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12.09.11 > 05.03.12


TABLE OF CONTENTS 1. INTRODUCTION TO THE EXHIBITION.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02 2. THE EXHIBITION I  The labyrinth AS architecture... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03 II  Space / Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03 III  The mental labyrinth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 04 IV  Metropolis... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 05 V  Kinetic dislocation.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06 VI  Captive. ..... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 07 VII  Initiation / Enlightenment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08 VIII  Art as labyrinth.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09

3. LIST OF EXHIBITED ARTISTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 4. LINEAGES, LABYRINTHINE DETOURS - WORKS, HISTORICAL AND ARCHAEOLOGICAL ARTEFACTS. . . . . . . . . . . . . . . . . . . . 12 5. COMMISSIONED WORKS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 6. EXHIBITION DESIGN.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 7. THE LENDERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 8. THE CATALOGUE... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 9. THE EXHIBITION GAME: LABYRINT* IN A VALISE (*H)... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 10. CREDITS.. ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 11. events aND PERFORMANCES... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 12. PARTNER VENUES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 13. VISITOR INFORMATION.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 14. PATRONS AND PARTNERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 15. PRESS VISUALS... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 01


1. INTRODUCTION TO THE EXHIBITION Wander, Labyrinthine Variations follows Masterpieces ? as the second major thematic exhibition at the Centre Pompidou-Metz.

Beyond its historical references, Wander, Labyrinthine Variations sets out to represent certain contemporary aesthetic, political and intellectual trends of our era. It addresses the history of forms and ideas by challenging a strictly linear model or progressive vision. Instead, it multiplies possibilities, draws the visitor into zones of confusion, multiple choices and lays obstacles to our apprehending of what is real, with all that this implies in terms of adventurous speculation and uncertainty.

Wander, Labyrinthine Variations is an international group exhibition, which takes its cue from the model of the labyrinth, tackling the notions of straying, loss and wandering as well as their various representations in contemporary art. Mystical, archaic forms, labyrinths and mazes are examined here as metaphors. They form complex figures that associate the image of non-linear progression through bends, curves, repentance and returns… whether architectural, mental, economic or structural in nature. The show itself is organised thematically according to a sinusoidal principle that follows the detours and polysemy of the subject itself, offering a loss of reference both figuratively as well as formally. It veers from an architectural maze to thoughtful meandering, from global political-economic chaos to disorientated contemporary urbanism, from bodily spatial confinement to maieutics, from exploded narration in cinema or literature to geometric abstraction as an eye-catcher.

Unfolded on 2,000 square metres across two of the gallery spaces at Centre Pompidou-Metz, the exhibition shows different generations of French and international artists, alongside major works from the Centre Pompidou, Musée national d'art moderne in Paris and important international collections. There will also be specific commissions by Matt Mullican, Public Space With a Roof and re-enacted pieces by Gianni Colombo, Gianni Pettena and Julio Le Parc. Wander, Labyrinthine Variations is also a game in the form of an enigma - Labyrint* in a Valise (*h) - elaborated by the independent curator, Jean de Loisy.

The exhibition is presented in eight themed parts, which develop the subject from an angle that is both conceptual and sensory. Painting, architecture, penetrable works, sculptures, films, maps and archaeological artefacts offer as many different perspectives on, and immersions in, these curious and surprising worlds.

THE CURATORS Hélène Guenin Head of Programming Department at the Centre Pompidou-Metz

Guillaume Désanges Curator, Art Critic, Director of Work Method

Hélène Guenin was appointed Head of programming at the Centre Pompidou-Metz in November 2008. Alongside Laurent Le Bon, she supervises exhibition projects and parallel programming in the Wendel Auditorium and the Studio. Prior to this, from 2002 to 2008, she worked with Béatrice Josse at the Fonds régional d'art contemporain in Lorraine.


Guillaume Désanges has curated numerous exhibitions in France and internationally. He is the director of Work Method, an independent production entity. Between 2001 and 2007, he coordinated artistic activity at Les Laboratoires in Aubervilliers. In 2007-2008 he was head of programming at La Tôlerie Arts Centre in Clermont-Ferrand. Since 2009, and until 2011, he has been guest curator at Le Plateau-Frac Ile de France arts centre in Paris for a series of exhibitions entitled Érudition Concrète.


2. THE EXHIBITION I - The labyrinth AS architecture The labyrinth originates in architecture. Greek mythology popularised the concept with the Minotaur, a creature that is half-man, half-bull, imprisoned in a construction so complex that no one can find their way out. Invented by Daedalus, the original labyrinth was thus based on paradox: how can a rational, methodical structure produce confusion, disorientation and wandering? Modern-day architects and artists have considered these questions anew, and imagined principles based on broken lines, twists and turns, tangles and bulges. This part of the exhibition looks at practices which are both programmatic and decorative, and which break with the readability of straight lines. Yona Friedman Étude pour la ville spatiale,1958-1959 Project Photocopy and felt tip pen on paper 29.7 x 42 cm Centre Pompidou, Paris Collection Musée national d’art moderne / Centre de création industrielle Gift from the architect, 1992 © Adagp, Paris 2011 / Collection Centre Pompidou, Dist. RMN / Philippe Migeat

Kazimir Malevich (according to) Suprematist Ornaments, 1927-2002 Reconstructed by Poul Pedersen 7 original parts and 11 reconstructed parts mounted on a plate Plaster 27.5 x 45 x 60 cm Centre Pompidou, Paris Musée national d’art moderne / Centre de création industrielle

Kasimir Malevitch

© Adagp, Paris 2011 / Collection Centre Pompidou, Dist. RMN / Philippe Migeat

Painter of Black Cross and Suprematist Composition: White on White, two major works of the avant-garde abstract movement, Kazimir Malevich turned to geometry and volume in the 1920s, during Suprematism's "white phase." In 1926-1927, in Leningrad, Malevich produced a series of models which he called Architektons. They include Bêta and Suprematist Ornaments. The way the various plaster shapes align arose from the artist's study of the effects of moving a square to different positions to produce rhomboid shapes of various lengths. The cube, considered the "point zero" of architecture, becomes the minimum unit, the perfect volume, divest of all concrete purpose, multiplying and proliferating in space. Henceforth, Malevich's three-dimensional work was permeated with the fundamental question of how to include the body in a white and immaterial abstraction of architecture. These two symbols of Malevich's three-dimensional work were reconstructed by Danish artist Poul Pedersen in 1978.

II - Space / Time

Yona Friedman Architect Yona Friedman was born in Budapest and has lived in Paris since the late 1950s. Early on in his career, Friedman sought to distance himself from the intensive constructions of the post-war era. He founded the Groupe d'Architecture Mobile (GEAM), whose "mobile architecture" places the user firmly at the centre of the design, in contrast to previous and existing views which, Friedman believed, tended to see users almost as an irrelevance, or at best an abstract identity. The "spatial city" utopia, which is illustrated in this series of drawings, seeks to give form to the basic tenets of mobile architecture. Friedman's adaptable, non-prescriptive structures allow for individual expression and for groups to choose their preferred layouts through a grid structure in which walls and space alternate and exchange: "The city, as a mechanism, is nothing other than a labyrinth: a configuration of starting points and destinations, separated by obstacles". The project's utopian dimension appears in these drawings of cities which might appear more at home in works of fiction, so far removed are they from conventional architectural plans. We are offered a fantasy as food for thought, an object of beauty and inspiration for new ways of living in the cities of the modern world. 1. Quoted in Architecture Expérimentale, 1950-2000, Marie-Anne Brayer (ed.) Collection Frac-Centre, Orléans, Hyx, 2003, p. 214.

The labyrinth is the archetypal space that generates time. Inside the labyrinth, times feels warped in a succession of detours that bring us back to our starting point. In mathematics, spirals, loops and Möbius strips are the physical embodiment of this paradoxical progress through space and time. Each of the works and projects in this section identify with this highly specific dynamic immobility or involution, examples of which are also found in the natural world, in seashells and nebulae, from mystical wanderings to the revolving planets. Frederick Kiesler Exterior view of the Endless House model, 1958 Photograph Gelatin silver print 25.4 x 20.3 cm Photograph: George Barrows Architecture & Design Study Center The Museum of Modern Art, New York © 2011 Austrian Frederick and Lillian Kiesler Private Foundation, Vienne / Photo: 2011. Digital image, The Museum of Modern Art, New York/Scala, Florence


PRESS PACK - WANDER, LABYRINTHINE VARIATIONS Frederick Kiesler Artist, architect, architectural theorist and member of the De Stjil group, throughout the inter-war period Kiesler developed and defended a style of architecture that was radically opposed to the prevailing functionalism; a style that embraced suspensions, curves, sensuality and mobility, in direct contrast with the all-pervading perpendicular. Kiesler was the undisputed pioneer of spirals and continuity in architecture. "In 1924-1925, I eliminated separations in house-building, that is the distinction between floor, walls and ceiling, and I created a single continuum of floor, walls and ceiling." Towards the late 1920s, he began work on Endless House, a project that would occupy him for virtually the rest of his life. This continuous, eggshaped structure suggests a cave, a seashell, even the organic. Indeed, the project developed, grew and changed over time as though it too were a living organism. Drawings, photographs, models, poems and painting illustrate these 40 years of research. They are shown alongside the models on exceptional loan from the MoMA and the Whitney Museum of American Art in New York. Robert Smithson Spiral Jetty, 1970 16mm film, colour, audio, running time 32' Centre Pompidou, Paris Musée national d’art moderne / Centre de création industrielle Acquisition, 1975 © Adagp, Paris, 2011 / Collection Centre Pompidou, Dist. RMN / image Centre Pompidou

Mike Kelley Educational Complex (detail),1995 Various materials 146.7 x 488.2 x 244.2 cm Whitney Museum of American Art, New York Acquired with funds from the Contemporary Painting and Sculpture Committee Courtesy of the artist Photo: Göran Örtegren

Mike Kelley Educational Complex resembles an architect's model but is in fact a form of autobiography as Kelley has assembled the buildings – home, school, church, etc. - that have played a significant part in his life. All symbols of authority, they trigger thoughts on individual trauma and repressed memories. Empty spaces have deliberately been left in the buildings to represent gaps in the memory. Beyond references to psychoanalysis and the Freudian subconscious, the amalgam of buildings in Educational Complex touches on recent debates in the cognitive sciences, in particular the evolutionary theory which states that the human mind consists of a large number of semi-independent units. Kelley invites observers to get lost in this labyrinth of inaccessible blocks, maybe even slip, voyeur-like, underneath to see the basement at Cal Arts, where Kelley was a student. Educational Complex also plays with the suspended volumes around it, reminders of the mobiles that hang above a baby's cot. Thomas Hirschhorn and Marcus Steinweg The Map of Friendship between Art and Philosophy…, 2007 Cardboard, paper, plastic sheet, clear tape, prints, photocopies, marker, ballpoint 240 x 400 cm

Robert Smithson Robert Smithson's Spiral Jetty was built on Great Salt Lake in Utah in April 1970. It is a 500-metre long, five-metre wide spiral made of mud, salt crystals and rocks. An icon of land art, this "outside-the-gallery" sculpture results from a direct experience of the environment. In the corresponding film, Smithson narrates how the work was created, and describes a staggering number of references. It begins with a closeup of the molten surface of the sun, followed by an alternating sequence of maps and stacks of books (including The Lost World, and Mazes and Labyrinths). After a sequence showing the actual building of the jetty, the final part comprises a series of aerial views during which the helicopter blades rhythmically whirr in time with the voice of the artist, whose thoughts leap and twirl with the sunlight. As the camera whirls, it minutely examines the spiral that blackly scars the vast shimmering surface of the water - a mirror so often used by Smithson to question our perception of reality. The spiral conveys the infinite and the off-centre; it blurs our bearings as it coils around itself and unites opposites: inside/outside, microcosm/macrocosm, immobility/movement, appearance/disappearance.

III - The mental labyrinth The structure of the human mind is often likened to a labyrinth. In physical terms, the brain can be seen as an inextricable network of neurons and synapses while, metaphorically, "thinking is like entering a maze" (Cornelius Castoriadis). In philosophy, wandering and digression are necessary stages in the quest for truth. The mental labyrinth encompasses knowledge, as well as dreams and memory. It embodies the depths of consciousness, from loss to revelation, through which we attain the "light through darkness" which Henri Michaux describes. Various ways of formalising thought are assembled here, in the work of artists who map these complex areas of the mind and invent new orders of ideas and reality.


Stephen Friedman Gallery, Londres

Thomas Hirschhorn

Courtesy of the artist and Stephen Friedman Gallery, London / Photo: Stephan White

The Maps, which the artist Thomas Hirschhorn has made with the philosopher Marcus Steinweg, form a subjective panorama of western philosophy. These map-pictures use fragile materials such as underlined and annotated pages from books. The works, which have an aura of urgency and necessity, visually portray the thought mechanisms of the likes of Michel Foucault, Hannah Arendt and Spinoza, and the connections they have established between concepts. Mapping philosophical thinking, or indeed one's own thoughts as in MOI-MAP, implies entering a brain at work; part system, part chaos. These works are based on the belief that there is a direct, stimulating, vibrant connection between art and thought. This first-ever showing of the complete collection of Maps takes visitors inside the artist's thought processes in an all-encompassing scenography. Jacques Fabien Gautier d’Agoty Myologie complète en couleur et grandeur naturelle, composée de l’Essai et de la Suite de l’Essai d’anatomie en tableaux par Gautier d’Agoty, Anatomie de la tête, 1746 Coloured mezzotint 53.5 x 37 cm Bibliothèques-Médiathèques de Metz © Bibliothèques-Médiathèques de Metz / Département Patrimoine

PRESS PACK - WANDER, LABYRINTHINE VARIATIONS Agnes Denes Snail Pyramid-Study for Self-Contained, Self-Supporting City Dwelling – A Future Habitat, 1988

moveable walls. The social lives of the residents of these cities of the future become a game while the buildings, with their multiple interpretations, become a flickering array of interacting desires. The labyrinth was a constant source of inspiration for Constant even beyond his New Babylon project, the archetype for both interior thought and for the unexpected, the accidental. Ian Breakwell The Walking Man diary, 1975-1978

Ink on clear millimetred plastic film 98.4 x 145.4 cm

Black and white photographs on paper, typed and handwritten texts on paper 123.3 x 615.9 x 1.9 cm

The Museum of Modern Art, New York Courtesy of the artist Photo: © 2011. Digital image, The Museum of Modern Art, New York/Scala, Florence

Tate Acquisition, 2001

Agnes Denes A pioneering artist in land art and conceptual art, Agnes Denes' practice is a crossover between science and art. Her interventions in landscape and nature are indicative of her belief in the importance of art as a trigger for social change: "A well-conceived work can motivate people, unite communities, and affect the future,” she writes. This is the erudite line of thought that lies behind the artist's inroads into politics. Mathematics, natural science, philosophy, linguistics and social science are all grist to her mill. The drawings in Wander bring to mind scientific documents, blueprints and diagrams. They show us synthetic mathematical shapes such as pyramids and triangles, and reveal her fascination with the spiral motif, the perfect mathematical form, which recalls the golden ratio. Agnes Denes sets out to chart human thought and language.

IV - Metropolis Described by the poet Emile Verhaeren as "tentacular", the modern city has much in common with the labyrinth. Viewed from a distance, it resembles a comprehensible network but once in its midst, this network reveals itself to be an inextricable web of chaos. Thus it elicits new behaviours – inadvertent or deliberate drifting, marginality and dispersion – and becomes a new space for individual adventure. Paul Citroen's Metropolis, which inspired Fritz Lang's film, embodies the overwhelming, the dizzyingly dense in much the same way as the Babylon of antiquity, the symbol of power and authority. These mythical cities inspire a new kind of artist-surveyor/cartographer. They portray the complexity of the modern city, or approach it as a playground and laboratory, part poetry, part social deviance. Constant (Constant Anton Nieuwenhuys, known as) Leiterlabyrinth, 1967 Brass, glass, acrylic, wood 72 x 86.5 x 96.6 cm Friends of the Stiftung Wilhelm Lehmbruck Museum, Duisburg, Germany © Adagp, Paris 2011 / Photo: Lehmbruck Museum, Duisburg, Allemagne

Constant Nieuwenhuys known as Constant A Dutch artist and architect, Constant was a founding member of the Cobra group of artists. From 1956 to 1974, he worked on a visionary architectural project that he called New Babylon. Arising from Constant's involvement with the Situationists, the project combined utopian and activist principles. The inhabitants of this New Babylon move from place to place within an endless network of "sectors" and, as they do, redefine each aspect of their surroundings to their own wishes. Walls, floors, lighting, sounds, colours, textures and smells constantly change in this infinite chain of multi-level interior spaces that connect and propagate until they cover the planet. The sectors float above the ground on top of tall columns, while traffic rushes below and aeroplanes ply the skies above. Inhabitants move around the labyrinthine interiors, continually reconstructing their surroundings, altering the lighting and reconfiguring the temporary,


Ian Breakwell

© Tate, London 2011. Courtesy The Estate of Ian Breakwell and Anthony Reynolds Gallery, London

The Walking Man Diary is a photographic record that the British artist Ian Breakwell made between 1975 and 1978. From the window of his London flat, Breakwell watched a man's daily drifting through the tumult of Smithfield Market. With bowed head, the unknown man would walk the streets, with no apparent purpose but to follow the same twisting, turning route. Over a period of three years, the artist, who was interested in the observation and surveillance of social deviance, sequentially recorded the enigmatic path travelled by this man on the fringes of society. Breakwell takes the stance of a critical observer of normality, as defined and imposed by society. The Walking Man Diary is presented as a series of collages that chart the physical and mental wanderings of this unknown man over a given time frame. In 1977 the walking man disappeared. He reappeared in 1978, walking more slowly. He disappeared for good in 1979. Paul Citroen Metropolis, 1923 Reproduction 76 x 59 cm Leiden University Library, The Netherlands © Adagp, Paris 2011 / Photo: University Library Leiden, the Netherlands


V - Kinetic dislocation This part of the exhibition considers experiences of loss in its physical and optical dimensions. From the 1950s, kinetic artists began to conduct plastic research into movement, whether achieved mechanically by the observer's movement, or resulting from the material's own inner vibration. These necessarily interactive works elicit feelings of illusion and disorientation, halfway between giddiness and wonder. They use extremely simple mechanisms to produce momentous disorientation of perception. They are shown with films that associate the kinetic experience with psychological confusion. Julio Le Parc Continuel-lumière cylindre, 1962 Various materials 171 x 122 x 35 cm Artist's collection © Adagp, Paris 2011. Daros Latinamerica Collection, Zürich / Photo : Adrian Fritschi, Zürich

Gianni Colombo Spazio elastico, 1967 - 1968 Reactivation Engine, elastic threads 400 x 400 x 400 cm Archivio Gianni Colombo, Milan Courtesy Archivio Gianni Colombo, Milan. Photo: Eckart Schuster, droits réservés

Gianni Colombo Part of a flourishing art scene in Milan, Gianni Colombo came to international attention in the 1950s and 1960s as one of arte ambientale's most iconic figures. Significantly influenced by Lucio Fontana, he saw works of art as participatory objects that demand interaction with their audience. He was one of the founding members of Gruppo T, a collective that invited the public to "co-create" its exhibitions. The movement of the alveolar cylinders of Strutturazione acentrica (1962) produces a kinetic effect, sometimes caused by the deplacement of the spectators themselves. Varying in size and colour, these mobile sculptures produce an unceasing cycle of light waves that flow along their walls. Installed for the first time in 1967, Spazio Elastico is an immersive environment, comprising a dark space criss-crossed by fluorescent elastic threads. Inside the installation, the observer slowly becomes aware of this kinetic light device that disorientates and at the same time instils a feeling of sensorial wonderment.

Julio Le Parc As a leading exponent of kinetic art, the work of Julio Le Parc features prominently in the exhibition. From 1960, Le Parc was an active member of the GRAV research group into visual art, alongside François Morellet, Horacio Garcia Rossi and Francisco Sobrino, Pierre Yvaral and Joël Stein. The group's projects advocate active or involuntary participation on the part of the spectator, and simplicity of form. Between 1963 and 1967, GRAV installed four labyrinth-exhibitions in museums and public spaces. The group was drawn to the labyrinth not only as a means of creating an alternate space within the museum, but because its very form favours the concept of a path or route, and the introduction of a playful, sensory approach to the work. The labyrinth thus becomes a space where new sensations are offered and the senses repeatedly elicited. It is a space that is experienced and perhaps, on occasion, endured, as the visitor becomes actively involved with the works and the unfolding path. The group was dissolved in 1968. Julio Le Parc, meanwhile, has continued his research into light. Part of Galerie 1 is set aside for Le Parc, who has installed large-scale works in rooms plunged into darkness. Visitors are invited to enter the installations and experience light as a constantly changing work of art. Places of distraction, contemplation and meditation, Le Parc's works disorient the visitor as the diffraction and scintillation of prisms of light blur visual bearings. Julio Le Parc was awarded the Grand Prix for painting at the 1966 Venice Biennale for his light installations.


Henri-Georges Clouzot La Prisonnière, 1968 35 mm film transferred to video, colour, audio Running time: 101'40” Studio Canal La Prisonnière © 1968 StudioCanal - Fono Roma


VI - Captive

Gego (Gertrud Goldschmidt, known as) Reticulárea 1972

The fundamental paradox of the labyrinth lies in its twofold purpose: to imprison and simultaneously protect the Minotaur. An insidious, open, constantly shifting prison, the labyrinth allows a certain degree of freedom while controlling from afar. The inability to fully comprehend where a space begins and ends, the loss of bearings and the absence of any map produce a feeling of confused claustrophobia, no matter how many perspectives the labyrinth seemingly opens. Like a spider's web, this complex architecture is a trap that encircles, closes in on and ultimately suffocates. The labyrinth thus elicits ambivalent responses, part protection and part conditioning, as well as magnificent and also desperate attempts to escape. Rem Koolhaas, Madelon Vriesendorp, Zoe Zenghelis, Elia Zenghelis Exodus or the Voluntary Prisoners of Architecture Exhausted Fugitives Led to Reception, project, 1972 Installation made of 18 gelatine silver proofs, gouache, watercolour, paper 148 x 915 cm (total dimensions) The Museum of Modern Art, New York Gift from Patricia Phelps de Cisneros, Takeo Ohbayashi and Susan de Menil acquisition fund

Rem Koolhaas

© Adagp, Paris 2011 / Photo: 2011 Digital image, The Museum of Modern Art, New York / Scala, Florence

In 1972, the Dutch architect and theorist Rem Koolhaas (RK) produced a series of 18 drawings, watercolours and collages entitled Exodus, or The Voluntary Prisoners of Architecture. Created against a backdrop of political tension, it is a portrait of the psychological and symbolic effects of the Berlin wall, which RK describes as being "infinitely more powerful" than the object (the wall) itself. The decision to build the wall was made in 1961 to physically separate Germany and the allied forces from the Soviet Union, after the Second World War. Its purpose was to stem population movements and exodus. The wall became the symbol of this policy and of the tension inherent in the Cold War. Exodus is a critical and uncompromising parody of political and utopian ideals. It is a fictional account of a process to build a new area above an existing city – in this instance an imaginary London. This new walled city becomes an object of desire for those on the outside, but a gilded cage for its residents or "voluntary prisoners." RK emphasises the power of architecture, and draws our attention to its ambiguity and dangers. In addition to this historical reference, Exodus is a critical study of the capitalist system and productivity through theories of socialism that reject the idea of labour. The inhabitants of this new city are freed from the obligation to work; Exodus takes us inside a city divested of existing spatial, social and economic relations, going as far as to abolish capital. Piranese (Giovanni Battista Piranese, known as) Carceri d’invenzione (Prisons imaginaires), 1745-1761 Series of 16 etchings 56 x 79 cm each Bibliothèques-Médiathèques de Metz © Bibliothèques-Médiathèques de Metz / Département Patrimoine


Exhibit view Museo de Bellas Artes, Caracas © Archivo Fundación Gego Photo Paolo Gasparini

Gertrud Goldschmidt, known as Gego Gertrud Goldschmidt, commonly known as Gego, was born in Germany but emigrated to Venezuela in 1939. Along with her Venezuelan compatriots Alejandro Otero, Jesus Raphael Soto and Carlos Cruz Diez, she is one of the most important artists from 1950s to 1970s. The kinetic movement in Venezuela embodied the country's modernism and progressivism; evolving on its margins, Gego's work is singular in its search for the essential, its analytical dimension and its fragility. In 1965, Gego began working with steel rods and wires to fill space with an evolutive geometry. Her many reticuláreas show how she used her knowledge of mathematics to support her quest for a shape that would be "as fleeting as it is magical." Our vision is continually renewed by the exploded shapes and flowing, shifting configurations that produce a completely new awareness of space. Both her three-dimensional works and works on paper appear to trap the spectator's vision in the intricate mesh of a net or a spider's web. Wander presents a significant selection of Gego's work, which gained full recognition in 1969 with her Reticulárea exhibition at the Museo de Bellas Artes in Caracas. Mona Hatoum Light Sentence, 1992 Installation, 36 wire mesh lockers, electric motor, timer, light bulb, cables, electric wire Various dimensions Centre Pompidou, Paris Musée national d’art moderne / Centre de création industrielle State acquisition, 1994, attributed to Centre Pompidou, Paris © Mona Hatoum, 2011 / Photo: Collection Centre Pompidou, Dist. RMN / Philippe Migeat

Mona Hatoum Light Sentence, a play on words with life sentence, is one of Mona Hatoum's early installations. It comprises stacks of wire mesh lockers of the type once found in public baths and factory changing-rooms in England. "I immediately could see the associative potential of this locker because it looked more like a little animal cage that you would see in a lab or a chicken factory. It also looked like an architectural model of a skyscraper," she explains.Lighting is deliberately theatrical, consisting of a single bulb in the centre of the installation that moves slowly up and down. The wire mesh recalls the constant surveillance in prisons and science labs. Light Sentence brings to mind the Panoptican imagined by Jeremy Bentham in the eighteenth century, and which forms the basis of Michel Foucault's analysis in Discipline and Punish (1975).


VII - Initiation / Enlightenment As a sinuous path strewn with obstacles and trials, the labyrinth has, from the very inception of the myth, been associated with the initiatory quest, both spiritual and physical. This concentric, spiralling progression has a moral, even heroic, dimension, whether processional route or symbol of wisdom, church labyrinth or Tibetan mandala. One emerges from the labyrinth as another; it is a pretext for a journey to self-knowledge. Finding one's way through the labyrinth is like finding a path through life, with its choices, hesitations and periods of wandering as we move towards self-fulfilment. In contemporary art, this moral dimension is sometimes portrayed metaphorically, within the ordinary and the banal. Maya Deren & Alexander Hammid Meshes of the Afternoon, 1943 16mm black and white film, audio, running time 13' Centre Pompidou, Paris Musée national d’art moderne / Centre de création industrielle Acquisition, 1987 © Tavia Ito et droits réservés pour Alexander Hammid

Maya Deren Meshes of the Afternoon is a 1943 experimental short film, directed by Maya Deren and her husband Alexander Hammid. Maya Deren plays the main character who, in a waking dream, performs a series of symbolic actions. Everyday objects such as a key, a knife, a flower, and a telephone play a crucial role, and create an unsettling atmosphere. The key and the knife repeatedly change places to finally become a weapon for suicide. One after the other, these curious events form an endless dream. The film eschews the conventions of linear narration and invites its audience to become lost among the overlapping shots and sequences. Meshes of the Afternoon made Maya Deren, who claimed Jean Cocteau as a major influence, the leading artist in the field of New American Cinema. The film went on to inspire other experimental filmmakers, such as Kenneth Anger and Stan Brakhage. Plate from the exhibition catalogue Representations of games of snakes and ladders Graphical design: Les Associés réunis


Bas Jan Ader In Search of the Miraculous (one night in Los Angeles), 1973-1975 Photographs and ink on paper 14 parts, 27.5 x 34.5 cm each Kröller-Müller Museum, Otterlo © Bas Jan Ader, droits réservés / Collection KröllerMüller Museum, Otterlo, PaysBas / Photo: Tom Haartsen

Bas Jan Ader Bas Jan Ader's work resembles an existential quest, and represents a subjective change of direction in conceptual art. In In Search of the Miraculous (one night in Los Angeles), he spends the night walking in Los Angeles, "that wild, romantic city where so many extremes come together." The sequence of photographs from this performance presents a unity of time, action and place. The long walk takes him from the city's suburbs to the Pacific Ocean, the furthest point of his quest. The film is a homage to his adopted home town and combines references to pop music culture, Hollywood's film noir, and the photographic tradition of works that convey the atmosphere of the city at night, such as Brassaï's photographs of Paris. This, at times romantic, journey made in 1973, was intended to be the first part of a trilogy. Shortly after, Ader set sail in a 13-foot pocket cruiser to attempt a single-handed transatlantic crossing. Nine months later, the wreck of the boat was found off the Irish coast.


VIII - Art as labyrinth Avant-garde and modern artists challenged the idea, inherited from the Renaissance, of representing the world from a single perspective, or vanishing point. The explosion of points of view on the surface of the canvas, and the increasing abstraction of form, were accompanied in experimental cinema by a corresponding blurring of meaning and deconstruction of the linear storyline. The empty space created between meaning and form is the very place of vertigo. Thus a work of art becomes a conceptual, sensual labyrinth where we can lose ourselves. It is a complex, auto-referential structure, the experience of which defies all reason, yet which brings us to a new form of understanding. Art & Language (Michael Baldwin and Mel Ramsden) Index : Incident in a Museum – Francisco Sabate, 1986 Acrylic on canvas 176 x 274.5 cm Fonds régional d’art contemporain de MidiPyrénées, les Abattoirs, Toulouse Deposited at les Abattoirs, Toulouse Acquired from the artists, 1986

Art & Language

© Art & Language / photo: J-L. Auriol

Between 1985 and 1987, Michael Baldwin and Mel Ramsden created Incident in a Museum, a series of pictures depicting galleries in an imaginary modern art museum. The two artists had been working together as part of the Art & Language collaboration since late 1976, and were now ready to reintroduce painting as their core practice, after a decade producing mostly text works. The paintings in the Incident in a Museum series closely resemble interior views of, hypothetically, the Whitney Museum of American Art; the observer can even make out, among the overlapping maze of spaces, the reflection of the very work they are looking at. Index: Incident in a Museum XV (1986) shows a gallery in the museum with a horizontal picture-rail, from which hangs a picture that exactly reproduces the layout of the series. Mel Ramsden and Michael Baldwin use this device to present a dizzying mise en abyme of the museum, substituting continually subdividing architecture for works of modern art.


Guy de Cointet The Tattoing on his back…, vers 1982 Ink on Arches paper 78 x 92 x 3.5 cm Collection Air de Paris, Paris Guy de Cointet estate © Succession Guy de Cointet Courtesy Air de Paris, Paris

Guy de Cointet French-born artist Guy de Cointet emigrated to the United States in the late 1960s, where he developed a body of work that explores the possibilities offered by language and text, via an enigmatic narrative style. A littleknown figure of conceptual art, he was close to Mike Kelley, Paul McCarthy and John Baldessari, all of whom shared his taste for physical art. Guy de Cointet's work testifies to his interest in language codes; many use a form of symbolised writing, similar to hieroglyphs. His drawings, objects and diagram works come to life as props for his theatre performances, in which language is one of the characters. His drawings are graphic explorations of the page. More densely populated areas are juxtaposed with sparser zones in which language's potential for abstraction of all kinds is revealed. A shift occurs between the signifying caption and its coded representation of simple geometric strokes, vertical and horizontal lines that become architectural, labyrinthine angles.



(New York, United States, 1940 – lives in New York)

Bas Jan Ader (Winschoten, Netherlands, 1942 – lost at sea between Cape Cod and Ireland, 1975)

Jacques Fabien Gautier d’Agoty (Marseille, 1716 – Paris, 1785)

(Petilla de Aragón, Spain, 1852 – Madrid, Spain, 1934)

Francis Alÿs (Antwerp, Belgium, 1959 – lives in Mexico City, Mexico) Carl Andre (Quincy, United States, 1935 – lives in New York, United States) Art & Language: Michael Baldwin (Chipping Norton, England, 1945), Mel Ramsden (Ilkeston, England, 1944 – live in Middleton Cheney, England)

Paul Citroen (Berlin, Germany, 1896 Wassenaar, Netherlands, 1983)

Marcel Duchamp (Blainville-Crevon, 1887 Neuilly-sur-Seine, 1968)

Gianni Colombo (Milan, Italy, 1937 – Melzo, Italy, 1993)

Constant (Constant Anton Nieuwenhuys, known as) (Amsterdam, Netherlands, 1920 – Utrecht, Netherlands, 2005)

F Harun Farocki

Coop Himmelb(l)au: Wolf D. Prix (Vienna, Austria, 1942), Helmut Swiczinsky (Poznan, ´ Poland, 1944 – live in Vienna, Austria and Los Angeles, United States)

(London, England, 1922 – lives in London, England)

Gino de Dominicis (Ancona, Italy, 1947 – Rome, Italy, 1998)

E Viking Eggeling


(Lund, Sweden, 1880 – Berlin, Germany, 1925) David-Georges Emmerich (Debrecen, Hungary, 1925 – Paris, 1996)

ˇ Neutitschein, (Nový Jicín, Germany, 1944 – lives in Berlin, Germany)

León Ferrari (Buenos Aires, Argentina, 1920 – lives in Bueos Aires) Michel François (Saint-Trond, Belgium, 1956 – lives in Brussels, Belgium) & François Curlet (Paris, 1967 – lives in Paris and Brussels, Belgium)

Lee Bontecou (Providence, United States, 1931 – lives in Orbisonia, United States)

Agnes Denes (Budapest, Hungary, 1931 – lives in New York, United States)


Yona Friedman (Budapest, Hungary, 1923 lives in Paris)

Thomas Hirschhorn (Berne, Switzerland, 1957 – lives in Aubervilliers) & Marcus Steinweg (Koblenz, Germany, 1971 – lives in Berlin, Germany) Isidore Isou (Jean-Isidore Isou Goldstein, known as) (Botosani, Romania, 1925 – Paris, 2007)

(Detroit, United States, 1954 - lives in Los Angeles, United States)

Toba Khedoori (Sydney, Australia, 1964 – lives in Los Angeles, United States)

Abbas Kiarostami (Teheran, Iran, 1940 – lives in Teheran)

Frederick Kiesler (Czernowitz, AustroHungarian Empire, 1890 – New York, United States, 1965)

Bela Kolárová (Terezín, Czechoslovakia, 1923 – Prague, Czech Republic, 2010)

Rem Koolhaas (Rotterdam, Netherlands, 1944 – lives in Rotterdam),

G Gego (Gertrud Goldschmidt, known as) (Hamburg, Germany, 1912 – Caracas, Venezuela, 1994)

Mona Hatoum (Beirut, Lebanon, 1952 – lives in London, England)

K Mike Kelley

D Guy Debord (Paris, 1931 – Champot, 1994)

Joseph Grigely (East Longmeadow, United States, 1956 – lives in Chicago, United States)

H Richard Hamilton

Guy de Cointet (Paris, 1934 – Los Angeles, United States, 1983)

Julien Discrit (Epernay, 1978 – lives in Paris)

Henri-Georges Clouzot (Niort, 1907 – Paris, 1977)

Didier Beaufort (Liege, Belgium, 1955 – lives in Brussels, Belgium) Christophe Berdaguer (Marseille, 1968) & Marie Péjus (Marseille, 1969 – live in Paris and Marseille)

Vija Celmins (Riga, Latvia, 1938 - lives in New York, United States)

Maya Deren (Kiev, Russia, 1917 – New York, United States, 1961) & Alexander Hammid (Linz, Austro-Hungarian Empire, 1907 – New York, United States, 2004)

B Saul Bass (New York, United States, 1920 – Los Angeles, United States, 1996)

C Santiago Ramón y Cajal

Ian Breakwell (Long Eaton, England, 1943 – London, England, 2005)


Madelon Vriesendorp (Bilthoven, Netherlands, 1945 – lives in London, England), Zoe Zenghelis (Athens, Greece, 1937 – lives in London, England), Elia Zenghelis (Athens, Greece, 1937 – lives in Brussels, Belgium)

Matt Mullican (Santa Monica, United States, 1951 - lives in Berlin, Germany)

N Rosalind Nashashibi (Croydon, England, 1973 – lives in London, England)

P Gianni Pettena

Svetlana (Voronej, USSR, 1950) & Igor Kopystiansky (Lviv, USSR, 1954 – live in New York, United States)

(Bolzano, Italy, 1940 – lives in Fiesole, Italy)

Piranèse (Giovanni Battista Piranese, known as) (Mogliano Veneto, Republic of Venice, 1720 – Rome, Italy, 1778)

Public Space With a Roof: Tamuna Chabashvili (Tbilisi, Georgia, 1978), Adi Hollander (Brussels, Belgium, 1976), Vesna Madzoski (Zajecar, Serbia, 1976 – live in ˇ Amsterdam, Netherlands)

Kisho Kurokawa (Nagoya, Japan, 1934 – Tokyo, Japan, 2007)

L Andreas Laurentius (Arles, 1558 – Paris, 1609)

Julio Le Parc (Mendoza, Argentina, 1928 – lives in Cachan)

Augustin Lesage (Saint-Pierre-lez-Auchel, 1876 - Burbure, 1954)

Barry Le Va (Long Beach, United States, 1941 – lives in New York, United States) Mark Lombardi (Syracuse, United States, 1951 – New York, United States, 2000)

R Jean Renaudie (La Meyze, 1925 – Ivry-sur-Seine, 1981)

S Nicolas Schöffer (Kalocsa, Hungary, 1912 – Paris, 1992)

Robert Smithson (Passaic, United States, 1938 – Amarillo, United States, 1973)

Frank Stella (Malden, United States, 1936 – lives in New York, United States)

Richard Long (Bristol, England, 1945 – lives in Bristol)

M Kasimir Malevitch (Kiev, Russia, 1879 – Leningrad, USSR, 1935)

Corey McCorkle (La Crosse, United States, 1969 - lives in New York, United States)

Alexandre Rodtchenko (Saint Petersburg, Russia, 1891 – Moscow, USSR, 1956)

U Günther Uecker (Wendorf, Germany, 1930 – lives in Düsseldorf, Germany)

Henri Michaux (Namur, Belgium, 1899 – Paris, 1984)

V Isidoro Valcárcel Medina

Vera Molnár (Budapest, Hungary, 1924 – lives in Paris)

Aldo Van Eyck (Driebergen, Netherlands, 1918 – Loenen aan de Vecht, Netherlands, 1999)

Robert Morris (Kansas City, United States, 1931 – lives in New York, United States)


Raphaël Zarka (Montpellier, 1977 – lives in Paris)

(Murcia, Spain, 1937 – lives in Madrid, Spain)

Nicolas Moulin (Paris, 1970 – lives in Berlin, Germany)



4. Lineages, Labyrinthine Detours Works, historical and archaeological artefacts Maps, anatomical plates, old etchings, games and archaeological artefacts are interspersed throughout the exhibition. They offer a view of, or indeed an entrance into, curious worlds, and suggest the emergence and sources of this labyrinthine, speculative train of thought, as they sketch possible lineages or more formal relationships. Thus Piranesi's Carceri are placed alongside works by Gego and Colombo. Gautier d'Agoty's anatomical plates, a phrenological skull, and the first engravings of neuron connections by Santiago Ramon y Cajal introduce the section on mind spaces and knowledge. Mandalas and games of snakes and ladders shed light on questions of moral initiation or the quest for self-knowledge. Treasures from Metz' libraries and multimedia centres, the Louvre, the Musée de Rambouillet, the Musée Testut Latarjet and the Musée Guimet give insight into contemporary aesthetic and intellectual trends, and elucidate ways of structuring thought and knowledge that are still relevant today.

Anonyme Mandala de Kâlachakra Tibet, Fin XVIe siècle Détrempe sur toile 103 x 94 x 4 cm Musée Guimet, Paris © RMN (musée Guimet, Paris) / P. Pleynet

Partie supérieure d'une niche, Ier siècle - IIe siècle après J.-C. Suweida Hauran (Syrie du Sud) Basalte 58 x 89 x 32 cm Paris, Musée du Louvre, Département des Antiquités orientales Don du H.C. R.F. en Syrie, 1927 © Musée du Louvre / Pierre et Maurice Chuzeville



5. COMMISSIONED WORKS Wander has occasioned commissions to artists and requests for re-enactments of important works, such as those by Julio Le Parc, Gianni Colombo, and Gianni Pettena. Some of these commissions are described below.

Matt Mullican Two into One becomes Three, 2011 70 éléments Pastel gras sur toile 1464 x 1098 cm

Public Space With a Roof

Commande du Centre Pompidou-Metz, 2011

Public Space With a Roof is an artists' collective, founded in 2003 in Amsterdam by artists Tamuna Chabashvili and Adi Hollander, and the theorist Vesna Madzoski. Wander has invited the collective to slip between the seams of the exhibition, like a spider spinning its web. The Inverted City offers a mise en abyme of subject and exhibition. As we go from room to room, it reveals the labyrinths and stories that filled the thoughts of the exhibited artists, as well as previously unsuspected connections between some of the works. We follow the thoughts of an imaginary character who haunts the exhibition, speculating on the labyrinth theme, producing notes, illustrations and documentation along the way. PSWR considers both the conceptual dimension of the labyrinth, and how it is transposed into the museum context of this exhibition. On the first floor, a map of this Upside-Down City could be the exhibition's reflection in a distorting mirror. The disturbing feeling experienced by the visitor is now revealed through this map.

Courtesy Matt Mullican

Public Space With a Roof Model #3 The Inverted City: Looking through the cracks of a labyrinth, 2011

Matt Mullican American artist Matt Mullican (b. 1951) is a unique figure on today's contemporary art scene. His work has been shown a number of times in France, most recently at the Lyon Institut d'art contemporain. He was also the subject of a wide-ranging retrospective at Munich's Haus der Kunst (10 June – 11 September 2011). Working in the fields of performance art, installation, drawing and sculpture, as well as using hypnosis in his work, Matt Mullican has, since the 1970s, evolved a personal cosmology comprising a formal, symbolic vocabulary. He uses the sign- and colour-based vocabulary he invents to organise society within reinvented worlds. Primary colours associated with symbols refer to five fundamental concepts: green for nature and elements, red for spiritual values, yellow for conscious manifestations of art and science, blue for the mysteries of the unconscious mind, and black for language. Assembled in various combinations in a range of media, his pictograms classify reality. Using his own system of classification, Mullican devises charts: universal cities and maps that simulate natural phenomena or the mysteries of the human being. Centre Pompidou-Metz has commissioned Mullican to produce a work in keeping with the dimensions of the spectacular 20 metre-high wall of the Grande Nef. A monumental exploration of mental space and the brain, it will be one of the artist's largest ever commissions for a museum.

Installation Matériaux divers Dimensions variables Commande du Centre Pompidou-Metz Courtesy Public Space With A Roof © Public Space With a Roof, Amsterdam, 2011


PRESS PACK - WANDER, LABYRINTHINE VARIATIONS Michel François & François Curlet Map of Athènes (As it was Broken), 2003 Encre noire sur impression offset © Michel François © François Curlet

Michel François & François Curlet Map of Athènes (As it was broken), 2003 Adhésif noir sur vitre © Michel François © François Curlet

Michel François et François Curlet Michel François and François Curlet's contribution to Wander takes position on the glass windows above the museum entrance, which are inscribed with curious black lines. They trace the outline of a network, part way between a mechanical circuit and a spider's web. The seemingly random tracings suggest a cracked window that has been hastily repaired with black adhesive tape. Broken glass has been central to Michel François’ work since the late 1980s, either working visually with the imploded, diffuse craquelure effect of shattered glass or, from a more urban and social stance, linking the idea of rebellion to the star-shaped impact of a projectile. The aim in both cases is to alter the transparency of the modern city, and the notions of exposure and surveillance that surround it. Map of Metz (As it was broken) in fact portrays a simplified map of the city. The glass windows become larger-than-life telescopes, trained on the city. Looking outwards, the building becomes a giant observatory, and this stylised representation of the surrounding territory is superimposed on the city itself.



6. EXHIBITION DESIGN Created by La Ville Rayée, the scenography for Wander builds on an existing design that was originally devised by Jasmin Oezcebi for the Masterpieces ? exhibition. It describes a space in which traces of a previous exhibition remain, while hinting at their future disappearance. This de-densification of the existing structure significantly increases the number of possible configurations, and creates the necessary conditions for wandering and drifting. La Ville Rayée, an architects' collective, was invited to put forward an original proposal, based on the existing structure, that would be both eco-friendly and cost-effective. La Ville Rayée was set up in 2006 by David Apheceix, Benjamin Lafore and Sébastien Martinez Barat. The collective refurbished the Galerie Balice-Hertling in Paris, produced a limited edition of tables for Gallery Serge Bensimon and built a summer restaurant for the 2010 Imaginez Maintenant event in Metz. They are currently converting a former paper-mill into an arts centre (Le Moulin) for Galleria Continua in Boissy-le-Châtel, and are working with JC Decaux on experimental urban furniture for the La Défense district on the outskirts of Paris.



7. THE LENDERS AUSTRIA VIENNA Fondation Kiesler Dieter Bogner, President Monika Pessler, Director Generali Foundation Dietrich Karner, President Sabine Folie, Director Doris Leutgeb, Head of collections

BELGIUM KNOKKE André Simoens Gallery André Simoens

FRANCE LYON Musée Testut Latarjet d'anatomie et d'histoire naturelle médicale de Lyon Jean-Christophe Neidhardt, Curator of Collections, Société Nationale de Médecine et des Sciences Médicales de Lyon

METZ Bibliothèques-Médiathèques de Metz André-Pierre Syren, Director Pierre-Edouard Wagner, Chief Curator, Heritage Department

ORLÉANS Frac Centre François Bonneau, President Marie-Ange Brayer, Director

PARIS Centre national des Arts Plastiques, Ministère de la Culture et de la Communication Anne-Marie Charbonneaux, Chairwoman of the Board Richard Lagrange, Director Aude Bodet, Inspector for Artistic Creation, Director, FNAC Collections Sébastien Faucon, Inspector for Artistic Creation, Head of Plastic Arts Collections Centre Pompidou Alain Seban, President Alfred Pacquement, Director, Musée National d’Art Moderne Galerie Air de Paris Florence Bonnefous and Edouard Merino Galerie Chez Valentin Frédérique and Philippe Valentin Galerie de Multiples Giles Drouault Galerie Martine Aboucaya Martine Aboucaya Musée du Louvre Henri Loyrette, President and Director

Béatrice André-Salvini, CuratorGeneral, Director of the Asian Antiquities Department Elizabeth Fontan, Chief Curator, Asian Antiquities Department Musée Guimet Jacques Giès, President Caroline Arhuero, Director of Exhibitions and Museography Nathalie Bazin, Curator, Nepal and Tibet Department

Franz W. Kaiser, Head of Exhibitions Frans Peterse, Curator

LEIDEN University Libraries K.F.K. de Belder, Director Maartje Van den Heuvel, Curator Matthijs Holwerda, Head of Collections

OTTERLO Kröller-Müller Museum Anthonie L. Stal, Chairman of the Board Evert van Straaten, Director Liz Kreijn, Associate Director of Collections

RAMBOUILLET Ville de Rambouillet, Service du Patrimoine-Musée du jeu de l'oie Gérard Larcher, Senate President, Senator of Yvelines, Mayor of Rambouillet Sophie de Juvigny, Chief Curator




Frac Champagne-Ardenne Jean-Michel Jacquet, President Florence Derieux, Director

Fundação de Serralves Museu de Arte Contemporânea João Fernandes, Director



Frac Alsace Claude Sturni, President of Agence culturelle d'Alsace Olivier Grasser, Director

BARCELONA MACBA, Museu d'Art Contemporani de Barcelona Consortium Bartomeu Marí, Director Antònia Maria Perelló, Curator

TOULOUSE Frac Midi-Pyrénnées Alain Mousseigne, Director of Les Abattoirs Pascal Pique, Director of Frac Midi-Pyrénnées

MADRID Succession Cajal, Institut Cajal (CSIC) Ignacio Torres Alemán, Director Juan A. De Carlos, Cajal Estate





Berlinische Galerie Landesmuseum für Moderne Kunst, Fotografie und Architektur Thomas Köhler, Director Andreas Piel, Chief Curator Heinz Stahlhut, Curator, Head of the Modern and Contemporary Art Collection

Galerie Doggerfisher Susanna Beaumont and Matt Carter

LONDON Stephen Friedman Gallery David Hubbard Tate Nicholas Serota, Director of Tate Caroline Collier, Director of Tate National Stéphanie Busson, Chief Curator, Tate Modern Sheena Wagstaff, Chief Curator, Tate Modern Lucy Askew, Chief Curator, Artist Rooms Cranford Collection Bethany Childs

DUISBURG Wilhelm Lehmbruck Museum Raimund Stecker, Director Leinz Gottlieb, Assistant Director, Curator of the Sculptures Collection Marion Bornscheuer, Chief Curator

ITALY MILAN Archivio Gianni Colombo Luciano Pizzagalli, President Marco Scotini, Curator





The Centre Pompidou-Foundation Robert M. Rubin, President Scott Stover, Director

Gemeentemuseum Den Haag Benno Tempel, Director Titus Eliens, Head of Collections


MIAMI The Ella Fontanals - Cisneros Collection Ella Fontanals-Cisneros, President Patricia Garcia-Velez, Director

NEW YORK Metro Pictures Gallery Janelle Reiring and Helene Winer The Museum of Modern Art Glen D. Lowry, Director Ramona Bronkar Bannayan, Chief Curator, Collection Management and Exhibition Registration Christophe Chérix, Chief Curator, Department of Prints and Illustrated Books – The Abby Aldrich Rockefeller Jodi Hauptman, Curator, Department of Drawings Ann Temkin, Chief Curator, Department of Painting and Sculpture Leah Dickerman, Curator, Department of Painting and Sculpture Ann Umland, Curator, Department of Painting and Sculpture Paola Antonelli, Curator, Department of Architecture and Design Paul Galloway, Head of Architecture and Design Study Center Whitney Museum of American Art Adam Weinberg, Director Donna de Salvo, Chief Curator

VENEZUELA CARACAS Fondation Gego Barbara Gunz, Director Priscilla Abecassis, Administrator

Private collections Matthias Arndt, Corrado Beldi – Oleggio, Italy, Marie de Brugerolle – Lyon, Bruno Van Lierde – Brussels, Nicholas Logsdail, Philippe Méaille, Gian Enzo Sperone.

Artists' collections Vito Acconci, Didier Beaufort, Christophe Berdaguer and Marie Péjus, Agnes Denes, Michel François and François Curlet, Joseph Grigely, Thomas Hirschhorn, Julio Le Parc, Corey McCorkle, Véra Molnar, Matt Mullican, Gianni Pettena, Public Space With a Roof, Isidoro Valcárcel Medina.

C’est en 1975, de la fenêtre de son appartement situé au troisième étage d’un immeuble donnant sur le marché de Smithfield, dans le centreest londonien, que Ian Breakwell remarque les dérives quotidiennes d’un homme au milieu du tumulte des transactions mercantiles. Vêtu d’un pardessus et de bottes en toutes circonstances, l’homme à la tête baissée et aux cheveux grisonnants arpente les rues environnantes sans objectif apparent et selon le même circuit tortueux, s’arrêtant parfois pendant une demi-heure, comme pétrifié. Dès lors, « l’homme marchant » devient sans le savoir le sujet d’un journal photographique et textuel tenu par Breakwell. En 1977, il manquera au rendez-vous et réapparaîtra de nouveau en 1978, cette fois suivant une démarche ralentie, jusqu’à sa disparition définitive en 1979. Prenant la forme d’une série de collages, The Walking Man Diary (1975-1978) retrace les déambulations de ce quidam capturées par l’appareil photographique et la plume de l’artiste. Discipline, répétition et automatisme de ces collages qui se proposent comme miroirs des pérégrinations du flâneur anonyme. Ainsi, chaque photographietémoin du passage de l’homme est accompagnée d’une date, de l’heure et d’une légende qui se veut sérielle : « Past the window filled with skinned rabbit; Past the window filled with cow’s heads; Past the window filled with piles of pheasants; Past the window filled with diamonds… » The Walking Man Diary constitue un élément du journal tenu par Breakwell pendant quarante ans. Celui-ci porta sur les rencontres aléatoires, sur la célébration de ce que l’artiste appelait « les petites épiphanies de la vie » ou, comme l’a décrit Felicity Sparrow, sa femme et commissaire d’exposition, Anna Colin

« des choses qui n’ont pas de valeur dans les quotidiens et les journaux télévisés ». Si rendre visible ce qui est négligé, ignoré ou inaperçu peut se lire comme le signe d’une œuvre socialement engagée, la dimension la plus politique de son travail se trouve dans son étude de l’isolement et de la marginalisation. Commencé avec The Walking Man Diary, qui dédia une œuvre à un inconnu visiblement en marge de la société, l’intérêt de l’artiste pour la déviance et sa surveillance se poursuivit à la fin des années 1970 à l’occasion d’une résidence dans le département de la Santé du gouvernement britannique. Facilitée par l’Artist’s Placement Group, une initiative dont l’objectif était de faire intervenir les artistes au niveau du gouvernement et des industries, la résidence de Breakwell l’amena à proposer une réforme concernant le traitement des troubles mentaux, prônant notamment sa désinstitutionalisation et l’assouplissement des dispositifs de sécurité dans les établissements psychiatriques. Entre anthropologue passif et réformateur, Ian Breakwell serait peut-être plus justement défini comme observateur et critique de la normalité telle qu’elle est définie et imposée par la société.

146 • 147

Photographies noir et blanc sur papier, texte typographié et texte écrit à la main sur papier 123,3 x 615,9 x 1,9 cm Tate Modern, Londres T07701

The Walking Man Diary, 1975-1978

Ci-dessous :


Ian Breakwell

Chapitre iV

Long Eaton, Royaume-Uni, 1943 – Londres, Royaume-Uni, 2005


8. THE CATALOGUE Les Associés réunis Catalogue cover and inside pages

The catalogue for Wander is the fourth exhibition catalogue to be published by the Centre Pompidou-Metz.

Screen-printed canvas cover

Its design is freely inspired by the mail-order catalogues which Manufacture Française d'Armes et Cycles published in the early 1900s, and which had a longstanding influence on artists. Marcel Duchamp, for example, wanted his catalogue raisonné to take this form; likewise for Jacques Carelman's Catalogue d'objets introuvables ("catalogue of unfindable objects").

There is no hierarchy of content, just a free and non-exhaustive inventory of labyrinthine thought and imaginings. Information about the works mingles with thematic entries in a maze-like mapping of the exhibition. Thus fairy tales, kaleidoscopes, literature on drifting and exhibited works criss-cross the catalogue's pages.

It also includes essays by Eric Duyckaerts, Luc Gwiazdzinski, Marcella Lista, Céleste Olalquiaga, Doina Petrescu, Pierre Rosenstiehl, Olivier Schefer and Philippe Vasset, with prefaces by Alain Seban and Laurent Le Bon.

Graphic design and layout is by Les Associés réunis.

The primary activity of the graphic design studio Les Associés réunis is book design. The agency was founded in 2005 by Gérard Lo Monaco. Following their studies at the graphic arts school ESAG Penninghen, Marie Sourd and more recently Katie Fechtmann joined the studio. The agency produces the graphic design, covers and typography for over twenty works per year published by Hélium and other known publishers including Denoël, 10/18 and Gallimard.


272 pages

Only in French

Publication in September 2011




9. THE EXHIBITION GAME: LABYRINT* IN A VALISE (*H) An enigma within an enigma, Labyrint* in a Valise (*h) is an exhibition-sized game that revives the tradition of garden mazes, where clues were scattered or whispered among the hedges. An initiatory quest where poems, works, quotes and equations weave a thread of romance and adventure through the exhibition. A prize will reward visitors who resolve the enigmas, riddles and the Mystery that await them inside the exhibition labyrinth. Keep track of the game, specially devised for the exhibition and which runs for its duration, on the Centre PompidouMetz website (“Le jeu Erre” / “The Wander Game”) and Facebook page.

THE LABYRINT* IN A VALISE (*H) CARD GAME A pack of 49 cards, this "Labyrinth in a Valise" snakes its way through the Centre Pompidou-Metz and out into the town itself. Players discover a set of clues and enigmas with which to imagine an itinerary, pulled along by the power of attraction of an ideal being. The visitor’s task is to find the way out of this maze of images, texts and mathematical formulas. A game that is part puzzle, part divination, and part… Price: €10,00 Elaborated by the independent curator Jean de Loisy at the invitation of the curators of Wander. Jean de Loisy is President of the Palais de Tokyo. His previous positions include Inspector for Creation at the Ministry of Culture, Curator at the Fondation Cartier and Curator at the Centre Georges Pompidou. He has also directed and co-directed a number of art venues in France. Jean de Loisy has staged numerous solo shows and other memorable exhibitions, including “La Beauté” in Avignon in 2000, and “Traces du Sacré” at the Centre Pompidou in 2008. He curated “Monumenta 2011 / Anish Kapoor” at the Grand Palais and the Israeli Pavilion by Sigalit Landau at the 2011 Venice Biennale. His current projects include an exhibition of works by Jacques Lizène at the Passage de Retz in Paris in October 2011, and an exhibition on shamanism, “Les Maîtres du Désordre”, at the Musée du Quai Branly in 2012. With contributions from Estelle Delesalle, artist, and Laurent Derobert, philosopher and mathematician. In partnership with the Ecole Supérieure d’Art d’Avignon.

The game's title was inspired by Marcel Duchamp's la Boîte-en-valise (Box in a Valise).






EXHIBITION WANDER Curators Hélène Guenin Guillaume Désanges Assisted by Élodie Stroecken Associate Curator for the Labyrint* in a Valise (*h) game Jean de Loisy Production Manager Fanny Moinel Scenographer La Ville Rayée David Apheceix, Benjamin Lafore and Sébastien Martinez Barat based on original graphic elements designed by Jasmin Oezcebi Research Assistants Léa Bismuth Laure Jaumouillé Work Method Mélanie Mermod Hélène Meisel Caroline Bléteau Works Registrars Eléonore Mialonier Irene Pomar Galleries Registrars Alexandre Chevalier Clitous Bramble AV Production Manager Géraldine Celli AV and Lights Jean-Philippe Currivant Graphic Design for the Exhibition, Invitation and Signage Les Associés réunis Gérard Lo Monaco, Katie Fechtmann, Marie Sourd and Léopold Roux Pop-up: Bernard Duisit

Centre pOmpidou-metz Internship Assistants Thibault Casagrande, Sophie Chiarla, Aline Elwert, Mathieu Loctin, Pauline Mellinger, Alice Pfister, Juliette Pollet, David Rodriguez, Raphaël Saubole and Coline Soubieux. École supérieure d'art de Lorraine: Bérenger Barois, François Bellabas, Bernard Gissinger, Lucie Linder, Anaïs Prioux and Pierre Von-Ow

Board of ADMINISTRAtors President Alain Seban, President Honorary President Jean-Marie Rausch Vice-President Jean-Luc Bohl, President of Metz Métropole Representing the Centre Pompidou Alain Seban, President, Agnès Saal, Chief Executive, Jean-Marc Auvray, Director of Legal and Financial Affairs, Bernard Blistène, Director of Cultural Development, Frank Madlener, Director of Institut de Recherche et Coordination Acoustique/Musique (IRCAM), Alfred Pacquement, Director of Musée National d'Art Moderne, Vincent Poussou, Director of Educational and Public Programmes.

LABYRINT* IN A VALISE (*H) Game elaborated by Jean de Loisy With participation from Estelle Delesalle and Laurent Derobert Coordination by Jean-Baptiste de Beauvais In partnership with the École supérieure d'art d'Avignon, JeanMarc Ferrari, Director CATALOGUE Editors in chief Hélène Guenin and Guillaume Désanges

Representing Metz Métropole Jean-Luc Bohl, President, Antoine Fonte, Vice-President, Pierre Gandar, Community Counsellor, Patrick Grivel, Community Counsellor, Henri Hasser, Vice-President, Thierry Hory, Vice-President, William Schuman, Community Counsellor.

Editor Elsa Belaieff Image Researchers Aurianne Cox and Marie Rocamora Copy Editing and Proofreading Les Pointilleuses Aurélie Argellies, Céline Derouet and Ana Sinde

Representing the Conseil Régional de Lorraine Jean-Pierre Masseret, President, Nathalie Colin-Osterlé, Regional Councillor, Josiane Madelaine, Vice-President, Roger Tirlicien, Chairman of the Commission on Social and Inter-regional Relations, Thibault Villemin, Vice-President.

Graphic Design Les Associés réunis Gérard Lo Monaco, Katie Fechtmann and Marie Sourd Maquette: Katie Fechtmann Manufacturing Coordinator Dominique Oukkal

Museum Signage Coordinator Les Pointilleuses Aurélia Monnier

Representing the State Christian Galliard de Lavernée, Préfet for the Lorraine region, Préfet for the Moselle department.

Lighting Design Odile Soudant - Lumières Studio Odile Soudant, Alix Abanda and Mélanie Dessales


Representing the City of Metz Dominique Gros, Mayor of Metz Richard Lioger, First Deputy Mayor Ex-Officio Frédéric Lemoine, Chairman of the Wendel Group Executive Board, Patrick Weiten, President of the Conseil Général de la Moselle Representing Staff of the Centre Pompidou-Metz Philippe Hubert, Technical Director Benjamin Milazzo, Visitor Relations and Membership Officer

Management Laurent Le Bon Director Claire Garnier Personal Assistant and Project Coordinator General Secretariat Emmanuel Martinez Secretary General Pascal Keller Assistant Secretary General Julie Béret Administrative Coordinator Hélène de Bisschop Legal Advisor Émilie Engler Secretarial Assistant


Department of Administration and Finance Jean-Eudes Bour Head of Department - Accountant Jérémy Fleur Accounts Assistant Audrey Jeanront Human Resources Management Assistant Ludivine Morat Administrative Coordinator Alexandra Morizet Public Contracts Coordinator

Department of Building Maintenance and Operations 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 Christian Heschung Head of Information Systems Stéphane Leroy Operations Manager André Martinez Head of Security Jean-David Puttini Painter

Department of Communications and Development 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 Aurélien Zann Multimedia Communications Officer Pauline Fournier Public Relations Assistant (cooperative education programme)

Department of Production

Department of Visitor Relations

Anne-Sophie Royer Head of Department Charline Becker Project Manager Clitous Bramble Galleries Registrar Géraldine Celli Performing Arts Production Officer Alexandre Chevalier Galleries Registrar Jean-Philippe Currivant Technical Registrar Olivia Davidson Project Manager Jennifer Gies Project Manager Thibault Leblanc Performing Arts Registrar Eléonore Mialonier Works Registrar Fanny Moinel Project Manager Irene Pomar Works Registrar

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 Youth Activities Officer Benjamin Milazzo Visitor Relations and Membership Officer Anne Oster Educational Establishments Relations Officer

Internship / Assistants Ophélie Binet, Evelyne Briand, Sonia Cabon, Caroline Darcq, Amélie Evrard, Nastasia Gallian, Nadia Kabbach, Eliane de Larminat, Sarah Ligner, Pauline Mellinger, Aurèlia Ongena, Juliette Pollet, Marianne Pouille, Mathieu Taraschini

Department of Programming Hélène Guenin Head of Department Ada Ackerman Research and Exhibitions Officer Camille Aguignier Research and Exhibitions Officer Elsa Belaieff Editor Léa Bismuth Editorial Assistant Claire Bonnevie Editor Matthieu Goeury Studio and Wendel Auditorium Programming Officer Laure Jaumouillé Research and Exhibitions Officer Anaïs Lellouche Programming Assistant and Assistant to the Director Alexandra Müller Research and Exhibitions Officer Dominique Oukkal Manufacturing Coordinator Élodie Stroecken Coordinator and Assistant to the Department Ada Ackerman Research and Exhibitions Officer



11. EVENTS AND PERFORMANCES The Centre Pompidou-Metz stages a regular programme of multidisciplinary events in its different spaces - Wendel Auditorium, Studio and Forum – as well as at outside venues. De-partitioning spaces and content in this way creates opportunities for dialogue between the exhibitions and live performances.


Presented in seasons, these events further develop the themes examined in the exhibitions through other modes of expression, including live performance, music, lectures and films.

Dance 30.09.2011 (in partnership with Nuit Blanche 4)

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.


Not about everything Daniel Linehan 10.30pm - Studio 35 minutes 6pm - Studio


The start to the 2011-2012 season is developed around Wander with weekend events that echo the exhibition's themes.

CUBE Vincenzo Natali 01.10.2011


>temps fort 1 (Highlights 1)

4pm – Auditorium Wendel 90 minutes

Echoing the Captive section of “Wander, Labyrinthine Variations”

Stalker aNdrei tarkovski 02.10.2011

4pm – Auditorium Wendel 163 minutes

Not about everything, Daniel Linehan©Jason Somma




>TEMPS FORT 2 (Highlights 2)

Visit and Interpretation of Wander


La visite de Fanny (Visit with Fanny) Fanny De Chaillé

Instantané (Snapshot), Fanny de Chaillé

Guided exhibition tour commented and interpreted by Fanny 15.10.2011

Instantanés (Snapshots) invites artists for one week, during which the public can discover different aspects of their work. After Tiago Guedes in January 2011 and Hubert Colas in March 2011, Fanny de Chaillé will take up residency at the Centre Pompidou-Metz and other partner venues in October 2011. Fanny de Chaillé works in a number of fields, including dance, theatre, readings and performance art, but always with the same objective: to explore her raw material, language. After working with Daniel Larrieu, Rachid Ouramdane, Emmanuelle Huynh and Alain Buffard, in November 2009 she became an associate artist of the Théâtre de la Cité Internationale in Paris.

11am – Meeting point in front of the Here and There space (Forum) at 10.50 am 30 minutes

La Course de Lenteur Fanny de ChaillÉ

Participative project for public space 16.10.2011

11h30 - Parvis des Droits-de-L’Homme


>TEMPS FORT 3 (Highlights 3)

Echoing the The mental labyrinth section of “Wander, Labyrinthine Variations”

"From Trance to Transcendence"

18.11.2011 > 20.11.2011

Orbes Emmanuel Holterbach, Sophie Durand

Gonzo Conférence, Fanny de Chaillé©Marc Domage

Le Voyage d’Hiver Fanny de ChaillÉ based on Georges Perec

Musique 18.11.2011

8pm - 49 Nord 6 Est - Frac Lorraine

Performance reading 12.10.2011

Vertiges du déplacement Olivier Schefer

7pm - Ecole Supérieure d'Art de Lorraine (Metz) 20 minutes


Gonzo confÉrence + concert Fanny de ChaillÉ, for and with Christine Bombal

followed by

« Two into one becomeS three » Matt Mullican

Performance lecture 14.10.2011


8.30pm - Les Trinitaires 40 minutes + concert

5pm – Auditorium Wendel and Grande Nef

Je suis un metteur en scÈne japonaiS Fanny de ChaillÉ

Performing art 15.10.2011

8.30pm - Studio 60 minutes



Performance de ChloÉ Maillet & Louise HervÉ ChloÉ Maillet & Louise HervÉ

MÉtrage Variable Halory Goerger PERFORMANCE 01.12.2011

Performances 20.11.2011

8pm - Espace Bernard-Marie Koltès – Théâtre Universitaire du Saulcy 55 minutes

4pm – La Synagogue de Delme contemporary arts centre – Conseil général de Moselle

Indigence = ÉlÉgance Antoine Defoort

Partners: La Synagogue de Delme contemporary arts centre; 49 Nord 6 Est – Frac Lorraine

Performance 01.12.2011


>TEMPS FORT 4 (Highlights 4)

9pm - Espace Bernard-Marie Koltès – Théâtre Universitaire du Saulcy 55 minutes

Echoing the Space / Time section of “Wander, Labyrinthine Variations”

Live performance

&&&&& & &&& Antoine Defoort and Halory Goerger

Instantané (Snapshot) Antoine Defoort / Halory Goerger / Julien Fournet

Performance / Installation 03.12.2011 > 04.12.2011

Warning, sci-fi! Echoing the Space/Time section of Wander, Centre Pompidou-Metz has invited three inspired inventors to make a stopover in Metz. Join Antoine Defoort, Halory Goerger and Julien Fournet for an introduction to the musichall of 2052, DIY sci-fi, masterpieces of speculative cinema, and football…but not as we know it! With a sometimes light and often offbeat touch, the three performers set us thinking about the world of today by making us laugh about the world of tomorrow.

03.12 from 2.30pm to 5.30pm and 04.12 from 2pm to 5pm admission at any time - Studio 60 minutes on average

Visit and Interpretation of Wander La visite d’Antoine et Halory (Visit with Antoine and Halory) Antoine Defoort and Halory Goerger Guided exhibition tour commented and interpreted BY ANTOINE AND HALORY 04.12.2011 11am – Meeting point: in front of the Here and There space (Forum) at 10.50am 30 minutes

ChevaL Antoine Defoort AND Julien Fournet

Cheval, Antoine Defoort et Julien Fournet© Guillaume Schmitt

Performance 07.12.2011

8pm - Espace Bernard-Marie Koltès – Théâtre Universitaire du Saulcy 60 minutes



12. PARTNER VENUES "From Trance to Transcendence"

18.11.2011 > 20.11.2011

A weekend of altered states of consciousness and trances: from meandering thoughts to meditation, from the search for different levels of perception and understanding to the creatures that wander in other spheres of reality, this weekend embarks on a journey of the mind to three different sites and three exhibitions. Performances, lectures and visits explore the different ways of going beyond the rational world, duplication, multiple personalities and the wandering that produces meanings and forms. Partners: La Synagogue de Delme contemporary arts centre; 49 Nord 6 Est - Frac Lorraine Artists / guests: Matt Mullican, Chloé Maillet & Louise Hervé, Olivier Schefer, Emmanuel Holterbach and Sophie Durand

EXHIBITIONS Les 1 000 Rêves de Stellavista

Le moins du monde

15.10.2011 > 05.02.2012

07.10.2011 > 08.01.2012

This exhibition questions how architecture relates to ghosts, the archaeology of customs and memory. It also considers how a memory can remain alive despite the passage of time and the sedimentation of past customs. The exhibition title refers to JG Ballard's short story, The Thousand Dreams of Stellavista, in which the author describes a strange city in which psychotropic houses retain the psychology of their successive inhabitants. The houses continue to respond to their owners’ affects, as though they were physical extensions of their moods.

An experience of inner sensations through retinal and auditory waves and vibrations.

La Synagogue de Delme contemporary arts centre

Frac Lorraine

Meditation lies at the core of many religions and spiritual belief systems, as do medical practices, perhaps because an empty mind and altered states of consciousness are inherently part of the way our mind and brain function. Altering this through meditation could also transform our way of being. Le Moins du Monde* is a moment of meditation, a mental eclipse in search of invisible realities.

Group show with Inassi Aballi, Samuel Beckett, Stanley Brouwn, Clino Trini Castelli, Delphine Coindet, Dunne and Raby, Michel François, Peter Friedl, Tamar Guimaraes, Susan Hiller, Sherrie Levine, Chloé Maillet and Louise Hervé, Gianni Pettena, François Roche

In association with Fragment for the audio and music selection. Full programme at *Title borrowed from Roger Munier (b. 1923 in Nancy, d. 2010 and buried in Xertigny in the Vosges).

Curators: Christophe Berdaguer & Marie Péjus, artists, and Marie Cozette, Director of La Synagogue de Delme contemporary arts centre

Artists: Marina Abramovic, Susanna Fritscher, Craigie Horsfield, Ann Veronica Janssens, Tania Mouraud, Yazid Oulab, Peter Vermeersch, Ian Wilson & Charles Curtis, Jean-Claude Eloy, Morton Feldman, Henry Flint, Catherine Christer Hennix, Eliane Radigue et al.

Centre d’art contemporain – la synagogue de Delme 33 rue Poincaré 57590 Delme +33 (0)3 87 01 35 61

49 Nord 6 Est – Fonds régional d’art contemporain de Lorraine 1 bis, rue des Trinitaires 57000 Metz +33 (0)3 87 74 20 02



13. VISITOR INFORMATION Opening hours Centre Pompidou-Metz is open every day except Tuesday and 1st May. Opening times are as follows (subject to modification): Monday..................... 11am - 6pm Tuesday.................... closed Wednesday............... 11am - 6pm Thursday.................. 11am - 8pm Friday....................... 11am - 8pm 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. The priority line is for: — holders of a Centre Pompidou-Metz “Pass” membership card, — disabled visitors and a companion, — persons with reservations or pre-paid admission, — holders of an Icom, Icomos or Aica card, — journalists with a press card.

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


By train: high-speed TGV Metz Ville station with direct trains from Paris (1hr 20min) and Luxembourg City (40 min). “Lorraine TGV” station (29 km from Metz, shuttle service) with directs trains from Lille Europe (2hrs), Rennes (4hrs), Bordeaux (5hrs) and Frankfurt (2hrs 40min). 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 / 1h20).

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 the Centre Pompidou-Metz: Price: €7 per person + €20 booking fee for priority access Groups are strictly limited to 20 people.

WHERE TO BUY TICKETS Online at and through the Fnac, Digitick, France Billet and TicketNet services On site from the ticket desks or the ticket machines

How to get to the Centre Pompidou-Metz On foot: a 2-minute walk from the high-speed TGV Metz Ville station; 10 minutes from the historical town centre. By car: A4 (Paris / Strasbourg) and A31 (Luxembourg / Lyon) motorways, exit Metz Centre. Underground 700-space parking garage on avenue François Mitterrand. Open 24/7. 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.


Centre Pompidou-Metz 1, parvis des Droits-de-l'Homme CS 60490 F-57020 Metz Cedex 1 +33 (0)3 87 15 39 39 Join Centre Pompidou-Metz on Facebook and Twitter!


14. PATRONS AND PARTNERS The Centre Pompidou-Metz is the first offshoot of a French cultural institution, the Centre Pompidou, developed in collaboration with a regional authority, the Communauté d’Agglomération de Metz Métropole (the combined district council for the Greater Metz area). Greater Metz was the contracting authority for the project and provided the majority of funding, in association with the City of Metz (agent) and the Centre Pompidou. Construction of the Centre Pompidou-Metz also received funding from the Conseil Général de la Moselle, the Conseil Régional de Lorraine, the French State and the European Union (European Regional Development Fund – ERDF). The Centre Pompidou-Metz is an “Établissement Public de Coopération Culturelle” (public establishment for cultural cooperation) whose founding members are the French State, the 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.

In collaboration with Vranken-Pommery Monopole

Work by Isidoro Valcárcel Medina is presented thanks to funding from the AC/E Acción cultural española (Seacex)

Work by Public Space With a Roof is produced thanks to funding from Fondation Mondriaan and Fonds BKVB / Netherlands Foundation for visual arts, design and architecture Centre Pompidou-Metz would also like to thank SAMSUNG Electronics France



15. PRESS VISUALS (UPON REQUEST) Download visuals for the exhibition at with the following user name: presse and password: Pomp1d57. Any and all use of these visuals requires prior authorisation from successors, or agencies managing artists’ royalties, notably ADAGP, which must give prior permission to reproduce these visuals which are subject to the terms and conditions set out below. All royalties must be paid. Press publications which have an agreement with ADAGP should refer to the terms of this agreement. All other press publications Royalties are waived for the first two reproductions illustrating an article on a current event up to a maximum of one quarterpage; in excess of this number or format, reproduction rights must be paid; any reproduction on a front cover or front page must have the prior permission of the ADAGP Press Division. Online publications Royalties are waived for the first two reproductions illustrating an article on a current event; in excess of this number, reproduction rights must be paid. Contacts à l'ADAGP Patricia Louot & Géraldine de Spéville Société des Auteurs dans les Arts Graphiques et Plastiques 11, rue Berryer - 75008 Paris, France Tél. : +33 (0)1 43 59 09 79 - Fax. : +33 (0)1 45 63 44 89


Press contacts EPCC Centre Pompidou-Metz Louise Moreau +33 (0)3 87 15 39 63 Claudine Colin Communication DorĂŠlia Baird-Smith +33 (0)1 42 72 60 01

Wander, Labyrinthine Variations  


Wander, Labyrinthine Variations