#Collection NMNM

[lavotha]

UBS endowment enables NMNM build art treasure

From now till May 20, 2018, the public is invited to discover on the third floor of Villa La Paloma the Nouveau Musee National de Monaco an exhibition of 11 out of 19 unique artworks recently acquired thanks to the support of UBS (Monaco) S.A.

Entrance to Villa La Paloma NMNM @CelinaLafuentedeLavotha

Flyer of Collection NMNM @CelinaLafuentedeLavotha

Among the featured artists are: Matti Braun, Nathalie Du Pasquier, Francesco Gennari, Apostolos Georgiou, Jef Geys, João Maria Gusmão + Pedro Paiva, Roland Flexner, Jean-Michel Sanejouand and Daniel Steegmann Mangrané.

View of the exhibitiion with artworks by Joao Maria Gusmao and Pedro Paiva, Daniel Steegmann Mangrane, Matti Braun and Francesco Gennari @Charlly Gallo Dir. Comm.

Cristiano Raimondi, exhibition curator, unveiling the Collection NMNM exhibition to the press @CelinaLafuentedeLavotha

Detail of artwork by Nathalie Pasquier – Collection NMNM @CelinaLafuentedeLavotha

In the garden of Villa Paloma we find another piece from the NMNM collection, the folding house (to be continued) by Jean-Pascal Flavien, that was acquired earlier on thanks to the support of UBS and generously built by FPMC with the help of the Direction de l’Amenagement Urbain of Monaco. The folding house (to be continued) will have a room where a person can live on a temporary basis, as well as an outdoor area. (Photo below: folding house (to be continued) by Jean-Pascal Flavien @CelinaLafuentedeLavotha)

To date, four houses have been built: the viewer in Rio, Brazil (2007), the no drama house in Berlin, Germany (2009), the two person house in Sao Paulo, Brazil (2010), and the breathing house in the Parc Saint-Leger in France (2012).

The NMNM counts with the loyal support of UBS for 6 years as principal partner, and this important collaboration makes it possible for the museum to enrich and perpetuate their valuable national collection of contemporary art.

The UBS endowment has enabled the museum, in addition to the budget allocated by the State, to develop and enrich its base of important artworks, created by living artists corresponding to the major topics of particular interest and research of the museum’s acquisition policy.

The works highlight arts, sciences and techniques, dealing notably with the history of photography and cinema or automated devices. Landscape as mental construction and no longer natural, territory based on trespassing frontiers and divergences. Interpretation, staging and decors, their representations, different versions, all becoming exploration zones.

Today’s Quote

“Creativity is allowing you to make mistakes. Art is knowing which ones to keep.” Scott Adams

Unique artworks enrich Nouveau Musee National de Monaco contemporary collection UBS endowment enables NMNM build art treasure From now till May 20, 2018, the public is invited to discover on the third floor of Villa La Paloma the Nouveau Musee National de Monaco an exhibition of 11 out of 19 unique artworks recently acquired thanks to the support of UBS (Monaco) S.A.

[buz-muet]

Atelier de Kees Van Dongen à la Villa Saïd à Paris, c. 1923 Sont visibles La Chimère-Pie et Le Tango de l’Archange, deux oeuvres appartenant au NMNM. Collection particulière, Monaco © DR

[micaramel]

Artist: Jean-Pascal Flavien

Venue: Heidelberger Kunstverein

Exhibition Title: Protocols

Date: February 24 – April 22, 2018

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Heidelberger Kunstverein. Photos by Thilo Ross.

Press Release:

In the exhibition ‘Protocols’, visitors were able to familiarize with a series of model designs of the houses by Jean-Pascal Flavien. The artist devises and constructs fantastical houses, that interrogate and expand popular ideas about the role and use of architecture.

His constructions don’t comply with any building norms, instead turning them on their head. He is interested in states of being, feelings and dreams, as well as surprising situations and actions that are called forth by his buildings. Literary quotes and narratives are woven into his designs as fictional elements.

So far, Flavien has been able to realise eight houses out of the extensive collection of his designs, which were exhibited in an exterior space. In 2018, we will have the opportunity to erect the ‘house with things behind’ from the ‘short story houses’ series in the hall of the Heidelberger Kunstverein. A house that, through its open structure – it does not envisage a roof or back wall – investigates the limits between sculpture, architecture and installation, particularly between the work and the exhibition space.

As with all models of the ‘short story houses’, the ‘house with things behind’ also includes a short story by the artist. The stories deal with coexistence, and the dialogue between friends, couples or different living beings amongst other things. It also speaks of cohabitation or the neighbourly ignorance of two environments that do not recognise one another at all.

But they are also reflections on his own design work. The texts create poetic main themes for the houses, in which inside and outside, physical and psychic space overlap and are juxtaposed.

The ‘house with things behind’ includes a storage space behind the lightblue facade. This is where raw materials used for cladding and isolation can be found. With minimal gestures, Flavien creates a concentration of the sensual qualities of the materials. Piled next to the brittleness of steel wool are leather scraps and wool fibres. In the middle of this unslaughtered wealth of materials are improvised constructions: a tent made of cotton wool panels serves as a roof over one’s head which the three-sided facade house doesn’t appear to predict. Conversely, there are fenced off exit areas that designate the outside.

In Flavien’s short story, the friends Baku and Alexis live in front and behind the house: one is concerned with maintaining the facade and the outdoor area – revelling in the sky-blue and the sun – whilst the other spends his time sorting out and lending form to the things in storage and behind the house. Both are occupied with the upkeep of the house, which gives each of them a particular function, and divides their movement radius into ‘in front’ and ‘behind’. They interact with the house and are simultaneously actors in the mise-en-scène of the house.

This scenario also reveals itself to the visitors who experience the house from different perspectives. Though a distanced outside view is possible, the fusing of the house with its outside areas, and the exhibition space, involves the viewer in the surrounding composition. In the same way, the fixed categories of inside and outside are shifted. Yet this does not involve spatial expansion alone. Rather, the common ideas surrounding spaces and their functions are up for debate.

The ideas laid out by the model of the ‘house with things behind’ unfold with extensive potential in the hall of the Heidelberger Kunstverein: the house opens up individual experiences on differing levels for each of the visitors. It is a counterpart which demands new exchanges and new perspectives, fostering reflections on constructed environments and living spaces.

Jean-Pascal Flavien’s houses develop during a long process, which is often incited by observation, text, objects, an idea or a feeling. Sketching, text and the model are artistic means for the development of a design and are the preliminary stage to the house, which is inhabited and enacted as a building.

In a series of artist books, Flavien presents these intertwining processes. With progressive development towards the house that is constructed to scale, the aspects of the houses gain shape: details such as clothing and furniture design or the arrangement of the exterior is developed. Finally, the house becomes the setting for various actions. The construction of the house is thus not the culmination, but a highlight in an ongoing process.

Jean-Pascal Flavien was born in 1971 in Le Mans, France. He studied Fine Arts in Rennes, Bologna, Lorient, and participated in the Graduate Program of the University of California, Los Angeles. The artist lives and works in Berlin.

Flavien’s recent solo exhibitions include: dancers sleeping inside a building, Les Ateliers de Rennes – Biennale d’Art Contemporain, Musée de la Danse, Rennes (2016); folding house (to be continued), NMNM – Nouveau Musée National de Monaco (2016); folding house, NMNM – Nouveau Musée National de Monaco (2015); statement house (temporary title), RCA, London (2015); night house at daytime, textes de nuit, Angle Art Contemporain, Saint-Paul-Trois-Châteaux (2013); Cinonema, no drama cinema, South London Gallery, London (2012); breathing house, la maison respire, Parc Saint Léger, Centre d’art contemporain, Pougues-les-Eaux (2012); Jean-Pascal Flavien, Kunstverein, Langenhagen (2012), and PLAY, HEDAH/Jan van Eyck Academie, Maastricht (2011).

Recent group exhibitions include: The Way We Perform Now, Ujazdowski Castle – Centre for Contemporary Art, Warsaw (2017); Meeting Points 8, Beirut Art Center, Beirut (2017); Variable Dimensions – Artists and Architecture, MAAT, Lisbon (2017); The House of Dust by Alison Knowles, The James Gallery, New York (2016); Jump, CAC Brétigny – Centre d’Art Contemporain, Brétigny-sur-Orge (2016); L’Esprit du Bauhaus, Musée des Arts décoratifs, Paris (2016); De toi à la surface, Le Plateau – FRAC Ile-de-France, Paris (2016); La collection des objets que l’on utilise sans les toucher, CNEAI, Chatou (2015); All that falls, Palais de Tokyo, Paris (2014); Was Modelle können, Museum für Gegenwartskunst Siegen (2014).

Link: Jean-Pascal Flavien at Heidelberger Kunstverein

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2Ha84g5

[pierredijkvan]

Monaco celebrates the 250th anniversary

Monaco celebrates the 250th anniversary of the birth of François-Joseph Bosio

Francois Joseph Bosio La Nymphe Salmacis, 1819 – 1837 Marbre blanc NMNM Collection, N ° 1958.260 © NMNM / Mauro Magliani Internationally renowned Monegasque sculptor Giuseppe-Francesco Bosio, better known as François-Joseph Bosio, was born in Monaco 250 years ago, on March 19, 1768.

  1958.260 La Nynphe Salmacis b 002

F…

[lavotha]

The Nouveau Musee National de Monaco honors legendary painter

The Nouveau Musee National de Monaco (NMNM) hosted a Press Conference yesterday, lead by the passionate and enthusiastic curator Cristiano Raimondi, who unveiled the very first ambitious retrospective in a public institution outside Brazil, of legendary painter Alfredo Volpi.(Photo insert: Cristiano Raymondi @CelinaLafuentedeLavotha)

From February 9 through May 20, 2018, at Villa Paloma (56 Bv du Jardin Exotique in Monaco), this colorful and highly poetic exposition is open to the public, who will be able to admire the prolific work of this major Brazilian artist born in Lucca (Italy) in 1896 and who moved with his family to São Paulo’s when he was only 2 years old, and where he stayed all through his modest and simple life, until he passed away in 1988. As immigrants Volpi and his family settled in an impoverished  Italian neighborhood of Sao Paulo, so he never lost his Tuscan accent, but his heart beat at the rhythm of Brazil, the country that welcomed and veneers him.

This exhibition is made possible thanks to the close collaboration of Pedro Mastrobuono, President of the Institute of Modern Art Alfredo Volpi. His father, Marco Antonio Mastrobuono, was an intimate friend of Alfredo Volpi in his most productive era. His passion for the work of the artist is well known in the art world and is the engine behind an incredible collection. Marco Antonio’s love of painting was passed to his children, and Pedro followed in his footsteps managing the Mastrobuono Collection. Through this comprehensive exhibition the NMNM succeeds in giving Alfredo Volpi the international recognition he deserves.

Alfredo Volpi and Marco Antonio Mastrobuono at the artist’s atelier @DASartes

Pedro Machado Mastrobuono (son of Marco), President of the Insitute of Modern Art Alfredo Volpi @CelinaLafuentedeLavotha

Alfredo Volpi at work @NMNM

An artist of modest life who became a legend

Alfredo Volpi trained as a woodcarver and bookbinder from an early age and later began working as a commercial artist, assisting a wall painter and decorating the houses of the wealthy families of São Paulo. This way he learned the finest techniques, while earning money to support himself and develop his artistic skills, away from academic guidelines and rules, thus enhancing his own imagination.

It was only during Volpi’s last decade of his life that he became aware of the important recognition avid collectors gave to his work, as it happens with many artists whose works are not noticed and valued in their time, only to become famous after their death. No one is a prophet in their own land, but Volpi is now the most beloved Brazilian artist of the 20th century, with collectors paying really high prices for his coveted masterpieces, even if he remained little known outside Latin America until now. Volpi turned into a legend in Brazil, remaining as an isolated figure midway between modernism, concrete and neo-concrete movements in that country. His unique and universal language must be considered a collective cultural and visual heritage, another positive example in the history of immigration.

Despite the great success that he attained over last three decades of his life, the story of Volpi is one of a simple, reserved man devoted entirely to his work, and one who never forgot his humble origins. A man who every day, until the age of 88, would build his own frames and stretch the linen over them for his paintings, meticulously preparing the pigments and earths to create the magic of color. What today seems incredible is that so few people in Europe and the US know anything about his life and achievements: his works have never been exhibited institutionally as solo shows in Europe, except for his presence as an invited artist at the Venice Biennale of 1952 and 1964 or a handful of commercial exhibitions.

Volpi paints Volpi – The Flag Painter

It was Willys de Castro who said: “Volpi paints Volpi”, recognizing the potential of the modernity of popular art and creating a unique synthesis between ‘high’ and ‘low’ art, and between fine and naïve art. Popular art allowed Volpi to find a timeless and universal shape, far from European transcendent rationality and North American empirics.

As a byproduct of his progressively geometric configurations during the 40’s and 50’s, Volpi distanced himself from landscape in favor of formalism, so after a decade of facades, the bandeirinhas (small flags typical of popular festive motifs) inundated his paintings what deserved him the name of the “Flag painter”.

Alfredo Volpi, No title, 1970, Tempera on Canvas, Private collection SP @CelinaLafuentedeLavotha

Alfredo Volpi, No title, 1970, Tempera on Canvas, Private collection SP @CelinaLafuentedeLavotha

Alfredo Volpi, No title, 1960, Tempera on Canvas, Mastrobuono collection SP @CelinaLafuentedeLavotha

A voyage through the decades & Volpi’s source of inspiration

The NMNM is proud to present this retrospective of 70 works of art: from the first oil on canvas (country or urban landscapes of the 30s and 40s) up to works from the 50s, 60s and 70s with the artist new palette of colors and pictorial techniques. The exhibition backtracks Volpi’s professional life, from his early oil paintings of landscapes and cityscapes in the 40s, to his works during the following decades in which the same subjects evolve into colorful geometric configurations. This autodidact painter transfers onto the canvas his imaginary prototypes of buildings façades and festive banners, with a humble and poetic formula that allows him to make unlimited color variations on the same subject.

1940’s

Alfredo Volpi, Facades, end 1940 Tempera on canvas @CelinaLafuentedeLavotha

Alfredo Volpi, No title, circa 1948, Tempera on canvas, Collection Mastrobuono, Sao Paulo @CelinaLafuentedeLavotha

1950’s

Alfredo Volpi, No title, circa 1954, Tempera on canvas, Collection Mastrobuono, Sao Paulo @CelinaLafuentedeLavotha

Alfredo Volpi, No title, mid 1950’s, Tempera on Canvas, Mastrobuono Collection SP @CelinaLafuentedeLavotha

Alfredo Volpi, No title, end 1950’s, Tempera on Canvas, Collection Marcos Ribeiro Simon, SP @CelinaLafuentedeLavotha

Alfredo Volpi, No title, 1953, Tempera on Canvas, Private collection SP @CelinaLafuentedeLavotha

1960’s

Alfredo Volpi, No title, 1962, Tempera on Canvas, Mastrobuono collection SP @CelinaLafuentedeLavotha (2)

Alfredo Volpi, No title, 1960’s, Tempera on canvas, Mastrobuono Collection, SP @CelinaLafuentedeLavotha

Alfredo Volpi, No title, 1960’s, Tempera on Canvas, Private collection SP @CelinaLafuentedeLavotha

Alfredo Volpi, No title, ca. 1960, Tempera on Canvas, Mastrobuono Collection, SP @CelinaLafuentedeLavotha

Alfredo Volpi, No Title, end 1960’s, Temepra on canvas, Private Collection SP @CelinaLafuentedeLavotha

1970’s

Alfredo Volpi, No title, 1970’s, Tempera on Canvas, Private collection SP @CelinaLafuentedeLavotha copy

Alfredo Volpi, No title, 1970’s, Tempera on Canvas, Private collection SP @CelinaLafuentedeLavotha

Alfredo Volpi, No title, mid 1970’s, Tempera on Canvas, Private collection SP @CelinaLafuentedeLavotha.

Volpi was an independent artist, whose fascination for the Italian early Renaissance, for Matisse, Morandi and the sphere of popular culture led him to win the Best National Prize at the 2nd São Paolo Biennale with ‘Di Cavalcanti’, and intrigued the celebrated English critic Herbert Read, who described him as an artist “… aware of the general movement, but who created something contemporary with an indigenous theme: the shapes and colors of Brazilian modern architecture.” (Photo insert: Announcement of winners of the II Bienal de Sao Paulo @NMNM)

By the end of the ’40s, cityscapes and seascapes that he had started depicting in the 1910s had developed into drawings of the front of buildings and series of festive banners, being inspired by the working class area around him, that served him as real life model and muse. Experience and observation are the most important aspects of the creative process: a direct experience transposed through the sole use of memory of the pictorial space.

Volpi was always unconcerned about academic methodology and doctrines, detached from the cutting edge of his time. He was probably influenced by friends who were celebrated artists like Emygdio de Souza and Ernesto de Fiori influencing him to adopt a certain modernist style, as well as his participation in the Santa Helena artists’ group, but it was his direct experience of the works of other great European artists exhibited in Brazil throughout the ’40s that ended up becoming an incenting for his formal solutions and space organization.

During the ’40s, from Paul Cezanne to Henri Matisse, from Mario Sironi and Carlo Carrà to Giorgio Morandi, Alfredo Volpi would learn how to remodel the pictorial space, and as Lorenzo Mammi wrote, “those new poetic coordinates oblige Volpi to modify his media. The transition from oil to tempera allows the movement of the brushstroke to be now a visible and constitutive element of his paintings, granting at the same time the absolute value of the color independently from the light and texture; in other words, it allows conciliating Morandi with Matisse.”

Exhibition’s catalogue

A catalogue co-published by Capivara Editora and Mousse Publishing gathering texts from Lorenzo Mammi, Jacopo Crivelli Visconti, Cristiano Raimondi will be released around the end of April in French and English.

Today’s Quote

“Creativity takes courage.” Henri Matisse

Brazilian artist Volpi first retrospective in Monaco brings explosion of color and poetry to the white walls of Villa Paloma The Nouveau Musee National de Monaco honors legendary painter The Nouveau Musee National de Monaco (NMNM) hosted a Press Conference yesterday, lead by the passionate and enthusiastic curator Cristiano Raimondi, who unveiled the very first ambitious retrospective in a public institution outside Brazil, of legendary painter…

[micaramel]

Artist: Jean-Pascal Flavien

Venue: Esther Schipper, Berlin

Exhibition Title: Ballardian House

Date: September 8 – October 21, 2017

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of the artist and Esther Schipper, Berlin. Photos © Andrea Rossetti.

Press Release:

Esther Schipper is pleased to announce Ballardian House, Jean-Pascal Flavien’s second solo exhibition with the gallery.

Jean-Pascal Flavien has constructed a life-sized house within the exhibition space. Set in the midst of a sandy ground with a number of rocks, the environment evokes a desert. Made of two near identical structures, posed at an angle and apparently held by a central hinge, the house, entitled ballardian four, addresses a notion of doubling, coupling, and splitting—processes that continue throughout the exhibition. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone. The landscape thus enters the building and becomes trapped in this museum-like space: like a vitrine, the closed-off structure holds its contents in a state of being looked at. Building and landscape are contingent, organizing one another in a reciprocal exchange of qualities.

Ballardian House creates a concrete setting, while evoking an entire fictional universe. Dissolving demarcation between mental space, built structure and surrounding landscape, Jean-Pascal Flavien’s house draws on the writings of J.G. Ballard whose highly charged dystopian scenarios often displace psychological and existential conditions onto buildings and landscapes. The house will include custom-made furnishings, specific to its premise, drawing both on Jean-Pascal Flavien’s formal vocabulary and on a condensed Ballardian world. New sculptural works inside the building will also draw on texts: represented by conglomerates of citations from Ballard’s writing, these works are neither real nor abstract but exist at once in multiple fictional locations and realities—as if the words were bringing to completion what is not physically present. In addition, the landscape outside the house will include a pair of entangled chairs that echo the house’s act of doubling yet also invoke the presence of inhabitants, just as doubling rows of small boulders recall an archaic meeting place but also incorporates an instance of mirroring. The sculptures can appear to shift between states: at times present as discrete objects, at others fusing more resolutely chameleon-like into the fantastic landscape Ballardian House conjures up.

Jean-Pascal Flavien’s practice combines elements from architecture, sculpture, and the performative. The artist’s houses are based on imaginary settings imposed by the artist and/or requirements determined by function and imagined site. Each house bespeaks certain circumstances (technical, aesthetic and existential) but in turn may also itself produce such conditions. The structures are conceptual entities, representing ideas, locations, and events in which the architectural conditions can determine the behavior of its inhabitants (and vice versa).

Jean-Pascal Flavienwas born in 1971 in Le Mans, France. He studied Fine Arts in Rennes, Bologna, Lorient, and participated in the Graduate Program of the University of California, Los Angeles. The artist lives and works in Berlin.

Flavien’s recent solo exhibitions include: dancers sleeping inside a building, Les Ateliers de Rennes – Biennale d’Art Contemporain, Musée de la Danse, Rennes (2016); folding house (to be continued), NMNM – Nouveau Musée National de Monaco (2016); folding house, NMNM – Nouveau Musée National de Monaco (2015); statement house (temporary title), RCA, London (2015); night house at daytime, textes de nuit, Angle Art Contemporain, Saint-Paul-Trois-Châteaux (2013); Cinonema, no drama cinema, South London Gallery, London (2012); breathing house, la maison respire, Parc Saint Léger, Centre d’art contemporain, Pougues-les-Eaux (2012); Jean-Pascal Flavien, Kunstverein, Langenhagen (2012), and PLAY, HEDAH/Jan van Eyck Academie, Maastricht (2011).

Recent group exhibitions include: The Way We Perform Now, Ujazdowski Castle – Centre for Contemporary Art, Warsaw (2017); Meeting Points 8, Beirut Art Center, Beirut (2017); Variable Dimensions – Artists and Architecture, MAAT, Lisbon (2017); The House of Dust by Alison Knowles, The James Gallery, New York (2016); Jump, CAC Brétigny – Centre d’Art Contemporain, Brétigny-sur-Orge (2016); L’Esprit du Bauhaus, Musée des Arts décoratifs, Paris (2016); De toi à la surface, Le Plateau – FRAC Ile-de-France, Paris (2016); La collection des objets que l’on utilise sans les toucher, CNEAI, Chatou (2015); All that falls, Palais de Tokyo, Paris (2014); Was Modelle können, Museum für Gegenwartskunst Siegen (2014).

The life-sized project folding house (to be continued) was acquired for the collection of the NMNM – Nouveau Musée National de Monaco and inaugurated in July 2016 on the museum’s outside terrace.

In November 2017, the Heidelberger Kunstverein will present the artist’s it says (twitter house).Also in November, at the Marta Herford Museum for Art, Architecture, Design in Herford, Jean-Pascal Flavien will exhibit his statement house, first built in London at the Royal College of Art in 2015.

Link: Jean-Pascal Flavien at Esther Schipper

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

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