Paris

20 Apr - 29 Aug 2022

On her death in 2016, Shirley Jaffe, the American painter, left a very rich body of abstract art, a significant ensemble of which was donated to the French State and received by the National Museum of Modern Art in 2019. This original exhibition shows how the artist had to abandon gesture in order to bring ever increasing tension to her artistic experience. The chronological presentation periodically orchestrates face-to-face arrangements of works from different periods. Precious studio notes made by the artist for each of her pictures are presented in showcases with archive material from her studio. Born in New Jersey in 1923, Shirley Jaffe studied at Cooper Union in New York, which she left for Paris, where she settled in 1949. On friendly terms with Jules Olitski, Norman Bluhm, Jean-Paul Riopelle and Sam Francis, she passed for a major painter of the new abstraction. Later associated with Kimber Smith, Jack Youngerman and Al Held, she sublet Louise Bourgeois's studio in the same street as Joan Mitchell. In 1969 she moved to the rue Saint-Victor in the 5th arrondissement – a studio she would never leave, continuing to paint there until her last breath. In the 1960s she turned her back on her promising beginnings in the spirit of Abstract Expressionism. Not until the 1970s do we see the development of her personal style with chiselled contours which, while not allowing her to be assimilated with the then-declining Hard Edge wave, maintained her at an equal and respectful distance from her former Expressionist peers and the advocates of Concrete Art. Her geometry is nicely ordered but skilfully thwarted, always askew, apparently random but scrupulously dictated, like some of the musical compositions of her contemporaries.

Further Information www.centrepompidou.fr

Copyright Text: Centre Pompidou

Bourse de Commerce - Pinault Collection

Tadao Ando Architect & Associates, Niney and Marca Architectes,

Agence Pierre-Antoine Gatier

Photo Marc Domage

A New Step in François Pinault’s Cultural Project

The Bourse de Commerce —Pinault Collection, a new museum in the network of sites and initiatives developed since 2006 by François Pinault, will open its doors in the spring of 2021, in the heart of Paris. The Bourse de Commerce will offer a glimpse of the collection of contemporary works that François Pinault has built up for over forty years, through a programme of exhibitions and events. As a new Parisian museum, in which this assemblage, which is unique in the world, can be seen, understood, and appreciated, the Bourse de Commerce, restored and transformed by the architect Tadao Ando, with Lucie Niney and Thibaut Marca of the NeM agency and Pierre-Antoine Gatier, opens up an original dialogue between heritage and contemporary creation. Further Information www.pinaultcollection.com/fr/boursedecommerce

Copyright Text: The Bourse de Commerce —Pinault Collection (CLAUDINE COLIN COMMUNICATION)

Die nächste Ausstellung steht unter dem Motto:

Ab dem 18. Februar 2022 kann man in die Gemälde von Cezanne und Kandinsky eintauchen.

Eigentlich kennt man große Lichtinstallation, die zum Beispiel auf Häuserfassaden projiziert werden, von verschieden Stadtfesten die dadurch ein Jubiläum oder Großereignis untermauern. Aber das man eine alte Gießerei durch Videoprojektoren und neuster 3D-Technik Gemälde berühmter Großmeister der bildenden Kunst wieder zum Leben erweckt, ist neu. So geschehen in der französischen Hauptstadt. Seit April 2018 ist Paris um eine Attraktion reicher. Im 11. Arrondissement entstand das erste Zentrum für digitale Kunst. In der Kunsthalle L'Atelier des Lumières kann der Besucher mithilfe neuester digitaler 3D-Technik und 140 Laser-Videoprojektoren auf (und über) 10 Meter hohe Wände über die 3.300 Quadratmeter große Fläche projizierte Kunstwerke blicken. Eine panoramische Show durch den Raum, zu einer Tonspur von Musik unterschiedlicher Komponisten, die durch 50 Lautsprechern, das 3D-visuelle Erlebnis ergänzen. Mehr Information unter www.atelier-lumieres.com

Copyright Text: Patricia Sigerist