Due to the latest government regulations, the Exhibition Theatre will unfortunately not be open to the public for the time being. It will be open from 14 April to 15 May only by appointment to professionals in the strictest respect of sanitary conditions.
For the first time, until 2022, the programme of the Palais des Beaux-Arts is entirely designed, developed and implemented by the 25 students of the "Artists & Exhibition Professions" course and the 11 young curators in residence at the Beaux-Arts de Paris. From 14 April to 29 May 2021, discover the seven new projects of Act 2 of the Theatre of Exhibitions, presented in a series of rooms fitted out for the occasion. Each in its own way, these exhibitions cross time by confronting the heritage works of the School's collections with the contemporary works of professors and students. This joyful, disorderly and experimental laboratory challenges the very principle of the exhibition with forms that are still unspeakable and sometimes confusing.
From March 2021 to January 2022, masterpieces from the collections of the Beaux-Arts de Paris and the creations of young artists from the School and their teachers are brought together in a succession of exhibitions. This composite piece will feature both fully completed works and others still being put together or even developed. It is written by the students of the first two classes of the "Artists & Exhibition Professions" course at the Beaux-Arts de Paris*, accompanied by young curators in residence and guided by the School's curators, theoreticians, professors and staff.
The Exhibition Theatre is developed and produced by the first two classes of the "Artists & Exhibition Professions" course:
Class of 2019/2020: Lina Benzerti, Brune Doummar, Milana Dzhabrailova, Sarah Konté, Corentin Leber, Chongyan Liu, Victoire Mangez, Bram Niesz, Yannis Ouaked, Violette Wood, Kenza Zizi.
Curators in residence 2019/2020: Simona Dvořáková, Marie Grihon, César Kaci, Alice Narcy, Esteban Neveu Ponce.
Class of 2020/2021: Soraya Abdelhouaret, Paul-Emile Bertonèche, Yucegul Cirak, Andreas Fevrier, Daniel Galicia, Alexandre Gras, Raphael Guillet, Thibault Hiss, Hélène Janicot, Elladj Lincy, Anna Oarda, Céleste Philippot, Océane Pilastre, Libo Wei
Curators in residence 2020/2021: Noam Alon, Antoine Duchenet, Lou Ferrand, Céline Furet, Juliette Hage, Lila Torqueo.
The Exhibition Theatre will be brought to life with a programme of live performances, concerts, readings, screenings, two-voice visits, sound interventions or radio transmissions. See you on Thursdays and Fridays from 2.30 pm live on Facebook.
* Created in 2019, the "Artists & Exhibition Professions" programme is directed and coordinated by the exhibition and public services departments. It enables 3rd and 4th year students to train in production, stage management, scenography, mediation and all professions related to the presentation and dissemination of art. As part of this training, a residency is offered to young curators who can work for a year at the Beaux-Arts de Paris. The "Artists & Exhibition Professions" programme at the Beaux-Arts de Paris is designed in partnership with the Palais de Tokyo.
Tout me trouble à la surface / April 14 to May 16, 2021
Tout me trouble à la surface is a solo exhibition by Éléonore False, created at the end of a residency at Beaux-Arts de Paris. The artist's interest was in the scientific photography collections of the 19th century. The doctor Duchenne de Boulogne (1806-1875), known for his "Ovals", used it to document his research into the application of new electrical processes to the facial muscles of his guinea pigs in order to decipher "The Mechanism of Human Physiognomy". From the original photographs, Éléonore False proceeded to a series of manual and mechanical steps of reproduction, selection, cutting and enlargement. The artist's work gives a new point of view on the source image, giving a new aura to these fragments of faces. Éléonore False focuses the viewer's attention on the effects produced by this artificial stimulation: the face has become a mask. It is the instrument of a myological cartography of emotions, sometimes bordering on a pathetic or burlesque effect that derives from the grins and grimaces. These face masks arouse empathy. What could be more characteristic of our troubled society, which struggles to read any expression on faces, than a need to listen, to be considered and to respond to passions? The personal album in which the doctor recorded the proofs of his research appears as a metaphor for the exhibition. On the floor, an incised carpet suggests the latent life of the images in an imaginary sub-basement. The reflection on the therapeutic relationship has recently been decoupled by philosophers from the sole scientific authority, in order to be open to all, in an ethic of care.
Works from the collections are also presented in the exhibition.
Éléonore False is an artist who graduated from Beaux-Arts de Paris in 2013. She teaches at the Institut supérieur des arts de Toulouse. She was assisted by Sarah Boulassel, intern, and Paul-Emile Bertonèche and Daniel Gutiérrez Galicia, students in the "Exhibition Professions" programme.
Curator: Kathy Alliou - with Anne-Marie Garcia, curator in charge of photographs, and Alice Thomine-Berrada, curator in charge of paintings.
Scenography: Valentine Graziani, student of Ecole nationale supérieure d'architecture Paris-Malaquais
Une moraine d'objets / from 14 April to 16 May 2021
The "Heads of Expression" competition was an exercise in artistic technique at Beaux-Arts de Paris that reflected the artists' ability to convey emotion. Jealousy, pride, anger, etc. were thus proposed to the aspiring artists as a means of transcending the contingencies of the material, where a leaning eyebrow or a thinking look could breathe a semblance of life into the inert block of clay or the colours spread out on the canvas.
The works presented here bear witness to an absence, that of the mood they are supposed to evoke. Drawn from the School's collections, they are an amputated gallery of disassociated figures. These portraits, these faces that take shape through subtraction, are ultimately addressed to our ability to occupy the voids, to recompose the whole body through the sum of its fragments.
This project proposes a reflection on the remanence of things, surface images and optical illusions. Whether they work with military technologies, traditional painting techniques or the phenomenological materiality of sculpture, the artists presented put physical reality and hypothetical projections in tension.
Artists : Jean-Charles Bureau, Florentine Charon and Victoire Thierrée, artists in residence at Beaux-Arts de Paris.
Curator: Yannick Langlois, PhD student, SACRe laboratory
Scenography: Ana Marta Lins and Carol Vasques, students of Ecole nationale supérieure d'architecture Paris-Malaquais
Le temps est détraqué / 14 April to 23 May 2021
Le temps est détraqué focuses on the possibilities of autonomous temporal spaces and the scenic potential of a gathering place. By mixing various temporalities, their anachronistic and ghostly aspects, this exhibition questions a presence and experience that is born from our surroundings.
The poetic environment exists here through the works, conceived in resonance with each other and with the space itself. Composed of technological waste, playful, illusory gestures, various devices, the flashing light and electrical energy that powers them, the works provoke fleeting images of the real abandoned, both deranged and mad in a deranged time. The fluidity of this unreal spectacle oscillates between a "romantic sobriety" and a "contemporary baroque". The random and synchronized visual and acoustic elements unfold like a score made up of digital parameters, as in the logic of the sound language, magical and universal "Zaoum" of the Russian futurist Khlebnikov. The spectators can enter, pass, hallucinate, think, forget or dream... They find themselves in a cognitive labyrinth that leads to an individual experience through sensory cues. Sometimes, by their mere presence, they embody the plastic expression of this relational study and the way the human body experiences it.
Artists presented: Flora Bouteille, Léa de Cacqueray Aurélia Declercq, Katya Ev, Tania Gheerbrant, Francisco de Goya, Claire Isorni, Július Koller, Prosper Legault, Victor Villafagne, Thomas Teurlai.
Exhibition activated by Thomas Benard, Vincent Rioux and Tanguy Roussel.
In collaboration with Grégoire Rousseau and Nora Sternfeld.
Curator: Simona Dvořáková, resident curator in the "Exhibition Professions" programme, assisted by Johanna Fayau, Yannis Ouaked and Rémi Parcollet.
Jardin secret / 14 April to 29 May 2021
Published more than a hundred years ago, Freud's sexual theory is still criticized, interpreted, defeated and refuted in gender studies. Needless to say, there are several key reasons for deconstructing these ideas. One is the link Freud makes between heteronormative sexual drives and efficient functioning, which will soon be promoted with force by capitalist thought. Nevertheless, it is clear that his idea of normal, orderly sexual development is an intangible, even unattainable ideal.
Visiting the "Secret Garden" allows each of us to rethink our childhood sexuality according to the Freudian model and thus to test its relevance or obsolescence. This exhibition wishes to underline the too decisive separations outlined by Freud in his linear scheme of libidinal drives. This is evidenced by his fatalistic and generalising way of equating, for example, the 'Mother-fed Few' with dependency and the 'Mother-fed Too Many' with dominance. In order to arouse the curiosity of the viewers to also discover stages of development that they are "not supposed" to experience, the exhibition will be set up as a labyrinth. This scenography aspires to offer a more global and entangled view on the composition of our sexualities and personalities.
Participating artists: Soraya Abdelhouaret, Chadine Amghar, Hugo Bonnet, Thomas Buswell, Petrit Halilaj, Qian Han, Nino Kapanadze, Achille-François-René Leclère, Dominique Lefèvre-Desforges, Ella Navot, Julien Prévieux, Charlotte Simonnet, Violette Wood
Curator: Noam Alon, resident curator of the "Artists & Crafts of the Exhibition" programme,
Editor: Paul-Émile Bertonèche
Scenography: Luna Villanueva-Pangaud and Romane Madede, students of Ecole nationale supérieure d'architecture Paris-Malaquais
Time Capsule 2045 / 7 to 23 May 2021
Time capsules are objects or works intended to be discovered after a more or less long time. As a form of address to future generations, they bear witness to a present era as much as to a relationship with the future. In today's anxiety-inducing ecological and political context, this exhibition proposes to question the notion of the time capsule, to address new works to the future and to defend the importance of anticipation and speculative fiction in order to reveal the multiple possibilities of the present.
Seventeen artists were invited to place a work known only to them in an archival box to be opened in 25 years. In conjunction with the creation of these time capsules, artists, musicians, writers and theorists from different disciplines propose sound creations imagining the context of 2045, when they will be unveiled.
With the "Time Capsules" by Renaud Auguste-Dormeuil, Keren Benbenisty, Christophe Berdaguer and Marie Péjus, Joi Bittle, Charbel-joseph H. Boutros, Julia E. Dyck, Maíra Dietrich, Daniel Frota, Mark Geffriaud, Kenneth Goldsmith, Paula Hayes, Zoé Leonard, Falk Messerschmidt, Gala Porras-Kim, Suha Traboulsi, Yann Sérandour, Pedro Zylbersztajn.
Sound creations by A Constructed World, Pierre Alferi and Rodolphe Burger, Matteo Barsuglia, Black Quantum Futurism, Dominique Blais and Kerwin Rolland, Xavier Boussiron and Julien Tiberi, Tyler Coburn, Maíra Dietrich, Julia E. Dyck, Louise Hervé and Clovis Maillet, Hanne Lippard, Falk Messerschmidt, Ariane Michel, Slow Reading Club with Charlie Usher, The Bells Angels (Simon Bernheim and Julien Sirjacq) and Pedro Zylbersztajn.
With proposals from students of the Beaux-Arts de Paris (Julien Sirjacq's studio), ENSA Paris-Cergy and ESAD TALM Angers: Carl Amiard, Hugo Bonnet, Jade Boudet, Chloé Cordiale, Lina Filipovich, Claire Jacques, César Kaci, Jiyeon Kim, Loick Mfoundou, Théo Pall, Olivier Perusat, Lois Saumande, Lalie Thebault-Maviel, Jing Yuan.
Performances on 7, 14 and 21 May. Detailed programme to come.
A proposal by Art by Translation (ENSAPC-ESAD TALM) and Lab'Bel, Bel Group's artistic laboratory, in partnership with the Beaux-Arts de Paris and the Maison des Sciences de l'Homme Paris-Saclay.
Curatorial team: Maud Jacquin, Sébastien Pluot with Laurent Fiévet, Silvia Guerra, Julien Sirjacq.
Scenography designed by William Solis and Minh-Quang, students of École nationale supérieure d'architecture Paris-Malaquais, in the framework of a workshop led by Adrien Gardère.
Ouverture / 28 and 29 May 2021
Since 2016, Lénio Kaklea has been developing Encyclopédie pratique, a multidisciplinary project that consists of the creation of a non-exhaustive corpus of daily, intimate, visible or invisible practices in Europe. From this corpus, the choreographer proposed to the students of the Emmanuelle Huynh workshop to question the multiple practices that make up their own artistic research (introspection, discussion, flânerie, sport, painting, assembly of objects etc). Through individual and group exercises, the students created a living encyclopaedia of their ongoing artistic journeys.
Performers: Anaïs Barras, Lucas Bouan Tsobgny, Diane Chéry, Camille Cosson, Béryl Coulombié, Salomé Daheron, Morgan Frey, Tilhenn Klapper, Arno Knell, Meret Kraft, Sehyoung Lee, Gabrielle Taron Rieussec, Félix Touzalin, Yixuan Xiao
Curated by Lénio Kaklea, choreographer, dancer and writer, with the Emmanuelle Huynh workshop
With the patronage of :