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Sans-Titre #1 Works of the Collection Lambert, Paintings of 1970s-1980s 24 oct. 2009 > 31 jan. 2010 Roni Horn 21 june > 04 oct. 2009
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Sol LeWitt / Christian Marclay 30 oct. 2004 > 16 jan. 2005 Eijanaika! Yes Future! Post-20th century Japan 10 july > 10 oct. 2004 À Fripon Fripon et demi Pour une école buissonnière 21 feb. > 06 june 2004
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Salla Tykkä Happy days 25 oct. 2003 > 25 jan. 2004 Francis Alÿs The Prophet and the Fly 25 oct. 2003 > 25 jan. 2004 Coollustre 25 may > 28 sep. 2003 Rendez-Vous 4 25 jan. > 27 apr. 2003
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Photographier 01 june > 24 nov. 2002
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Rendez-Vous 3 16 dec. 2001 > 28 apr. 2002 Artists' Collections 01 july > 30 nov. 2001
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Rendez-Vous 2 01 dec. 2000 > 31 mar. 2001 Rendez-Vous 1 27 june > 01 oct. 2000
Exhibition
11 july > 18 oct. 2015

Patrice Chéreau, An Imaginary Museum

From David, Géricault, Goya, de La Tour to Bacon, Picasso, Richter...

Exhibition poster, work by Adel Abdessemed (Untitled, 2014, detail), graphic design by Antoine et Manuel
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Exhibition poster, work by Adel Abdessemed (Untitled, 2014, detail), graphic design by Antoine et Manuel

The exhibition, entitled “Patrice Chéreau, An Imaginary Museum, will be the first to pay homage to this giant of theatre, opera and film who, since his death in October 2013, has become a national icon in France.

 

In association with the IMEC (Institut Mémoire de l’Édition Contemporaine), to whom Chéreau donated his personal archives, Eric Mézil suggested, in his capacity as curator of the exhibition, an itinerary associating his notes, sketches and filmed interviews with works of art from various periods, with a predilection for the grand masters of the Romantic movement, including Delacroix, Géricault, Ingres, Chassériau, and for 20th century masters, from Giacometti, with the Portrait of Jean Genet, to Anselm Kiefer and his evocations of Richard Wagner, and from Francis Bacon to Cy Twombly who, like Chéreau, grasped the essence of Greek tragedy.  

 

Theatre, film and opera, the three themes associated with Chéreau’s polymorphous œuvre will, of course, be covered in detail both in the exhibition and the catalogue. But the approach characterizing the exhibition will consist of submerging the visitor in the artist’s world; every room in the exhibition will represent a digest of his obsessions and passions; the man of the theatre’s writings will be used to illustrate his three preferred artistic fields, describing his political engagement, the AIDS years, the relationship between love and the body, and his passion for classical and contemporary history.