PROGRAMME 2018 JEU DE PAUME
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PROGRAMME JEU DE PAUME
CONCORDE — CHÂTEAU DE TOURS
2018 WWW.JEUDEPAUME.ORG
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.
OVERVIEW
1 PROGRAMME
CONCORDE
5 SUSAN MEISELAS
02 | 06 – 05 | 20 | 2018
7 RAOUL HAUSMANN
02 | 06 – 05 | 20 | 2018
9 GORDON MATTA-CLARK
06 |0 5 – 09 | 23 | 2018
11 BOUCHRA KHALILI
06 | 05 – 09 | 23 | 2018
13 DOROTHEA LANGE
10 | 16 | 2018 – 01 | 27 | 2019
15 ANA MENDIETA
10 | 16 | 2018 – 01 | 27 | 2019
17 PROGRAMME
SATELLITE 11
19 DAMIR OCKO ˇ
02 | 06 – 05 | 20 | 2018
20 DAPHNÉ LE SERGENT
06 | 05 – 09 | 23 | 2018
21 ALEJANDRO CESARCO
10 | 16 | 2018 – 01 | 27 | 2019
22 PROGRAMME
CHÂTEAU DE TOURS Cover
Susan Meiselas
23 LUCIEN HERVÉ Muchachos await counterattack by the Guard
11 | 18 | 2017 – 05 | 27 | 2018 Matagalpa, Nicaragua, 1978
© Susan Meiselas / Magnum Photos
24 DANIEL BOUDINET
06 | 16 – 10 | 28| 2018 Raoul Hausmann
Untitled, 1931
© Raoul Hausmann
Dorothea Lange
25 JEU DE PAUME Migrant Mother, Nipomo, California, 1936
© The Dorothea Lange Collection, the Oakland Museum of
California, City of Oakland
Bouchra Khalili
The Tempest Society. Film, 60 min. 2017
© Bouchra Khalili
Gordon Matta-Clark
Graffiti: Linda, 1973
© Gordon Matta-Clark
Ana Mendieta
Untitled: Silueta Series, 1978
© The Estate of Ana Mendieta Collection, LLC. Courtesy
Galerie Lelong, New York
EVENTS PROGRAMME CONCORDE
Jeu de Paume | Concorde
SUSAN MEISELAS
MEDIATIONS
02 | 06 – 05 | 20 | 2018
The retrospective devoted to the American of their diffusion. Her novel approach is almost
photographer Susan Meiselas (b. 1948, Baltimore) prophetic in a world where the diffusion of the image
brings together a selection of works from the is facilitated by technology.
1970s to the present day. A member of Magnum
Photos since 1976, Susan Meiselas questions As from 1997, Meiselas addresses each conflict in
documentary practice. She became known through a different way according to the context. Kurdistan:
her work in conflict zones of Central America In the Shadow of History (1997) is an archive of the
in the 1970s and 1980s in particular due to the visual history of a people without a nation. Meiselas,
strength of her colour photographs. Covering who gathered those elements all around the world
many subjects and countries, from war to human in collaboration with Kurdish people, constructed her
rights issues and from cultural identity to the work as an installation composed of a compilation of
sex industry, Meiselas uses photography, film, documents, photographs and videos.
video and sometimes archive material, as she
relentlessly explores and develops narratives In 1992, Meiselas, asked to contribute to
integrating the participation of her subjects an awareness campaign exposing domestic
in her works. The exhibition highlights Susan violence, began by photographing crime scenes,
Meiselas’ unique personal as well as geopolitical accompanying a team of police investigators,
approach, showing how she moves through time and then selected a number of documents with
and conflict and how she constantly questions the photographs from the archives of the San Francisco
photographic process and her role as witness. Police Department. This research led her to create
Archives of Abuse, collages of police reports and
Her early works already illustrate her interest for photographs, exhibited in the city’s public spaces as
documentary photography. Her very first project, posters on bus shelters.
44 Irving Street (1971), was a series of black and white
portraits. Here, she used her camera as a means of For the retrospective at the Jeu de Paume, Susan
interacting with the other tenants of the boarding Meiselas has created a new work, begun in 2015,
house where she lived during her time as a student. based on her involvement with Multistory, an
For Carnival Strippers (1972-1975), Meiselas followed organization based in the United Kingdom. This last
strippers working in carnivals in New England series A Room of Their Own was shot in a refuge for
over the course of three consecutive summers. The women and focuses on domestic violence.
reportage is completed with audio recordings of the The installation includes five narrative video
women, their clients and managers. works, featuring Meiselas’ photographs, first-hand
testimonies, collages and drawings.
From this period originates also Prince Street Girls
(1975-1992), which was shot in the district known as The exhibition of the Jeu de Paume is the most
Little Italy, in New York, where Susan Meiselas still comprehensive retrospective of her work ever held
lives. She photographed a group of young girls over in France. It retraces her trajectory since the 1970s
several years, capturing the changes that took place as a visual artist who associates her subjects to her
in their lives as they were growing up, constituting approach and questions the status of images in
a chronicle of the evolving relationship between the relation to the context in which they are perceived.
young girls and the photographer.
Three important series represent the central axe of the Catalogue Mediations. Texts by Ariella Azoulay, Eduardo
exhibition: Nicaragua, El Salvador and Kurdistan. Made Cadava, Carles Guerra, Marianne Hirsch, Corey Keller,
between the late 1970s and 2000, the works reveal Kristen Lubben, Isin Onol and Pia Viewing.
the way in which the artist challenges and practises Co-edition Jeu de Paume / Damiani / Fundació Antoni
photography. During the course of her extensive Tàpies, Barcelone.
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 Curators: Carles Guerra and Pia Viewing
pursue a record of their testimonies. With her project
Mediations (1982), Susan Meiselas reveals how the Coproduction Jeu de Paume / Fundació Antoni
meaning of images changes according to the context Tàpies, Barcelone
5
Susan Meiselas
Muchachos await counterattack by the Guard, Matagalpa, Nicaragua, 1978
© Susan Meiselas / Magnum Photos
Susan Meiselas
Sandinistas at the walls of the Esteli National Guard headquarters: ‘Molotov Man’ Esteli‘, Nicaragua, July 16th, 1979
© Susan Meiselas / Magnum Photos
Susan Meiselas
Dee and Lisa, Mott Street, Little Italy, New York, 1976
© Susan Meiselas / Magnum Photos
6
Jeu de Paume | Concorde
RAOUL HAUSMANN
VISION IN ACTION
02 | 06 – 05 | 20 | 2018
To this day, Raoul Hausmann’s photography has also focused on humble objects, cheese graters, cane
not had a dedicated museum exhibition in France. woven chairs, wicker baskets, which he transformed
As a photographer, Hausmann has long remained through the use of light and shadow. Hausmann calls
underrated and unheralded. However his key these experimentations ‘melanography‘. They strikingly
position in 20th century avant-garde photography exemplify his definition of what an image is : ‘the
has continually been re-evaluated and his dynamics of a living process‘.
importance is widely acknowledged these days.
Hausmann’s arrival in Ibiza in 1933, shortly after the
We know Hausmann as the prominent artist of Reichstag fire, opened a new perspective. Fascinated
Dada Berlin, as the author of assemblages, collages, by the peasant houses built in the shape of white
lautgedichte, etc, yet the vicissitudes of history caused cubes, he began a photographic inventory of this
the obliteration of his photography, an essential facet ‘architecture without architects‘. Photography became
of his oeuvre. From 1927 onwards Hausmann became partly a study dedicated to vernacular architecture
an avid and restless photographer. His photographic from an anthropological point of view. Hausmann also
practice quickly became a cornerstone of his multi-faceted discussed notions such as ‘origin‘ or ‘race‘ that emerged
reflections and activities, pushing him in a new direction in contemporary architectural circles. Fully integrated
which culminated in his forced departure from Ibiza in in the island’s life, he lived in a ‘state of dream‘, as if
1936. outside time. Hausmann also pursued a project begun
in Germany that revolved around two broad categories,
Between 1927 and 1936, Hausmann engaged in a portraits and the vegetational or organic forms.
discussion about the nature and the role of photography
with August Sander. He published a body of theoretical The outbreak of the Spanish Civil War, in which he briefly
texts and was part of a group that included such took part as a Republican (Ibiza being the first territory
notorious figures as Raoul Ubac, Man Ray, Elfriede abandoned to the Francoists as early as 1936), marks
Stegemeyer, and Lázló Moholy-Nagy. The latter once the beginning of his wandering across Europe. During
stated : ‘All that I know, I’ve learnt it from Raoul‘. his exile, Hausmann no longer had the possibility of
dedicating himself so passionately to photography.
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, Catalogue Raoul Hausmann. Photographs 1927-1937
he hastily left Germany in 1933. As an exile, Hausmann Texts by Cécile Bargues and Nick Cohn
suffered the dispersion, and sometimes the destruction, Coedition Jeu de Paume / Le Point du Jour / Musée
of his work. His photography was seldom displayed départemental d’art contemporain de Rochechouart
and survived unnoticed until the late seventies. It was English version edited by Koenig
long supposed to be lost, until an archive (now at the 264 pages, €39
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. Curator: Cécile Bargues
In contrast to the sarcastic and biting tone generally Associate Curator: David Barriet
associated with his Dada period, his photographs
are a means to pacification. They convey a sense of Coproduction Jeu de Paume / Le Point du Jour,
reconciliation, a serenity that did not prevail before. In the Cherbourg
late twenties Hausmann felt more and more oppressed
in Berlin. He took long vacations in small villages by With the collaboration of Musée départemental
the North Sea and the Baltic, villages described by d’art contemporain de Rochechouart, Musée d’art
his partner Vera Broïdo as ‘shelters‘ and ‘hide-outs for moderne and contemporain de Saint-Étienne
artists‘. There, he took photographs of the sand, the Métropole, Berlinische Galerie in Berlin,
foam, the bogs, trees, naked bodies, curvy dunes, wheat, Musée national d’art moderne / Centre Georges
weeds, insignificant things that dazzled him. His attention Pompidou, and private collections.
7
Raoul Hausmann
Untitled (Vera Broïdo), circa 1931
© Berlinische Galerie / VG Bild-Kunst, Bonn
Raoul Hausmann
Nude (Vera Broïdo, view from behind), 1927
© Musée départemental d’art contemporain de Rochechouart
Raoul Hausmann
Untitled (Dünenlandschaft), undated
© Berlinische Galerie / VG Bild-Kunst, Bonn
8
Jeu de Paume | Concorde
GORDON MATTA-CLARK
ANARCHITECT
06 | 05 – 09 | 23 | 2018
Featuring one hundred artworks by Gordon Gordon Matta-Clark: Anarchitect offers a renewed reading
Matta-Clark, the exhibition Gordon Matta- of Gordon Matta-Clark’s work and the influence it has
Clark: Anarchitect explores the importance of cast onto contemporary art and architecture.
Matta-Clark’s practice towards a rethinking of
architecture after modernism. Ranging a diversity
of media that include photography, film and Catalogue Gordon Matta-Clark
printmaking, the exhibition features a number Texts by Sergio Bessa, Cara Jordan, Xavier Wron
of works related to contemporary urban culture Editions Jeu de Paume
that further contextualize Gordon Matta-Clark’s 184 pages, €42
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 Curators: Sergio Bessa and Jessamyn Fiore
theory, such as Frank Gehry, Peter Eisenman and Daniel
Libeskind. More recently, with the reevaluation of urban Organized by The Bronx Museum of the Arts,
culture, Matta-Clark’s works on graffiti have also proved in collaboration with the Jeu de Paume, made
prescient in pointing to new directions to architecture as possible by the Henry Luce Foundation, National
a growing number of designer are looking at graffiti for Endowment for the Arts, Graham Foundation for
inspiration. Advanced Studies in the Fine Arts, Blue Rider
Group at Morgan Stanley, David Zwirner and the
Estate of Gordon Matta-Clark.
9
Gordon Matta-Clark
Gordon Matta-Clark making Day’s End (Pier 52), 1975
© 2017 Estate of Gordon Matta-Clark / Artists Rights Society (ARS), New York and David Zwirner, New York.
Gordon Matta-Clark
Graffiti: Linda, 1973
© 2017 Estate of Gordon Matta-Clark / Artists Rights Society (ARS), New York and David Zwirner, New York.
Gordon Matta-Clark and Gerry Hovagimyan working on Conical Intersect, 1975
Photo Harry Gruyaert
© 2017 Estate of Gordon Matta-Clark / Artists Rights Society (ARS), New York and David Zwirner, New York.
10Jeu de Paume | Concorde
BOUCHRA KHALILI
06 | 05 – 09 | 23 | 2018
The Jeu de Paume is pleased to present an and Kassel (2017), the 8th Göteborg Biennale (2015),
important exhibition devoted to the French- the 55th Venice Biennale (2013), the Palais de Tokyo
Moroccan artist Bouchra Khalili (b. Casablanca, Triennale, Paris (2012), the 18th Biennale of Sydney (2012)
1975). The artist’s videos, photographs and and the 10th Sharjah Biennale (2011).
serigraphs are built on and around language,
orality, subjectivity and geographic explorations. She has been the recipient of numerous awards and
Each of her projects is designed as a platform, prizes: Abraaj Group Art Prize (2014), Sam Art Prize
investigating strategies of resistance, elaborated (2014), DAAD Artists-in-Berlin Programme(2012), Vera List
and narrated by members of minority groups, on Center for Arts and Politics Fellowship (The New School,
the margins of society. New York, 2011-2013), Villa Médicis Hors-les Murs (2010),
Videobrasil Residency Award (2009), Bourse Image-
Through her artwork, Bouchra Khalili confronts subjectivity Mouvement (CNAP, 2008), and the Prix Louis Lumière
and collective history in order to question the complex (2005).
relationships between colonial and postcolonial history,
contemporary migration—their geographies and
narratives—and the resulting imaginary world. Her solo A catalogue has been published for the exhibition.
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 Curators: Juan Antonio Álvarez Reyes, Marta Gili,
Justina M. Barnicke Gallery, Toronto (2013), the PAMM, Jeanette Pacher
Miami (2013), and the DAAD Gallery, Berlin (2013).
Co-produced by the Jeu de Paume / CAAC –
The artist’s work has also featured in numerous Centro Andaluz de Arte Contemporáneo, Seville /
international arts events: the 14th Documenta in Athens La Sécession, Vienna
11Bouchra Khalili
The Tempest Society. Film, 60 min. 2017
© Bouchra Khalili / Galerie Polaris, Paris
Bouchra Khalili
Wet Feet: Lost Boats, 2012
© Bouchra Khalili / Galerie Polaris, Paris
Bouchra Khalili
Speeches-Chapter 1: Mother Tongue. Vidéo, 25 min. 2012
© Bouchra Khalili / Galerie Polaris, Paris
12Jeu de Paume | Concorde
DOROTHEA LANGE
POLITICS OF SEEING
10 | 16 | 2018– 01 | 27 | 2019
In the autumn of 2018, the Jeu de Paume presents The exhibition at the Jeu de Paume examines from a new
a retrospective devoted to Dorothea Lange perspective the work of this renowned American artist,
(1895-1965), one of the twentieth century’s most whose legacy continues to be felt today. Highlighting the
important photographers. Drawing from the artistic qualities and the strength of the artist’s political
archives of the Oakland Museum of California, convictions, this exhibition allows audiences to rediscover
‘Dorothea Lange. Politics of seeing‘ is the first the importance of Dorothea Lange’s work.
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 A catalogue has been published for the exhibition.
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 Curators: Drew Heath Johnson and Pia Viewing
are well known, her photographs of Japanese-Americans
interned during the war were only published in 2006, « Dorothea Lange. Politics of Seeing » is organized
when they were shown for the first time, in France, in an by the Oakland Museum of California.
exhibition at the Jeu de Paume. They perfectly illustrate The European presentation has been produced
how Dorothea Lange made use of intimate and poignant in collaboration with Barbican Art Gallery, London
images throughout her career, to denounce injustices and and Jeu de Paume, Paris.
change public opinion.
The Neuflize OBC Bank, historic sponsor of the Jeu
Almost 130 photographs are organized by theme so as de Paume, and FIDAL chose to bring their support
to better demonstrate the connections between Lange’s for the exhibition « Dorothea Lange. Politics of
photography and her socio-political activism. In addition, Seeing » in Paris.
a selection of personal items, including unedited contact
sheets, field notes, historic objects and videos allow This exhibition is made possible through
the public to situate her work within the context of this a contribution from the Terra Foundation
troubled period. for American Art.
13Dorothea Lange
Gas station, Kern County, California (Lettuce Strike), 1938
© The Dorothea Lange Collection, the Oakland Museum of California, City of Oakland
Dorothea Lange
Migrant Mother, Nipomo, California, 1936
© The Dorothea Lange Collection, the Oakland Museum of California, City of Oakland
Portrait of Dorothea Lange by Paul S. Taylor
Dorothea Lange Lange in Texas on the Plains, circa 1935
© The Dorothea Lange Collection, the Oakland Museum of California, City of Oakland
14Jeu de Paume | Concorde
ANA MENDIETA
10 | 16 | 2018– 01 | 27 | 2019
The exhibition Ana Mendieta (Havana, 1948 - conducted with a brutal honesty. The second, Energy
New York, 1985) is devoted to the film work of Charge, explores the theme of the tree of life, a favourite
this Cuban artist. Bringing together some twenty topic of Ancient mythology. Anima, Silueta de Cohetes was
or so films and a selection of photographs, produced in Oaxaca, Mexico in the summer of 1976. The
the exhibition allows audiences to discover film retraces, by means of a poetic metaphor, the passage
the greatest ensemble of the artist’s work ever of time and the resulting transformation of the physical
presented in a single location. body.
Ana Mendieta is widely considered one of the most In her artistic practice, Mendieta uses the four basic
talented and original artists of the post-war era. The elements—earth, water, wind and fire—to evoke the strata
recent exhibitions devoted to her work in Europe (London, of history and layers of multiple meaning. In 1978, she
Prague, Salzburg, Turin and Umeå) revealed the power produced the films Untitled: Silueta Series, Silueta de Arena
of her artistic vision and the influence of her work on and Untitled: Silueta Series. While Untitled: Silueta Series
the generations of photographers that came after her. continues the exploration of the tree of life theme in
Mendieta’s work continues to have a persuasive impact the image of a burning tree from which glowing hands
on a wide public, and can be appreciated by all age magically appear, Silueta de Arena evokes the boundary
groups. between souvenir and experience. Untitled: Silueta Series
reveals Mendieta’s interest in the ritualistic aspect of art
During her brief career, from 1971 to 1985, Ana Mendieta and the transformation of the earth into a sacred space.
produced a remarkable body of work, including In Volcán (1979), the artist makes the form of the volcano
drawings, installations, performances, photographs and a metaphor for the earth as a place of reconciliation
sculptures. Lesser known, her production of films and and disintegration. Birth (Gunpowder Works), from 1981,
videos is particularly impressive and prolific: her 104 films is a wonderfully graphic film in which the dried, cracked
produced between 1971 and 1981, make Ana Mendieta mud and the light of the Iowan landscape give birth to a
one of the lea dream of artistic magic and power.
ding figures in the practice of multidisciplinary visual arts.
Thanks to new research documents, the exhibition at the The three last film works in the exhibition, all made
Jeu de Paume repositions the moving image at the centre in 1981, form a trilogy on the relationship between
of her work, through the recurring themes that these displacement, return and reconciliation. Esculturas Rupestres
explore, such as nature, memory, history and the passage (Rupestrian Sculptures) is the epic cycle of sculptures that
of time, which are often explored through the relationship Mendieta carved into the limestone walls of the Cuevas
of the body and the land. de Jaruco, in Havana. A journey through real and
metaphorical time, this film marks Mendieta’s return to
The exhibition features Moffitt Building Piece and Sweating Cuba and her link with the ancient myths of the Jaruco
Blood, as well as two films produced in 1974, in which Caves. Untitled takes place on the beaches of Guanabo,
the artist can be seen writing out bloody declarations by in Havana. Here, Mendieta speaks of her nostalgia for
hand: Blood Writing and Blood Sign. These were produced her homeland and the extended time of separation.
in response to the rape and murder of Sarah Ann Ottens, Ochún is a video produced off the coast of Key Biscayne,
a student at the University of Iowa, in 1973. in Florida. The Silueta figure here points towards Cuba,
the waters between Florida and Cuba rippling through its
In the 1970s, Mendieta travelled to Mexico in the summer form. Ochún, who owes her name to a Santería goddess,
months where she produced a number of works. The transforms the pain of separation into a restrained poem
exhibition presents Creek, Silueta del Laberinto and Burial made of colours, light, movement, and sound.
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 A catalogue has been published for the exhibition.
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. Curators: Lynn Lukas and Howard Oransky
Two works from 1975 are also presented: Blood Inside Produced by Katherine E. Nash Gallery, University
Outside and Energy Charge. The first is a stunning of Minnesota in collaboration with the Jeu de
psychological study of autonomy and vulnerability, Paume
15Ana Mendieta
Creek, 1974. Film Super 8, colour, silent
© The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong, New York
Ana Mendieta
Sweating Blood, 1973. Film Super 8, colour, silent
© The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong, New York
Ana Mendieta
Anima, Silueta de Cohetes (Firework Piece), 1976. Film Super 8, colour, silent
© The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong, New York
16EVENTS PROGRAMME SATELLITE 11
Jeu de Paume | Satellite 11
NEWSPEAK_
SATELLITE 11
02 | 06 | 2018 – 01 | 21 | 2019
Background info: three exhibitions will also be presented
Each year, the Satellite Programme is at the CAPC and the Museo Amparo
entrusted to an independent curator, de Puebla in 2018. The exhibitions
charged with designing and organizing of the Satellite Programme are
three exhibitions at the Jeu de Paume. accompanied by three publications.
For the 11th edition of this programme, Each year the Jeu de Paume and the
the Jeu de Paume continues its CAPC Musée d’art contemporain de
partnership with the CAPC Musée d’art Bordeaux invite independent graphic
contemporain de Bordeaux and joins designers to create the graphic or
forces with a new partner: the Museo visual identity of the three volumes
Amparo de Puebla, Mexico. Agnès associated with the programme of
Violeau, an independent curator based exhibitions. The graphic design for
in Paris, has been invited to curate this Satellite 11 was done by Jérémy
programme, entitled ‘Newspeak_’. The Glâtre.
Agnès Violeau © Aurélie Haberey
‘The limits of my language mean the limits of my world’ The minimalistic Newspeak model of language functions
Ludwig Wittgenstein therefore as a language-screen, constructed on affect,
ideology, rhetoric and absolute precision. Language
At a time when Google is working on the creation of a becomes the obstacle that lies between truth and
‘Metaverse’, a future world made up of several layers of misrepresentation.
different realities, affecting both the public and private
spheres, language and its usage are more than ever at Pointing towards an ever shorter distance between
the centre of the debate. the information given and its interpretation, but also
the new possibility of navigating between words and
Reflecting the new system of media discourse, this ‘theatre signs, ‘Newspeak_’ attempts to create a cosmogony
of word-play’1 has been built at the dawn of the 21st of language, a laboratory of thought, and a form of
century, based on abbreviations (Twitter), neologisms resistance through the field of language and exhibition.
(Brexit, Frexit, etc.) and post-truths (alternative facts).
The 11th edition of the Satellite Programme consists of Agnès Violeau
work by artists Damir Očko, Daphné Le Sergent and
Alejandro Cesarco, engaging public discourse as a
strategy towards individuation. The three exhibitions Agnès Violeau, b. 1976, lives and works in Paris.
can be added to the growing critical analysis of today’s She is an independent exhibition curator and art critic.
diminished thinking2, offering a hypothetical response to Her themes of predilection are exhibition production and
the limits of a formatted, segmented and pared-down the potentialities and boundaries of language.
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 1. Christophe P. Lagier, Le Théâtre de la parole-spectacle : Jacques
new agora, the question of a reduced, formatted, and Audiberti, René de Obaldia and Jean Tardieu, Birmingham (US) Summa
simplified language has once again been raised. This Publications, 2000.
geopolitical transformation is reminiscent of a linguistic 2. In 1977, Pierre Bourdieu spoke of a ‘relationship to a derealized
landscape imagined in a work of literature as early as world’.
3. Wikipedia provides a loose interpretation of the author’s definition, as
1949. Newspeak is the official language of Oceania, a outlined in the novel.
fictional state invented by George Orwell in his dystopian
novel Nineteen Eighty-Four. Wikipedia defines Newspeak Curator: Agnès Violeau
as ‘a controlled language, of restricted grammar and
limited vocabulary, a linguistic design meant to limit Exhibitions co-produced by the Jeu de Paume, the
[…] freedom of thought,’3 allowing people to be easily CAPC Musée d’art contemporain de Bordeaux and
manipulated by the mass media, and television in the Museo Amparo de Puebla, Mexico.
particular.
The Amis du Jeu de Paume and the CAPC
This lexical and syntactical simplification of language contribute to the production of artworks and
makes critical thought difficult, if not impossible. publications for the Satellite Programme. 18Jeu de Paume | Satellite 11
DAMIR OCKO ˇ
DICTA
02 | 06 – 05 | 20 | 2018
Damir Očko was born in 1977 in Zagreb (Croatia), A catalogue has been published for the exhibition.
where he lives and works today. His work is an Co-edited by the Jeu de Paume, CAPC Musée d’art
invitation to explore the intricacies of language contemporain de Bordeaux and Museo Amparo de
and the way in which the neurophysiological Puebla, Mexico. Bilingual edition / French-English
system generates it so poetically. His various works 15 x 21 cm, 64 pages, €14.
fall within a corpus of ideas where the elements Also available in EPUB format for €6.99
respond to each other, vacillating between desire
and deprivation, reality and fiction.
Curator: Agnès Violeau
Damir Očko has been the focus of numerous solo
exhibitions, notably at the Dazibao, Montreal (2016), An exhibition co-produced by the Jeu de
the Croatian Pavilion at the 56th Venice Biennale (2015), Paume, the CAPC Musée d’art contemporain de
the Künstlerhaus Halle für Kunst & Medien in Graz, the Bordeaux and the Museo Amparo de Puebla,
Temple Bar Gallery & Studios in Dublin (2014), the Palais Mexico.
de Tokyo in Paris (2012), the Kunsthalle in Düsseldorf
(2011), the Kunstverein in Leipzig (2010), and the Museum The Amis du Jeu de Paume and the CAPC
of Contemporary Art in Zagreb (2005). His work has contribute to the production of artworks for the
also been featured in a number of collective exhibitions Satellite Programme.
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 Damir Očko
act of resistance. Dicta reveals the ordinary dominance Dicta I, photo collage, 2017. Courtesy of the artist and
of passivity, opening the door to a possible psychic Kasia Michalski Gallery, Warsaw, Poland.
democracy. © Damir Ocko
19Jeu de Paume | Satellite 11
DAPHNÉ LE SERGENT
GEOPOLITIC OF OBLIVION
06 | 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.
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-English
15 x 21 cm, 64 pages, €14.
Also available in EPUB format for €6.99
Curator: Agnès Violeau
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 Daphné Le Sergent
contribute to the production of artworks for the Politique, visage, 2013
Satellite Programme. © Daphné Nan Le Sergent
20Jeu de Paume | Satellite 11
ALEJANDRO CESARCO
SATELLITE 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.
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-English
15 x 21 cm, 64 pages, €14.
Also available in EPUB format for €6.99
Curator: Agnès Violeau
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 Alejandro Cesarco
contribute to the production of artworks for the Untitled (Remembered), 2014
Satellite Programme. © Courtesy of the artist and Tanya Leighton, Berlin.
21EVENTS PROGRAMME CHÂTEAU DE TOURS
Jeu de Paume | Château de Tours
LUCIEN HERVÉ
THE GEOMETRY OF LIGHT
11 | 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 light
192 pages, €35
Coedition Jeu de Paume / Liénart Éditions
Bilingual French-English. Texts by Imola Gebauer, Zaha
Hadid, Michel Ragon, Lucien Hervé
Lucien Hervé
Curator: Imola Gebauer Lucien Hervé, Haute Cour (High Court), Chandigarh, India
(architect: Le Corbusier), 1955
Exhibition organized by the Jeu de Paume in © FLC - ADAGP / J. Paul Getty Trust,
collaboration with the City of Tours The Getty Research Institute, Los Angeles
23Jeu de Paume | Château de Tours
DANIEL BOUDINET
06 | 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.
A catalogue has been published for the exhibition.
Curators: Christian Caujolle and Mathilde
Falguière Daniel Boudinet
Tombe Brion, Vue de l’enceinte à la frise de carrelage doré,
Exhibition co-produced by the Jeu de Paume and 1983
the Médiathèque de l’architecture et du patrimoine, © Donation Daniel Boudinet - Médiathèque de l’architecture
in collaboration with the City of Tours. et du patrimoine
24JEU DE PAUME
Jeu de Paume | 1 place de la Concorde, Paris
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 The history of the Jeu de Paume
of thought. Talks, seminars and symposia explore the
questions and themes raised by the exhibitions, helping to Built under Napoleon III in the spectacular Tuileries Gardens
open up new spaces for critical interaction. to house an indoor sports court, the Jeu de Paume has hosted
exhibitions since the early 20th century, and contemporary art
The Jeu de Paume’s modular space and versatile was first displayed here in 1922. Works of art confiscated from
educational program helps it respond to the different Jewish families were stored and sorted in it during the German
expectations arising from its activities, and confirms its Occupation, when it became the nexus of activities that would
ambition to provide all of its users with an active hub and have remained unknown had it not been for the determination
resource centre for education in photographic imagery of the assistant curator Rose Valland. After WWII, it housed the
and the history of representation and the visual arts. famous Impressionist Museum until 1986, before being completely
Tours and courses, initiatives for students and teachers, renovated by the architect Antoine Stinco, and becoming a
and activities for families and young visitors, are the main contemporary arts centre in 1991. It has been a major venue for
components of its educational programme. The emphasis photography and the image since 2004.
here is on participation rather than contemplation,
exchange rather than the “colonisation of knowledge,”
Françoise Bonnefoy, Spirit of place, 64 pages.
and sharing rather than the monopolisation of ideas.
Retail price €6.50. Available in both French and English.
Jeu de Paume
© Jeu de Paume, photo Adrien Chevrot
26Jeu de Paume | 1 place de la Concorde, Paris
A NEW SPACE FOR THE BOOKSHOP
A 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 MAGAZINE
http://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, not
forgetting the general art-loving public. It continues on
from the Jeu de Paume’s exhibitions and cultural
activities, proposing multiple points of view on the image
and promoting an exchange of knowledge in
this field. Thanks to more than 300 multimedia articles, it
facilitates new connections between the creative
world 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 of
art, previously untranslated texts, and texts that were no
longer available, filmed performances and virtual
exhibition tours with a guided commentary, critical essays
and video retransmissions of the Jeu de Paume’s
seminars… The Jeu de Paume online magazine is a vital
element in our constant search for a crossdisciplinary
approach to the study of the image and visual culture.
Bookshop of the Jeu de Paume
© Jeu de Paume, photo Adrien Chevrot
Homepage of the online magazine
27Jeu de Paume | 1 place de la Concorde, Paris
JEU DE PAUME/MUSÉE DE L’ORANGERIE
Comparative tour of the twins in the Jardin des
Tuileries: A shared history, individual destinies
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’Orangerie
Duration of the comparative visit: 3.5 hours
Commentaries by Réunion des Musées Nationaux
and Jeu de Paume lecturers Jeu de Paume, view from the Place de la Concorde
Price: €18.50/Reduced rate: €13.50 for Jeu de © Jeu de Paume, photo Adrien Chevrot
Paume/Orangerie members and visitors under 26 yrs
Bookings of the visit via the Musée de l’Orangerie: Jeu de Paume, view on the Eiffel tower and
+33 (0)1 44 50 43 01 Obelisque de la Concorde
information@musee-orangerie.fr © Jeu de Paume, photo Adrien Chevrot
281, PLACE DE LA CONCORDE · PARIS 8 E · M° CONCORDE
WWW.JEUDEPAUME.ORG
PRESS VISUALS
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CONTACTS
Press relations : Annabelle Floriant
01 47 03 13 22 / 06 42 53 04 07 / annabellefloriant@jeudepaume.org
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