Tag Archives: Centre Pompidou


Cécile B. Evans presents her “experimental ecofeminist thriller” A Screen Test for an Adaptation of Giselle and a related performance work—Notations for an Adaptation of Giselle (welcome to whatever forever)—in Paris, through the first week of November. The works are part of the Move 2020 festival at Centre Pompidou.

Both A Screen Test—which combines digital footage, 16mm, VHS recordings, animation and AI—and the live Notations performances feature Alexandrina Hemsley as Giselle, Rebecca Root as Bertie, and Lily McMenamy as Leonida.

See link below for schedule.


Through November 7.

Centre Pompidou

Place Georges-Pompidou.

Temporary entrance on rue Beaubourg and rue Saint-Merri, 4th, Paris.

Cécile B. Evans, A Screen Test for an Adaptation of Giselle (2019). Images © Cécile B. Evans, courtesy of the artist, Galerie Emanuel Layr, Vienna, and Château Shatto, Los Angeles.


The Bard Graduate Center Gallery presents a virtual tour of their current exhibition EILEEN GRAY.

Curated by Gray expert Cloé Pitiot, this is the first comprehensive exhibition in the United States of the work of the pioneer designer and architect.

See link below for details.


Bard Graduate Center Gallery

New York City.

Eileen Gray, from top: Tempe a Pailla, Castellar, France; dressing cabinet in aluminum and cork, 1926-29, courtesy and © Centre Pompidou; Au Cap Martin Roquebrune, 1926–1929, from L’Architecture Vivante, no. 26, courtesy and © Centre Pompidou, Bibliothèque Kandinsky, Paris, Eileen Gray collection; exhibition pavilion, final design, 1937, composite plan, section, and elevation, pen and ink (and inscription by Le Corbusier in red and orange crayon) on tracing paper, courtesy and © Victoria and Albert Museum, London; dining room serving table, 1926–1929, courtesy and © Centre Pompidou; Transat chair, 1926–1929, varnished sycamore, tubular steel, synthetic leather, courtesy and © Centre Pompidou; Berenice Abbott, Eileen Gray, 1926, courtesy and © the National Museum of Ireland; extendable metal wardrobe at Tempe a Pailla, 1934; dressing table, circa 1920; breakfast table, 1927; E 1027, courtesy and © Centre Pompidou, Bibliothèque Kandinsky, Eileen Gray collection.


DORA MAAR—the comprehensive retrospective of the great surrealist photographer, photomontage artist, and painter—is now on view at Tate Modern.

DORA MAAR is curated by Karolina Ziebinska-Lewandowska and Damarice Amao (curator and assistant curator, Centre Pompidou, Paris), and Amanda Maddox (associate curator, J. Paul Getty Museum, Los Angeles), with Emma Lewis (assistant Curator, Tate Modern).


Through March 15.

Tate Modern

Millbank, London.

Dora Maar, from top: Model Star, 1936, silver gelatin print, Thérond Collection; Untitled, 1935, silver gelatin print, formerly in the Christian Bouqueret Collection, Centre Pompidou, Paris; Still Life with Jar and Cup, 1945, oil on canvas, private collection; The years lie in wait for you, circa 1935, William Talbott Hillman Collection; 29 rue d’Astorg, circa 1936; Untitled (Hand-Shell), 1934; The Conversation, 1937, Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid © FABA, photograph by Marc Domage; Woman Sitting in Profile, circa 1930, (tattoo patterns drawn on photograph), private collection; The Simulator, 1936, silver gelatin print printed on a carton, Centre Pompidou, Paris; Portrait of Picasso, Paris, Studio 29, rue d’Astorg, Winter, 1935, silver gelatin negative on flexible support in cellulose nitrate, Centre Pompidou; Model in Swimsuit, 1936, J. Paul Getty Museum, Los Angeles; Portrait of Ubu,1936, silver gelatin print, Centre Pompidou; Man looking inside a sidewalk inspection door, London, circa 1935, collection of Michael Mattis and Judith Hochberg, New York, courtesy art2art circulating exhibitions. Images courtesy and © Centre Pompidou, Musée national d’art moderne, Centre de création industrielle, Paris, MNAM-CCI, A. Laurans, P. Migeat, RMN-GP, ADAGP, Paris, 2019, DACS, London, 2019, and the estate of Dora Maar.


“From New York to Los Angeles and finally back to Paris, the French artist Guy de Cointet followed a singular geographical and artistic trajectory between the late 1960s and his premature death in 1983.”*

GUY DE COINTET—THÉÂTRE COMPLET brings together for the first time all the theatrical works by Guy de Cointet.

This Paraguay Press book was edited by Hugues Decointet, François Piron, and Marilou Thiébault.

“With twenty-five plays in the original French and English and in translation—written between 1973 and 1983—the book also features commentaries, interviews, and documents relating to their intended design and staging, including notebooks, drawings, photographs, posters, and invitation cards from the archives of Guy de Cointet Estate at the Kandinsky Library at Centre Pompidou in Paris.”**

This book was published with the support of the Guy de Cointet Society and the CNAP—Centre National des Arts Plastiques.


GUY DE COINTET—THÉÂTRE COMPLET, ed. Hugues Decointet, François Piron, and Marilou Thiébault (Paris: Paraguay Press, 2017).


** printedmatter.org/catalog


From top:

Guy de Cointet—Théâtre Complet cover. Book design by Laure Giletti and Gregory Dapra. Image credit: Paraguay Press.

Related image


WEEKLY WRAP UP | SEPT. 29 – OCT.3, 2014


Dries Van Noten final show, 2014

This week on the blog we visited Bex & Arts, a Contemporary Sculpture Triennal in Switzerland; saw Bertrand Bonello at Centre Pompidou; passed by Peter Lindbergh at Gagosian Paris and Yoko Uhoda Gallery in Liège to see a show curated by Christophe Daviet-Thery; and finally ended with Neïl Beloufa at ICA in London.