Tag Archives: Centre Pompidou


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.


Filmmaker and musician Bertrand Bonello reformulates the links between film and music. At the same time as the complete retrospective of his 12 films presented at the Centre Pompidou (Le Pornographe, L’Apollonide, Saint Laurent, etc.), filmmaker and musician Bertrand Bonello is proposing a completely new project on the relationship between sound and image: a remix of his films based on a single soundtrack, creations with their starting point in two unproduced “ghost films”, excerpts of sound tracks from cult and classical films played in the dark, and a wealth of original musical compositions for a single film. He talks about his approach.

I’m not used to trying to occupy venues other than cinema auditoriums. When I received an invitation to take over a whole space in the Centre Pompidou with the link between music and film as theme, it seemed natural to try to inhabit it as a film director and musician rather than as a visual artist. And thus to rethink the impact of demonstrating films, together with the relationship between images and sounds. Firstly, a retrospective of my films in the auditorium; secondly, in the space, a project involving “remixes”, inversions, voices without images, images without voices and redefinitions of the films, so that each of them takes on a new appearance, and is reborn. The eye describes implacably what is shown to it; the ear will seek out things that are more difficult to pinpoint, buried deep down in our subjectively-experienced emotions. This is why I wanted to disrupt the sounds of these clear images. This idea of retrospective also made me want to show all my films in a different way by rethinking the links between them and stripping them of their soundtracks, to make something new that would reunite them, while making them echo each other – like entering a room of diffraction mirrors. I wanted to make the films come alive in another way – not only the films already made, but also those which could not be made, which will come to life for the first time here through fragmented voices and images, like ghosts haunting the spaces. Apart from my own films, I also wanted to rediscover others in a different way, again with this desire to disrupt the sensorial relationship between image and sound –for example through a programme of films that you would hear in a cinema auditorium without seeing the images. Films that are mostly familiar to everyone, but whose images are now only memories in comparison with the sounds that come back to us. Or the reverse – seeing the images of a silent film react to different accompaniments. What kind of film would we then see each time, while the images remain the same? But apart from all these thoughts on work currently in progress, basically I’m seeking one thing: for a new emotion to arise from these well-known objects, a far cry from any theoretical thought, but as close as possible to an emotional immersion. Like the cinema.

-Bertrand Bonello-

Here an extract from Cindy the Doll is Mine

Exhibition until 26 October 2014


(text from centrepompidou.fr)