sol lewitt - Centre Pompidou Metz

Transcription

SOL LEWITT
WALL DRAWINGS
FROM 1968 TO 2007
PRESS PACK
07.03.12 > 29.07.13
centrepompidou-metz.fr
SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007
CONTENTS
1. PRESENTATION OF THE PROJECT
..............................................................................................
2. EXHIBITION SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007
...................
02
03
THE PRACTICE OF WALL DRAWING ............................................................................................................................................................................ 03
THE CHOICE OF BLACK AND WHITE ........................................................................................................................................................................... 03
AN EXHIBITION ORGANIZED IN CLOSE COLLABORATION WITH THE LEWITT COLLECTION .................................................. 03
AN EXHIBITION DESIGN IN ACCORDANCE WITH THE ARTIST'S PRINCIPLES ................................................................................ 04
THE PREPARATION OF THE WALLS ............................................................................................................................................................................. 04
..........................................................
04
...............................................................................................................................................................................................................
05
AN EXHIBITION IN PARTNERSHIP WITH ART SCHOOLS IN NORTH-EASTERN FRANCE
SELECTED WORKS
TEXTS ON WALL DRAWING BY SOL LEWITT ......................................................................................................................................................... 10
3. THE WORK AND CAREER OF SOL LEWITT ............................................................................ 11
4. PUBLICATION ............................................................................................................................... ............. 12
5. RELATED EVENTS ................................................................................................................................... 13
YOUTH WORKSHOPS ............................................................................................................................................................................................................ 13
EVENTS IN THE AUDITORIUM WENDEL AND STUDIO ..................................................................................................................................... 13
SOL LEWITT. COLORS, JUNE 21 – OCTOBER 14, 2012 AT M-MUSEUM LEUVEN (BELGIUM)
............................................
14
SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007, AN EXHIBITION AS PART OF MONO,
A CROSS-BORDER EVENT ................................................................................................................................................................................................ 15
6. LENDERS ............................................................................................................................... ....................... 16
7. PARTNERS ................................................................................................................................................... 17
8. CREDITS ............................................................................................................................... ......................... 19
9. VISITOR INFORMATION ...................................................................................................................... 22
10. PRESS VISUALS
............................................................................................................................... ...
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1.
PRESENTATION
OF THE PROJECT
2.
THE EXHIBITION
OPENING MARCH 7, 2012
A MAJOR RETROSPECTIVE, UNPRECEDENTED IN EUROPE
In 2013, Centre Pompidou-Metz will feature Sol LeWitt's
personal collection. This second exhibition will reflect
LeWitt's extraordinary career not only as a prolific artist
but also as an insatiable collector.
Centre Pompidou-Metz presents a major project around
the American conceptual artist Sol LeWitt (1928-2007). In
the 13,000 square feet of Galerie 2, Centre Pompidou-Metz
is hosting a retrospective of Sol LeWitt's wall drawings on
a scale never seen before in Europe. The selected thirtythree wall drawings, the largest group ever exhibited in
Europe, span the artist's career from its beginnings to his
final works.
The LeWitt Collection (Chester, Connecticut), assembled
largely through trades and gifts rather than purchases,
contains, alongside a selection of LeWitt's own works,
over 4000 works by other artists. With over 250 works, the
presentation at the Centre Pompidou-Metz will be the first
major showing of the LeWitt Collection in Europe.
Chosen from the 1200 wall drawings which LeWitt
created between 1968 and 2007, the selected wall
drawings reflect both the extraordinary consistency of the
artist’s systematic explorations - with logical sets and
combinations of geometric elements - and the remarkable
diversity of his practice, both in the evolution of the forms
(from simple geometric figures to what the artist called
"complex" or "continuous" forms), and of the materials
used by LeWitt (from pencil and crayon to India ink, acrylic
paint and graphite).
Through a remarkable partnership with local schools of
art and architecture, the execution of the wall drawings
at Centre Pompidou-Metz fully conveys the principle of
collaboration advocated by the artist.
In partnership with Centre Pompidou-Metz, and as a
chromatic counterpart to its retrospective of wall drawings
in black and white, M-Museum Leuven (Belgium) will show
from June 21 to October 14, 2012, twenty wall drawings in
color.
THE PRACTICE OF WALL DRAWING
THE CHOICE OF BLACK AND WHITE
Reminiscent of the fresco tradition, Sol LeWitt's wall
drawings marked from the late 1960s on, a decisive
development in the history of contemporary drawing
in particular, and of art in general. Expressing thought
processes which the artist conceived beforehand, the wall
drawings are then executed directly onto the walls on the
scale of the exhibition venue. The wall drawings, produced
on-site, exist for the duration of the exhibition; they are
then destroyed, giving the work in its physical form an
ephemeral quality. Its content (or concept) however remains
identical from one exhibition to the next.
Centre Pompidou-Metz has chosen to present thirty-three
wall drawings by Sol LeWitt exclusively in black and white.
"Black and white is at the heart of the conception of Sol
LeWitt's wall drawings, even for the most colorful works,"
explains the exhibition's curator, Béatrice Gross."The
preparatory drawings are always done in pencil. Colors,
where they exist, are indicated only by their initial letter
(R for red, Y for yellow, B for blue). In addition, the use of
black and white frames the artist's work: LeWitt made his
first wall drawings in black pencil, and the last ones in
graphite, both on white walls."
LeWitt conceived the drawings to be executed mainly by
people other than himself. Professional assistants trained
by the LeWitt studio, and drafters new to the process,
are brought in to precisely follow LeWitt's instructions
and diagrams. As the artist stated back in 1967, “In
conceptual art, the idea or concept is the most important
aspect of the work (…) and the execution is a perfunctory
affair. The idea becomes the machine that makes the
art.” (“Paragraphs on Conceptual Art,” in Artforum, vol.
5, no. 10, New York, June 1967, pp. 79-83). Like musicians
performing a musical score, the drafters interpret,
each time slightly differently and in their own way, the
geometric formulae set out by LeWitt.
This decision to show only black and white wall drawings
also underlines the striking visual impact of LeWitt’s
work. Depending on the materials and techniques used,
the powerful contrast between black and white, or the
more subtle contrast of various shades of gray, stresses
the structure and the optical effects that bring the works
to life, from the subtle vibration of pencil lines to the
sustained cadence of flat areas of black and white in
acrylic, through soft variations of ink washes.
AN EXHIBITION ORGANIZED IN CLOSE
COLLABORATION WITH THE LEWITT
COLLECTION
LeWitt's wall drawings are based on:
— a basic visual vocabulary of elementary geometric
forms - straight, not straight, and broken lines,
squares, arcs, circles, grids, etc. - which expanded
towards more irregular, complex forms such
as isometric figures, curves, and loops;
— a range of diverse techniques using pencil, crayon,
India ink, acrylic paint and graphite.
Sol LeWitt. Wall Drawings from 1968 to 2007 in Galerie 2 of
Centre Pompidou-Metz has been conceived and developed
in close collaboration with the LeWitt Collection (Chester,
Connecticut). The format of the exhibition, the selection
of the works, and their execution result from an ongoing
dialogue with the artist's estate. The preparation of the
exhibition’s related publication benefits from a unique
opportunity to research the LeWitt archives.
The artist never ceased to explore every possible
combination of closed systems - the notion of the infinite
was never part of his work - in which the repetition of
forms and modules is conceived as a narrative in its own
right.
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AN EXHIBITION DESIGN IN ACCORDANCE
WITH THE ARTIST'S PRINCIPLES
AN EXHIBITION IN PARTNERSHIP WITH ART
SCHOOLS IN NORTH-EASTERN FRANCE
The exhibition design, by Cécile Degos, respects LeWitt's
strict working principles.
The execution of the wall drawings at Centre PompidouMetz is an exceptional opportunity for young artists and
students in North-Eastern France to work alongside
professional drafters from the LeWitt studio.
The lay-out of the exhibition space is organized based on:
— a logical grid system - consisting of precisely noting
the dimensions and arrangements of elements –
applied throughout Galerie 2;
— the definition of the general format of the walls based
on the nature of the drawings (most of which fit inside
a square and cover the entire surface of the wall);
in return, the general dimensions of the drawings,
with rare exceptions, are determined by the height
of the walls;
— a close attention to proportions and their perception
in space;
— a flowing circulation throughout the gallery, governed
by the succession of regular open spaces on the south
side, and more varied and enclosed environments
on the north side.
The execution of the wall drawings, which required eight
weeks of intensive work, has involved:
— some 60 students from four schools: l’École supérieure
d’art de Lorraine, Metz-Épinal, l'ENSarchitecture
de Nancy, l’École nationale supérieure d’art
de Nancy, l'ESAD de Reims/École supérieure d’Art
et de Design ;
— 13 young artists;
— 7 professional assistants.
SELECTED WORKS
Wall Drawing #340A
LeWitt's initial vocabulary of straight lines in four
directions expanded to include simple geometric forms,
which the artist classified as "primary" shapes (square,
circle and triangle), and "secondary" shapes (rectangle,
trapezoid and parallelogram), as shown by the two rows of
striped figures in Wall Drawing #340A (1993).
A specificity of the captions and wall labels to Sol LeWitt's
works is that they include the names of the first people
who drew them and the location of their first installation.
This is also how the works are dated (as opposed to by
the date of their conception). Hence, while the idea takes
precedence over the execution, the execution is part of the
idea: it would run counter to the concept of the work not
to produce it.
For each wall drawing, a team is appointed around a
professional assistant who supports and guides those new
to the process. The professional supervises each team
throughout the execution of the drawing and, where the
degree of difficulty of the piece allows, endeavors to let
them work autonomously. The students have two types of
responsibility: the preparation of the tools and the actual
execution of the drawings to the artist's instructions.
THE PREPARATION OF THE WALLS
In addition to their work in the galleries, Centre PompidouMetz has devised a program of encounters and exchanges
for the students and young artists in Metz and in Leuven
(Belgium), in February and in May 2012.
Sol LeWitt's wall drawings are produced directly on the
walls. As the very suport of the artworks, they must be
prepared in accordance with the artist's instructions. Prior
to the execution of the drawings, several coats of primer
and paint are applied to the walls. For optimal results,
the preparation is adapted to the technique of each wall
drawing (pencil, crayon, ink wash, acrylic paint, and
graphite).
This initiative is a unique opportunity for both students
and young artists to be involved in the creative process of
one of the greatest contemporary American artists.
Part of Galerie 2 has been set aside to show a "making-of"
documentary by Patric Chiha which records this
one-of-a-kind process.
As an example, at Centre Pompidou-Metz, the walls for the
pencil drawings were given a thin coat of plaster, sanded,
then wiped clean. Two coats of primer were followed by
three coats of white paint applied in a specific manner
using a roller. The walls were then sanded again to
produce a perfectly smooth surface.
Wall Drawing #340A
Six-part drawing. The wall is divided horizontally and vertically into six equal squares, bordered and separated by 6-inch (15 cm) white bands.
Within each square a geometric figure outside of which are black horizontal parallel lines, and within which are black vertical parallel lines.
All lines are 1 inch (2.5 cm) apart. The horizontal lines do not enter the figures.
Wall Drawing #879
Loopy Doopy (black and white) (detail)
Acrylic paint
First drawn by: Elizabeth Alderman, Sachiko Cho, Edy Ferguson,
Anders Felix, Paux Hedberg, Choichi Nishikawa, Jim Prez, Emily Ripley, Mio Takashima
First installation: PaceWildenstein, New York
September 1998
LeWitt Collection, Chester, Connecticut
© Adagp, Paris 2012
© Photo: Centre Pompidou-Metz / Rémi Villaggi
View of the installation at Centre Pompidou-Metz, February 2012
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Black crayon
First drawn by: Brian Coleman, Shawn Perry
First installation: Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts
April 1993
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Wall Drawing #2
Drawing Series II (A) (24 drawings)
Wall Drawing #414
Drawing Series IV (A) with India ink washes (24 Drawings)
Organized within a grid, Wall Drawing #2, Drawing
Series II (A) (24 drawings) (1968), presents one of the four
sections of a closed system of permutations. Twenty-four
combinations of sixteen squares organized according to
the “Mirror” method, show the possible permutations
of a straight line positioned in the four basic geometric
directions: vertical, horizontal, 45° diagonal left to right,
and 45° diagonal right to left.
Wall Drawing #414, Drawing Series IV (A) with India ink
washes (24 Drawings) (1984) returns to another of the
four sections of the system of permutations presented
earlier in the exhibition with Wall Drawing #2 (1968).
Here, LeWitt uses the "Cross Reverse" method to arrange
his permutations. The sequences of sixteen squares are
executed in India ink wash, applied with a soft rag. Each
shade of gray corresponds to one of the four directions of a
straight line.
Wall Drawing #2
Drawing Series II (A) (24 drawings) (detail)
Wall Drawing #414
Drawing Series IV (A) with India ink washes (24 Drawings) (detail)
Black pencil
India ink wash
First drawn by: Tony Day, Guy Dill, Jim Ganzer, Michael Maglich, Jerry Kamitaki, Sol LeWitt
First installation: Ace Gallery, Los Angeles
November 1968
First drawn by: David Higginbotham, Jo Watanabe
First installation: Moderna Museet, Stockholm
March 1984
CAPC musée d’art contemporain de Bordeaux
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Wall Drawing #879
Loopy Doopy (black and white)
Wall Drawing #1171
Wall Drawing #879 (1998) is part of a series of works with
undulating patterns, titled Loopy Doopy, which marks a
turning-point in LeWitt's practice as it breaks with the
systematic and modular approach that characterizes the
artist’s early works. Exceptionally, these irregular curves
cannot be drawn by following instructions or diagrams.
Instead, a copy of LeWitt's original drawing on paper is
printed on a transparency and projected onto the alloted
wall. The drafters can then precisely trace the meanders of
this surprising, organic work.
Wall Drawing #1171 (2005) is part of LeWitt's final series
of works. Titled Scribbles and executed between 2005
and 2007, these wall drawings return to a technique of
scribbling with colored pencil, explored in the early 1970s,
using graphite. The seemingly random but yet highly
methodical application produces precise degrees of density.
Five or six shades of gray (depending on the drawing) are
meticulously applied inside squares or isometric cubes.
The scribbling technique produces paradoxical works in
combining one of drawing's most primitive forms with
carefully controlled conceptual seriality.
Wall Drawing #879
Loopy Doopy (black and white)
Wall Drawing #1171
Five degrees of scribbles: A cube without a cube; a cube without a corner
Acrylic paint
Graphite
First drawn by: Elizabeth Alderman, Sachiko Cho, Edy Ferguson,
Anders Felix, Paux Hedberg, Choichi Nishikawa, Jim Prez, Emily Ripley, Mio Takashima
First installation: PaceWildenstein, New York
September 1998
First drawn by: Roland Lusk, Anthony Sansotta
First installation: domicile des Glimcher, East Hampton, New York
August 2005
Collection Arne and Milly Glimcher, New York
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TEXTS ON WALL DRAWING BY SOL LEWITT
“WALL DRAWINGS,” 1970
“DOING WALL DRAWINGS,” 1971
I wanted to do a work of art that was as two-dimensional
as possible.
It seems more natural to work directly on walls than to
make a construction, to work on that, and then put the
construction on the wall.
The physical properties of the wall, height, length, color,
material, architectural conditions and intrusions, are a
necessary part of the wall drawings.
Different kinds of walls make for different kinds of
drawings.
Imperfections of the wall surface are occasionally apparent
after the drawing is completed. These should be considered
a part of the wall drawing.
The best surface to draw on is plaster, the worst is brick,
but both have been used.
Most walls have holes, cracks, bumps, grease marks,
are not level or square and have various architectural
eccentricities.
The handicap in using walls is that the artist is at the
mercy of the architect.
The drawing is done rather lightly, using hard graphite so
that the lines become, as much as possible, a part of the
wall surface, visually.
Either the entire wall or a portion is used, but he
dimensions of the wall and its surface have a considerable
effect on the outcome.
When large walls are used the viewer would see the
drawings in sections sequentially, and not the wall as a
whole.
Different draftsmen produce lines darker or lighter and
closer or farther apart. As long as they are consistent there
is no preference.
Various combinations of black lines produce different
tonalities; combinations of colored lines produce different
colors.
The four basic kinds of straight lines used are vertical,
horizontal, 45° diagonal left to right and 45° diagonal right
to left.
When color drawings are done, a flat white wall is
preferable. The colors used are yellow, red, blue and black;
the colors used in printing.
When a drawing is done using only black lines, the same
tonality should be maintained throughout the plane in
order to maintain the integrity of the wall surface.
An ink drawing on paper accompanies the wall drawing.
It is rendered by the artist while the wall drawing is
rendered by assistants.
The ink drawing is a plan for but not a reproduction of the
wall drawing; the wall drawing is not a reproduction of the
ink drawing. Each is equally important.
It is possible to think of the sides of simple threedimensional objects as walls and draw on them.
The wall drawing is a permanent installation, until
destroyed.
The artists conceives and plans the wall drawing. It is
realized by draftsmen, (the artist can act as his own
draftsman.) The plan (written, spoken or a drawing) is
interpreted by the draftsman.
There are decisions which the draftsman makes, within
the plan, as part of the plan. Each individual being
unique, given the same instructions would carry them out
differently. He would understand them differently.
The artist must allow various interpretations of his plan.
The draftsman perceives the artist’s plan, then reorders it
to his own experience and understanding.
The draftsman’s contributions are unforeseen by the artist,
even if he, the artist, is the draftsman. Even if the same
draftsman followed the same plan twice, there would be
two different works of art. No one can do the same thing
twice.
The artist and the draftsman become collaborators in
making the art.
Each person draws a line differently and each person
understands words differently. Neither lines nor words are
ideas, they are the means by which ideas are conveyed.
The wall drawing is the artists’s art, as long as the plan is
not violated. If it is, then the draftsman becomes the artist
and the drawing would be his work of art. But art that is a
parody of the original concept.
The draftsman may make errors in following the plan
without compromising the plan. All wall drawings contain
errors, they are part of the work.
The plan exists as an idea but needs to be put into
its optimum form. Ideas of wall drawings alone are
contradictions of the idea of wall drawings.
The explicit plan should accompany the finished wall
drawing. They are of equal importance.
First published in Art Now, vol. 3, no. 2, New York, June 1971, n. p.
© LeWitt Collection, Chester, Connecticut
3.
THE WORK AND CAREER
OF SOL LEWITT
Sol LeWitt (1928-2007) was born in Hartford, Connecticut
(United States). He studied fine arts at Syracuse University
(New York State), then at the Cartoonists and Illustrators
School (now School of Visual Arts) in New York City. He
worked as a graphic designer at the architectural practice
of I.M. Pei, and as a night receptionist at the Museum
of Modern Art, where his co-workers included artists
Robert Ryman, Dan Flavin and Robert Mangold, and the
critic Lucy R. Lippard. LeWitt was first associated with
American Minimal art from which he would soon distance
himself. LeWitt defined the principles of his practice in
his influential “Paragraphs on Conceptual Art,” published
in 1967 in Artforum, along with another seminal text
“Sentences on Conceptual Art,” published in 1969 in 0 To 9.
1989: Wall Drawings 1984-1989, Kunsthalle Bern
1992-1995: Sol LeWitt: Drawings 1958–1992, Haags
Gemeentemuseum, The Hague [traveling to the Centre
Pompidou, Musée national d’art moderne, Paris, and the
Musée de Picardie, Amiens, France, among other venues]
2000-2001: Sol LeWitt: A Retrospective, San Francisco
Museum of Modern Art. [traveling to the Museum
of Contemporary Art, Chicago; Whitney Museum
of American Art, New York]
2006-present: Sol LeWitt Drawing Series,
Dia: Beacon, New York
2008-2033: Sol LeWitt: A Wall Drawing Retrospective,
Massachusetts Museum of Contemporary Art (MASS
MoCA), North Adams, Massachusetts
While the wall drawings, which he started in 1968 at the
age of 40, constitute LeWitt’s most emblematic practice,
his oeuvre also includes three-dimensional works (which
he referred to as "structures"), innumerable drawings on
paper, photographic series, prints, and artist's books. The
different media which the artist explored are equally used
as tools to work out similar or closely-related thought
processes. An instance of this fluid correspondence
between these different practices can be found in LeWitt’s
contribution to Seth Siegelaub’s Xerox Book, a collaborative
project in bookform from 1968, for which LeWitt proposed
a system of twenty-four drawings combining straight
lines in four directions. The same year, sections of this
system were executed directly on the wall at Paula Cooper
Gallery, including Wall Drawing #2, Drawing Series II (A)
(24 drawings) which shows one of these four sections, and
which has been realized anew at Centre Pompidou-Metz.
[SELECTED GROUP EXHIBITIONS]
1968: Documenta, Kassel (also in 1972, 1977 and 1982)
1971: Guggenheim International Exhibition, New York
1976: Venice Biennale (also in 1980, 1988 and 1997)
1979: Whitney Bienniale (also in 1987)
1981: Mise en pièces, mise en place, mise au point,
Chalon-sur-Saône, Maison de la culture / Dijon,
Le Coin du miroir, France
1982: Murs, Centre Pompidou, Musée national d’art
moderne, Paris
1995: 1965–1975: Reconsidering the Object of Art,
The Museum of Contemporary Art, Los Angeles
LeWitt’s first solo show was held at John Daniels Gallery in
New York City in 1965. He would go on to show his work in
numerous galleries, museums, and at art events worldwide,
including:
1999-2000: Global Conceptualism: Points of Origin,
1950s-1980s, The Queens Museum of Art, Queens;
MIT List Visual Arts Center, Cambridge, Massachusetts
2004: Singular Forms (Sometimes Repeated): Art from 1951
to the Present, Solomon R. Guggenheim Museum, New York
[SELECTED ONE-PERSON EXHIBTIONS]
1970: Sol LeWitt, Gemeentemuseum, The Hague
2007: Le Mouvement des images, Centre Pompidou, Musée
national d’art moderne, Paris
1975: Prints, Stedelijk Museum, Amsterdam
1978-1979: Sol LeWitt, The Museum of Modern Art, New
York (traveling to the Museum of Contemporary Art,
Montreal; Krannert Museum of Art, University of Illinois,
Champaign; Museum of Contemporary Art, Chicago; La
Jolla Museum of Contemporary Art, California)
2009: In & Out of Amsterdam, The Museum of Modern Art,
New York
2011: On Line: Drawing Through the Twentieth Century,
The Museum of Modern Art, New York
First published in Gregory Battock (dir.), “Documentation on Conceptual Art,”
Arts Magazine, vol. 44, no. 6, New York, April 1970, p. 45.
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4.
PUBLICATION
5.
RELATED EVENTS
In conjunction with the exhibition, Centre Pompidou-Metz is publishing a
480-page catalog, with editions in French and in English. This ambitious
publication aims to become a new reference work on Sol LeWitt, as most
monographic books about the artist are now out-of-print.
The catalog will be divided in three parts:
— Part one looks at the work of Sol LeWitt, with an emphasis
on his wall drawings;
— Part two compiles all of LeWitt's writings, published for the first time
in French, in addition to a selection of projects, instructions and interviews;
— Part three examines the breadth of the LeWitt Collection.
Through an exceptional selection of more than 430 illustrations, including
installation views of wall drawings at Centre Pompidou-Metz and M-Museum
Leuven, and a number of previously unpublished documents, and texts by
acclaimed international authors including Lucy R. Lippard, Rosalind Krauss and
Anne Rorimer, this monograph presents every aspect of the work of this major
artist of the second half of the twentieth century.
The catalog, published in patnership with M-Museum Leuven (Belgium), will be
launched in September 2012.
Sol LeWitt
Catalog directed by Béatrice Gross
Published by Centre Pompidou-Metz
In partnership with M-Museum Leuven (Belgium)
Published in September 2012
480 pages, bound, €49.90
YOUTH WORKSHOPS
EVENTS IN THE AUDITORIUM WENDEL
AND STUDIO
Through March 19, 2012, visitors aged 11 to 18 can take
part in "On the Walls Again" and execute Sol LeWitt's Wall
Drawings #84 (1971), #869c (1998), #960 (2001) and #1054
(2002) directly on the walls in the workshop spaces.
As a place to experiment with new ideas and experiences,
Centre Pompidou-Metz takes an original and engaging
approach to modern and contemporary art, by bringing
different disciplines together and encouraging real
exchange between artists and audiences.
They are guided by team leaders from the youth staff who
have been trained by professional drafters from the LeWitt
studio.
The 2012-2013 season will begin with events that echo
the work of Sol LeWitt. Entitled “Sol LeWitt hier et
aujourd’hui” (Sol LeWitt Yesterday and Today), the program
will highlight LeWitt's interaction with serial and minimal
music of the 1960s and 1970s, as well as dance and
live performance. The program will also feature events
that highlight LeWitt's ongoing influence on younger
generations of artists.
USEFUL INFORMATION
Up to 15 participants (from schools or youthclubs) can partake in the
workshops on weekdays and 12 individuals on weekends.
Weekdays 9am to 11am (for schools and youthclubs, admission free after
booking on Centre Pompidou-Metz website).
The program for March-June 2012 is online on Centre
Pompidou-Metz website.
Saturday and Sunday 11am to 12.30pm, 2pm to 3.30pm, 4pm to 5.30pm.
Admission €3. Sign up at Centre Pompidou-Metz. Limited number of
participants.
LENGTH: 90 minutes
LOCATION: Ateliers Jeunes Publics (Youth Workshops), 1st floor
These youth workshops have the support of the Caisse d'Épargne Lorraine
Champagne-Ardenne.
French: ISBN 978-2-35983-017-0
English: ISBN 978-2-35983-018-7
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SOL LEWITT. COLORS,
JUNE 21 - OCTOBER 14, 2012
M-MUSEUM LEUVEN (BELGIUM)
SOL LEWITT. WALL DRAWINGS
FROM 1968 TO 2007, AN EXHIBITION
AS PART OF MONO, A CROSS-BORDER EVENT
In collaboration with Centre Pompidou-Metz, M-Museum
Leuven (Belgium) presents a chromatic counterpart to the
black and white retrospective. A selection of over twenty
wall drawings, this time in color, span LeWitt’s entire
career, from the earliest drawings in fine pencil to his late
works in acrylic paint. This exhibition will constitute the
largest ensemble of LeWitt’s wall drawings ever on view in
Belgium.
The fourth gallery, with an extraordinary ceiling height of
7 meters (23 feet), is set aside for a single work which runs
over two walls. Wall Drawing # 867 (1998), combines new
variables in the artist’s systems: saturated colors in acrylic
paint, wavy lines, and glossy varnish, as the instructions
read: "A wall divided vertically into six equal parts,
yellow; purple; blue; orange; red; and green. The wall is
divided horizontally in two parts by a wavy line. The top is
flat; the bottom is glossy."
The wall drawings shown at the M will be executed to the
artist’s precise instructions by trained drafters from the
LeWitt studio, assisted by young artists and students from
the following Belgian art schools: Hogeschool Sint-Lukas,
Brussels; La Cambre / École Nationale Supérieure des
Arts Visuels, Brussels; Koninklijke Academie voor Schone
Kunsten | KASK, Gent; Sint-Lucas Beeldende Kunst Gent;
Koninklijke Academie voor Schone Kunsten, Antwerp; and
Sint Lucas, Antwerp.
Curators of Sol LeWitt. Colors
Eva Wittocx (Chief-Curator, M-Museum Leuven) and
Béatrice Gross (Independent curator, New York).
VISITOR INFORMATION
M - Museum Leuven
L. Vanderkelenstraat 28
3000 Leuven
Tel. +32 16 27 29 29
[email protected]
www.mleuven.be
The exhibition will take place in four large consecutive
galleries, each focusing on one of the four media adopted
by LeWitt for his works in color: pencil, crayon, India ink,
and acrylic paint. Similarly to the techniques and forms
that LeWitt explored, colors are used conceptually, as
another variable in the artist’s geometric systems.
OPENING TIMES
Monday, Tuesday, Friday thru Sunday 11am to 6pm, Thursday until 10pm,
closed Wednesday.
The first gallery will feature wall drawings in colored
pencil from the late 1960s to the early 1970s. Fine lines
in primary colors are repeated separately, or gradually
superimposed, leading to secondary colors. While several
works fit inside vast squares, other drawings cover the
entire surface of the wall evenly.
ADMISSION
Individuals: €9
Concessions: €7
Under 26: €5
13-18 years: €3
Under 13: free
Families: €22
The second gallery will show wall drawings in crayon from
the 1970s to the early 1980s. LeWitt’s formal vocabulary
evolves to include large painted areas of color (always
based on the three primary colors of yellow, red, and blue)
incorporating simple geometric shapes. In other crayon
works, the artist’s principle of collaboration extends
to allow his drafters to determine the position of given
elements.
The exhibitions:
Beginning June 1, 2012, cultural venues in Lorraine,
Saarland and Luxembourg are joining forces for MONO,
a major cross-border event:
Wesley Meuris - Casino Luxembourg – Forum d’art
contemporain, Luxembourg
Erick Beltrán - Centre d’art contemporain - Synagogue
de Delme, Delme
Raphaël Dallaporta - Centre national de l’audiovisuel,
Dudelange, Luxembourg
Sol LeWitt - Centre Pompidou-Metz, Metz
Ben Vautier - Château de Malbrouck, Manderen
John Giorno - Faux Mouvement, Metz
Doug Wheeler - 49 Nord 6 Est – Frac Lorraine, Metz
Carine et Elisabeth Krecké – Centre d’art Nei Licht,
Dudelange
Sanja Ivekovic, Emily Bates, Filipa César, Sarah Sze Mudam Luxembourg - Musée d’Art Moderne GrandDuc Jean, Luxembourg
Roland Fisher - Saarlandmuseum, Sarrebruck
Nicolas Dhervillers - Weltkulturerbe Völklinger Hütte,
Völklingen
Gregor Hildebrandt – Saarländisches Künstlerhaus,
Sarrebruck
August Sander - Museum Schloss Fellenberg, Merzig
Otto Steinert - Galerie der Hochschule der Bildenden
Künste Saar, Sarrebruck
Peter Schlör - Städtische Galerie Neunkirchen
18 solo shows of modern and contemporary art
19 artists
15 venues
3 countries
3 opening days
3 months
MONO carries on from earlier cross-border events between
cultural venues within the Greater Region of Lorraine,
Luxembourg, Saarland, Rhineland-Palatinate and Wallonia.
When in 2007 the project for Luxembourg European Capital
of Culture was extended to the entire Greater Region,
exchanges between cultural institutions moved to a new
stage.
MONO elicits an original and different format, as cultural
institutions in France, Germany and Luxembourg combine
their energies and expertise in a program of exhibitions,
each with the same premise: solo shows of contemporary
artists.
Each venue will address the specific question of the solo
show in its own way. Through these different approaches,
MONO sets out to reveal the particular but also
complementary light that can be shed on a given form of
exhibition.
PRESS RELATIONS
Ilke Christiaens
Press Relations
M - Museum Leuven
Tel. +32 16 27 29 38
[email protected]
The third gallery will present two works executed in ink
washes. Using this technique, reminiscent of Renaissance
frescos, LeWitt creates complex hues through repeated
applications of yellow, red, blue, and gray inks (primary
colors are superimposed directly on the wall rather than
mixed beforehand).
PRESS VISUALS
Download from:
ftp://ftp1.leuven.be/ (ouvrir en Windows Explorer)
Login: persm
Password: museum
ARTS FLANDERS, PARTNER TO MONO
In 2012, Belgium is hosting five major exhibitions of
contemporary art in its Flemish provinces.
Visual Arts Flanders 2012 presents Beaufort04
(Belgian coast), TRACK (Ghent), Middelheim (Antwerp),
Manifesta 9 (Genk) and Newtopia (Mechelen).
The geographic proximity of these five locations and
the common focus on contemporary art gives rise to an
international platform that brings these attractive events
together into a single hub.
www.visualartsflanders.be
14
15
6.
LENDERS
7.
PARTNERS
SPAIN
FRANCE
PARTNERS TO THE CENTRE POMPIDOU-METZ
MADRID
BORDEAUX
Private Collection. Courtesy Fundación Almine y
Bernard Ruiz-Picasso para el Arte
CAPC musée d'Art Contemporain de Bordeaux
Centre Pompidou-Metz is the first offshoot of a French cultural institution, Centre Pompidou,
developed in collaboration with a regional authority, the Communauté d'Agglomération Metz
Métropole (the combined district council for the Greater Metz area).
LYON
Musée d’Art Contemporain de Lyon
UNITED STATES
PARIS
CHESTER, CONNECTICUT
Centre Pompidou, Musée national d’art moderne
Collection M. et Mme. Buren
Collection MJS
LeWitt Collection
Centre Pompidou-Metz is an Établissement Public de Coopération Culturelle (public
establishment for cultural cooperation) whose founding members are the French State, Centre
Pompidou, the Lorraine Region, Communauté d'Agglomération de Metz Métropole and the City
of Metz.
The Centre Pompidou-Metz would like to thank all its partners for their essential contribution
to the staging of its exhibitions.
CHICAGO
The Art Institute of Chicago
CAIMAN ISLANDS AND ISRAEL
LOS ANGELES
Art Partners
Los Angeles County Museum of Art
NEW ZEALAND
NEW HAVEN, CONNECTICUT
Alan Gibbs Collection
Yale University Art Gallery
NEW YORK
SWITZERLAND
Collection Arne and Milly Glimcher
The Museum of Modern Art
Whitney Museum of American Art
LUGANO
Panza Collection
SAN FRANCISCO
San Francisco Museum of Modern Art
THE EXHIBITION'S PARTNERS
LeWitt Collection, Chester, Connecticut (USA)
M – Museum Leuven (Belgium)
FOR THE EXECUTION OF THE WALL DRAWINGS
École supérieure d’art de Lorraine, Metz - Épinal
ENSarchitecture de Nancy
École nationale supérieure d’art de Nancy
ESAD de Reims/École Supérieure d’Art et de Design
WITH THE SUPPORT OF
French Embassy in Belgium
American Embassy in Belgium
16
17
8.
CREDITS
Founding Sponsor
SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 IS A CENTRE POMPIDOU-METZ PRODUCTION.
IT WAS CONCEIVED AND REALIZED IN COLLABORATION WITH THE LEWITT COLLECTION, CHESTER, CONNECTICUT, USA.
Wendel - Founding Sponsor of the Centre Pompidou-Metz
"A Founding Sponsor since 2010, Wendel is extremely proud to pledge its fiveyear commitment to the Centre Pompidou-Metz, an initiative which will enable
the company to support a flagship project for the Lorraine region, birthplace of
the Group and its founding families. We wanted this partnership to adhere to
our corporate values of long-term investing, which is a synonym for loyalty and
solidarity in our commitments, innovation, which we believe is key to creating
not only economic value but also human and artistic activities, and the ambition
to step up our international influence in a French region located in the heart of
Europe," highlighted Frédéric Lemoine, Chairman of Wendel’s Executive Board,
and Ernest-Antoine Seillière, Chairman of the Friends of the Wendel Foundation
and a benefactor of the Centre Pompidou-Metz.
Wendel is one of the leading investment companies in Europe, acting as an
investor and professional shareholder, promoting the long-term development
of companies which are leaders in their sectors: Bureau Veritas, Legrand, SaintGobain, Materis, Deutsch, Stahl and Mecatherm.
Founded in 1704 in Lorraine, Wendel Group was committed to the development
of the steel industry in France before diversifying its businesses in the late 1970s.
The Group is supported by its reference family shareholder, made up of more than
one thousand individual Wendel family shareholders, who are united in the family
company Wendel-Participations, which owns 35% of Wendel.
Press Relations: Christèle Lion - + 33 (0) 1 42 85 91 27 [email protected]
Website: www.wendelgroup.com
18
THE EXHIBITION TEAM
Curator
Béatrice Gross
Drafters
Nicolai Angelov
Takeshi Arita
Manon Auroux-Daix
Nadège Avril
Guillaume Barborini
Thomas Bellot
Salomé Bernhard
Hélène Bleys
Caroline Bluche
Julian David Bolivar Cuellar
Charles Bontout
Sébastien Bour
Alma Bucciali
Hajaratou Camara
Léa Candat
Estelle Chrétien
Andrew Colbert
Aude Couvercelle
Arthur Debert
Christelle Debono
Aurore Derolez
Charlotte Doireau
Sofia Espinosa
Marine Fechtig
Elise Franck
Julie Freichel
Matthieu Frenot
Shqipe Gashi
Damien Gete
Romain Goetz
Elodie-Rose Gouet
Maëlle Greffier
Geoffrey Grimal
Jing-Fang Hao
Guilaine Harnist
Caroline Hatte
John Hogan
Pierre-Alexandre Hugron
Gabriel Hurier
François Hussenot
Princia Chinese Itoua Dickelet
Sarah Knobloch
Benjamin Lallement
Ludovic Landolt
Min-Woo Lee
Brann Le Garrec
Maximilian Le Roux
Cyrielle Lévêque
Lucie Linder
Roland Lusk
Loïc Lusnia
Sarra Narimane Mami
Amandine Mantrant
Valérie Martens
Baptiste Mathieu
Alice Mescolini
Laura Monpeurt
Tiphaine Moreau
Aliénor Morvan
Laura Murias
Pauline Nicoli
Hee-Jung Noh
Paul Oudin
Emil Polette
Ilaria Positano
Antoine Py
Lou Reichling
Hélène Ricou
Agathe Rosnet
Vivien Roussel
Emilien Sarot
Matthieu Schmidlin
Margaux Simonetti
Baptiste Sorin
Wim Starkenburg
Yee-Hsien Tan
Simon Thiebaut
Angéline Thivant
Jo-Ana Tracjceski
Alessandra Venner
Agathe Vial
Sara Viviani
Marion Wolff
Signage Coordinator
Claire Bonnevie
Project Manager
Charline Becker
Inerns
Yaëlle Audureau, Morgan Labar
and Éliane de Larminat
Manufacturing and Installation of Signage
Boscher and Expocom
Light Design
Thomas Klug and Guy Pilet
Joinery and Construction
Volume International: Christophe Des Dorides,
Yves Lafarie, Patrick Fossey, Guy Haueter
and their team
Paint
Duval et Mauler: Julien Facon,
Stéphane Delesges and their team
Lighting
MPM Equipement: Michel Mazzarini,
Laurent Capron and their team
Technical Inspection
Bureau Veritas: Michel Lecuyer and Lug Soulier
Insurance of the Works
Blackwall Green: Robert Graham
and Camilla Stephens
Centre Pompidou-Metz Visual Identity
Donuts
Press Relations
Claudine Colin Communication: Claudine Colin,
Valentine Dolla and Léa Levkovetz
Exhibition Design
Cécile Degos
Research Officer
Anais Lellouche
CATALOG
Schools Relations Officer
Anne Oster
Director
Béatrice Gross
Youth Workshops Officer
Anne-Marine Guiberteau
Editor
Claire Bonnevie
Works Registrar
Irene Pomar
Graphic Design
Pierre Peronnet et Wijntje van Rooijen
Technical Registrar
Alexandre Chevalier
Manufacturing
Dominique Oukkal
Site Operations and Coordination
Stéphane Leroy
Audiovisual and Lighting
Jean-Philippe Currivant
Documentary Film
Patric Chiha and his team
SPECIAL THANKS TO
Carol LeWitt, Sofia LeWitt, Anthony Sansotta,
Janet Passehl, and John Lavertu
Photo Editing
Studio Rémi Villaggi and Citizen Films
Sol LeWitt Catalogue Raisonné
Artifex, New York
Susanna Singer and Veronica Roberts
Graphic Design for Signage, Invitations
and Posters
Pierre Peronnet and Wijntje van Rooijen
The Pace Gallery, New York
Marc Glimcher
Cay Rose
19
CENTRE POMPIDOU-METZ
Board of Administrators
Management
Department of Administration and Finance
President
Alain Seban, President, Centre Pompidou
Laurent Le Bon
Director
Claire Garnier
Personal Assistant and Project
Coordinator
Jean-Eudes Bour
Head of Department - Accountant
Jérémy Fleur
Accounts Assistant
Audrey Jeanront
Human Resources Management Assistant
Frédéric Lewandowski
Accouting Assistant
Ludivine Morat
Administrative Coordinator
Alexandra Morizet
Public Contracts Coordinator
Véronique Muller
Accouting Assistant
Honorary President
Jean-Marie Rausch
Vice-President
Jean-Luc Bohl, President of Metz Métropole
Representing the Centre Pompidou
Alain Seban, President, Agnès Saal, General
Director, Jean-Marc Auvray, Director of Legal
and Financial Affairs, Bernard Blistène, Director
of Cultural Development, Frank Madlener,
Director of IRCAM (Institut de Recherche
et Coordination Acoustique / Musique), Alfred
Pacquement, Director of the Musée national
d'art moderne
Representing Metz Métropole
General Secretariat
Emmanuel Martinez
Secretary General
Pascal Keller
Assistant Secretary General
Julie Béret
Administrative Coordinator
Hélène de Bisschop
Legal Advisor
Émilie Engler
Secretarial Assistant
Representing the Conseil Régional de Lorraine
Jean-Pierre Masseret, President, Nathalie
Colin-Oesterle, Regional Councilor, Josiane
Madelaine, Vice-President, Roger Tirlicien,
Regional Councilor, Thibaut Villemin, VicePresident
Representing the State
Christian Galliard de Lavernée, Prefect
of the Lorraine Region, Prefect of the Moselle
and the East France Defense and Security Zone,
or his representative
Representing the City of Metz
Dominique Gros, Mayor of Metz,
Thierry Jean, Deputy Mayor
Ex-Officio
Annabelle Türkis
Head of Department
Erika Ferrand Cooper
Communications and Events Officer
Marie-Christine Haas
Multimedia Communications Officer
Louise Moreau
Communications and Press Relations Officer
Marine Van Schoonbeek
Communications and Public Relations Officer
Amélie Watiez
Communications and Events Officer
Pauline Fournier
Public Relations Assistant (cooperative
education programme)
Department of Building Maintenance
and Operation
Philippe Hubert
Technical Director
Christian Bertaux
Head of Building Maintenance
Sébastien Bertaux
Chief Electrician
Vivien Cassar
Technical Coordinator
Jean-Pierre Del Vecchio
Systems and Networks Administrator
Pierre Hequet
Building technician
Christian Heschung
Head of Information Systems
Stéphane Leroy
Site Operations and Coordination
André Martinez
Head of Security
Jonathan Moro
IT Manager
Jean-David Puttini
Painter
Jean-Luc Bohl, President, Antoine Fonte,
Vice-President, Pierre Gandar, Community
Councilor, Patrick Grivel, Community Councilor,
Henri Hasser, Vice-President, Thierry Hory,
Vice-President, William Schuman, Community
Councilor
Department of Communications
and Development
Department of Programming
FRIENDS OF CENTRE POMPIDOU-METZ
Hélène Guenin
Head of Department
Camille Aguignier
Editing Assistant
Claire Bonnevie
Editor
Géraldine Celli
Studio and Wendel Auditorium
Programming Officer
Anaïs Lellouche
Research Officer and Assistant
to the Director
Alexandra Müller
Research and Exhibitions Officer
Dominique Oukkal
Manufacturing Coordinator
Élodie Stroecken
Coordination Assistant
Friends of Centre Pompidou-Metz is a nonprofit organisation whose purpose is to
accompany the Centre in its cultural projects,
and to enlist the support of the business world
and private individuals who wish to make their
contribution.
Department of Production
Anne-Sophie Royer
Head of Department
Charline Becker
Project Manager
Alexandre Chevalier
Galleries Registrar
Jean-Philippe Currivant
Technical Registrar
Olivia Davidson
Works Registrar
Jennifer Gies
Project Manager
Thibault Leblanc
Performing Arts Registrar
Éléonore Mialonier
Works Registrar
Fanny Moinel
Project Manager
Irène Pomar
Project Manager
Jeanne Simoni
Intern
Department of Visitor Relations
Aurélie Dablanc
Head of Department
Fedoua Bayoudh
Visitor Relations and Tourism Officer
Djamila Clary
Assistant to the Department
Jules Coly
Visitor Relations, Information
and Accessibility Officer
Anne-Marine Guiberteau
Youth Programming and Educational
Activities Officer
Benjamin Milazzo
Visitor Relations and Membership Officer
Anne Oster
Schools Relations Officer
Centre Pompidou-Metz thanks all its service
providers and their staff:
Clean Alliance, Cofely, Flammarion bookshop,
Phone Régie, La Voile Blanche and SGP.
Frédéric Lemoine, Chairman of the Wendel
Group Executive Board
Patrick Weiten, President of the Conseil Général
de la Moselle, or his representative
Representing the Staff of Centre Pompidou-Metz
Philippe Hubert, Technical Director
Benjamin Milazzo, Visitor Relations
and Membership Officer
20
21
Jean-Jacques Aillagon
Former Minister of Culture
President
Ernest-Antoine Seillière
Chairmanof the Wendel Supervisory
Board Vice-President
Lotus Mahé
Art Historian
Secretary General
Philippe Bard
President of Demathieu & Bard
Treasurer
Charline Guille
Assistantto the Secretary General
9.
VISITOR INFORMATION
10.
PRESS VISUALS
Exhibition open to the public March 7, 2012 – July 29, 2013.
OPENING HOURS
OPENING TIMES UNTIL APRIL 30, 2012
Monday .................... 11am-6pm
Tuesday ................... closed
Wednesday ............. 11am-6pm
Thursday ................. 11am-8pm
Friday ...................... 11am-8pm
Saturday .................. 10am-8pm
Sunday..................... 10am-6pm
FROM MAY 1, 2012
Monday .................... 11am-6pm
Tuesday ................... closed
Wednesday ............. 11am-6pm
Thursday ................. 11am-6pm
Friday ...................... 11am-6pm
Saturday .................. 10am-8pm
Sunday..................... 10am-6pm
Last ticket sales 45 minutes before closing time.
ADMISSION
General admission: €7
A ticket gives admission to all the exhibitions
showing on the day of your visit.
Free admission (on presentation of an official
document) for:
— under 26s,
— teachers with a Pass Education,
— disabled visitors and a companion,
— job-seekers who are registered in France
(proof of status must be less than 6 months
old),
— beneficiaries of income support (proof of
status must be less than 6 months old),
— beneficiaries of a basic State pension,
— registered tour guides,
— holders of an Icom, Icomos or Aica card,
— journalists with a press card,
— artists registered with the Maison des
Artistes.
Audioguides : €3
Multimedia audioguides can be rented
at the ticket desk.
Languages: French, English, German.
Adapted for hearing-impaired visitors (AFIL).
For more information go to:
Visuals of the exhibition can be downloaded at
HOW TO GET TO
CENTRE POMPIDOU-METZ
centrepompidou-metz.fr/phototheque
On foot: a 2-minute walk from the high-speed TGV
Metz Ville station; 10 minutes from the historical
town centre.
Login: presse
Password: Pomp1d57
By car: A4 (Paris / Strasbourg) and A31
(Luxembourg / Lyon) motorways, exit Metz Centre.
700-space underground car park on Avenue
François Mitterrand, open 24/7.
GROUPS
Visit with a Centre Pompidou-Metz guide
Price: €170
Languages: French, English, German
The price includes admission, a 90-minute
guided tour and group booking fees.
Groups are strictly limited to 20 people.
Self-led group visit or with a guide from outside
Centre Pompidou-Metz
Price: €7 per person + €20 booking fee
for priority access.
Groups are strictly limited to 20 people.
WHERE TO BUY TICKETS
On site
From the ticket desks or the ticket machines
By coach: A4 (Paris / Strasbourg) and A31
(Luxembourg / Lyon) motorways, exit Metz
Centre. Group drop-off zone on Avenue François
Mitterrand; reserved coach parking on Avenue
Louis Débonnaire.
By train: high-speed TGV Metz Ville station
with direct trains from Paris (1hr 20 min) and
Luxembourg City (40 min). Lorraine TGV station
(29 km from Metz, shuttle service) with direct
trains from Lille Europe (2 hrs), Rennes (4 hrs),
Bordeaux (5 hrs), and Frankfurt (2 hrs 40 min).
By plane: Metz-Nancy Lorraine Airport (33 km /
20 min), Luxembourg Airport (69 km / 45 min),
Sarrebruck Airport (79 km / 1h), Zweibrücken
Airport (110 km / 1 hr 20 min).
Online
From our website:
www.centrepompidou-metz.fr
From our partners:
Digitick, Fnac, France Billet and TicketNet
Centre Pompidou-Metz
1, parvis des Droits de L’Homme
CS 90490
F-57020 Metz Cedex 1
+33 (0) 3 87 15 39 39
[email protected]
The priority line is for:
— holders of Centre Pompidou-Metz "Pass"
membership card
— disabled visitors and a companion
— persons with reservations or pre-paid
admission
— holders of Icom, Icomos or Aica card,
— journalists with a press card.
Work on cover:
Wall Drawing #542
On two walls, lines from the bottom corner to the midpoints of the top and sides of the walls.
The areas between the lines are filled in with India ink wash. (Detail)
Ink wash
First drawn by: David Higginbotham, Caterine Pasteur
First installation: Musée Saint-Pierre, Lyon
September 1987
Musée d’art contemporain de Lyon
Centre Pompidou-Metz is on Facebook
and Twitter
22
23
NOTES
24
SOL LEWITT, DESSINS MURAUX DE 1968 À 2007
Press contacts
EPCC Centre Pompidou-Metz
Louise Moreau
+33 (0)3 87 15 39 63
[email protected]
Claudine Colin Communication
Valentine Dolla
+33 (0)1 42 72 60 01
[email protected]
26

sol lewitt - Centre Pompidou Metz

Transcription

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