Inside Fondation Cartier’s new dwelling, an area to be ‘brave’

by Editorial Team
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In 1984, the French sculptor César informed Cartier president Alain Dominique Perrin that it took public museums an excessive amount of time to organise exhibitions. So Perrin determined to create the Fondation Cartier pour l’artwork contemporain, the place selections could be made rapidly and artists given complete freedom. That yr, it opened on an property outdoors Paris, changing into France’s first company sponsor of up to date artwork.

Ten years later, it made its manner into the capital, to a steel-and-glass constructing on Boulevard Raspail designed by Pritzker Prize winner Jean Nouvel. Now, the pioneering establishment is getting into a complete new period, relocating to huge premises within the coronary heart of Paris, with an much more radical renovation by Nouvel.

With its deep purple color, evoking theatre, cinema and cabaret, the Studio Marie-Claude Beaud auditorium pays tribute to the Fondation Cartier’s first director, who made the dialogue between artwork and efficiency a trademark of the establishment. That includes retractable seating, it has a seating and standing capability of 110 and 300 respectively

(Picture credit score: Yasmina Gonin)

Contained in the model new Fondation Cartier pour l’artwork contemporain in Paris

Positioned subsequent to the Musée du Louvre, the Fondation Cartier’s new dwelling has a really Parisian historical past. It began out as the town’s first luxurious lodge, opening in time for the 1855 Common Exposition. Excessive-end boutiques on the bottom and mezzanine flooring grew to become so in style that the lodge moved out and the constructing grew to become a division retailer, the Grands Magasins du Louvre (the inspiration for Emile Zola’s Au Bonheur des Dames). It later housed an antiques mall earlier than lastly closing in 2018.

Fondation Cartier pour l’art contemporain interiors and installation views

Tracing Fallen Sky, 2020, by Sarah Sze, displays the artist’s fascination with Foucault’s pendulum and explores how the proliferation of digital pictures has affected our relationship with time, reminiscence and the fabric world. For its presentation within the Fondation Cartier’s new house, it has been reconfigured to sit down in an inaccessible recessed space, giving the looks of an archaeological break unearthed throughout excavation

(Picture credit score: Yasmina Gonin)

For the constructing’s latest chapter, Nouvel left the façade untouched and gutted the inside, releasing up 8,500 sq m for public areas, together with 6,500 sq m for exhibitions. ‘This undertaking doesn’t impose up to date structure; it explores the chances inside the prevailing framework,’ he says. ‘The historical past of the place turns into an energetic materials, a fertile constraint.’

Fondation Cartier pour l’art contemporain interiors and installation views

A totem of sculpted figures, masks, mirrors and fragments of painted wooden, Untitled, 1997, by David Hammons, stands out as a strong image of sophistication wrestle

(Picture credit score: Yasmina Gonin)

Across the construction’s unique limestone arches, he launched concrete, glass and metal. 5 enormous cell platforms in recycled metal span almost the complete size of the constructing. Capable of maintain massive and heavy works, they are often positioned in a number of mixtures, from the ground of degree -1 to the ceiling, 11m above, providing a startling range of exhibition selections. Pulleys and cables are seen beneath the platforms. ‘By making the mechanism obvious, we reveal the potential for transformation, adaptation, reconfiguration and alter,’ says Nouvel, who refers back to the constructing as a ‘assist for innovations’ the place each element is supposed to impress the creativeness.

Fondation Cartier pour l’art contemporain interiors and installation views

For the Fondation Cartier’s 2014 ‘Vivid Reminiscences’ exhibition, Alessandro Mendini collaborated with Peter Halley, with Mendini creating OMG!,a construction designed as a showcase for Halley’s portray Code Warrior

(Picture credit score: Yasmina Gonin)

Massive bay home windows on Rue de Rivoli and Rue Saint-Honoré, paying homage to these within the Grands Magasins du Louvre, permit passers-by to see into the constructing, and guests to look out. ‘At Boulevard Raspail, I wished to erase the borders between the museum and the town,’ says Nouvel. ‘Right here, the context is totally different, extra dense, extra historic. However the need stays the identical: to create porosity, visible continuity, new views and resonance between the intimacy of the house and the lifetime of the town.’

Fondation Cartier pour l’art contemporain interiors and installation views

Freddy Mamani’s reimagined ‘occasion house’ serves as a reminder of structure’s range and progressive formal potential in crystallising cultural environments

(Picture credit score: Yasmina Gonin)

Overhead, three glass panels reveal bushes planted on the roof. When the panels are uncovered, daylight by way of the leaves creates transferring shadows on the inside partitions. However the ceiling and home windows will also be utterly shuttered, for complete darkness.

Fondation Cartier pour l’art contemporain interiors and installation views

Untitled, 2018-20, a collection of graphic works by artists from Paraguay’s Gran Chaco area, seen right here, mid-installation, on an exhibition ingredient designed by Formafantasma

(Picture credit score: Yasmina Gonin)

‘This constructing that Jean created for us is the fruits of a very Parisian chapter of dynamic structure,’ says Fondation Cartier director Chris Dercon. He’s referring to a interval that began with the 1925 Worldwide Exhibition of Fashionable Ornamental and Industrial Arts, which celebrated avant-garde structure. In 1939, Jean Prouvé was a part of the design staff for the pioneering Maison du Peuple in Clichy with a retractable ground and roof. Prouvé then presided over the jury that selected Renzo Piano and Richard Rogers to design the Centre Pompidou, conceived to be absolutely modular. Extra just lately, Rem Koolhaas inserted 4 cell platforms into an exhibition tower for up to date artwork basis Lafayette Anticipations.

Fondation Cartier pour l’art contemporain interiors and installation views

Projet pour le Kinshasa du troisième millénaire, 1987, by Congolese artist Bodys Isek Kingelez

(Picture credit score: Yasmina Gonin)

In the present day, says Dercon, fashionable expertise and larger ease in acquiring constructing permits make dynamic structure extra possible than ever. Whereas this expands curatorial potentialities, it additionally presents new challenges to artists and scenographers. ‘Confronted with such structure, it’s important to be brave and experimental,’ he notes, utilizing the time period ‘cubist’ to explain the brand new Fondation Cartier.

‘It’s non-linear, every little thing occurs concurrently, so we’ve got to think about find out how to create areas for work, or find out how to create isolation for works that want intimacy.’

Fondation Cartier pour l’art contemporain interiors and installation views

Self-taught Bolivian architect Freddy Mamani up to date his 2018 Salón de eventos particularly for the Fondation Cartier exhibition. His trademark Neo-Andean ‘occasion areas’, rooted within the tradition of the Aymara individuals, are characterised by their vibrant geometric iconography

(Picture credit score: Yasmina Gonin)

For the inaugural exhibition, which opens on 25 October, design studio Formafantasma conceived the scenography to point out off the artworks in addition to the constructing, arranging the platforms to supply a glimpse of the entire house from one finish to the opposite. In marked distinction to what Dercon calls the ‘white dice syndrome’, they employed textiles and paper to assist the shows.

Entitled ‘Exposition Générale’ (taken from the identify for the extremely anticipated gross sales occasions held at shops such because the Grands Magasins within the nineteenth century), the exhibition accommodates almost 600 works from the Fondation Cartier’s 4,500-work assortment, acquired over 4 many years from reveals it has beforehand commissioned. These artworks reveal to what extent experimentation and eclecticism have all the time been key to the Fondation Cartier story.

Fondation Cartier pour l’art contemporain interiors and installation views

View of the Studio Marie-Claude Beaud auditorium

(Picture credit score: Yasmina Gonin)

The taking part artists symbolize a spread of disciplines: amongst them are drawings by filmmaker David Lynch, a desk product of miniature bricks by architect Bijoy Jain, an exuberant ‘salón de eventos’ by Bolivia’s Freddy Mamani, and a stone grafted with hair from Black barbershops by David Hammons. An immersive set up displaying international migration patterns by structure studio Diller Scofidio + Renfro relies on the concepts of thinker Paul Virilio, who seems a number of instances all through the exhibition.

Structure is likely one of the present’s 4 main themes, which appears apt because the Fondation Cartier’s new constructing enters the pantheon of exceptional areas for artwork and tradition in Paris. Dercon mentions a couple of – the Centre Pompidou, the Fondation Louis Vuitton, the Bourse de Commerce and, in fact, the Fondation Cartier’s well-known neighbour. ‘Being subsequent to the Louvre, now that’s the best problem, isn’t it?’

Fondation Cartier pour l’art contemporain interiors and installation views

Circulation across the Studio Marie-Claude Beaud auditorium

(Picture credit score: Yasmina Gonin)

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