#pontus hulten

[garadinervi]

Gérard Fromanger, Pontus (Portrait de Pontus Hulten), (pastel on paper), 2011 [Centre Pompidou, Paris. © Gérard Fromanger. Photo: © Georges Meguerditchian/Centre Pompidou]

[beautifulvenezia]

“Paris is an ideal place to become informed, while Venice is a place to think and write.” – Pontus Hulten

[fashionbooksmilano]

Paris - Paris Créations en France 1937-19571937 - 1957

Pontus Hulten

Centre Georges Pompidou, Paris 1981, 528 pages, 21 x 30 cm, ISBN 9782858500918

euro 32,00

email if you want to buy booksinprogressmilano@yahoo.it

Centre Georges Pompidou, Paris 29 Mai - 2 Novémbre 1981 Commissaire de l`exposition: Germain Viatte assisté de Véronique Legrand

Créations en France: arts plastiques, littérature, théâtre, cinéma, vie quotidienne et environnement, archives sonores et visuelles, photographie. 

L’ambition de Paris-Paris est de décrire la production artistique d’un foyer de créations dont le rayonnement fut mondial et pour un temps dominant.

En vingt ans, l’image culturelle de la France a considérablement changé, et certaines mutations artistiques ont été radicales. L’abstraction a connu un essor presque maximal, l’art brut est entré dans l’art, le surréalisme a traversé d’intenses séquences, la figuration est allée au-delà du figuratif. Le nouveau roman, l’existentialisme puis le structuralisme sont apparus. La télévision et le cinéma ont su capter l’attention d’un nouveau public à un rythme souvent accéléré, les créateurs ont renouvelé ou inventé des formes d’expression qui sont encore très actives. Il s’agit d’explorer ces vingt années d’un Paris plein de fièvre et de fougue. De 1937, année de l’exposition internationale, à 1957, où commence une ère nouvelle, celle de l’éloge de la consommation et de la suprématie des médias.

25/05/23

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[teenagedirtstache]

[sometimeshopedisappear]

“ ...Venice, a place to think and write.”- Pontus Hulten

[netlex]

photo : Pontus Hulten devant le Centre Georges Pompidou Pontus Hulten au Centre Pompidou : l’âge d’or des expositions “ Paris”

En 1977, le grand Pontus Hulten, ancien du Moderna Museet, est directeur du Centre Pompidou. Ses huit années (1973 – 1981) à Beaubourg sont considérées comme un âge d’or, servant de référence à tous ceux qui l’ont dirigé après lui. Il met en place, à partir de 1977, une riche série d’exposition : « Paris-New York », « Paris-Berlin », « Paris-Moscou « , et le grand final en 1981 « Paris-Paris ».

Ces expositions qui ont marqué l’histoire : la série d’expositions inaugurales du centre pompidou par Jeanne Poret

1st June 1977 - 19 September 1977 – Exposition Paris New York

« Cette exposition est concue non comme une exposition propremement dite mais comme un ensemble de présentations illustrant un thème » – Pontus Hulten à propos de « Paris-New York

12 July 1978 - 6 November 1978 – Exposition Paris Berlin    Rapports et contrastes, France-Allemagne 1900-1933  

Photo credit : © Centre Pompidou 1978, © Centre Pompidou, 1978 ; Conception graphique : Roman Cieslewicz © ADAGP, Paris, 1978

31 May 1979 - 5 November 1979 –  Exposition Paris Moscou

Photo credit : © Centre Pompidou 1979, © Centre Pompidou, 1979 ; Conception graphique : Roman Cieslewicz © ADAGP, Paris,1979

28 mai - 2 novembre 1981 - Exposition Paris Paris : 1937-1957 créations en France

L’ambition de Paris-Paris est de décrire la production artistique d’un foyer de créations dont le rayonnement fut mondial et pour un temps dominant.  En vingt ans, l’image culturelle de la France a considérablement changé, et certaines mutations artistiques ont été radicales. L’abstraction a connu un essor presque maximal, l’art brut est entré dans l’art, le surréalisme a traversé d’intenses séquences, la figuration est allée au-delà du figuratif. Le nouveau roman, l’existentialisme puis le structuralisme sont apparus. La télévision et le cinéma ont su capter l’attention d’un nouveau public À un rythme souvent accéléré, les créateurs ont renouvelé ou inventé des formes d’expression qui sont encore très actives. Il s’agit d’explorer ces vingt années d’un Paris plein de fièvre et de fougue. De 1937, année de l’exposition internationale, à 1957, où commence une ère nouvelle, celle de l’éloge de la consommation et de la suprématie des médias. 

“ Premier producteur mondial d’expositions temporaires, le Centre Pompidou a présenté, entre 1977 et 2009, plus de 1 000 expositions. Bien sûr, ces expositions étaient de natures très diverses : des grandes expositions multidisciplinaires occupant tout l’espace des 4e et 5e étages (la série des « Paris » (1977 à 1981), « Vienne » (1986), « Hors Limites » (1994) ou « La Ville » (1994) à des expositions plus modestes sur des thèmes très précis et bien souvent innovateurs (telles que « Tatouages » (1977), « La photographie expérimentale allemande 1918-1940 » (1980), « Bande dessinée chinoise » (1982) ou encore « Mobilier Suisse » (1989) en passant par les installations du Forum créées spécifiquement pour le Centre Pompidou telles que « Le Crocrodrome de Zig & Puce » de Jean Tinguely, Bernhard Luginbühl et Niki de Saint-Phalle (1977) ou « La Kermès Héroïque » de Salvador Dalì (1979-1980), ou encore Les Ateliers d’aujourd’hui.”

https://marges.revues.org/361 2012

[suddenly-very-interested]

Shooting, 1961 / Studio with Nanas in progress, 1965 / Golem in progress, 1972 / 2 Maquettes for the Tarot Garden, Tuscany, 1979 / Sketch by Jean Tinguely and Niki de Saint Phalle on photo of Tarot Garden in progress / Niki in front of finished 'shooting painting', 1961

from Niki de Saint Phalle by Pontus Hulten, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Verlag Gerd Hatje, 1992

[dreimalfuermich]

Dienstag, 25.05.2021

IT SMELLED SO GOOD, THE COCOLATE ROOM.

Alle 25. Mais (nicht in Dosen) aus The Andy Warhol Diaries - Edited by Pat Hackett:

Wednesday, May 25, 1977 - Paris

Arrived in Paris around 9 A.M.. Went to Fred's apartment on Rue du Cherche-Midi. All Fred's chic antiques are looking more and more like just junk covered in rags. William Burke arrived with breakfast.

Did Interviews with Le Monde, Le Figaro, and Elle that'd been arranged by Flammarion, our French publisher. Then it was to go to the Beaubourg to sign Philosophy books at their bookshop (cab $5).

Shirley Goldfarb came, and Daniel Templom came, he's giving the Hammer & Sickle show next Tuesday, and about 100 dirty kids in punk clothes.

Pontus Hulten, the director of the Beaubourg, showed up and took us on a tour. First we went into the big Tinguely sculpure being constructed in the middle of the ground floor. He took us to a storeroom stuffed with chocolate and gave us some. It smelled so good, the cocolate room. Then we saw the Kienholz show and then the Paris/New York show opening next week and the permanent collection. This took two hours and Bob was passing out but I had energy and wanted to just rush home and paint and stop doing society portraits.

Thursday, May 25, 1978 - Zurich

Up at 7:00 craving soft-boiled eggs, tipped waiter ($2). Got some newspapers ($1). Went to the Kunst Museum for a press conference (cab $4). I didn't have to talk, they were just taking photos. It was hard to look at a retrospective, I just pretended to look at the walls. I can't face my old work. It was old. Had to sign a lot of Soup Cans, portfolios, stuff like that. That lasted about two hours. Peter Brant never sent his pictures.

Monday, May 25, 1981 - East Falmouth - New York

Took the plane ride back from Hyannis to LaGuardia. Everyone was eating peanuts and popcorn, and all of a sudden the plane actually really flipped over and I didn't care if we would have killed ourselves, because I was so unhappy. I'd thought that this trip would bring some progress with Jon, but it didn't. He'd left us to go see his family who really adore him. Oh, but from now on I can't talk personally about Jon to the Diary because when I told him I did, he got mad and told me not to ever do it again, that if I ever put anything personal about him in the Diary he'd stop seeing me. So from now on, it'll just be the business angle in the Diary - he'll just be a person who works for Paramount Pictures who I'm trying to do scripts and movies with.

I gave a tip to the airplane driver ($100). And tipped the limousine driver ($20).

Got a call from Tina Chow inviting me to a party for David Bailey and his wife Marie. It turned out it was actually a big party. Marie is really beautiful, she had one of those slit dresses. Eric Boman and Peter Schlesinger were there. I told everybody how I was a male model now, I was trying to hustle work. Jerry Hall came over and told how to suck cock and lick pussy and she told some jokes and it was fun, and then David started telling jokes. Paloma Picasso was there and she gave me a big kiss.

Friday, May 25, 1984

I called and screamed about that picture of Jean Michel in the Dolly Parton issue because it was so awful - cut in that arty way. And when I screamed Gael said Fred had done it, so I called and screamed at Fred and he said it was something that he'd done especially personally.

Robert Hayes is still in the hospital. John Reinhold called him but Robert's mother wouldn't let John talk to him. He still had a temperature. His family's been here for one and a half months. The hospital bill is going to be so big. I guess Blue Cross pays for 80 percent, but still. It must be like $500 a day.

Saturday, May 25, 1985

Walked to work. Kenny Scharf came by. And he said he doesn't know what to do because he likes to feel free and do whatever he wants but he does love Teresa and the baby, but he feels he has to have that free feeling. So Kenny was there for hours and then left at 7:00.

Andy you know, in the pizza place next to the office on 33rd Street, the one that's owned by Koreans or Chinese, it was so sad, because they were cleaning up and throwing out all the stuff from, maybe, the basement, books and things, and I wanted to go through it all but I didn't. And this woman was holding these two big white dogs and I don't know if she belonged there or if she didn't. You don't know about people. Everybody just does their own stuff on their own scale. There was a naked baby in the middle of the floor.

[marionhuc]

Hon « elle » en suédois, à Stockholm (1966)

Niki de Saint Phalle

Il s’agit de la première œuvre monumentale de l’artiste : une Nana géante inspirée de l’idée d’une temple. Elle fut exposée dans le hall du Moderna Museet de Stockholm, à la demande de Pontus Hulten, son directeur. Cette gigantesque femme-cathédrale est couchée sur le dos, les visiteurs entrent par le sexe pour trouver dans ses entrailles plusieurs activités ludiques : un cinéma, un planétarium (dans le sein gauche), une galerie de faux tableaux, un toboggan, une terrasse ou encore un milk-bar (dans le sein droit).

[fernpapst]

Christopher Williams, Poetry must be made by all! Transform the world! Gelatine siver print, 2000. Backcover, Pontus Hulten, Andy Warhol catalogue, Stockholm 1968

[metartpoliten]

Online mediation practice, or curator in the Web

Net-art... So ephemeral, independent and creative specific sphere for producing new advanced pieces of contemporary art with the help of technical and digital achievements... On the other hand, this artistic movement is terra incognita for institutionalised curators, artists, museums and galleries; net-art appears as something marginal, out of the main art stream movements. Here we have an issue with the role of the art institution in net-art. Also we faced with the appropriate contextualisation of net-art into the nowadays processes and alterations. Can we describe unique character of the “artist-curator” connection on the web? Which problems faced curator during this or her curating of the virtual art? Finally, does the curator is important figure for online exhibitions or this role can be appropriate by an artist? In the early 90s Internet presented itself as a self-sufficing medium which represented art in the different ways and developed itself according to the unique trajectory. Thus, net-art appeared as a new special branch of the site-specific art, only depended on the Internet connection. Net-art artists find themselves devoid of the institutions using variety methods and practices. Statement by Joseph Beuys Everyone is an artist describes the phenomenon of net-art accurately because of the expanded influence of Internet over our real and virtual reality. Thus, every net surfer is capable to create and expose his or her internet-art piece. Net-art first principles provided an utopian concept of creating independent conversational democratic platform for art exhibiting and researches. Also theoretics of net-art raised a question of the traditional art forms reconsideration, which was connected with the appearance of the new art mediums: electronic-, net- and media-art.  Net-art curatorial practice began in 1998 and this occurrence was one of the first attempt to institutionalise divided net-art space. Net-art attempts to overcome its own specific of intimacy and privacy and now it reveal a need in the popularisation. In this case curator faces with the problem of virtual-real representation in the virtual-real context: therefrom net-art proceeds to post internet-art. The main specific character of Internet curating is that curating in the Internet space appears as an infinite continued process: as against gallery or museum curatorial practice, because it has a final goals – an exhibition in the physical space.

In this case we tried to detach four courses of the net-art curation and instantiated it:

artist who curates (digital art exhibition by Lin Hsin Hsin who created not only virtual exhibition but also his own virtual museum): 

http://www.lhham.com.sg

museum which curates (instantiated by the MoMA digitizing experience of Pontus Hulten 1968-1969 exhibition The Machine as Seen at the End of the Mechanical Age): 

https://www.moma.org/calendar/exhibitions/2776?locale=en

audience who curates (Internet project The Most Wanted Paintings on the Web by Russian sots artists Komar and Melamid): 

http://awp.diaart.org/km/index.html

curator who curates (instantiated by student of curatorial research master program virtual biennale experience)

These virtual biennales on tumblr appear as online-exhibitions. Curator has a dominate role in this project, thus he or she can use various tools and conceptions to create his or her own piece. First of all virtual biennale conceptualises the idea of never been exposed exhibition in the physic space (as you can see metARTpoliten dedicated to the interesting correlations between metro stations, art and daily routine objects and has not any potential to be exposed as an post-internet piece. 

Besides, our virtual biennales have a postmodern idea of incongruous elements combination, for example project The Act of Touching provides ironically the idea of touching which could not be realised in the virtual space. Human Things refers to the theme of human but it is not connected with humanity, it is about material objects.

Also virtual biennales incorporate ordinary objects in the art context (project Call One-One-Two).

Nevertheless now it is a story not about net-art, because you see these projects in the physical art space. Viva la postinternet-art!

[garadinervi]

Le Mouvement / The Movement / Paris 1955, Texts by Pontus Hulten ('MOUVEMENT-TEMPS ou les quatre dimensions de la PLASTIQUE CINÉTIQUE', and 'Petit Memento des Arts Cinétiques'), and Roger Bordier (’Cinéma', and 'L' Œuvre Transformable'), 'Notes pour un Manifeste' [’Le Manifeste Jaune’] by Victor Victor Vasarely, (pdf here), Galerie Denise René, Paris, New York, NY, and Düsseldorf, 1955/1975 [Exhibitions: Galerie Denise René, Paris, April 6 – 30, 1955; New York, NY, Anniversary Exhibition, April 1975] [ZKM | Center for Art and Media Karlsruhe. Photo © ZKM | Center for Art and Media, Photo: Franz J. Wamhof]. Feat. Alexander Calder, Marcel Duchamp, Yaacov Agam, Pol Bury, Jesús Rafael Soto, Jean Tinguely, and Victor Vasarely, plus sequences of the film directed by Pontus Hulten and Robert Breer realized in 1955 for the first show 'Le Mouvement' (1955)

[beautifulvenezia]

‘Paris is an ideal place to become informed, while Venice is a place to think and write.’ - Pontus Hulten

[fashionbooksmilano]

Paris Moscou 1900-1930

Préface de Jean Miller, Pontus Hulten, Alexandre Khaltourine                Introduction de  V.M Polevoi

Centre Georges Pompidou, Paris 1979, 580 pages,ISBN  978-2858506163

euro 80,00

email if you want to buy booksinprogressmilano@yahoo.it

Catalogue de l´exposition Paris-Moscou organisée par le Ministère de la Culture de l´URSS, Moscou et le Centre Georges Pompidou, Paris, 1979.                  Arts plastiques, arts appliqués et objets utilitaires, architecture-urbanisme, agitprop, affiche, théatre-ballet, littérature, musique, cinéma, photo créative.      Le Centre National d'Art et de Culture Georges Pompidou présente le dernier volet du triptyque de ses grandes expositions internationales : Paris-Moscou, dernière touche d'une vaste fresque visant à faire revivre autour de pôles privilégiés les relations artistiques qui ont profondément marqué la modernité. Entre Paris et Moscou, l'itinéraire révèle toutes les richesses qui, par perméabilité, complémentarité ou contrariété, situent l'une par rapport à l'autre deux grandes entités culturelles : la France, la Russie et l'Union Soviétique de 1900 à 1930. Le jeu des influences réciproques, similitudes et parallélismes, fait apparaître, sur fond de spécificité, l'intensité de l'échange entre les deux nations. L'approche globale de cette présentation reflète les tentatives de synthèse ou de décloisonnement caractéristiques de la période. Plus de 2500 oeuvres et documents exposés ; oeuvres d'arts plastiques, affiches, documents, photos, esquisses et plans d'architecture, polygraphie, design, oeuvres d'agit-prop et d'art décoratif vont permettre aux spectateurs de comprendre, de réfléchir et de comparer l'évolution des arts plastiques, du théâtre, de la littérature, de la musique, de l'architecture en France, en Russie puis en Union Soviétique. 

17/12/19

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[kunstkioskzh]

Futurismo & Futurismi. Pontus Hulten, Gruppo Editoriale Fabbri Bompiani, Milano. 1986. Ausstellungskatalog Palazzo Grassi, Venedig. Engl. Ausgabe #futurism #futurismo #futurismus #palazzograssi #kunstkiosk #kunstkioskimhelmhaus http://bit.ly/2YB9VTR https://www.instagram.com/p/B07nIxrIZMP/?igshid=aqbyguw1tebl

[artist-duchamp]

Marcel Duchamp: Work and Life / Ephemerides on and about Marcel Duchamp and Rrose Selavy

As the century draws to a close, it becomes increasingly clear how profoundly Marcel Duchamp influenced the trajectory of modem art. This remarkable book with its more than 1,300 illustrations covers 70 years of Duchamp's artistic production and traces his elusive personae across that same span. It documents his extraordinary achievements in painting and sculpture as well as his life-long involvement with chess, film, theater, and people - from intimate encounters to artistic liaisons.

Marcel Duchamp is designed as a double-faced publication: from one direction, entitled Works, it contains a catalogue reproducing Duchamp's paintings, sculptures, and miscellaneous objects (150 illustrated in color). From the other direction, entitled Ephémérides, unfolds a day-by-day account of the artist's life, organized by astrological sign. The greater part of this detailed chronology relies upon unpublished materials. It is enriched by 1,200 documents and photographs, including a number of works by Duchamp that have never before been reproduced. Each section is printed on a different color paper.

Sandwiched between these two sections is a concordance listing writings by and about Duchamp, a bibleography (letters sent by Duchamp), exhibition catalogues, a chronology of chess games, and a filmog­raphy.

Pontus Hulten, Director of the Palazzo Grassi in Venice between 1985 and 1989, is the chief curator of the Duchamp exhibition in Venice. Jennifer Gough-Cooper and Jacques Caumont are Duchamp scholars who have devoted themselves exclusively to Duchamp studies for the past fifteen years.

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