press kit - Musée Maillol

Transcription

14 SEPTEMBER 2016
15 JANUARY 2017
* Is everything art ?
PRESS KIT
*
No posters allowed
1959
69,5 x 33,5 cm
Acrylic oil on canvas
© The artist’s collection
Press kit I Is everything art ? Ben at the Musée Maillol - 2
CONTENTS
Page 4
Introduction by Bruno Monnier, President of Culturespaces
Page 6
Press release
Page 8
The exhibition - Historical section
Page 17
The exhibition - Contemporary section
Page 18
Inside Ben’s head
Page 20
Visitor information tools
Page 21
The exhibition curators
Page 22
Questions for Ben
Page 23
Questions for Andres Pardey
Page 24
The Musée Tinguely, partner of the exhibition
Page 25
Bain & Company, patron of the exhibition
Page 26
Media partners
Page 27
The Fondation Culturespaces
Page 28
La Poste and the Fondation d’entreprise La Poste, in collaboration with the Fondation Culturespaces
Page 29
Culturespaces, partner of the Musée Maillol
Page 30
The Musée Maillol
Page 31
Visuals available for the press
Page 35
Practical information
INTRODUCTION BY BRUNO MONNIER, PRESIDENT OF CULTURESPACES
Suspended object and mystery box sculpture
1958 - 1962
Collage
105 x 60 x 50 cm
In celebration of its reopening, the Maillol Museum and Culturespaces wish to extend an invitation to the
artist Ben Vautier by devoting an inaugural exhibition to him entitled «Is everything art?»
Following on from an ambitious retrospective hosted by the Tinguely Museum at Basel in 2015, the artist
takes possession of the site for his first Parisian exhibition inside a museum.
In partnering with the Maillol Museum, and by the choice of this first event dedicated to Ben, Culturespaces
expresses its desire to reaffirm the Musée Maillol’s dynamism and confirm its place as a key player on
the cultural scene through an engaged, modern and contemporary programming.
An audacious artist, Ben challenges his contemporaries, transcends genres and breaks the rules of art.
With enduring enthusiasm and unbounded energy, his ideas burst forth. Always creative, with a taste for
provocation and a visionary insight, Ben is guided by the constantly renewed desire to create something
new.
For Ben, if everything is art, there is no art without ego. The subtle “me”aning of his text paintings reveal
the artist’s perpetual introspection and the amused and critical eye that he casts over the world around
him.
Ben has always wanted to be famous. He even overcame the challenge of becoming a popular artist.
Through his writings and his appropriations, he attains an artistic truth that has lost none of its relevance.
Attracting many disciples among the contemporary generation of artists, his word plays are the
embodiment of an exceptional awareness and render the legacy of his work unmistakable. Through
more than 200 works, the exhibition at the Maillol Museum pays tribute to a multifaceted artist who
remains indefatigably active.
The commissariat for the historic aspect of the exhibition has been entrusted to the deputy director
of the Basel Museum, Andres Pardey. The first part of the itinerary retraces the beginnings of Ben’s
career by placing into historical perspective an iconic selection of works from the years 1958 to 1978,
the foundation of his later work. The full spectrum of his artistic repertoire is already present: the many
«street actions», memorable moments from the Fluxus movement in Nice, up to Ben’s pronouncements
as a theorist and philosopher of art.
Ben has been given carte blanche to furnish the second part of the exhibition with his most contemporary
installations.
As commissioner of his own work Ben offers us a kaleidoscope of his most recent achievements, and
to celebrate this occasion he will also create new works inspired by the history of the site as well as the
romantic biography of Dina Vierny, Maillol’s muse.
We wish to express our gratitude to Ben, Annie Vautier and Eva Vautier for their enthusiastic support and
their continued involvement in the implementation of the exhibition, its catalogue and the documentation.
By opening the doors of their house, Ben and his family have been the key players in the success of this
exhibition.
We would like to give special thanks to Roland Wetzel, director of the Tinguely Museum, and to Andres
Pardey, deputy director for his outstanding contributions to the development of the project, for his
fundamental scientific contribution to the exhibition and its accompanying book. His expertise has
enabled us to bring together a collection of loans that are representative of Ben’s work.
We hereby warmly thank and acknowledge all institutional and private lenders.
We also express our gratitude to Bain & Company, the sponsor of the exhibition, and in particular to its
Chairman Mr. Olivier Marchal and its Managing Director Mr. Domenico Azzarello for their confidence.
Bruno Monnier
PRESS RELEASE
TOUT EST ART ? *
* IS EVERYTHING ART ? BEN AT THE MUSÉE MAILLOL
14 September 2016 - 15 January 2017
Ben takes possession of the newly reopened Musée Maillol for the first large-scale exhibition
devoted to the artist in Paris. Bringing together over 200 artworks principally from the artist’s
own personal collection, as well as private collections, this retrospective, which features several
previously unseen installations, provides the public with an insight into the multiple and complex
facets of this iconoclastic, provocative and prolific artist, an advocate of the non-conformist and
the alternative for over 50 years.
Following on from the ambitious retrospective devoted to Ben at the Musée Tinguely in Basel in
2015, the curatorship of the historical part of the exhibition at the Musée Maillol was entrusted to
Andres Pardey, vice-director of the Musée Tinguely. For the contemporary section, carte blanche
was given to Ben, who was invited to display his most recent creations within the spaces of the
museum, some of which can be seen by the public for the first time.
This exhibition devoted to Ben is part of a new programme of exhibitions put in place by
Culturespaces at the Musée Maillol
In the late 1950s, Benjamin Vautier (b. 1935) more widely known as Ben, declared: ‘I sign everything’.
This statement, corroborated by his images and actions, illustrates his belief that the world and indeed
art, is a whole, and that everything constitutes art. Each phrase, however brief, reveals a meditation on
important issues such as truth in art, the role of the artist in society and the relationship between art and
life itself. His ‘écritures’ or written texts reflect his own personal questions and bear testimony to a critical
spirit that is quick to question everyone and everything, including himself. Inspired by Marcel Duchamp’s
ready-mades, Ben has systematically perpetuated the notion that a work of art is recognizable not by its
material content, but by its signature alone.
Ben is unique for his combination of art, philosophy and the everyday. He was one of the first artists in
Europe to take art into the streets. Beginning in 1959, with his famous ‘street actions’, which are as much
everyday activities (waiting at a bus stop), as they are ‘eccentric’ or ‘whimsical’ (swimming fully-clothed
from one end of Nice harbour to the other), he became one of the key actors in the Fluxus movement
in Europe. An artist, performer, organizer, inventor of language and a pioneering thinker in the world of
art, he is also known as one of the leading figures of the Nice School, closely connected to artists like
Arman, Yves Klein and Martial Raysse.
THE EXHIBITION: COMBINING HISTORICAL AND CONTEMPORARY WORKS
The historical dimension of the exhibition, under the guidance of Andres Pardey, vice-director of
the Musée Tinguely in Basel (Switzerland), presents the genesis of Ben’s career with a selection of
some of his key works from 1958 to 1978. These works illustrate Ben’s search for an abstract formal
language he could call his own and culminates in an ensemble of old and early ‘écritures’ or written
texts. Ben then moved away from a purely formal experimentation, becoming more interested in content
and meaning, through artworks that became increasingly conceptual. All of the scope of his artistic
repertoire is presented in this part of the exhibition: attempts at lyrical abstraction, numerous ‘street
actions’ from the 1960s onwards, highlights of the Fluxus movement in Nice, and appropriations, up
until Ben’s musings as an art theorist and philosopher. All of this can be circumscribed to a rather limited
time frame and constitutes the basis of his later work.
The second part of the exhibition opens the doors to the world of the artist with the presentation
of some of his more contemporary installations. From his ‘small ideas’ to his ‘new écritures’, as well
as his ‘mirrors’, ‘photography’, ‘time’ and ‘death’, Ben provides us with a kaleidoscopic overview of
some of his most recent creations, and has even created new installations specifically for the Musée
Maillol. ‘
In this exhibition, visitors can discover works especially created by the artist for the Musée Maillol,
inspired by the oeuvre of Aristide Maillol, which forms part of the Museum’s permanent collection.
This exhibition is produced in collaboration with the Musée Tinguely of Basel.
THE EXHIBITION TEAM
Programming : Sophie Hovanessian
Sophie Hovanessian worked as director of Paris Musées and the Réunion des Musées Nationaux before
being made administrator of the Musée Jacquemart-André. Since 2010, she has been the director of
cultural programming and exhibitions at Culturespaces.
Agnès Wolff, head of exhibitions, Sixtine de Saint-Léger, exhibitions manager for the Musée Maillol and
Camila Souyri, régisseur at Culturespaces, have also played an important role in the organization and
realization of this exhibition.
Scenography: Hubert Le Gall
Hubert Le Gall is a French designer, creator and sculptor of contemporary art. Since 2000 he has
produced original scenographies for exhibitions.
THE EXHIBITION - HISTORICAL SECTION
Abstract form
1958
Ink on paper
56 x 45 cm
1 - THE QUEST FOR FORM/BANANAS (1955 - 1961)
At the start of his artistic career in the mid-1950s, Ben integrated all the existing theories and practices with
the aim of developing a formal and highly personal language, and inventing something unprecedented
that went beyond the existing repertoire. He gave to these initial pictorial trials and formal experiments
the generic name of Recherche des formes (‘A quest for forms’). At the time, he employed a diverse range
of techniques, from China ink drawing to enamelled panels. In 1955, he focused on the abstract and
phallic form of the banana, which he promptly declared his personal new creation. With slight variations
in the motif and using papers of different qualities, Ben created many drawings of this very simple form,
which became the artist’s ‘signature’. Ben’s Bananes (‘Bananas’) series established the direction for his
later works: he would focus on a particular form or object that he would then appropriate. This approach
became a permanent characteristic of his work.
Ionesco
1959
Oil on wood
28,5 x 54 cm
2 - THE FIRST WRITTEN IMAGES (1958 - 1965)
Ben’s Premières écritures (‘Initial writings’) began in 1958; they emerged alongside the Bananes series.
Ben soon discovered the potential of his writings: the messages transmitted in the written content were
more important than the graphic qualities of the letters, which became secondary. The format, muted
colours, and visual impact of these works give them the appearance of signposts rather than classic
pictures. In fact, they were used for that very purpose in the Magasin (‘Shop’). These initial writings were
closely connected with the history of this place—one of Ben’s most significant ensembles.
‘1989: I WRITE MORE AND MORE AND I PAINT LESS AND LESS.’ Ben
THE EXHIBITION CONTINUED
Being
1975
Acrylic on canvas
60 x 73 cm
Lella et Pierre Le Pillouër Collection,
Vallauris
3 - BEN’S ARTISTIC ALPHABET
Ben developed his artistic alphabet over the first ten years of his career. Initially created for his Magasin,
the writings were sources of information intended for visitors. In his writings for advertisements, such
as Le Bon Lait or even brands, such as Coca Cola, Ben’s primary concern was the content of the written
words. Nevertheless, the aesthetic aspect adds an extra layer of meaning and transforms the writings
into pictures. In the ‘Initial writings’, each word and phrase is traced out with a brush, often oil on wood.
Ben subsequently developed his own technique writing directly on the canvas with a tube of acrylic
paint.
Bar Restaurant
1961
Oil on canvas
42,5 x 54,5 cm
4 - THE MAGASIN (1958-1973)
Housed at the Musée National d’Art Moderne, the Magasin was a second-hand record shop run by Ben.
But it also served as a creative object for him and inspired him to paint and write panels. What are now
considered works in their own right—Bananes (‘Bananas’), Formes abstraites (‘Abstract forms’), and
Écritures (‘Writings’)—are inextricably linked to this place. It was here that Ben developed the works that
he subsequently showed to his friends and customers. In the 1960s, the Magasin was not only the most
dynamic art venue in the city of Nice, but also the gallery that presented the broadest range of artistic
styles. The programme, designed by Ben, mainly focused on experimental works and new styles and
prioritised a regional network of artists. In July 1963, Ben’s Magasin became the headquarters of the
Fluxus artists in Nice, and was dedicated to presenting the many activities of this movement, as well as
posters and publications. At the same time, Ben began to take an interest in François Fontan’s theory
of ethnism. Hence, the Magasin became the rallying point for this movement, which promoted linguistic
and cultural minorities; for Ben this issue is still as pertinent as ever.
Ben continued to transform and enlarge the Magasin over fifteen years. It was subsequently acquired
in 1975 by the Musée National d’Art Moderne, which exhibited it during the inauguration of the Centre
Pompidou in Paris in 1977. Originally, Ben’s works were only displayed on the façade in Nice. The other
three panels were added during the acquisition by the MNAM. In 1980 and 1994, Ben rearranged the
rear section and the side panels, adding objects and writings to these areas too.
‘1975: PONTUS HULTEN, DIRECTOR OF BEAUBOURG, BUYS MY MAGASIN* AND IT BECOMES
ONE OF THE BIGGEST PIECES AT BEAUBOURG.’ Ben
* store
Art = Ben
1963
Acrylic on canvas
21,3 x 29,6 cm
Jon et Joanne
Hendricks Collection
5 - THE HISTORY AND THEORY OF ART ACCORDING TO BEN
Ben is neither the first nor the only artist to have explored the potential of painted language as an artistic
approach. Like the other artists of his era, he attempted to integrate reality into the pictorial space
by using linguistic content. However, at the end of the 1950s, he was a veritable precursor with his
representations, which were solely restricted to words written on the canvas and whose statements
were the primary concern. In his theoretical texts, Ben insisted on the impact the discovery of readymades had on him: this is what initially prompted him to embark on an artistic quest. In line with his own
thinking, he retained the most defining aspects of Duchamp’s inventions and reformulated them in his
own works. This is how Ben reflected on the role of his own work within the art system and developed a
personal approach. His artistic practice combines creativity with an examination of the history of art and
artistic theories. His work is directly addressed to the viewer, and raises the questions such as: ‘What is
the point of art?’ and ‘Who was right: Duchamp or Matisse?’ He invites them to reflect on this statement:
‘So, if everything can be art …’, leaving each person to find their own responses.
Absolutely anything is art
1962
Offset on brown paper
50 x 62 cm
6 - FLUXUS (1962 - 1970)
In 1962, during the Festival of Misfits, Ben met George Maciunas—the founder of and key figure in
the Fluxus art movement—in London. Invited by Daniel Spoerri, Ben became a living sculpture, taking
up residence for fifteen days and nights in the window of Gallery One. Fluxus was a movement that
involved the visual arts, music, and literature, and addressed questions that arose in the 1960s relating
to the status of works of art, the role of the artist, and the role of art in society, in particular. Humour and
derision played a central role in their approach and contributed to the definition of Fluxus as a ‘nonmovement’, producing ‘anti-art’.
By integrating the viewers into the artistic performance, the Fluxus artists wanted to eliminate the idea
that art can only be observed and created experimental works that were meant to be experienced.
In 1963, Ben organised—as the last part of Fluxus’s European tour—the Festival of Total Art with many
participants, including Maciunas. He subsequently founded a Fluxus group in Nice, called the Total Art
Theatre, together with Robert Bozzi, Robert Erébo, Pierre Pontani, Dany Gobert, and his wife Annie
Vautier. The group’s activities and those of the festival took place on the Promenade des Anglais and a
one-off concert was organised in the dining room of the Hôtel Scribe. Ben, Maciunas, Erébo, and Serge
III Oldenbourg staged Fluxus performances by various artists, including Paper Piece by Ben Patterson,
Duo for Violin by La Monte Young, and Counting Song by Emmett Williams. Theatre was no longer
exclusively confined to the stage, but was performed in the street and was part of everyday life.
Ben participated in the Festival of Free Expression organised by Jean-Jacques Lebel, at the American
Center. They were the first French happenings. Ben believes that ‘everything is art’—he wants to remove
the distinction between art and life. He produced a multitude of what he called Gestes (‘acts’) and
shouted until he became voiceless in the work entitled Hurler (‘Scream’, 1964).
My desire to be different
1976
Acrylic on canvas
100 x 100 cm
7 - INTROSPECTION (1959 - 1976)
Ben defined the ‘quest for truth’ as the main purpose of his artistic work, on both the practical and
theoretical levels. At the beginning of the 1970s, his quest led him to find this (or these) truth(s) within
himself, and therefore to question his own ego. Ben asked himself some important questions, such as
‘Who am I?’ and ‘What am I?’. The resulting very personal responses were subsequently integrated into
his works. The serie entitled Introspection (1976) was based on a philosophical approach of questioning,
disbelief, and inner conflict. Bright red block lettering was used to compose phrases like ‘My fear of
repeating myself’, ‘My jealousy of others’, and ‘My cowardly desire to please’ on several large black
square panels. Ben has always adopted an attitude of doubt in relation to the world and himself: Ben
doubts everything. Doubt is conceived as a form of scepticism—‘reflecting on things and considering
them with discernment’. Doubt is also the essential foundation from which opinions and convictions
emerge—in other words, knowledge and truth.
Action: destroying my artworks
1961 - 1972
acrylic and photographs on wood
75 x 75 cm
8 - GESTES AND STREET ACTIONS (1958 - 1972)
Regarder le ciel (‘Looking at the sky’, 1963), Couper la moitié de ma barbe (‘Cutting off half of my beard’,
1966), Cirer les chaussures des autres (‘Polishing other people’s shoes’, 1971), Marcher (‘Walking’, 1969),
and Faire des grimaces (‘Making faces’, 1962): these acts and events, and many others, are performed
by Ben, very often in public and on one or several occasions. In an exhibition in 1973, sixty-one of these
events were ultimately represented in a series of paintings and thereby exhibited as a visual entity.
However, it is important to distinguish between the Gestes—the acts effectively performed by Ben in
a given place (visible in the films of the period)—and the paintings (dating from 1958 to 1972) selected
from the series of the same name. These paintings are representations in words and images of the
corresponding Gestes and, at the same time, a way of subsequently bringing these works together to
form a coherent ensemble.
The Gestes, as acts set in a particular time, thereby become period documents.
Through his Gestes, Ben brought art into the street. All the messages in his Gestes can ultimately be
summed up by one phrase: Regardez-moi cela suffit (‘Just look at me’, 1963–1965), as stated on a sign
that he held up in a public area.
I Ben, I sign
1974
Acrylic on canvas
64 x 80 cm
Galerie Bruno Bischofberger,
Männedorf
© Private Collection, Courtesy
Galerie Bruno Bischofberger,
Männedorf-Zürich, Switzerland
9 - APPROPRIATIONS (1958 - 2016)
As shown above in the series Bananes (‘Bananas’), Ben is primarily motivated by the notion of creating
something new. The conceptual idea of Appropriation, implemented by Ben and his artist friends in
Nice in the 1960s, is the equivalent—in creative terms—of landing on the Moon. The challenge can be
summed up by one principle: being the first. Ben’s appropriation of notions and objects that he has
selected constitutes a considerable list: ‘everything’ and ‘nothing’, ‘holes’ and ‘wastewater’, ‘secret
boxes’, and even ‘God’. Ben believes that everything in the world can be signed. Signing a notion
chosen by the artist designates it as an appropriation and lends it the status of a work of art.
All these ideas and concepts form a foundation from which Ben can produce new representations and
objects. Artistic appropriation is generally defined as the use of a given material or the copying of existing
works; the creativity lies in representing it again. Ben’s Appropriations are conceived in a different way:
they are not a criticism of the artistic system, nor are they an attempt to be innovative at all costs. Ben’s
primary aim is to explore the potential of Marcel Duchamp’s ready-mades and take this idea of art to its
very limits.
‘WHAT SUMS UP THE SPINE OR FRAME OF MY ART FROM 1958 TO 1960 IS THE IMPORTANCE OF
THE IDEA THAT ALL ART SHOULD BE NEW AND CREATE AN ELEMENT OF SURPRISE.’ Ben
THE EXHIBITION - CONTEMPORARY SECTION
«Is everything art?
Ben at the Musée Maillol»
exhibition view
© Culturespaces /
Studio Sébert
Photographes
As the curator of the second part of the exhibition, Ben fills the ground floor space with a selection of
his most recent installation art.
The artist’s work can be said to explore a number of themes, some of which are humorous, while others
offer an exploration of contemporary society. Works include Le Centre mondial du questionnement (The
World Centre of Questioning), Le Collectionneur du pauvre (The Collector of the Poor), La Mort (Death),
Les Oiseaux (Birds), Les Petites idées (Little Ideas), Les photos, Le mur des écritures (The Wall of Texts),
Sex Maniac, Les femmes libres (Free Women), Les Portraits, Les Miroirs (Mirrors), Les Céramiques
(Ceramics), Le Temps (Time), Les ethnies (Ethnicity), C’est le Courage qui compte (Courage is what
counts). Immersed in the artist’s universe, the visitor is invited to follow Ben’s philosophical examination
of the world and its concerns. Indeed, Ben once said: ‘The history of art is made up of acts of courage,
the courage to say that this is art, and to not be afraid of others laughing at you’, or ‘I like contemporary
art when it has the power to surprise, amaze, make people smile, think, question, doubt or shock.’
Some of these installations have been specially designed by Ben for this exhibition, as a tribute to the
history of the venue, but also to Aristide Maillol and his muse, Dina Vierny.
In this part of the exhibition, visitors can participate in a special art project in collaboration with La Poste.
INSIDE BEN’S HEAD
CONTEMPORARY ART
I ask myself why certain things work and others
don’t
Contemporary art, a series of tricks
We may as well take advantage of them
I think art lacks a certain sense of madness. On that subject
I’m in the process of losing my own sense of
madness. Anytime I try to be original, to go
outside the box, I tell myself no, that’s not
serious, and I stop. Where is the Ben of old?
Where is the Ben of the portable hole, of the
void, of pure ego? That said, I sometimes think
That the Ben of old was more stupid than the
Ben of today.
CONTEMPORARY ART
A new theory
is cupidity
or should I say fraud
which drives the art world;
it hides
under the rug of ambition.
CONTEMPORARY ART
Like restaurants
artists should get a Michelin star
we would talk about artists’ ratings
at what price they sell, etc.
dead artists
living artists
Garouste, Buren, Boltanski
Ben far behind them, not taken seriously
Martial Raysse talked less about than Arman.
CONTEMPORARY ART
Ok, the art world might be rubbish, but the
world of butchers,
real estate agents, banks
company managers,
it’s just the same
if not worse!
CONTEMPORARY ART
The alien sends his report
‘they are all convinced that they know what is
beautiful and what is ugly’.
CONTEMPORARY ART
Who becomes a gallerist?
a rich man’s bored wife? or the small shopkeeper who sells his store
and retires?
CONTEMPORARY ART
A fashion?
a necessity?
a chain of events?
a waste?
cross out the inappropriate responses.
CONTEMPORARY ART
Creating is an operation of the spirit
that consists in asking yourself
what can I do to surprise them
so that they’ll buy my work
and I’ll become rich?
POSTFACE OF BEN’S RANDOM IDEAS
APPROPRIATIONS
All of these ideas are nothing more than tricks
in order to achieve fame, and essentially
change nothing. Rembrandt found something
to make him famous. Ingres found something
that would make him famous. Duchamp
exhibited a bottle holder and became famous.
Cage claimed everything could be music
and became famous. And so, here are some
of Ben’s ideas for my moment of glory. So it
doesn’t change anything. But what does one
need to do in order to bring something new to
the essence? There aren’t a thousand answers,
only one: change Ego, i.e., change Man.
Around 1960, I began playing with the idea of
appropriation. Yves Klein had devised a game
with very straightforward rules. You had to
appropriate and sign as a work of art, the world,
in other words, the physical reality around you.
The only thing that was not allowed was to
copy anybody else. The goal was to be the
first. The game was played in Nice with Arman,
Yves Klein, etc.
Rags were Deschamps’ thing, wrapping was
Christo’s, accumulation was Arman’s, and the
monochrome was Klein’s, etc.
During a particularly fertile period, I appropriated
Holes, Dirty Water, God, Windows, Kicks and a
whole host of other real items. Between 1960
and 1963, in terms of art, I had developed
the theory of the shock: the important thing
was to shock, to surprise the viewer. My ‘new
thing’ had to shock and surprise, hence certain
appropriations such as illnesses (plague,
cholera) or catastrophes (earthquakes, atomic
bombs, etc.). At the time, I was in the process
of distancing my aesthetic viewpoint from
my political leanings (I was a Universalist
communist). In 1964, I abandoned the theory
of the shock for its shock factor alone and
began to advocate for a multicultural world.
What must one do for man to stop doing all
of these things in the name of fame? That in
itself would be something new, but how could
he do it?
There are several ways of achieving this.
Beginning with the practice of a new sexual
therapy to the destruction of the human race
(in the hope that this would give way to another
non-ego living species).
But why art and not science?
Because art was the first to get stuck in a culde-sac. Since the realization that everything
is art and that making something new is none
other than the same, and due to the fact that
the search for the new in art cannot stop (for
reasons of ego), art today is required to bring
about the transformation of man.
Long live egoless man.
Ben (on fame)
VISITOR INFORMATION TOOLS
GUIDED VISIT ON IPHONE / IPAD AND ANDROID
This application, available in both French and English, provides a video presentation of the
exhibition, including a special focus on artworks, as well as practical information allowing visitors
to make the most of the exhibition.
The varied content (video, audio, images) and smooth Cover Flow navigation make this app an
indispensable tool for an in-depth tour of the exhibition.
The high-definition iPad version allows users to observe the artworks in detail thanks to its
exceptional zoom depth. The app can be downloaded on-site and does not require a 3G
connection thanks to the Wi-Fi access exclusively devoted to downloads from the Apple App
Store or Google Play. This on-site download is also available to users of an iPod Touch, as well
as foreign visitors at no extra cost to their data roaming charges.
The application costs €1.99 for the low resolution version and €3.99 for the HD version.
THE AUDIOGUIDE
An audio guide presenting a selection of major works is available in both French and English, at a
cost of €3.
FOR YOUNGER VISITORS: GAMES-BOOKLET
Provided free of charge to our younger visitors (aged 7-12 years), this booklet serves as a guide,
allowing children to experience and enjoy the exhibition through a variety of fun games and
puzzles.
THE CATALOGUE
Published by Culturespaces and the Mercator Fund, this 216 pages book, profusely illustrated,
evokes the highlights of Ben’s carreer which are echoed in this exhibition «Everything is art ? Ben
at the Musée Maillol»
On sale at the Maillol Musuem bookshop at a price of 35 € and online at www.boutiqueculturespaces.com
THE SPECIAL EDITION ISSUE OF BEAUX ARTS MAGAZINE
The special edition issue of Beaux-Arts Magazine features a joint interview with Ben and Michel
Onfray, as well as a study of Ben’s career in 10 key dates, and a look at Ben’s family and friends.
On sale at the bookstore gift shop of the Musée Maillol for the price of €9.50 or online at www.
boutique-culturespaces.com
THE EXHIBITION BROCHURE
Available in the museum lobby, this brochure guides you through the exhibition with a presentation
of the work on display in each room.
On sale at the museum ticket desk for €1.
THE EXHIBITION CURATORS
BEN, CURATOR OF THE CONTEMPORARY SECTION
Ben is one of the major artists of the 20th century, known for his actions and paintings. His work can
be seen as a reflection on art in its most essential or fundamental nature, and by focusing on the
extraordinary aspects of the ordinary, he has succeeded in transforming life into a form of art. His work
also embraces a wide variety of subjects including ethnicity, the ego and truth. Ben is incredibly popular
thanks to his ‘écritures’ or written paintings, renowned for their impertinence and insight.
Ben, born Benjamin Vautier, is a French artist with Swiss roots, born on 18 July 1935, in Naples (Italy)
to a mother of mixed Irish and Occitan heritage and a French-speaking Swiss father. He is the great
grandson of the 19th century Swiss painter, Marc Louis Benjamin Vautier. He spent the first five years
of his life in Naples. Following the outbreak of war in 1939, Ben and his mother travelled frequently: to
Switzerland, Turkey, Egypt, and Italy, before finally settling in Nice in 1949. He studied at the École du
Parc-Impérial and was a boarder at the Collège Stanislas (junior high school). His mother found him a
job as a delivery boy at Le Nain bleu bookstore before buying him his very own stationery-bookstore.
Ben sold the store at the end of the 1950s and opened up a small boutique where he sold second-hand
records. He transformed the shop front with a rather unusual display of knick-knacks. Hosting regular
exhibitions, his store quickly became an important meeting spot for artists, and attracted many of the
key figures of what would later become known as the Nice School : César, Arman, Martial Raysse, etc.
Close to Yves Klein and seduced by Nouveau Réalisme (New Realism), Ben was convinced that ‘art
should be new and create an effect of surprise’.
At the beginning of the 1960s, many artists attempted to appropriate the world as a work of art. Ben
autographed everything available to him: ‘holes, mysterious boxes, kicks, God, hens, etc.’, connecting
art and life, and explaining that everything was art and that in art, everything was possible.
In 1965, he created an exhibition gallery of 3 m2 on the mezzanine level of his shop which he called:
‘Ben doubts everything’. Here he exhibited the work of Biga, Aloooo, Venet, Maccaferri, Serge III,
Sarkis, Filliou, etc. At the start of the 1980s, following a year spent on a scholarship in Berlin, he made
the acquaintance of a group of young artists that included Robert Combas, Hervé Di Rosa, François
Boisrond, Rémi Blanchard, etc., a group he would christen Figuration Libre (Free Figuration).
An active figure in the contemporary art scene, Ben has always supported younger artists and expressed
his views on current trends and movements, whether these are of a cultural, political, anthropological or
artistic nature. These can be read in his regular and voluble newsletters.
Since 1975, he has lived and worked in the hills above Saint-Pancrace, near Nice. Ben’s work features
in some of the world’s largest private and public art collections: notably MoMA New York, The Walker
Art Center in Minneapolis, The Art Gallery of New South Wales in Sydney, the Museum Moderner Kunst
Stiftung Ludwig in Vienna, the LUHKA in Antwerp, the Stedelijk Museum in Amsterdam, the Solothurn
Museum, the Musée national d’Art moderne de Paris and the Musée d’Art moderne et d’Art contemporain
de Nice.
ANDRES PARDEY, CURATOR OF THE HISTORICAL SECTION
Born in Basel in 1965, Andres Pardey studied art at the University of Basel. He obtained his degree
in 1991 and his PhD in 1996 with a dissertation on pictorial narrative in the work of Hans Holbein the
Younger. Since 1995, he has worked at the Musée Jean Tinguely, firstly as a university assistant; as
curator since 2002, and finally as vice-director since 2007. He participated in the creation and opening
of the museum (1 October 1996) and has been involved in the organization of numerous exhibitions,
including: Panamarenko (2000), Daniel Spoerri (2001), Niki de Saint Phalle (2001), Marcel Duchamp
(2002), Jean le Jeune (2002), Luginbühl (2003), Three Islands: Richard Stankiewicz, June Leaf, Robert
Lax (2004), Eva Aeppli (2006), Niki & Jean, L’Art et L’Amour (2006), Hofkunst (2007), p.s. Pavel Schmidt
(2008), Rüstung & Robe (2009), Robert Breer (2011), Krištof Kintera (2014), Ben Vautier (2015). He has
also been involved in the organization of various Tinguely exhibitions in Rotterdam (Kunsthal), Valence
(IVAM), Vienna (Kunsthaus) and elsewhere.
QUESTIONS FOR BEN
Why doubt everything?
Because I do not believe at all in true, false, good and evil. The human race judges solely by its own
interest.
Are you an artist or a philosopher?
I am above all a philosopher insofar as my artistic activity involves questioning, doubt and the search
for truth.
In what way does Internet affect your work?
It’s an extraordinary and fantastic place for communication and information, which it accelerates to an
unbelievable extent.
Are you your own iconoclast?
Yes, insofar as when I look in a mirror I say to myself: you are human, therefore you are a hypocrite,
cynical, a liar, anxious: but also the opposite of all that because I ask myself these questions.
And if you could only ask one question?
Is the species imperialist nonetheless?
QUESTIONS FOR ANDRES PARDEY
Why does Ben doubt art? Why doubt everything?
Doubt is one of the fundamental aspects of Ben Vautier’s art. To doubt means to constantly question
everything, what we do, what we say, in order to find a certain truth. To doubt means to look for and to
find new answers to these questions. Ben is very aware of this, and inspires an art that continues, even
after over 50 years of creation, to develop constantly, albeit less aesthetically than philosophically (even
if Ben continues to search for new possibilities).
Is Ben a philosopher or an artist?
To quote Ben: ‘I introduced the message into artistic writing’. In other words, he differentiated himself
from Lettrists and painters, who created paintings without considering the import of their words or
message. In this sense, Ben is a philosopher (or politician. Or demagogue. Or lover. Or man). He paints
and uses the canvas as the platform for his thoughts. Based on the power of his media, Ben is first and
foremost, an artist.
As an artist, Ben has always been in touch with technology, thanks to his use of new media. In
what way does the Internet correspond with his work?
Since 1996 (which is very early) Ben has had his own Internet site, where one can read texts by Ben
about Ben, listen to recordings from Radio Ben, and find information on his views and history. This site
has both a playful dimension, as well as hosting the artist’s political and philosophical writings. Ben
uses the Internet as a platform of direct communication, and offers the reader an overview of the Nice
art scene, his own activities, and his political leanings. His Internet site (supplemented with a monthly
newsletter) is an inherent part of his work, at once a catalogue raisonné and a philosophical anthology.
Is Ben his own iconoclast?
Due to the proliferation of his work and its rather messy or disorganized appearance, Ben permanently
risks undermining his reputation or status as a ‘serious’ artist.
Certain installations, where he fills the walls or exhibition spaces (note his fear or dislike of empty spaces),
can overwhelm the spectator with the abundance of information and visual cues. However, even in his
most intense installations, Ben always follows an essential and indisputable concept. It is the message
that counts, for this alone can provide possible answers or clues.
If you had a single question to ask Ben?
I would ask him why art has remained so important for the communication of modern thought, not only
in Ben’s generation, but also in younger artists, who continue to question the foundations of our society.
THE MUSÉE TINGUELY, PARTNER OF THE EXHIBITION
Museum Tinguely, built by Tecinese architect Mario Botta, houses the largest collection of works
by Jean Tinguely (1925–1991), one of the most innovative and most important Swiss artists of
the 20th century. The permanent exhibition presents an overview of four decades of his creative
activity, from the artist’s early beginnings in the 50s with motorized reliefs, through to the largescale sculptures and mechanical sculptures of the 1980s. Regular special exhibitions showcase a
broad spectrum of artists and themes based on Tinguely’s ideas, presenting people who inspired
him such as Marcel Duchamp und Kurt Schwitters, contemporaries such as Arman, Niki de Saint
Phalle, Yves Klein, and also current art trends, such as the British artist Michael Landy (“Out of
Order” temporary exhibition still running until 25. September 2016).
More than 80 exhibitions have already been organized since the museum was opened in October 1996.
For the inauguration, the collection presented in the vast exhibition halls was completed with loans by
private collectors and other museums. With its varied program of temporary exhibitions, the museum
has succeeded in reaching a broad international public, while remaining closely connected with the
city of Basel. Since its opening Museum Tinguely has become a reference point of cultural life in Basel.
Tinguely’s creativity was extremely multifaceted: he drew on numerous sources of inspiration from
the history of art, set thematic priorities for which he is still regarded as a pioneer and innovator, and
repeatedly collaborated intensively with other artists.
Press Contact :
Isabelle Beilfuss
[email protected]
Tel. +41 61 68 74 608
Further information can be found on our website : www.tinguely.ch
BAIN & COMPANY, PATRON OF THE EXHIBITION
Between Ben and Bain, we share much more than a simple homophony. Apart from the admiration we
have for this great artist, we indeed discover values in his work that resonate with those that drive us.
«I detest art that does not challenge itself», Ben tells us. We find this same idea in our company DNA, in
what we call «True North» which drives us to reinvent ourselves every day whilst maintaining a constant
direction.
Amongst the other core values that guide the activities of our 53 offices in 34 countries, there is the
culture of obtaining tangible and measurable results that allows decisions to be turned into actions; the
passion and commitment that nourish our insistence on excellence; and the team spirit that each of us
shares with our customers, our experts and in our offices.
The sharp eye of Ben, the alacrity that characterises him, his finesse in capturing trends and attitudes,
and above all the authentic tenderness that he brings to living beings; these things can only inspire us.
A stroke of the pen that captures the essential, juggling with words and avoiding the superfluous, the
whole art of Ben lies in its agility to seize with impertinence and authenticity the major disruptions that
reshuffle our society’s deck of cards. And the bridges that we can detect between his work and our
missions are deeply rooted in the motto that spurs us every day: “produce results, not reports”. Yes,
everything is art, even strategic counselling!
This is why we are not only honoured but also deeply delighted to support this major exhibition «Is
everything art? « which inaugurates the new showcase of the Maillol Museum.
Domenico Azzarello
Managing Director, Bain & Company, France
Olivier Marchal
Chairman, Bain & Company, France
About Bain & Company
Bain & Company is the management consulting firm recognized by executives for its ability to make an impact
and achieve results within their organisations. Bain advises its clients, companies and private equity funds on their
strategy, operations, technology, organisation and mergers & acquisitions. Bain’s partners and teams develop
recommendations that companies can implement effectively and ensure that they will then have the competence
and autonomy to safeguard the progress made and the value of their investment. To ensure that the interests of the
company and its customers are in step, Bain does not hesitate in indexing its fees to the observed performance of
its operations. Founded in 1973, Bain has set up 53 offices in over 34 countries to assist companies over all sectors
and in all their markets.
Further information can be found on our website www.bain.fr
Follow us Twitter @BainCompanyFR
Press Contact
Stéphanie Herrmann: Caroline Detalle: Tel: 01 44 55 75 75
[email protected]
[email protected]
MEDIA PARTNERS
www.bfmtv.com
www.leparisien.fr
www.nytimes.com
www.ugc.fr
www.anousparis.fr/
www.fnac.com
www.lejournaldesarts.fr
www.volvo.com
www.paris-premiere.fr
www.ratp.fr
www.europe1.fr
« WRITING IS PAINTING WORDS »
«Writing is painting words» is an amusing and educational initiative developed by the Fondation
Culturespaces whose goal is to introduce the exhibition «Is everything art? Ben at the Musée
Maillol», in a suitable way for children who have been weakened by illness, disability, poverty or
social exclusion.
The Fondation Culturespaces wishes to provide the opportunity for 500 children aged 7 to 12 years
to discover the work of Ben through a participatory guided tour designed by Up Culture, the cultural
mediation agency.
The children are welcomed at the Musée Maillol by a cultural guide who explains Ben’s idiosyncratic
approach to art, his works and performances. He accompanies the children in their discovery of Ben’s
passion for words, his questions and his aesthetic provocations.
In the manner of a philosophical get-together, the children puzzle over a theme drawn out of the guide’s
bag: «love is words». They pass a talking stick from hand to hand and may express themselves freely in
keeping with the chosen topic. Ben’s work thus stimulates debate and gives free rein to the children’s
imagination.
At the end of the session, the children make their own work of art by writing the words they have chosen
on a slate with a white marker, just like Ben. They leave the Musée Maillol with their unique work, a small
backpack, a notebook and a Ben pencil case.
This initiative is offered to social institutions located in the Paris region: social centres, neighbourhood
associations and priority schools.
Among the participating organisations are: the French Red Cross, the Margency Hospital, the Secours
Populaire, the Môm’artre association, the Rock, Oasis of Cities Association, Sport in the City Association,
the City of Paris Social Welfare organisation, the Apprentices Foundation of Auteuil.
The visits are completely free for participants (children, parents and accompanying tutors).
Project sponsors
This project has been made possible thanks to the generous support of La Poste, The Fondation
d’entreprise La Poste and individual donors who wish to remain anonymous.
LA POSTE – The Fondation La Poste, principal sponsor
QUO VADIS, partner for the project «Writing is painting words»
The Fondation culturespaces is placed under the auspices of the FACE foundation (Foundation for
Action to Counter Exclusion) chaired by Gérard Mestrallet.
Contact :
Gersende de Pontbriand, Déléguée générale Fondation Culturespaces
Tél. + 33 (0)6 31 86 41 38
Email : [email protected]
LA POSTE AND THE FONDATION D’ENTREPRISE LA POSTE,
IN COLLABORATION WITH THE FONDATION CULTURESPACES.
A true bond of trust between the French people, La Poste participates in community projects that serve
the public interest.
The company has developed three action programs involving the public and postal workers: «All referees»
in sport, «All united» for solidarity and «All artists» in the cultural domain.
In this context La Poste supports participatory artistic expression in the same way that mail art has done
for 50 years, creating exchange and inviting everyone to a creative dialogue to foster the conditions for
expression and sharing.
La Poste encourages participatory art to mark Ben’s exhibition «Is everything art?» at the Maillol
Museum.
By offering all visitors a pre-paid postcard created by Ben, La Poste challenges everyone to reply to the
question: «If everything is art, art is also...»
After having completed the card in a creative manner with a drawing, everyone can take a picture of
their creation to share it on the social networks and then post it in the mailbox provided for this purpose.
www.dailymotion.com/tousartistes
La Poste and Fondation d’entreprise support the participatory project «Writing is painting words «,
organised by the Fondation Culturespaces, which will host those children made vulnerable by poverty
or social exclusion.
About La Poste Group:
A limited company with 100% state capital, La Poste Group is organised into five branches: Letter-Parcel Services,
La Postale bank, La Poste network, GeoPost, and Digital. The Group is present in more than 40 countries spread over 4
continents.
Every day, La Poste’s 17,000 points of contact, comprising the largest French commercial proximity network, welcome
1.6 million customers.
La Poste delivers 22.9 billion items per year worldwide (letters, printed advertising and parcels), 6 days a week. In 2015,
the Group achieved a turnover of 23.045 billion Euros, of which 20.8% was international, and employs almost 260,000
employees. Closer, more connected, La Poste is accelerating its digital transformation by offering a range of services
around its role of universal trade operator.
In its strategic plan, «La Poste 2020: Conquering the Future», La Poste group has set itself the objective of accelerating
the development of its five branches and conquering new territories. Here for everyone, everywhere, every day, La Poste
puts the human touch and confidence at the heart of the relationship with its customers to become the leading company
in human proximity services.
, PRODUCER AND DIRECTOR OF THE EXHIBITION
« Our aim is to help public institutions present their heritage and develop
their reputation in cultural circles and among tourists. We also aim to
make access to culture more democratic and help our children discover
our history and our civilisation in remarkable cultural sites »
Bruno Monnier, CEO and Founder of Culturespaces.
Culturespaces produces and manages, with an ethical and professional approach, monuments,
museums and prestigious historic sites entrusted to it by public bodies and local authorities. With 25
years of experience and more than 2,5 million visitors every year, Culturespaces is the leading private
organisation managing French monuments and museums, and one of the leading European players in
cultural tourism.
Are managed by Culturespaces : Musée Jacquemart-André, Paris (since 1996), Villa Ephrussi de
Rothschild, Saint-Jean-Cap-Ferrat (since 1992), Hôtel de Caumont Centre d’Art, Aix-en-Provence (since
2015), Carrières de Lumières, Baux-de-Provence (since 2012), Château des Baux-de-Provence (since
1993), Roman Theatre and Art and History Museum of Orange (since 2002), Nîmes Amphitheatre, the
Square House, the Magne Tower (since 2006), Cité de l’Automobile, Mulhouse (since 1999).
Culturespaces is responsible for upgrading spaces and collections, welcoming the general public,
managing staff and all services, organising cultural activities and temporary exhibitions and promoting
sites at national and international level, with efficient and responsible management methods certified
ISO 9001.
CULTURESPACES, PARTNER OF THE MUSÉE MAILLOL
The Fondation Dina Vierny has chosen to entrust Culturespaces with the temporary exhibitions at the
Musée Maillol in Paris. Olivier Lorquin, president of the Musée Maillol, and Bruno Monnier, president
of Culturespaces, signed a partnership agreement in October 2015 regarding the management of the
museum and its cultural programming. This programming will showcase modern and contemporary art,
thereby respecting the wishes of the founder of the Musée Maillol, Dina Vierny.
With two large exhibitions per year (in the spring and in the autumn), the programme will highlight some
of the different artistic currents from the 20th to the 21st century, and is open to all forms of expression
(painting, sculpture, photography, illustration, video and installation art). Without forgetting Aristide
Maillol, his friends and modernity, and his muse, Dina Vierny, whose collections of artworks will enter
into a dialogue with the temporary exhibitions.
Culturespaces is in charge of:
• the production, organization and communication of the museum’s temporary exhibitions.
• the welcome desk, ticket office and tours.
• overseeing connected activities (bookstore-gift shop, café, receptions and events), etc.
The museum, closed between February 2015 and September 2016, has undergone significant renovation
work aiming to restore the courtyard to its former splendour, and to reorganize the exhibition spaces by
clearly separating the permanent collection from the temporary exhibition spaces.
‘We plan to return to the fundamentals with exhibitions of modern and contemporary art.’ Olivier Lorquin
‘We are very pleased of this new partnership which will allow us to develop, hand in hand with Olivier
Lorquin, a programme of modern and audacious exhibitions.’ Bruno Monnier
THE MUSÉE MAILLOL
A LITTLE HISTORY
The Musée Maillol is steeped in history. Throughout the Middle Ages and up to the Renaissance, the land
on which the Museum now stands had not yet been built on, and was part of a vast property belonging
to a Benedictine Abbey founded in 543. In 1739, the nuns of the Couvent des Récollettes graciously
allowed the city to build a monumental fountain at the heart of the district.
Edme Bouchardon, sculptor of the King, created the majestic fountain of the Four Seasons which forms
a magnificent forestage to the facade of the museum, and was built between 1739 and 1745 to the glory
of the City of Paris. The ensemble was listed as a historic monument in 1862.
During the Revolution, the convent was closed and sold at auction. The different buildings were then
owned by individual owners. In the 19th century, it was home to many famous figures, including the poet
Alfred de Musset whose apartment was located on the first floor. Painter Paul Jacques Aimé Baudry,
a member of the Institut de France, occupied the large studio for a long period. This studio space
was conserved during the renovation works of the museum. Opening onto the second floor, it houses
Maillol’s life-size sculptures.
In 1951, the Prévert brothers opened a cabaret here, known as La Fontaine des Quatre Saisons, in the
large columned exhibition hall on the ground floor. Boris Vian, was a regular, and penned Le Déserteur
here; Francis Blanche presented his Frères Jacques sketches, and Yves Montand performed the poems
of Prévert, set to music by Kosma. A plethora of young artists all started out here: Maurice Béjart, Guy
Bedos, Pierre Perret, Jean Yanne, Philippe Clay, Jacques Dufilho, etc.
In 1955, Dina Vierny, the sculptor’s model and collaborator, purchased and lived in an apartment in the
building. Then, little by little, over the course of some twenty or so years, she managed to purchase all
of the buildings. Following some fifteen years of renovation and construction work, under the eye of
architect Pierre Devinoy, who had studied under Auguste Perret, the much anticipated institution was
born that would house the works of Maillol.
The Musée Maillol opened its doors on 20 January 1995. Today, it presents the largest collection of the
artist’s works to the public and presents a complete overview of Maillol’s creation, not just his sculpture,
but also his paintings, drawings, ceramics and tapestry.
THE PERMANENT COLLECTIONS: NEW EXHIBIT
In order to make visitors’ experience more coherent, the permanent collection of the works of Aristide
Maillol are now displayed on the second floor, even though the thoroughfares and walkways on the
ground and first floors are still decorated with several life-size sculptures by the artist.
The exhibit, both chronological and thematic, is spread over several rooms: the early paintings and wood
sculptures (1880-1900); tapestry (1895-1900); the creation of bronze, terracotta and plaster statuettes
(by subject, theme, and material spanning the artist’s career); the emblematic life-size sculptures;
small drawings, and finally, a double space displaying works from the 1930s to the 1940s, with his last
paintings and large-scale drawings.
VISUALS AVAILABLE FOR THE PRESS
1. Courage is what counts, 1987
147 x 147 cm, acrylic on wood
3. Beautiful or ugly? True or false? Yes or no?, 2013
30 x 162 cm, acrylic on canvas
5. I don’t throw anything away, 1975 - 1995
130 x 100 x 53 cm,
A collection of various objects stuck to a pram
2. Who doubts lives, 2014
© richard sahel
4. Love is words, 1958
6. Suspended object and mystery box sculpture,
1958 - 1962, 105 x 60 x 50 cm, collage
7. Banana, 1959
43 x 31 cm, acrylic on paper
© Jean-Pierre et François Causse Collection
8. Being, 1975
58 x 71 cm, acrylic on canvas.
Lella et Pierre Le Pillouër Collection.
9. Action: destroying my artworks,1961 - 1972
75 x 75 cm, acrylic and photographs on wood
10. If God is everywhere..., 1962
18 x 30 cm, acrylic on object
11. Absolutely anything is art,1962
Offset on brown paper, 50 x 32 cm
12. Abstract form, 1958
56 x 45 cm, ink on paper
13. No posters allowed, 1959
69,5 x 33,5 cm, acrylic oil on canvas
14. Sculptural object (folklore discs), 1963
150 x 40 cm, objects on wood
15. Peace, 1959
42 x 60 cm, oil on canvas
16. The right/good milk, 1958 - 1960
36.5 x 50 cm, oil on canvas
17. Ben is art..., 1964
18. Art = Ben, 1963
21.3 x 29.6 cm, acrylic on canvas.
Jon and Joanne Hendricks Collection.
I don’t throw anything away, 1975 - 1995
130 x 100 x 53 cm,
A collection of various objects stuck to a pram
PRACTICAL INFORMATION
Musée Maillol
61 rue de Grenelle
75007 Paris
Tel : +33(0) 01 42 22 57 25
Metro : Rue du Bac (L. 12); Sèvres-Babylone (L. 10 and 12)
Bus no. 63, 68, 69, 83, 84, 94 and 95.
RER : Line C, Musée d’Orsay
Opening Times
The museum is open every day for the duration of its temporary exhibitions, from 10.30am to 6.30pm.
Late night opening on Fridays until 9.30pm.
Café des Frères Prévert
Open everyday :
from 11.30 am to 6.30 pm from Monday to Thursday
from 11.30 am to 7.30 pm Friday
from 10.30 am to 6.30 pm Saturday and Sunday
Tarifs
Full fare : €12
Reduced fare : €10
Reduced rate for children aged 7-17, students and unemployed.
Culturespaces advantages
Free audioguide for the permanent collection
Free apps for the permanent collection
Free activity exhibition booklet
Family offer: 2nd child free from 7 to 17 years old, with 2 adults and 1 child paying
Online shop : www.boutique-culturespaces.com
Website
www.museemaillol.com
Press contact
Agence L’Art en direct
24 rue de Richelieu 75001 Paris
Ingrid Cadoret
[email protected]
Tel : +33(0)1.55.35.25.10
Mobile. : +33(0)6.88.89.17.72
#BenToutEstArt
#MuséeMaillol
Musée Maillol
facebook.com/MuseeMaillol
@museemaillol
twitter.com/museemaillol
61 rue de Grenelle - 75007 Paris
The museum is open every day
for the duration of
its temporary exhibitions,
from 10.30 am to 6.30 pm.
Late night opening
on Fridays until 9.30 pm.
www.museemaillol.com
PRESS CONTACT
AGENCE L’ART EN DIRECT
24 rue de Richelieu - 75001 Paris
Ingrid Cadoret
Tél : +33(0)1.55.35.25.10
Port. : +33(0)6.88.89.17.72
[email protected]
An exhibition

press kit - Musée Maillol

Transcription

Similar documents

ben roethlisberger - Seneca Valley School District

Bargains ry

"Genius is one percent inspiration and ninety

ARE YOU A BEN 10 BRAIN BOX?

New Jersey 2013 Trans Am Run

Save at Aldo`s! - Aldo`s Restaurant Block Island

Untitled - EastWest Filmdistribution GmbH

Testimonials

Press Kit - Bio Sheet 1 copy

Shulamith~Queen of Sheba