA KHALILI06 | 05 – 09 | 23 | 2018

The Jeu de Paume is pleased to present an important exhibition devoted to the French-Moroccan artist Bouchra Khalili (b. Casablanca, 1975). The artist’s videos, photographs and serigraphs are built on and around language, orality, subjectivity and geographic explorations. Each of her projects is designed as a platform, investigating strategies of resistance, elaborated and narrated by members of minority groups, on the margins of society.

Through her artwork, Bouchra Khalili confronts subjectivity and collective history in order to question the complex relationships between colonial and postcolonial history, contemporary migration—their geographies and narratives—and the resulting imaginary world. Her solo exhibition at the Jeu de Paume brings together, for the first time in France, a large selection of her work from the past ten years.

The exhibition features The Seaman (2012), a video filmed in the port of Hamburg; The Mapping Journey Project (2008-2011), a map of eight clandestine journeys across the Mediterranean; as well as the series of Speeches (2012-2013): a trilogy of videos—Mother Tongue, Words on Streets and Living Labour—, which focus respectively on the mother tongue spoken in Paris and its suburbs, citizenship in Genoa, and immigrant workers in New York. The photographic series Wet Feet, executed in Miami in 2012, which examines the traces left by migrants who were successful in getting into America via Florida, and The Tempest Society, presented at Documenta 2017, add to the wealth of this monographic exhibition, which also includes a new work by the artist, produced especially for the Jeu de Paume.

Raised between France and Morocco, and based in Berlin, Bouchra Khalili studied cinema at the Sorbonne Nouvelle and visual arts at the École nationale supérieure d’arts in Paris-Cergy. With the artist Yto Barrada, she is the co-founder of the Cinémathèque de Tanger, inaugurated in 2006.

Her work has been the focus of numerous solo exhibitions, notably at the MoMA, New York (2016), the Palais de Tokyo, Paris (2015), the MACBA, Barcelona (2015), the Kunsthaus, Zurich (2015), the New Museum, New York (2014), the Van Abbemuseum, Eindhoven (2014), the Justina M. Barnicke Gallery, Toronto (2013), the PAMM, Miami (2013), and the DAAD Gallery, Berlin (2013).

The artist’s work has also featured in numerous international arts events: the 14th Documenta in Athens

and Kassel (2017), the 8th Göteborg Biennale (2015), the 55th Venice Biennale (2013), the Palais de Tokyo Triennale, Paris (2012), the 18th Biennale of Sydney (2012) and the 10th Sharjah Biennale (2011).

She has been the recipient of numerous awards and prizes: Abraaj Group Art Prize (2014), Sam Art Prize (2014), DAAD Artists-in-Berlin Programme(2012), Vera List Center for Arts and Politics Fellowship (The New School, New York, 2011-2013), Villa Médicis Hors-les Murs (2010), Videobrasil Residency Award (2009), Bourse Image-Mouvement (CNAP, 2008), and the Prix Louis Lumière (2005).

A catalogue has been published for the exhibition.

Curators: Juan Antonio Álvarez Reyes, Marta Gili, Jeanette Pacher

Co-produced by the Jeu de Paume / CAAC – Centro Andaluz de Arte Contemporáneo, Seville / La Sécession, Vienna


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Bouchra Khalili The Tempest Society.Film, 60min. 2017 ©BouchraKhalili/GaleriePolaris,Paris

Bouchra Khalili Wet Feet: Lost Boats, 2012 ©BouchraKhalili/GaleriePolaris,Paris

Bouchra Khalili Speeches-Chapter 1: Mother Tongue. Vidéo,25min. 2012 ©BouchraKhalili/GaleriePolaris,Paris

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DOROTHEA LANGEPOLITICS OF SEEING

10 | 16 | 2018– 01 | 27 | 2019

In the autumn of 2018, the Jeu de Paume presents a retrospective devoted to Dorothea Lange (1895-1965), one of the twentieth century’s most important photographers. Drawing from the archives of the Oakland Museum of California, ‘Dorothea Lange. Politics of seeing‘ is the first exhibition to focus on the extraordinary emotional power of the artist’s work and to present her work produced during the Great Depression, the Second World War and post-war America, from the perspective of her political activism.

Along with the writings of John Steinbeck, Dorothea Lange’s photographs are an example of great works of art inspired by hard times: an image like Migrant Mother takes on a mythical dimension by becoming the symbol of an entire era. When the Great Depression struck in 1929, Lange instinctively turned her lens towards the victims of the recession and took photographs that would attract the attention of individuals like Paul S. Taylor, a labour economist at the University of California. The two quickly became a couple and began a collaboration, documenting the plight of struggling workers in the Dust Bowl for the governmental agencies of the New Deal. The Dust Bowl was situated in the heart of America’s agricultural region, in the Midwest, and was ravaged by drought and terrible dust storms.

Following the Great Depression, Dorothea Lange continued to practise photography and to document the major issues of the day, including the internment of Japanese-American families during the Second World War; the wartime migration of African-American and Hispanic families to California; the criminal justice system through the work of a county public defence lawyer, as well as environmental destruction and urban development in the post-war years.

If Dorothea Lange’s iconic images of the Great Depression are well known, her photographs of Japanese-Americans interned during the war were only published in 2006, when they were shown for the first time, in France, in an exhibition at the Jeu de Paume. They perfectly illustrate how Dorothea Lange made use of intimate and poignant images throughout her career, to denounce injustices and change public opinion.

Almost 130 photographs are organized by theme so as to better demonstrate the connections between Lange’s photography and her socio-political activism. In addition, a selection of personal items, including unedited contact sheets, field notes, historic objects and videos allow the public to situate her work within the context of this troubled period.

The exhibition at the Jeu de Paume examines from a new perspective the work of this renowned American artist, whose legacy continues to be felt today. Highlighting the artistic qualities and the strength of the artist’s political convictions, this exhibition allows audiences to rediscover the importance of Dorothea Lange’s work.


Curators: Drew Heath Johnson and Pia Viewing

« Dorothea Lange. Politics of Seeing » is organized by the Oakland Museum of California. The European presentation has been produced in collaboration with Barbican Art Gallery, London and Jeu de Paume, Paris.

The Neuflize OBC Bank, historic sponsor of the Jeu de Paume, and FIDAL chose to bring their support for the exhibition « Dorothea Lange. Politics of Seeing » in Paris.

This exhibition is made possible through a contribution from the Terra Foundation for American Art.


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Dorothea Lange Gas station, Kern County, California (Lettuce Strike),1938 ©TheDorotheaLangeCollection,theOaklandMuseumofCalifornia,CityofOakland

Dorothea Lange Migrant Mother, Nipomo, California, 1936 ©TheDorotheaLangeCollection,theOaklandMuseumofCalifornia,CityofOakland

Portrait of Dorothea Lange by Paul S. Taylor Dorothea Lange Lange in Texas on the Plains, circa 1935 ©TheDorotheaLangeCollection,theOaklandMuseumofCalifornia,CityofOakland

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ANA MENDIETA10 | 16 | 2018– 01 | 27 | 2019

The exhibition Ana Mendieta (Havana, 1948 - New York, 1985) is devoted to the film work of this Cuban artist. Bringing together some twenty or so films and a selection of photographs, the exhibition allows audiences to discover the greatest ensemble of the artist’s work ever presented in a single location.

Ana Mendieta is widely considered one of the most talented and original artists of the post-war era. The recent exhibitions devoted to her work in Europe (London, Prague, Salzburg, Turin and Umeå) revealed the power of her artistic vision and the influence of her work on the generations of photographers that came after her. Mendieta’s work continues to have a persuasive impact on a wide public, and can be appreciated by all age groups.

During her brief career, from 1971 to 1985, Ana Mendieta produced a remarkable body of work, including drawings, installations, performances, photographs and sculptures. Lesser known, her production of films and videos is particularly impressive and prolific: her 104 films produced between 1971 and 1981, make Ana Mendieta one of the leading figures in the practice of multidisciplinary visual arts. Thanks to new research documents, the exhibition at the Jeu de Paume repositions the moving image at the centre of her work, through the recurring themes that these explore, such as nature, memory, history and the passage of time, which are often explored through the relationship of the body and the land.

The exhibition features Moffitt Building Piece and Sweating Blood, as well as two films produced in 1974, in which the artist can be seen writing out bloody declarations by hand: Blood Writing and Blood Sign. These were produced in response to the rape and murder of Sarah Ann Ottens, a student at the University of Iowa, in 1973.

In the 1970s, Mendieta travelled to Mexico in the summer months where she produced a number of works. The exhibition presents Creek, Silueta del Laberinto and Burial Pyramid, all produced in Mexico in the summer of 1974 and in which, she defines her unique body-land aesthetic, joining her body to the land in an exploration of history and memory. Also from 1974, the film Mirage symbolically recounts the story of Mendieta’s separation from her family in Cuba, by means of a dual narrative relating the mother-daughter relationship.

Two works from 1975 are also presented: Blood Inside Outside and Energy Charge. The first is a stunning psychological study of autonomy and vulnerability,

conducted with a brutal honesty. The second, Energy Charge, explores the theme of the tree of life, a favourite topic of Ancient mythology. Anima, Silueta de Cohetes was produced in Oaxaca, Mexico in the summer of 1976. The film retraces, by means of a poetic metaphor, the passage of time and the resulting transformation of the physical body.

In her artistic practice, Mendieta uses the four basic elements—earth, water, wind and fire—to evoke the strata of history and layers of multiple meaning. In 1978, she produced the films Untitled: Silueta Series, Silueta de Arena and Untitled: Silueta Series. While Untitled: Silueta Series continues the exploration of the tree of life theme in the image of a burning tree from which glowing hands magically appear, Silueta de Arena evokes the boundary between souvenir and experience. Untitled: Silueta Series reveals Mendieta’s interest in the ritualistic aspect of art and the transformation of the earth into a sacred space. In Volcán (1979), the artist makes the form of the volcano a metaphor for the earth as a place of reconciliation and disintegration. Birth (Gunpowder Works), from 1981, is a wonderfully graphic film in which the dried, cracked mud and the light of the Iowan landscape give birth to a dream of artistic magic and power.

The three last film works in the exhibition, all made in 1981, form a trilogy on the relationship between displacement, return and reconciliation. Esculturas Rupestres (Rupestrian Sculptures) is the epic cycle of sculptures that Mendieta carved into the limestone walls of the Cuevas de Jaruco, in Havana. A journey through real and metaphorical time, this film marks Mendieta’s return to Cuba and her link with the ancient myths of the Jaruco Caves. Untitled takes place on the beaches of Guanabo, in Havana. Here, Mendieta speaks of her nostalgia for her homeland and the extended time of separation. Ochún is a video produced off the coast of Key Biscayne, in Florida. The Silueta figure here points towards Cuba, the waters between Florida and Cuba rippling through its form. Ochún, who owes her name to a Santería goddess, transforms the pain of separation into a restrained poem made of colours, light, movement, and sound.


Curators: Lynn Lukas and Howard Oransky

Produced by Katherine E. Nash Gallery, University of Minnesota in collaboration with the Jeu de Paume


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Ana Mendieta Creek,1974.FilmSuper8,colour,silent ©TheEstateofAnaMendietaCollection,LLC.CourtesyGalerieLelong,NewYork

Ana Mendieta Sweating Blood,1973.FilmSuper8,colour,silent ©TheEstateofAnaMendietaCollection,LLC.CourtesyGalerieLelong,NewYork

Ana Mendieta Anima, Silueta de Cohetes (Firework Piece),1976.FilmSuper8,colour,silent ©TheEstateofAnaMendietaCollection,LLC.CourtesyGalerieLelong,NewYork

EVENTS PROGRAMMESATELLITE 11

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NEWSPEAK_SATELLITE 1102 | 06 | 2018 – 01 | 21 | 2019

‘The limits of my language mean the limits of my world’ Ludwig Wittgenstein

At a time when Google is working on the creation of a ‘Metaverse’, a future world made up of several layers of different realities, affecting both the public and private spheres, language and its usage are more than ever at the centre of the debate.

Reflecting the new system of media discourse, this ‘theatre of word-play’1 has been built at the dawn of the 21st century, based on abbreviations (Twitter), neologisms (Brexit, Frexit, etc.) and post-truths (alternative facts).The 11th edition of the Satellite Programme consists of work by artists Damir Očko, Daphné Le Sergent and Alejandro Cesarco, engaging public discourse as a strategy towards individuation. The three exhibitions can be added to the growing critical analysis of today’s diminished thinking2, offering a hypothetical response to the limits of a formatted, segmented and pared-down language.

In the era of the digital revolution and the proliferation of technology, where even public speech, relayed by the media, makes use of social and IT networks as a new agora, the question of a reduced, formatted, and simplified language has once again been raised. This geopolitical transformation is reminiscent of a linguistic landscape imagined in a work of literature as early as 1949. Newspeak is the official language of Oceania, a fictional state invented by George Orwell in his dystopian novel Nineteen Eighty-Four. Wikipedia defines Newspeak as ‘a controlled language, of restricted grammar and limited vocabulary, a linguistic design meant to limit […] freedom of thought,’3 allowing people to be easily manipulated by the mass media, and television in particular.

This lexical and syntactical simplification of language makes critical thought difficult, if not impossible.

The minimalistic Newspeak model of language functions therefore as a language-screen, constructed on affect, ideology, rhetoric and absolute precision. Language becomes the obstacle that lies between truth and misrepresentation.

Pointing towards an ever shorter distance between the information given and its interpretation, but also the new possibility of navigating between words and signs, ‘Newspeak_’ attempts to create a cosmogony of language, a laboratory of thought, and a form of resistance through the field of language and exhibition.

Agnès Violeau

Agnès Violeau, b. 1976, lives and works in Paris. She is an independent exhibition curator and art critic. Her themes of predilection are exhibition production and the potentialities and boundaries of language.

1. Christophe P. Lagier, Le Théâtre de la parole-spectacle : Jacques Audiberti, René de Obaldia and Jean Tardieu, Birmingham (US) Summa Publications, 2000.2. In 1977, Pierre Bourdieu spoke of a ‘relationship to a derealized world’. 3. Wikipedia provides a loose interpretation of the author’s definition, as outlined in the novel.

Curator: Agnès Violeau

Exhibitions co-produced by the Jeu de Paume, the CAPC Musée d’art contemporain de Bordeaux and the Museo Amparo de Puebla, Mexico.

The Amis du Jeu de Paume and the CAPC contribute to the production of artworks and publications for the Satellite Programme.

Background info:Each year, the Satellite Programme is entrusted to an independent curator, charged with designing and organizing three exhibitions at the Jeu de Paume. For the 11th edition of this programme, the Jeu de Paume continues its partnership with the CAPC Musée d’art contemporain de Bordeaux and joins forces with a new partner: the Museo Amparo de Puebla, Mexico. Agnès Violeau, an independent curator based in Paris, has been invited to curate this programme, entitled ‘Newspeak_’. The

three exhibitions will also be presented at the CAPC and the Museo Amparo de Puebla in 2018. The exhibitions of the Satellite Programme are accompanied by three publications. Each year the Jeu de Paume and the CAPC Musée d’art contemporain de Bordeaux invite independent graphic designers to create the graphic or visual identity of the three volumes associated with the programme of exhibitions. The graphic design for Satellite 11 was done by Jérémy Glâtre.

Jeu de Paume | Satellite 11

Agnès Violeau © Aurélie Haberey

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DAMIR OCKODICTA02 | 06 – 05 | 20 | 2018

Damir Očko was born in 1977 in Zagreb (Croatia), where he lives and works today. His work is an invitation to explore the intricacies of language and the way in which the neurophysiological system generates it so poetically. His various works fall within a corpus of ideas where the elements respond to each other, vacillating between desire and deprivation, reality and fiction.

Damir Očko has been the focus of numerous solo exhibitions, notably at the Dazibao, Montreal (2016), the Croatian Pavilion at the 56th Venice Biennale (2015), the Künstlerhaus Halle für Kunst & Medien in Graz, the Temple Bar Gallery & Studios in Dublin (2014), the Palais de Tokyo in Paris (2012), the Kunsthalle in Düsseldorf (2011), the Kunstverein in Leipzig (2010), and the Museum of Contemporary Art in Zagreb (2005). His work has also been featured in a number of collective exhibitions at the Austrian Cultural Forum in New York (2016), the Württembergischer Kunstverein in Stuttgart (2015), the Kunsthalle in Vienna, the Lambert Collection in Avignon, the Plateau Collection in Paris (2014), and the MUDAM, Luxembourg (2013).Orwell’s Newspeak, which advocated a non-distantiation from the facts, grouped together three types of vocabulary. Language within the B Group concerned rhetoric or political discourse, and is the breeding ground for the project proposed by Damir Očko. The exhibition at the Jeu de Paume revolves around the film Dicta (the plural of ‘dictum’, coming from the Latin, meaning an undisputed truth). Following Dicta I, based on the autobiographical writings of Bertolt Brecht’s Telling the Truth: 5 Difficulties (1934), written when the latter fled the German regime, Dicta is built around a series of safewords. Influenced by Dadaism and conceptual art, the film takes the form of a collage and regroups an ensemble of inaudible and contradictory statements, as obscure as the images. The film evokes epic theatre and Brechtian distancing which awakens the viewer’s political consciousness. Damir Očko provides explanations in the form of asides that make the viewer an ‘enlightened observer’ despite the film’s challenging visuals and sound. The artist filmed the protagonists behind a group so that the figures of the performers blend into the crowd and disappear. The film addresses the notions of obstruction, obliteration, the loss of language function, but also political mimicry. According to Aristotle, language was an instrument, stabilizing the relationship to reality by means of knowledge. He places man in a community, making him a political animal. An attempt at emancipation is formulated here in words and images, offering a definition of today’s language as an act of resistance. Dicta reveals the ordinary dominance of passivity, opening the door to a possible psychic democracy.


Damir Očko Dicta I,photocollage,2017.Courtesyoftheartistand KasiaMichalskiGallery,Warsaw,Poland. © Damir Ocko

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A catalogue has been published for the exhibition. Co-edited by the Jeu de Paume, CAPC Musée d’art contemporain de Bordeaux and Museo Amparo de Puebla, Mexico. Bilingual edition / French-English15 x 21 cm, 64 pages, €14. Also available in EPUB format for €6.99


An exhibition co-produced by the Jeu de Paume, the CAPC Musée d’art contemporain de Bordeaux and the Museo Amparo de Puebla, Mexico.

The Amis du Jeu de Paume and the CAPC contribute to the production of artworks for the Satellite Programme.

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DAPHNÉ LE SERGENTGEOPOLITIC OF OBLIVION06 | 05 – 09 | 23 | 2018

Born in Seoul, South Korea in 1975, Daphné Le Sergent lives and works in Paris. Her work contains an artistic and theoretical exploration of the notions of scissions and borders. This work has led her to think about the concepts of arrangement and strategies in contemporary artistic creation. She makes use of fragments of texts and poems, segmented drawings, photographic diptychs and video sequences, all of which are intended to challenge the subjectivity that underpins the image, connecting one element to the other.

These fragments highlight a connection which paradoxically maintains a sense of separation. In Le Sergent’s work, the ‘I’ seems to be the thing that separates the world into two parts, in the manner of a partition or dividing wall, as thin as a line of text.

A selection of the artist’s video works are part of the Collectif Jeune Cinéma and have been shown in various venues and events, including: ‘The 11th Gwangju Biennale MegaExhibition’, Gwangju (2016); ‘Republic of 0-Sang’, South Korea (2016); ‘L’alternativa’, Barcelona Independent Film Festival (2015), ‘Being on the Move: Reflections on Migration’, Seoul, Litmus Art Center (2015), etc.





Daphné Le Sergent Politique, visage,2013 © Daphné Nan Le Sergent


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ALEJANDRO CESARCOSATELLITE 11 10 | 16 | 2018 – 01 | 27 | 2019

Born in Montevideo (Uruguay), Alejandro Cesarco lives and works in New York. His work unfolds as a series of deductions that often indicate an elsewhere or an off-camera, bearing witness to the experience of reality in all its discontinuity.

Alejandro Cesarco describes his practice as addressing questions of “repetition, narrative, and the practices of reading and translating.” Artworks take the form of film and video, prints and photographs, text and drawings, among others, and evince a deep engagement with the histories and aesthetics of Conceptual Art. With a poetic, sometimes romantic, other times melancholic air, they represent a sustained investigation into time, memory, and how meaning is felt.

Many of Cesarco’s artistic strategies point to the influence of literature on his practice, structurally and conceptually, directly and indirectly. Certain works take the form of the index, the dedication, and the table of contents. Texts by authors such as Robert Walser, Jorge Luis Borges, Marguerite Duras, and Clarice Lispector are quoted in structure or subject matter. A similar “personal canon” could be drawn from the fields of cinema and art. Over all, Cesarco’s methodologies variously mine the possibilities of tropes and archetypes, inspiration and appropriation, genre and style.

His last solo exhibitions have included: ‘A Portrait, a Story, and an Ending’, Kunsthalle Zürich, Switzerland (2013); ‘Alejandro Cesarco’, MuMOK, Vienna (2012); ‘Words Applied to Wounds’, Murray Guy, New York (2012); ‘A Common Ground’, Uruguayan Pavilion, 54th Venice Biennale.






Alejandro Cesarco Untitled (Remembered),2014 ©Courtesy of the artist and Tanya Leighton, Berlin.

EVENTS PROGRAMMECHÂTEAU DE TOURS

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LUCIEN HERVÉTHE GEOMETRY OF LIGHT11 | 18 | 2017 – 05 | 27 | 2018

If he collaborated with some of the other great architects of the twentieth century, the photographer Lucien Hervé (1910-2007) is above all famous for his work with Le Corbusier. A great constructor of the image, a single detail was all he needed to depict the ensemble, and he was capable of expressing the space simply by means of the contrast between light and shadow. Lucien Hervé was also a committed observer of the world and of humanity however, seeking everywhere ‘the presence of the living’. His photographs taken from above or at an angle allowed him to play with the geometry of the image, and tended towards abstraction. This exhibition at the Château de Tours pays tribute to him by juxtaposing, as he did, ‘the universal and the timeless’, the ancient and the modern, the abstract and the human.

A contemporary of some of the great Hungarian photographers—André Kertész and Brassaï—, as well as Robert Capa and Nicolás Muller—both of whom were recently exhibited at the Château de Tours—part of Lucien Hervé’s work remains unknown to the wider public. Despite his passion for architecture, this was never his sole subject or exclusive focus, Lucien Hervé also sought to represent in his work humanity and traces of humanity on the world, all the while avoiding the anecdotal. For example, he photographed living and working conditions in places like France, India and South America. He captured children and old men who moved him, as well as the human gestures or movements that allowed him to play with the geometry of the image. His quest for beauty, whether through architecture or humanity, often culminated in the abstraction of his subjects.

Catalogue Lucien Hervé. The Geometry of light192 pages, €35Coedition Jeu de Paume / Liénart Éditions Bilingual French-English. Texts by Imola Gebauer, Zaha Hadid, Michel Ragon, Lucien Hervé

Curator: Imola Gebauer

Exhibition organized by the Jeu de Paume in collaboration with the City of Tours

Lucien Hervé

Lucien Hervé, Haute Cour (High Court), Chandigarh, India

(architect: Le Corbusier),1955 ©FLC-ADAGP/J.PaulGettyTrust, TheGettyResearchInstitute,LosAngeles

Jeu de Paume | Château de Tours

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DANIEL BOUDINET06 | 16 – 10 | 28 | 2018

Daniel Boudinet (1945-1990) was one of the first artists to emancipate himself from photojournalism, playing an important role in the photographic renaissance of the 1970s. His personal work explored the renewed use of colour. Used primarily for architectural views, colour in his work was employed to reveal the majesty and mystery of the photographic subject. His technical mastery may be seen in his night photographs, taken of the city, but also of gardens and nature, encouraging contemplation. Also a portraitist, Daniel Boudinet photographed and rubbed shoulders with the artists and intellectuals of his time, including figures like Roland Barthes.

Although very involved in the arts scene of the 1970s and 1980s, Daniel Boudinet developed a highly independent body of work. From his early career, he had an interest in architecture and the landscape: after a first book in which he documented the transformation of the urban landscape (Bagdad-sur-Seine), he then focused on the opposite, turning his attention to architectural vestiges or ruins. Thanks to his use of long exposure techniques, the viewer’s gaze can linger on the proportions, texture and harmony of the subjects. Interested by the effects of light, especially at night, he exploited the possibilities of the medium in order to construct, through colour, seductive yet slightly surreal spaces.


Curators: Christian Caujolle and Mathilde Falguière

Exhibition co-produced by the Jeu de Paume and the Médiathèque de l’architecture et du patrimoine, in collaboration with the City of Tours.

Daniel Boudinet Tombe Brion, Vue de l’enceinte à la frise de carrelage doré, 1983

©Donation Daniel Boudinet - Médiathèque de l’architecture

et du patrimoine

Jeu de Paume | Château de Tours

JEU DE PAUME

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JEU DE PAUME

PHOTOGRAPHY – VIDEO – CONTEMPORARY ART – CINEMA – ONLINE CREATION

A historic venue dedicated to the image located in the heart of the Tuileries Gardens

The Jeu de Paume is an iconic cultural institution located in the Tuileries Gardens. It has gained an international reputation as an art centre that exhibits and promotes all forms of mechanical and electronic imagery (photography, cinema, video, installation, online creation, etc.) from the twentieth and twenty-first centuries. It produces and coproduces exhibitions but also organises film programmes, symposiums and seminars, as well as educational activities. The Jeu de Paume also publishes a number of art publications each year. With its high-profile exhibitions of established, little-known and emerging artists (especially via the Satellite program), this venue ties together different narrative strands, mixing the historic and the contemporary.

Well-known artists (Richard Avedon, Diane Arbus, Garry Winogrand, Philippe Halsman, etc.) as well as emerging figures (Omer Fast, Oscar Muñoz, Helena Almeida, Ali Cherri, etc.) can all be seen in this space that attracts an increasingly large and varied audience each year.

Since 2007, the Jeu de Paume has been working to develop its Internet presence and has been experimenting by developing a dedicated “virtual space” with a program of special web-based projects and thematic shows entrusted to curators specialising in the digital arts. Film cycles are devised to accompany many of the exhibitions, or simply to pay tribute to major figures of the independent film-making scene in France and abroad. Specialising in documentary, experimental, art-house film and autobiography, with an emphasis on previously unshown work, this program helps to create bridges between film-makers and artists. All activities at the Jeu de Paume are driven by an overriding desire to draw parallels and engage a dialogue between the various strands of visual culture and images, leading to a re-evaluation and reinvention of meaning in all fields of thought. Talks, seminars and symposia explore the questions and themes raised by the exhibitions, helping to open up new spaces for critical interaction.

The Jeu de Paume’s modular space and versatile educational program helps it respond to the different expectations arising from its activities, and confirms its ambition to provide all of its users with an active hub and resource centre for education in photographic imagery and the history of representation and the visual arts. Tours and courses, initiatives for students and teachers, and activities for families and young visitors, are the main components of its educational programme. The emphasis here is on participation rather than contemplation, exchange rather than the “colonisation of knowledge,” and sharing rather than the monopolisation of ideas.

Jeu de Paume ©JeudePaume,photoAdrienChevrot

Jeu de Paume | 1 place de la Concorde, Paris

The history of the Jeu de Paume

BuiltunderNapoleonIIIinthespectacularTuileriesGardenstohouseanindoorsportscourt,theJeudePaumehashostedexhibitionssincetheearly20thcentury,andcontemporaryartwasfirstdisplayedherein1922.WorksofartconfiscatedfromJewishfamilieswerestoredandsortedinitduringtheGermanOccupation,whenitbecamethenexusofactivitiesthatwouldhaveremainedunknownhaditnotbeenforthedeterminationoftheassistantcuratorRoseValland.AfterWWII,ithousedthefamousImpressionistMuseumuntil1986,beforebeingcompletelyrenovatedbythearchitectAntoineStinco,andbecomingacontemporaryartscentrein1991.Ithasbeenamajorvenueforphotographyandtheimagesince2004.

FrançoiseBonnefoy,Spirit of place,64pages.Retailprice€6.50.AvailableinbothFrenchandEnglish.

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A NEW SPACE FOR THE BOOKSHOPA top-of-the-range bookshop

The Jeu de Paume bookshop has undergone a facelift! Visitors can browse the impressive selection of books on offer in a larger, renovated space that opens onto the hall. Since its inauguration, the Jeu de Paume has boasted a bookshop that allows visitors to discover works that extend and explore its exhibition program, with books available on the artists presented, as well as publications exploring the transversality of visual culture and the image.

The bookshop boasts around five thousand international titles specialising in the visual arts, contemporary photography and film, and new technologies. It also houses a large selection of reviews and journals on topics such as aesthetics, art theory and art history. Throughout the year, the bookshop organizes a variety of book signings and discussions with artists and authors, in line with its exhibition program and new publications. The bookshop also has a gift shop section, selling items relating to the exhibitions, as well as a series of art objects, sold exclusively at the Jeu de Paume.

ONLINE MAGAZINEhttp://lemagazine.jeudepaume.org

IMAGES / POINTS OF VIEW / PERFORMANCES / GUEST BLOGGERS / PORTFOLIOS / VIDEO / PORTRAITS / NOTEBOOKS / CONVERSATIONS / BEHIND THE SCENES...

The Jeu de Paume online magazine has become a key forum for debate between artists, historians, philosophers, exhibition curators, film directors and art critics, notforgetting the general art-loving public. It continues on from the Jeu de Paume’s exhibitions and culturalactivities, proposing multiple points of view on the image and promoting an exchange of knowledge inthis field. Thanks to more than 300 multimedia articles, it facilitates new connections between the creativeworld and intellectual reflection.

In addition to the contributions of our guest personalities, the magazine continues to follow a creative,prospective, pedagogical and thought-provoking editorial line with video portraits, analyses of works ofart, previously untranslated texts, and texts that were no longer available, filmed performances and virtualexhibition tours with a guided commentary, critical essays and video retransmissions of the Jeu de Paume’sseminars… The Jeu de Paume online magazine is a vital element in our constant search for a crossdisciplinaryapproach to the study of the image and visual culture.

Bookshop of the Jeu de Paume ©JeudePaume,photoAdrienChevrot

Homepage of the online magazine


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The Jeu de Paume and the Musée de l’Orangerie are continuing their partnership with two joint events on Saturday afternoons. An ideal way to enjoy these two iconic institutions, both located in the Jardins des Tuileries, and to learn more about their common history.

The triangular terraces built by Le Nôtre constitute the two right-angled foundations on which the Orangerie and Jeu de Paume were built. In 1909, the Jeu de Paume became a gallery for exhibiting artworks and then, in 1922, was made into an annexe of the musée du Luxembourg for presenting contemporary foreign schools. In the same year, with the formal confirmation of Claude Monet’s donation to the French state of his monumental ensemble of Water Lilies, work began in the Orangerie to create a special space for their installation.

Today, the Musée de l’Orangerie is an outstanding museum for the art of the early 20th century and the Jeu de Paume is an art centre renowned for its coverage of photography and the image in the 20th and 21st centuries. The dialogue between these two institutions and their programmes is continuing and developing in new directions in accordance with the changing relationships between painting and photography in today’s art.

Visits on the 2nd Saturday of the month at 2.30 pm Starts at the Musée de l’OrangerieDuration of the comparative visit: 3.5 hoursCommentaries by Réunion des Musées Nationaux and Jeu de Paume lecturersPrice: €18.50/Reduced rate: €13.50 for Jeu de Paume/Orangerie members and visitors under 26 yrsBookings of the visit via the Musée de l’Orangerie: +33 (0)1 44 50 43 01 [email protected]

Jeu de Paume, view from the Place de la Concorde ©JeudePaume,photoAdrienChevrot

Jeu de Paume, view on the Eiffel tower and Obelisque de la Concorde ©JeudePaume,photoAdrienChevrot


JEU DE PAUME/MUSÉE DE L’ORANGERIEComparative tour of the twins in the Jardin des Tuileries: A shared history, individual destinies

PRESS VISUALSCopyright-free press visuals can be downloaded from www.jeudepaume.org

Section: Presse • login: presskit I password: photos

CONTACTSPress relations : Annabelle Floriant

01 47 03 13 22 / 06 42 53 04 07 / [email protected]

@Jeudepaume#Jeudepaume

1, PLACE DE LA CONCORDE · PARIS 8E · M° CONCORDE

WWW.JEUDEPAUME.ORG

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