Tania Mouraud. A retrospective

TANIA MOURAUD a retrospective press kit

03.04 > 10.05.15 centrepompidou-metz.fr

Tania Mouraud. a retrospective

Contents 1. Exhibition overview.. . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02 2. Tania Mouraud: important dates.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 04 3. Exhibition layout at Centre Pompidou-Metz.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06 4. The city-wide walk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 5. lenders.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 6. cultural programme around the exhibition.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 7. credits..... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 8. partners. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 9. Press Visuals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

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Tania Mouraud. a retrospective

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Exhibition overview Tania Mouraud. A retrospective 4 March to 5 October 2015 Galerie 2 at Centre Pompidou-Metz 27 June to 5 October 2015 At Centre Pompidou-Metz and in 9 Partner Venues in Metz

In 2015, in partnership with nine cultural sites throughout the city, Centre Pompidou-Metz is presenting the first extensive retrospective dedicated to French artist Tania Mouraud.

catalogue under the direction of Hélène Guenin and élodie Stroecken

Kicking off on 4 March 2015 at Centre Pompidou-Metz, this show will encompass the city of Metz and its surroundings.

It will be presented in its full scope and unprecedented form as of 27 June 2015.

éditions du Centre Pompidou-Metz Format: 240 pages price: €39 ISBN: 978-2-35983-034-7

Tania Mouraud is a unique artist in a class of her own. Her work has continued to evolve since she started creating in the 1960s, alternatively exploring multiple media including painting, installation, photography, performance, video and sound. One thing has remained constant, her works have always explored the relationship between art and social connections. With this in mind, she suggested integrating meditation rooms in standard homes (1968). She plastered her discontentment with society, with materialism taking precedent over man, on 4 x 3 meter billboards (1977). She has also reflected upon the aesthetic relationship between art and war, and through the act of writing, has examined the limits of perception by creating “words of form”* (1989).

Since 1998, she has intertwined photography, video and sound with painting to examine the different aspects of history and the living.

Essays "Tania Mouraud de A à…"

Hélène Guenin and Élodie Stroecken "Tania Mouraud – Agir dans le monde de la vie" Ute Meta Bauer "Corpus d’inscriptions et démultiplication de l’image" Jean-François Chevrier "Working Space : murs et écritures dans l’œuvre de Tania Mouraud" Vanina Géré

An exhibition catalogue accompanies the exhibition. This reference work will include a significant amount of her writings and numerous unprecedented documents.

"L’œuvre écologique de Tania Mouraud", Janine Marchessault

The École Supérieure d'Art de Lorraine has contributed to this retrospective.

"Tania Mouraud – Ear-rooms" Daniele Balit

Curators: Hélène Guenin, Head of Programming Department, Centre Pompidou-Metz Élodie Stroecken, Assistant Coordinator, Programming Department, Centre Pompidou-Metz * Elisabeth Lebovici, « Tania Mouraud, mots de formes », Libération, 19 November 1992

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Tania Mouraud. a retrospective

The ReTROSPECTIVE At CENTRE POMPIDOU-METZ

The City-wide EXHIBITION – the walk This survey exhibition will expand into the city of Metz starting on 27 June 2015, incorporating nine partner institutions and venues. Diverse aspects of Tania Mouraud's work will be presented, expanding on the exhibition at Centre PompidouMetz. This will take the visitor on an extended walk through the city to exhibition spaces at Arsenal, Chapelle des Templiers, Saint-Pierre-aux-Nonnains, Faux Mouvement – Centre d’art contemporain, Frac Lorraine, Musée de la Cour d’Or – Metz Métropole, Toutouchic and Octave Cowbell art galleries as well as in front of the Galeries Lafayette department store.

The artist's emblematic works will be revealed throughout the urban landscape and workshops with the artist herself offered to students at École Supérieure d’Art de Lorraine in the scope of a one-year collaboration.

Covering 1100 sq. m. in Galerie 2 at Centre PompidouMetz, the exhibition takes a look at Tania Mouraud's career and artistic practice, from her 1968 autodafe, a profoundly symbolic act of destruction that ended her initial pictorial years, through to her initiation and mediation rooms of 1970s, up to her most recent works. The exhibition highlights her tenacious career, marked by her encounters with prominent contemporary artists, as well as by her personal life story.

The selection of over 70 works of art, some from the artist's personal collection, unveil the portrait of a socially engaged Tania Mouraud. Several historic works have been be reenacted in the scope of the exhibition as well.

Extended patronage by Frac Lorraine has intricately linked Mouraud's work and artistic career to the city of Metz since 1990s, starting in 1995 with the acquisition of City Performance N°1, an anthological work from the late 1970s.

This work consists of 54 billboard signs with the word “NI” (literally neither/nor) printed in 4x3m and placed throughout the city of Paris. Further support from Frac Lorraine came in 2005 with the monumental project titled HCYS?. This largescale work covers a blind wall at the Musée de la Cour d’Or. The City Performance N°1 poster campaign has been revived for one week throughout the city of Metz and its suburbs within the framework of Tania Mouraud. A retrospective.

Special focus is given to her meditation rooms as well as her photo-texts and works on language from the 1970s, all emblematic of Tania Mouraud's repertoire. The exhibition will be the first to fully explore the expanse of her initiation rooms. Her first meditation room, One more night (1970), initially realised for the eponymous exhibition by Jean Larcade at Galerie Rive Droite in Paris, has been specially reconstructed for the show.

AD NAUSEAM, a monumental audiovisual installation presented at MAC/VAL – Musée d’art contemporain du Valde-Marne from 20 September 2014 to 25 January 2015, is also being shown in an adapted version. This major work

by Tania Mouraud was co-produced with Ircam (Institut de Recherche et Coordination Acoustique/Musique) during her residency there in 2013-2014.

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Tania Mouraud. a retrospective

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TANIA MOURAUD: important dates 1942

Tania Mouraud was born on 2 January 1942 in Paris to Marcel Mouraud, lawyer, art collector and resistance fighter, and Martine Sersiron (pen name: Martine Chevrier), resistance fighter, journalist, advertising agent, business woman and writer. Her youth was marked by the death of her father, killed in the Vercors mountains in 1945. Her frequent visits to the Musée du Louvre considerably influenced her artistic career.

1958 -1960

Schooled in England.

1960

Tania Mouraud spent time in England on several occasions, then went to Düsseldorf, Germany. An important avant-garde group was active there including Joseph Beuys, artists from the Zero group (Heinz Mack, Otto Piene, Günther Uecker), Reiner Ruthenbeck, Gotthard Graubner, as well as other personalities like Alexander von Vegesack.

She discovered John Cage, Fluxus and jazz.

1965

1968

1970

Returned to France and discovered abstract American painting, lyrical abstraction by Georges Mathieu, New Realism, GRAV (Groupe de recherches d’art visuel).

She discovered musique concrète, became enthralled with Varèse and Xenakis and captivated by the theory of colour and traditional painting techniques.

She burned all of her paintings in the courtyard of Villejuif hospital. This autodafe marked a radical break with painting which she had engaged in since 1962 under the influence of Georges Mathieu in particular, American artists from action painting and from the pop art movement. Mouraud started making her Initiation and Meditation Rooms at this time, a study of psychosensorial perception of space.

First meditation rooms: Mouraud, galerie Rive Droite, Paris* We used to know, Centro Apollinaire, Milan (Italie)*

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1971

First stay in India, six months.

Mouraud, galleria LP 220 (with musicians La Monte Young, Terry Riley, Pandit Prân Nath), Turin (Italy)* Documents sur les espaces d’initiation et de méditation de Mouraud, galerie Ben doute de tout, Nice (France) Mouraud : Projets, galerie Rive Droite, Paris

1972

Tania Mouraud's interest in conceptual art defined itself in particular for Art & Language, and artists Terry Atkinson, Bernar Venet and Joseph Kosuth. She took classes in mathematics and logic at Université libre in Vincennes. In her first mural composed of linguistic statements, Wall is seen, Tania Mouraud encourages us to understand the viewer, the act of viewing and the object viewed, as one.

1973

Tania Mouraud exhibition, galerie Françoise Lambert, Milan (Italy) Mouraud : Focale ou la fonction de l’art (music: Jon Gibson), ARC 2, musée d’Art Moderne de la Ville de Paris, Paris*

1973 -1974

Tania Mouraud created her “mandalas”. Key encounter, through Bernar Venet, Ben and artists from Supports/Surfaces, with collector Vicky Rémy, who became a steadfast supporter.

Following a discussion with André Valensi, she toughened her stance by eliminating photography from her work and concentrating solely on text, its support and the space in which it is inscribed.

She read numerous books on typography and its history. She was fascinated by advertising and the Russian avant-garde.

1977

She moved into the public space for the first time with City Performance n°1. The word “NI” was posted on 54 billboards in north-eastern Paris, revealing a kind of punk nihilism in the artist, rejecting the theories and dictates of materialism and advertising. .

Exposition Art Space n° 5, Special Project, PS1, New York

Tania Mouraud. a retrospective

1988

Tania Mouraud went back to painting with typographical work and pursued her exploration of the legibility of text in her BLACK POWER series. This work was further developed in Wall Paintings as of 1989. Straight black letters, very elongated and close together, form a word or a phrase that is only legible if the viewer makes an effort: "SEEINGISFORESEEING", "MEMORY", "SEEINGYOURSELFSEEING", "IHAVEADREAM", "WOMANISBEAUTIFUL".

Words exhibition, Riverside Studios, Londres

1989

BLACK POWER, galerie De Lege Ruimte, Bruges (Belgium)

1995

Tania Mouraud Tania Mouraud produced the work Le Silence des héros within the scope of the Territoires occupés exhibition organised by Frac Lorraine on a former NATO military base in Zweibrücken, Germany.

1997

2001

World Signs, The Herbert Read Gallery, Canterbury, Kent (United Kingdom)* Le silence des héros, galerie du musée LouiseWeiss, Saverne (France) On 29 December, Tania Mouraud left Strasbourg by car to go to Struthof, the only death camp on French soil. Camera on her shoulder, she filmed non-stop from the back of the car up to the entrance to the camp, producing Sightseeing with music composed

by Claudine Movsessian.

In her next videos, Machines désirantes and La Curée, Tania Mouraud worked on the slow choreography of the bodies of koi carp and hunting dogs – playing on their beauty and their deaf violence.

2002

Tania Mouraud founded the musical experimentation group Unité de Production with Cyprien Dedeurwaeder, Ruben Garcia, Pierre Petit, MarieOdile Sambourg, Sylvain Souque and Baptiste Vanweydeveldt. Since the end of 2000s, she has been producing set-ups that associate one or several screens and spatialised soundscapes (Ad Infinitum, La Fabrique) or mixing them directly during videoperformances on “visual drones” (DLPDA at Musée de la Chasse et de la Nature en 2009, PreVItSoRaN #1 for Nuit Blanche Paris 2012, ReYIsToW at Backslash gallery in 2014).

2004

Sightseeing, Le Cube, FIAC, galerie RabouanMoussion, Paris

2005

HCYS? project, permanent Lorraine, Metz (France)

2006

La Fabrique, CSUF – Grand Central Art Center, Santa Ana, Los Angeles (United States)*

2009

Realised her first live solo video performance and sound improvisation at musée de la Chasse in Paris, mixing soundscapes for a video projection.

2010

La Fabrique, Krasnoye Znamia, French-Russian Year, Saint Petersburg (Russia)

2014

AD NAUSEAM, audio-visual installation in partnership with Ircam, MAC/VAL - Musée d’art contemporain du Val-de-Marne, Vitry-sur-Seine (France)*

installation,

* An exhibition catalogue was published.

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Frac

Tania Mouraud. a retrospective

3. exhibition layout at Centre Pompidou-Metz galerie 2 layout 3 - LA FONCTION DE L’ART

4 - PERCEVOIRDISCERNERIDENTIFIERRECONNAÎTRE

ONE M

ORE NI

GHT

1 - «UN SUPPLÉMENT D’ESPACE POUR UN SUPPLÉMENT D’ÂME»

2 - LES GENS M’APPELLENT TANIA MOURAUD

5 - LE SILENCE DES HÉROS 6 - AD NAUSEAM SORTIE ENTRÉE

Introduction The exhibition opens with the poignant image of an Autodafé from 1968 in which Tania Mouraud ends her pictorial phase of that period in a radical manner.

Two seminal works follow this act of destruction, the largescale white Formica monochrome titled Infini au carré, and Totémisation, a volume-sculpture created on her own fullbody scale. These works embody the formal and spiritual revival that next shaped her career. Presented for the first time in a museum, these works have been re-enacted especially for this occasion.

Autodafé, 1968

In 1968, Tania Mouraud burned her paintings in public, in the courtyard of the Villejuif hospital in Paris. This radical act embodies the artist’s relentless quest for artistic, technical and intellectual emancipation. Several years earlier, in 1960, her mother had sent her to Düsseldorf to refine herself. She attended the French library, the Kunstverein, jazz clubs, artistic and militant circles and followed the Zero group, Joseph Beuys and concrete poetry present in the city at the time. Following these encounters, Tania Mouraud flourished and started painting at twentyone, first abstract then pop art. Her subsequent discovery of Jackson Pollock’s work in an exhibition “left a deep mark” on her, initiating her reflection on space. She returned to France in 1965. The 1968 documenta IV in Cassel, Germany, a backdrop to the era’s political and social upheavals and a showroom for new artistic forms, proved highly influential as well. Upon her return to France, she decided to end her initial pictorial years.

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Tania Mouraud. a retrospective

1. "an extra SPACE fOR SoUL Extension"

One More Night, 1969/2015

ONE MORE NIGHT is a re-creation of the very first meditation room set up by Tania Mouraud at Galerie Rive Droite in 1970. Steps covered in immaculate white, the work contains a pit in its centre that corresponds to the measurements of the artist’s body. She declared: “I am building a world where I could die in peace”. Its pure lines favour introspection; the room is designed as a “psychosensorial” environment, and a hypnotic sound frequency is broadcast. The composition and sound spatialisation work was initially entrusted to Eliane Radigue. “I designed this space as a rest area for the mind and body. The continuous frequency of 200 Hz, which varies in function of movement and breathing, helps the user to let go in this space which was inspired by mystical traditions (Ziggurat) and represents the passage to another level of consciousness.” (Tania Mouraud, handwritten note, 1969, revised in 2014)

The works cited above introduce a brief yet extremely fruitful period in Tania Mouraud's work, which focused on the search for "an extra space for soul extension" and brought about her meditation and initiation rooms which she suggested be added to standardised apartments in the 1960-70s.

This aspiration towards art dedicated to space and environment, relatively unheard of on the European art scene, was being explored in the United States at the time

by Doug Wheeler, James Turell and Dan Graham, amongst others. Tania Mouraud's creation of a "room for one's self" demonstrates her philosophical reflection on identity and one's connection to the world.

Some of the rooms include research on sound, her own creations or the fruit of work with composers such as Éliane Radigue, Terry Riley, La Monte Young and Pandit Prân Nath.

INITIATION ROOMS, INITIATION SPACES

Initiation Space n°5, 2013-2015

The artist created different types of spaces between “PASSAGES”, deconditioning chambers, “INITIATION ROOMS” and “INITIATIONS SPACES”, respectively rooms and observatories intended for the home and landscaped environments. The minutely precise technical drawings bring to mind documentation on land art as well as analytical projects from conceptual art. Some spaces adhere to romantic idealism: suspended on a mountainside or hollowed out of a cliff, they offer fusional immersion with nature. Others, however, provide introspection and transcendence of a physical experience. These projects are presented all together for the first time here.

At the centre of a square platform, a streamlined seat evoking a long polished pebble invites the visitor to sit down facing the landscape. Ideally, the visitor could sit with crossed legs in the lotus position typical of Buddhism, on this hard transposition of the traditional seat used in Zen meditation: a thick round cushion (zafu) placed on a flat square cushion (zabuton). Conceived forty years after her “INITIATION SPACES”, this project, which remained in the planning stage, lies somewhere between a sculpture to be contemplated and an invitation to meditate, and brings the initiation space back to its primary component: introspection. It was designed by the artist for use in natural surroundings.

This project was selected by the sponsorship commission of Fondation Nationale des Arts Graphiques et Plastiques which brought it its support.

With the contribution of CCC – Centre de Création Contemporaine de Tours et du Centre Pompidou-Metz.

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Tania Mouraud. a retrospective

2. PEOPLE CALL ME TANIA MOURAUD

4. Perceivediscernidentifyrecognise

Tania Mouraud's exploration of identity, awareness of self and one's place in the universe is broadened through her work on a series of photo-texts and photographs taken on heliographic plates, some of which even take the shape of Buddhist mandalas. This examination steadily shifts from subject to object, from cosmological to tangible ending in a pure exploration of language and perception.

City Performance n°1 marks a significant shift in Tania Mouraud's work. At the end of 1977, 54 billboards were marked with the word "NI" (literally neither/nor) in five arrondissements of northern and eastern Paris for 15 days.

A subversive paradox of language without a message, the "NI" is an "anonymous stance. Ultimate negation, absolute truth, universal circuit-breaker used by Western logicians and Eastern sages."

This campaign profoundly impacted Tania Mouraud's work and led her to several major trends: the re-use of largescales, the artistic aspects of language and the exploration of public space.

People call me Tania Mouraud, 1971-1973/2015

In this series of works on the notion of identity, Tania Mouraud openly questions perception and the definition of self. A simple question is juxtaposed against a series of photographs of the artist (or one of her female friends) at various ages. These images, which represent the many possible answers to the question, "People call me Tania Mouraud. Which of these bodies are they referring to?", sow doubt and confusion in the viewer’s mind; indeed, can we rely on language, and how can a changing identity be defined?

"NI" was a type of protest with which the artist left her purely philosophical-linguistic explorations, turning to more politically motivated content. She did however manage to avoid the pitfalls of literalism and social commentary, her protests remaining, through their abstract representation, protests "with hidden noise".

De la décoration à la décoration II (FRANCE), 1994-1995

In 1994, Tania Mouraud inaugurated a set of works titled "DE LA DÉCORATION À LA DÉCORATION". Then, for each new show, she adapted them to the colours used in civilian or military honours awarded in the country in which the works were displayed. Enlarged to the size of wall crates, these insignia, fastened to a grey, khaki or navy-blue background representing the colour of uniforms or ceremonial dress, bring classical painting into the era of geometric abstraction, transforming honorary distinctions into interior decoration.

3. THE FUNCTION OF ART "Through my work, I demonstrate that Philosophy and Art should and can merge together to lead us on our path to Knowledge."

Tania Mouraud pursued her exploration of perception by focusing her work on linguistics and the phenomenology of perception – in particular on the notions of the immediate and the deferred. Words became the tools and shapes used to materialise her thoughts.

The artist inscribed words on a polyethylene tarp – a common inexpensive support that evokes the world of manual labour –, then fully extracted the writing, making it larger and larger until reaching abstraction thus exploring its artistic typographical potential more than the actual perception of its meaning.

MDQRPV?, 2015

Wall drawings, imagined already in 1979 and produced as of 1989, extend Tania Mouraud’s examination of writing on an architectural scale. Letters and spaces, calculated using the golden number, are stretched to the limit of legibility.

The artist rapidly turned to using poetic or literary phrases with multiple undertones. MDQRPV? is taken from the book by Svetlana Alexievich, Voices from Chernobyl: The oral History of a Nuclear Disaster (1997), which presents personal accounts of the 1986 tragedy. "Mais de quelle radiation parlez-vous alors que les papillons volent et les abeilles bourdonnent ?" ["Well, I say to them, what radiation? There’s a butterfly flying, and bees are buzzing"], asks an old woman, unauthorised resident in no-man’s land. Life indeed seems to continue, however, despite the visibly luscious vegetation that covers the site, the fauna and flora are contaminated. The tragedy is now insidious, silent and powerful like the words stretched out over the wall, which reveal themselves to the patient reader.

This led to her "BLACK POWER" work, which consists of a series of relief-paintings with a DIY feel to them, expressing closer ties to industrial painting than to the smooth aesthetics of conceptual art.

PERCEPT AS CONCEPT, 1973 / 2015

In the early 1970s, Tania Mouraud removed images that she considered too anecdotal from her "photo-texts" and began shifting her work towards a more radical form of conceptual art. Her texts migrated onto tarps and delivered plain questions and enigmatic aphorisms.

Through language, the artist hopes to make the viewer aware of the mechanisms behind his own perception and lead him to "see himself seeing". An equivalence is thus established between "he who sees, the act of seeing and the object seen".

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Tania Mouraud. a retrospective

5. The SILENCE of HeROS

6. Ad Nauseam

This part of the exhibition deals with another dimension of Tania Mouraud's work: her relationship with History and its silences, present in several of her works – wall paintings, photographs and videos. Sightseeing (2002) is one of her first works that pointedly refers to Nazi concentration camps by plainly and modestly addressing the Shoah.

After her autodafe of 1968 and her meditation rooms, Tania Mouraud explored the paradoxes essential to our existence: order and chaos, fulfilment and fury, serenity and terror, creation and disappearance. Over the years, and in particular through the use of video, these themes have taken a leading role in her contemplations. Formalism has slowly given way to a more emotional and sensitive dimension in her works, more directly expressing the strength of these paradoxes.

Since the 1990s, Mouraud has also been exploring signs and symbols created by society to commemorate events and celebrate heroes: flags, medals, decorations, etc. from which she extracts their plastic and cognitive potential.

These aspects have become fully tangible in the different registers of her work and have a fulfilling aspect to them in the AD NAUSEAM audio-visual installation.

Le Silence des héros, 1995-1996

258 flags, rolled around their poles, rest aligned against a wall. Their alternating colours and formats punctuate the space. Le Silence des héros sets off in a silent parade, a stifled protest, open to interpretation. Rolled up, these banners evoke the awaiting revolt or aftermath of the demonstration. The title refers to Voltaire, to vox populi and "to this idea that we are all rising heroes", yet these resting banners also allude to mute disenchantment and society’s passivity in those years. The work was produced in 1995 by Frac Lorraine in the scope of Territoires occupés [Occupied Territories], an exhibition produced with female artists in a former NATO military airport in Zweibrücken, Germany. It was re-produced and expanded at Le Quartier, centre d’art de Quimper.

AD NAUSEAM, 2014

Mounds of books are discharged in a recycling plant in an inexorable process of destruction echoing the deafening noise from industrial clamour. The soundtrack, produced using nearly a thousand samples primarily recorded in situ, the outrageous size of the images, the fragmented and constantly shifting views, pull the audience into a dizzying spin into the massive destruction of knowledge.

Oscillating between gripping historical references and examination of the environmental impact of our modes of production, AD NAUSEAM reflects Man’s capacity for selfdestruction. Captured by the flux and monumental nature of the images, the viewer cannot take in the entire scene and distance himself from it.

Sightseeing, 2002

This film was made from the back seat of a car, from behind fogged-up windows. Slowly crossing a snow-filled landscape to the sound of a clarinet, it ends with the silent shot of a gate and barbed wire, revealing what we precisely do not want to see. We are at the entrance to the Struthof concentration camp in Natzweiler, Alsace. The entire video is like a gloomy dream with music – a harrowing clarinet solo interpreted by Claudine Movsessian – that bestows it with an epic dimension.

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Tania Mouraud. a retrospective

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The city-wide walk 49 Nord 6 EST – Frac Lorraine

Exhibition: Tous les chemins mènent à Schengen !

(All Paths Lead to Schengen!)

From 22 May to 4 October 2015

Located in the historical centre of Metz, in a building from 12th century, Fonds régional d’art contemporain de Lorraine presents its audiences with a variety of artistic experiences.

Thematic exhibitions bring conference speakers and idea brokers together with musicians, dancers, as well as others from the artistic scene. In the scope of its cross-disciplinarity, Frac fosters a unique relationship with the written word and organises residencies for art critics, historians, philosophers and writers on a regular basis. This initiative stimulates and encourages critical thinking on the stakes of contemporary society.

The ideas and experiences promoted by the Frac are reflected across its territory and through its collection. This collection often deals with female artists and immaterial forms and is developed through performances, dance and other live forms. As a true mirror of an evolving society, Frac invites its audiences to dream the world in which they live through collective experiences and direct participation. .

"How can you sleep ?" A cry of outrage by Tania Mouraud at those who feign sleep and ignore society's strays, nomads and other refugees at the gates of Europe! While they dream of a better future, they find us depressed and pessimistic in our sedentary lives.

The present exhibition at Frac Lorraine revolves around the figure of the relentless walker: from the wandering Jew who erred in medieval tradition to the more contemporary migrant... Can a parallel be drawn between the historical movements of populations and the leisure hikes that have become popular in the West? Is hiking a remedy for our contemporary problems?

Artists : Ursula Biemann, Marta Caradec, Bouchra Khalili, Beat Lippert, Mathieu Pernot…

Hcys?

Few visitors get a glimpse of this work since it can only be seen from the top of the dovecote tower at Frac Lorraine. This monumental work fits the size of the landscape. Fifteen by thirty-some meters, it is the foreground of the city's scenic panorama. The silent scream that unfolds here, slowly reveals the words "How can you sleep?", from Schoenberg’s opera A Survivor from Warsaw, in which the narrator recounts, in English, the invasion of the ghetto by the SS. The work can be viewed from the dovecote tower upon appointment.

49 Nord 6 Est – Frac Lorraine 1 bis, rue des Trinitaires Tuesday to Friday – 2pm to 7pm Saturday and Sunday – 11am to 7pm Free Entrance 49 Nord 6 Est – Frac Lorraine, Metz Anna Maria Maiolino, Entrevidas, 1981/2013 © Collection Frac Lorraine / Photo : E. Chenal

Access to HCYS? upon appointment: +33 ()03 87 74 20 02 or info@fraclorraine.org) Between 2pm and 7pm – Tuesday to Friday At 5pm on Saturday and Sunday

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Tania Mouraud. a retrospective

Arsenal – exhibition Gallery, SAINT-PIERRE-AUX-NONNAINS and CHAPELLE DES TEMPLIERS The concert hall at Arsenal is foremost dedicated to symphonies and baroque music. However, Arsenal is equally open to other musical genres and dance, as well as the fine arts which has a newly reconfigured exhibition space of its own.

The richness of modern and contemporary art from the region and boarder areas has led Arsenal to refine its position in the field of visual arts. Since 2009, the Exhibition Gallery at Arsenal has been entirely dedicated to photography. With 5 to 6 exhibitions per season, it has become a reference venue, working in close connection with the programmes on offer at various partner institutions throughout the region. Its programming is based on the multiple facets of this artistic discipline, ranging from conceptual photography to photo journalism from both the national and international scenes, from young photographers to veteran artists.

© Arsenal – Metz en Scènes

Saint-Pierre-aux-Nonnains

Saint-Pierre-aux-Nonnains is hosting Ad Infinitum, an impressive film on the "ballet" of grey whales in the Gulf of Mexico, providing food for thought on the confrontation with the immenseness and power of nature.

EPCC – Metz en Scènes, which groups Arsenal, Les Trinitaires and BAM together, was created in 2009 by the City of Metz and the Lorraine Region.

Chapelle des templiers

A novel experience is on offer in the Chapelle des Templiers based on the sound composition in a video entitled Myriam Hamagdalit that mixes Kaddish, shofar, deep Russian basses, Byzantine bells and Tibetan trumpets. A retake on this history-laden site.

exhibition Gallery

In line with the Exhibition Gallery's programming at Arsenal, the works on display here focus on Mouraud's photographic production, from “Vitrines” up through her most recent series on the open-air mines in western Germany. The exhibition combines photography and videos from 2000 on, widely covering the appearance of images in Tania Mouraud's work.

L'Arsenal 3, avenue Ney Tuesday to Sunday – 2pm to 7pm Closed on 14 July and 15 August.

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Tania Mouraud. a retrospective

The wide range of European Schools from 19th century Renaissance are well represented in its collections of paintings. The focus is on great artists from Metz (François de Nomé, Poerson, Le Prince), painters from the "École de Metz" (19th century) and a set dedicated to abstraction from the second École de Paris (1940-1980).

MUSÉE DE LA COUR D’OR – METZ MÉTROPOLE

In the scope of this city-wide walk, Musée de la Cour d’Or honours Tania Mouraud's video work. 5892, Once Upon a Time and La Curée are on display in the gallery dedicated to temporary exhibitions. The works here reveal the underlying violence mixed with the beauty that emanates from the moving images produced by the artist since early 2000.

The video and sound installation, La Fabrique, on loan from Centre National d’Arts Plastiques, is being shown in an unusual space, namely the courtyard to the museum's temporary entrance. This major work by Tania Mouraud presents portraits of Indian workers filmed in the textile workshops in the region of Kerala. It reproduces, in an immersive and alienating fashion, the mechanical ballet of the spinning and weaving machines that constrain the workers' bodies. These videos are part of a series of works-parables that deal with annihilation and the mechanisation of destruction, revealing the portrait of a socially engaged artist.

Musée de La Cour d’Or – Metz Métropole 2, rue du Haut Poirier Every Monday and Wednesday to Sunday – 9am to 6pm Closed on 14 July

© Musée de La Cour d'Or – Metz Métropole / Laurianne Kieffer Located in the historical centre of Metz since 1839, Musée de La Cour d’Or – Metz Métropole retraces the history of the city and its surroundings from ancient Gallo-Roman times to the present through its multi-disciplinary collections including archaeology, history, architecture and the fine arts.

The thermal baths discovered on site in 1932 serve as the backdrop to the permanent exhibition on the daily lives in Roman Gaul. Noteworthy sculptures and funerary steles are equally on display. Several outstanding sets bear witness to the importance of Metz in the Middle Ages: Merovingian tombs, Louis Le Pieux' sarcophagus, a chancel from the SaintPierre-aux-Nonnains church as well as rare ceilings made of painted wood. Medieval religious statues are presented in the vast Chèvremont granary, the former reserves for the city built in 15th century, and today classified as a historical monument.

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Tania Mouraud. a retrospective

The exhibition at Faux Mouvement brings together a set of works by Tania Mouraud centred on writing and the plasticity of language, that art critique, Elisabeth Lebovici, qualified as "Words of form" in 1992.

At end of 1980s, Tania Mouraud began her "WORDS" series.

Depicted directly on a wall or via black painted canvas on frames, the white letters, propounded by the wall itself, play on positives / negatives, forcing the viewer to invert his usual reading process.

The ambiguously entitled "BLACK POWER" series produced thereafter, refers, amongst other things, to the typographic domination of the colour black in our society. By representing the counter-forms of words in capital letters, the shapes attached to the wall produce the text. The wall becomes the word that virtually prints itself in the viewer's eye, better revealing its importance as an active component of painting.

With her "Wall Paintings", Tania Mouraud further stretches the time needed for a viewer to decipher her work compared to her previous works. Directly painted on a wall, the letters fill its entire height, stretching them to the limit of legibility.

Although extremely present on the wall, they are perfectly evanescent. People can walk right by them, only seeing black and white stripes, without even realising that they represent a phrase. This is the paradox of this series of works which is thus dedicated to anyone who takes the time to decipher them.

"WORDS", "BLACK POWER", "Wall Paintings" and Diasec prints are presented together at the art centre.

Centre d'art contemporain FAUX MOUVEMENT Faux Mouvement is a contemporary art centre located in Metz since 1983. The centre has a 350 sq. m. exhibition space at 4 rue du Change, the area extending beyond Place Saint-Louis.

Six exhibitions, primarily single-artist shows specifically designed for this space, are programmed on average every year.

The art centre's team conceives off-site projects consisting of urban performances (recently with Bertrand Lavier and Gérard Collin-Thiébaut), remote exhibitions, artist residencies, training and information sessions in partnership with the training centre FAPAC (Formation des artistes et des professionnels de la culture) and actively participates in the "Nouveaux Commanditaires" programme headed by Fondation de France. Faux Mouvement has more recently associated itself with research conducted by university laboratories (Labex Arts H2H-Université Paris 8). Commissioned by the City of Metz, the centre invests in social projects with schools, retirement homes and hospitals as well.

Faux Mouvement – Centre d'art contemporain Place Saint-Louis - 4 rue du Change Wednesday to Saturday – 2pm to 7pm Sunday – 3pm to 6pm And upon appointment: +33(0)3 87 37 38 29 Free entrance

Tania Mouraud, maquette, août 2014 Projet de wall painting DUSPECETLDMFSMDLGSULMC © Faux Mouvement – Centre d'art contemporain

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Tania Mouraud. a retrospective

Galerie Octave Cowbell

Galerie TOUTOUCHIC

Octave Cowbell is a 'community' exhibition space. Its primary aim is to promote young contemporary art in its diverse forms both in the Lorraine region and elsewhere.

Located at 5 rue des Parmentiers, Octave Cowbell is an apartment open to visitors. You enter the space through a window using a small staircase placed in the street. Inside, 25 sq. m. of neon-lit white and a chimney. The non-profit organisation that runs the space is backed by DRAC Lorraine, Lorraine Regional Council, Moselle General Council and City of Metz.

© Photo : Sébastien Grisey

In September 2010, alongside Nuit Blanche 3 in Metz, Vanessa Steiner and Cédric Shili decided to take over the premises of a shop once run by dog groomer. They created Toutouchic gallery. The aim is to disseminate and enhance contemporary creation dealing with installation and graphic design in a broad sense (print-type, edition, poster, etc.).

The gallery strives to present work with a twist on contemporary issues. The mediums used to achieve this, i.e. novel use of objects, off-beatness or quirkiness, and changes in scale, provide viewers with a number of possibilities to simply feel addressed by the artistic process, after which they can then head into a more “complex” interpretation of the issue itself.

© Galerie Octave Cowbell

Millefeuille(s), PMU

As it has been presented in its successive versions, the work titled Millefeuille(s) is constituted by applying a protocol elaborated by Tania Mouraud in 1996. The aim is to fully wallpaper a surface of any size using slightly overlapping coloured paper. The juxtaposition of these pastel or vivid coloured rectangles explicitly refers to certain compositions

by Piet Mondrian and Ad Reinhardt. Proliferative, this work can be just as well installed in a museum or gallery, as outside on a façade, billboard space, electoral placard…

Peinture interactive

One of Tania Mouraud's oldest works for one of the youngest galleries in Metz! In 1968, Mouraud conceived an interactive painting project, with aesthetics close to geometric abstraction. The kaleidoscopic structure of the work retains the planarity and verticality of a painting, yet it shatters its static unity. Each of the hexagonal tiles that compose it, can be interchanged and oriented as desired. The visitor can contribute to the compositions thus removing the notion of exclusivity from the artist. Interactive, this work continues the demystification process begun by GRAV (Groupe de Recherche d’Art Visuel) which, in 1963, demanded that “an audience [be] conscious of its power to act”, capable “itself of creating true 'revolution in art'”. It is also close to Zero group's Kinetic art as well as Fluxus, groups that Tania Mouraud mingled with from 1959 to 1965 when she lived in Düsseldorf.

Never before presented in a museum environment, this work has been specifically revived for the exhibition, produced by Toutouchic.

Notwithstanding its obvious pictorial effect, the text printed on each paper leaf also meets the conceptual requirement characteristic of the artist's work and which here, takes on sociological significance. Indeed, the words used are chosen in function of the exhibition space and reflect an aspect of the audience's environment which they may have ignored. And so, for the Octave Cowbell gallery, Tania Mouraud chose the names of race horses that are published in the newspapers read by horse owners and bettors at the Pari Mutuel Urbain (PMU) horse races. Recognised by part of the population, this onomastics constitutes in itself poetry that is both sophisticated and mainstream.

Production of Peinture interactive was crowdfunded through KissKissBankBank.

Galerie Octave Cowbell 5, rue des Parmentiers Thursday to Saturday – 2pm to 7pm And upon appointment: +33(0)6 61 62 27 79 Free entrance

Galerie Toutouchic Wednesday to Saturday – 2pm to 6pm And upon appointment: +33(0)6 78 47 03 57 / +33(0)6 82 47 82 87 Closed in August Free entrance

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Tania Mouraud. a retrospective

SHOP WINDOW AT GALERIES LAFAYETTE

ÉSAL

"I can't Breathe". The words burst and fall to pieces in the heart of down town, in the middle of a shopping street.

This phrase, pronounced in 2014 by a victim of police violence in United States, appears here for the first time in Tania Mouraud's work. Written in a particular typographic style created by the artist herself, this work appeals to the world of Street art and graffiti and has been intentionally scattered. The choice in colour and the iridescent effect of the material temporarily hide the drama of these words behind the viewer's delight. Yet, the message hidden in the letters and revealed to those passers-by who take the time to decipher it, may trigger their memory of this event, which has in the meantime been replaced by so many other events.

Many demonstrations had taken place at the time with people carrying signs reading "I Can't Breathe", just as millions of people in France demonstrated at the start of the year with "Je suis Charlie" placards.

ÉSAL (École supérieure d'art de Lorraine) is a public institution, which along with École d’Épinal and CEFEDEM, make up the only higher education centre for plastic arts– music–dance in Lorraine region. It maintains a diverse network of local connections in the artistic and cultural field including Centre Pompidou-Metz, Musée de l’Image d’Épinal, 49 Nord 6 Est - Frac Lorraine, Centre d’art la Synagogue de Delme, Octave Cowbell gallery, as well as others.

With over 160 students and a teaching staff comprised of artists, theoreticians and practitioners, it offers crossboarder opportunities into Germany, Belgium and Luxembourg through its Erasmus programme.

The École Supérieure d'Art de Lorraine has contributed to this retrospective.

Students partook in workshops with the artist. Ten-some were engaged in wall paintings and the exhibition's installation.

Like those works by Mouraud that lie open to interpretation, this work offers each of us a space in which to project our own references. The artist has often referred to the notions of alienation and empowerment, as well as to fight against discrimination, sometimes in an allusive manner – for instance the title of her "BLACK POWER" series, in reference to the Black Panthers – sometimes in a more literal manner, with for example the video installation La Fabrique.

Galeries Lafayette Metz 4 Rue Winston Churchill

In city space City Performance n°1

Considered as an anthological work of art from the late 1970s, “NI” reproduced on 54 billboards throughout eastern Paris marked the times. The visually intense letters stretching out over 4x3m posters, call out to passers-by and play with traditional strategies in advertising. Ultimate negation, or message open to the viewer's interpretation, “NI” (literally neither/nor) is the disapproval of a society where consumerism rhymes with illusion.

Re-enacted several times since, "NI" is a type of protest with which the artist left her purely philosophical-linguistic explorations, turning to more politically motivated content.

She does however manage to avoid the pitfalls of literalism and social commentary; her protests remain, through their abstract representation, protests "with hidden noise".

The work will be reproduced throughout Metz and its surroundings the last week of June.

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Tania Mouraud. a retrospective

5.

Lenders Germany Stadtmuseum Zweibrücken

United States Franklin Furnace Archive, Inc.

France Metz 49 Nord 6 Est – Frac Lorraine

Paris Centre Pompidou, Musée national d'art moderne Musée d'Art Moderne de la Ville de Paris Centre national des arts plastiques

Rennes Fonds régional d'art contemporain, Bretagne

Saint-étienne Musée d'Art Moderne et d'Art Contemporain, Saint-étienne Métropole

Sélestat Fonds régional d'art contemporain, Alsace, agence culturelle d'Alsace

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Tania Mouraud. a retrospective

6. cultural Programme around the exhibition READING

As an extension to its exhibitions, Centre Pompidou-Metz offers cross-disciplinary programming in its Auditorium Wendel and Studio, which are specifically dedicated to this purpose. The programme also regularly extends into the exhibition galleries, Forum and external gardens.

SA 07.03 + SU 08.03.15 4:00 PM

LES ROULEAUX D’AUSCHWITZ

Spaces and contents open up to novel possibilities between the exhibitions and the performing arts.

by ZALMEN LEWENTAL, interpreted par Ysé Tran

Zalmen Lewental was part of the Sonderkommando at the Auschwitz camp, a prisoner forced to participate in the final solution. So that the world would know the horrors he lived through, he managed to write some manuscripts before he died, burying them in bottles or tins near the gas chambers.

When they were at last found, these "rolls" were damaged by weather and time... words had faded away.

Taking part in a manuscript reading by Ysé Tran, who respects these deafening silences, is a deeply moving experience.

Performance dates are programmed in connection with the exhibitions in order to further develop their themes through other creative mediums: dance, music, theatre, film, conferences and more. In this way, Centre Pompidou-Metz fosters dynamic interpretation of modern and contemporary art by providing artistic disciplines with a platform for exchange and by promoting a connection between artists and audiences.

AUDITORIUM WENDEL 75’ - Tarif : €5

HIGHLIGHT 1

After a proposal by Tania Mouraud.

MUSIc

SA 07.03 + SU 08.03.15

HIGHLIGHT 2

3:00 PM

With Phill Niblock, Méryll Ampe, Philippe Langlois...

Full programme at centrepompidou-metz.fr

PURR (INFRA)

KASPER T. TOEPLITZ

Composer and sound architect, Kasper T. Toeplitz plays on the tensions between noise textures and sounds. He aims at engulfing the listener in sound. Literally plunged into a vibrating universe, the listener is transported and invited to wander among the musicians in this live set-up specially conceived for this occasion. Humming, scratching and waves of electric basses modify the constantly evolving soundscape.

The electric and organic world according to Kasper T. Toeplitz revealed in PURR (infra) seems never-ending and the trip captivating.

The Pass The Pass provides unlimited access to exhibitions at Centre Pompidou-Metz with a guest of your choice for one year and reduced prices to shows and conferences.

GALERIE 3 2h30' – Free entrance upon presentation of an exhibition ticket.

Price for first-time membership: €37.

Membership renewal: €33.

Composition: Kasper T. Toeplitz / Electric basses: Kasper T. Toeplitz, Jean-Baptiste Hanak, Raphaël Ortis, Eryck Abecassis.

Production manager: Zak Cammoun

Creation by Kasper T. Toeplitz for Sleaze Art, electric bass ensemble.

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Tania Mouraud. a retrospective

8.

Credits

The exhibition Tania Mouraud. a retrospective is produced by Centre Pompidou-Metz.

exhibition Curators Hélène Guenin Élodie Stroecken Project Managers Jennifer Gies Irène Pomar-Marcos Scenographers Est-ce ainsi : Xavier Wrona, Charles Aubertin et Meredith Black GMGB : Émilien Deloche et son équipe Scenography from original elements designed by Laurence Fontaine for the Simples Shapes exhibition.

Graphic Designers Nicolas Pleutret et Michel Le Petit Didier

Centre pompidou-Metz Centre Pompidou-Metz is a Public Establishment of Cultural Cooperation (EPCC), whose foundind members are the State, Centre Pompidou, Lorraine Region, Agglomeration Commununity of Metz Métropole and City of Metz.

Board of administrators Alain Seban President Jean-Marie Rausch Honorary President Jean-Luc Bohl Vice President Metz Métropole Representatives Jean-Luc Bohl President Arlette Mathias Vice President Margaud Antoine-Fabry Community Councillor Patrick Grivel Associate Councillor Hacène Lekadir Community Councillor Pierre Muel Associate Councillor Patrick Thil Community Councillor

Centre Pompidou Representatives Alain Seban President Denis Berthomier General Director Bernard Blistène Director of National Museum of Modern Art Sophie Cazes Director of Financial and Legal Affairs Catherine Guillou Director of Visitor Services Brigitte Leal Assitant Director of National Museum of Modern Art in charge of collections Kathryn Weir Director of Cultural Development

Centre Pompidou-Metz team Management Emma Lavigne Director General Secretariat Diego Candil Secretary General Pascal Keller Assistant Secretary General Hélène de Bisschop Legal Advisor Émilie Engler Secretarial Assistant Cécilia Zunt-Radot Personal Assistant and Project Coordinator Department of Administration and Finance Rodolphe di Sabatino Head of Department Jérémy Fleur Accountant Mathieu Grenouillet Accounts Assistant Audrey Jeanront Human Resources Management Assistant Ludivine Morat Administrative Coordinator Alexandra Morizet Public Contracts Coordinator Véronique Muller Accounts Assistant

Lorraine Region Representatives Nathalie Colin-Oesterlé Regional Councillor Josiane Madelaine Vice President Jean-Pierre Moinaux Vice President Rachel Thomas Vice President Olivier Tritz Regional Councillor State Representatives Nacer Meddah Prefect of Lorraine Region, Defence and Security Area of Eastern France (Zone de Défense et de Sécurité Est), and Moselle

Department of Building Maintenance and Operation Philippe Hubert Technical Director Mouhamadi Assani-Bacar AV and IT Assistant Christian Bertaux Head of Building Maintenance Sébastien Bertaux Chief Electrician Vivien Cassar Technical Coordinator Raphaël Claudin Project Engineer Jean-Philippe Currivant Lighting Technical Agent Stéphane Leroy Operation Manager André Martinez Head of Security Jean-David Puttini Painter

Representing the City of Metz Dominique Gros Mayor of Metz, home city of Centre Pompidou-Metz Dominique Schuman Associate Councillor Ex-Officio Frédéric Lemoine Chief Executive Officer of Wendel Patrick Weiten President of Moselle Department Council Staff Representatives Djamila Clary Visitor Relations and Sales Officer Élodie Stroecken Coordination Officer

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Department of Communications and Development Amandine Butticaz Communications and Sponsorship Officer Noémie Gotti Communications and Press Officer Marie-Christine Haas Multimedia Communications Officer Anne-Laure Miller Communications Officer Amélie Watiez Communications and Sponsorship Officer Department of Production Rodolphe Di Sabatino Head of Department Charline Becker Project Manager Alexandre Chevalier Galleries Registrar Jean-Pierre Del Vecchio Systems and Networks Administrator Jennifer Gies Project Manager Christine Hall AV and IT Technical Coordinator Annabelle Lacour Production Assistant Thibault Leblanc Live Performance Technician Éléonore Mialonier Project Manager Fanny Moinel Head of Department Assistant Irène Pomar-Marcos Project Manager Marianne Pouille Production Assistant Julie Schweitzer Project Manager Jeanne Simoni Project Manager Department of Programming Hélène Guenin Head of Department Claire Bonnevie Editor Géraldine Celli Studio and Auditorium Wendel Programming Officer Hélène Meisel Research and Exhibitions Officer

Tania Mouraud. a retrospective

Alexandra Müller Research and Exhibitions Officer Dominique Oukkal Manufacturing Coordinator Élodie Stroecken Coordination Officer Department of Visitor Relations Fedoua Bayoudh Visitor Relations and Tourism Officer Djamila Clary Visitor Relations and Sales Officer Jules Coly Visitor Relations and Information Officer Anne-Marine Guiberteau Youth Programming and Educational Activities Officer Benjamin Milazzo Visitor Relations and Membership Officer Anne Oster Schools Relations Officer Trainees Juliette Audema Julie Gesnel Marie-France Nguyen Anais Roesz external service providers Museographic Layout SF Sans Frontière : Herman Schmit and his team Painting and Floor Covering Anoux Peinture : Jean-Yves Givert and his team Electrical Installation Cofely Ineo GDF Suez : Christophe Lere and his team Audiovisual and Lighting Registrar Cottel : David Cottel and his team Transport and Packing of Works Artrans Axal : Pierre Heinrich, Sébastien Schaeffer and their team Hanging of Works Bovis transports : Pascal Bovis and his team Framing and Pedestals Aïnu : Stéphane Pennec and his team Photo Editing Camara photo Yves : Yves Mahé and his team Production of Works Art Project : Patrick Ferragne and his team Circad : Patrick Bouteloup and his team Graphilux : Pierre Brandely and his team Janvier : Bastien Speranza and his team Lynx : Caroline Baatout and David Aumer

Technical Inspection Pascale Accoyer Armelle Poyac Élodie Texier-Boulte

National Museum of Modern Art – Industrial design center Bernard Blistène Director of National Museum of Modern Art Catherine David Assistant Director, in charge of Resarch and Globalization Brigitte Leal Assistant Director in charge of the Collections Frédéric Migayrou Assistant Director of Industrial Design Didier Ottinger Assistant Director of Cultural Programming Xavier Bredin Administrator Olga Makhroff Loans and Deposits Officer

Insurance of Works Blackwall Green : Robert Graham and his team Bureau de contrôle Socotec : François Jimenez Security Groupe SGP Fire Safety Service Départemental d’Incendie et de Secours de la Moselle Visitor Relations in the Galleries Phone Régie Nettoyage Lustral

Conservation of Visual Art Collections Department of Modern Collections Jean-Michel Bouhours Interim Head of Department Camille Morando Principal Archivist

FRIENDS OF CENTRE POMPIDOU-METZ Friends of the Centre PompidouMetz is a non-profit organisation whose purpose is to accompany the Centre in its cultural projects, and to enlist the support of the business world and private individuals who wish to make their contribution.

Department of Contemporary Collections Sophie Duplaix Head of Department Odile Rousseau Principal Archivist

François de Wendel President Jean-Jacques Aillagon Former Minister of Culture, Honorary President Philippe Bard President of Demathieu & Bard, Treasurer Lotus Mahé Secretary General Claudine Jacob Assistant Secretary General

Department of Contemporary and Prospective Creation Christine Macel Head of Department Department of Graphic Arts Jonas Storsve Head of Department Christian Briend Curator Department of Photography Clément Chéroux Head of Department

CENTRE POMPIDOU Le Centre Pompidou is a Public Establishment of Cultural Cooperation associated with Centre national d'art et de culture Georges Pompidou, a National Public Establishment of a cultural nature, under the tutelage of Ministry of Culture and Communications (law no. 751, 3 January 1975).

Department of Experimental Film Philippe-Alain Michaud Head of Department Department of New Media Sylvie Douala-Bell Attachée de conservation Department of Restoration Véronique Sorano-Stedman Head of Department

Alain Seban President Denis Berthomier General Director Jack Lang President of Association for Development of Centre Pompidou Jacques Boissonas President of Société des Amis to the National Museum of Modern Art

Department of Collections Ariane Coulondre Head of Department Industrial Design Department of Architecture Olivier Cinqualbre Head of Department

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Kandinsky Library Didier Schulmann Head of Department Production Division Stéphane Guerreiro Director Anne Poperen Assistant Director, Head of Financial and Legal Affairs Department Department of Works Management Hélène Vassal Head of Department AV Department Laurie Szulc Head of Department Department of Events Yvon Figueras Head of Department Department of Workshops and Technical Resources Gilles Carle Head of Department Department of Cultural Development Kathryn Weir Director Roger Rotmann Assistant Director Communications and Partnerships Division Benoît Parayre Director Marc-Antoine Chaumien Assistant Director Stéphanie Hussonois-Bouhayati Assistant Director Publications Division Nicolas Roche Director Jean-Christophe Claude Assistant Director Public Division Catherine Guillou Director Patrick Chazottes Assistant Director

Tania Mouraud. a retrospective

9.

Partners Centre Pompidou-Metz is the first offshoot of a major French cultural institution, Centre Pompidou, in partnership with regional authorities. An independent body, Centre Pompidou-Metz benefits from the experience, expertise and international reputation of Centre Pompidou. It shares with its older sibling values of innovation and generosity, and the same determination to engage a wide public through multi-disciplinary programming.

Centre Pompidou-Metz produces temporary exhibitions which draw on loans from the holdings of Centre Pompidou, Musée National d'Art Moderne. With more than 100,000 works, it is the largest collection of modern and contemporary art in Europe and the second largest in the world.

Centre Pompidou-Metz also develops partnerships with museums around the world. A programme of dance, music, films, lectures and children's workshops further explore themes raised in the exhibitions.

Financial support is provided by Wendel, its founding sponsor.

Mécène fondateur

Tania Mouraud. A Retrospective is produced with the support of Antalis, Arjowiggins, the Galeries Lafayette Group and the Cercle féminin de soutien à Tania Mouraud.

In a media partnership with

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Tania Mouraud. a retrospective

Mécène fondateur G R A N D M E C E N E D E L A C U LT U R E

Wendel, Founder Patron of Centre Pompidou-Metz Wendel has been commited for five years alongside Centre Pompidou-Metz. Since the opening of the Centre in 2010, Wendel wanted to support a flagship institution whose cultural influence reaches the most people. Thanks to its commitment for many years in favor of Culture, Wendel received the title of Grand Patron of Culture in 2012.

Wendel is one of the leading quoted investment companies in Europe, acting as an investor and professional shareholder, promoting the long-term development of companies which are global leaders in their sectors: Bureau Veritas, Saint-Gobain, IHS, Materis Paints, Stahl, Mecatherm or CSP Technologies.

Founded in 1704 in Lorraine, Wendel Group was committed during 270 years to the development of various activities, especially of the steel industry, before beginning a longterm investor in the late 1970s.

The Group is supported by its reference family shareholder, made up of more than one thousand Wendel family shareholders, who are united in the family company WendelParticipations, which owns 35% of Wendel.

Press Relations: Christine Anglade-Pirzadeh : + 33 (0) 1 42 85 63 24 c.angladepirzadeh@wendelgroup.com Caroline Decaux + 33 (0) 1 42 85 91 27 c.decaux@wendelgroup.com

www.wendelgroup.com

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Tania Mouraud. a retrospective

It is with great enthusiasm that Galeries Lafayette group has chosen to support the retrospective dedicated to Tania Mouraud, an extensive exhibition conceived and produced by Centre Pompidou-Metz.

A stakeholder committed to contemporary creation, Galeries Lafayette group immediately wanted to associate itself with this unprecedented retrospective which highlights Tania Mouraud's significant contribution to contemporary art.

The exhibition features the creative diversity of the artist and the constant evolution of her work. The gallery's layout unveils the richness of Tania Mouraud's art including her reflection on fashion in 1980s, which she expressed through a series of snap-shots taken of Parisian shop windows. This dual setting of contemporary art and fashion provides the perfect stage for a dialogue between Centre Pompidou-Metz and Galeries Lafayette group in the scope of this retrospective.

In June, the exhibition takes on its full form and unfolds into the city investing nine cultural institutions and venues. At this time, the display windows in the Metz store will house an unprecedented work by Tania Mouraud. By taking part in this city-wide walk, the Group reaffirms its commitment to contemporary creation and acts as a mediator between the artist and a large audience.

Already a partner for the art centre's sneak preview, Constellation, in 2009, as well as the Paparazzi !

Photographes, stars et artistes exhibition in 2014, Galeries Lafayette group continues to support, alongside Centre Pompidou-Metz, creation and remains implicated in the local cultural scene and its desire to share creation with the greatest number of people.

On groupe Galeries Lafayette group Fashion specialist and leader in the down-town shopping sector, Galeries Lafayette group is a private, family, sales group in retail shopping with 120 years to its name. Stakeholder committed to creation and leading private employer in France with 15,000 associates, the Group aims at fostering l’Art de Vivre à la française. With retail sales of 3.8 billion Euros, the Group today benefits from international renown founded on its emblematic brands: Galeries Lafayette, BHV / MARAIS, Royal Quartz, Louis Pion and Didier Guérin.

For more information: http://www.groupegalerieslafayette.fr Contact: FLORENCE BRACHET CHAMPSAUR Head of Corporate Patronage fbrachet@galerieslafayette.com +33 (0)1 42 82 37 79

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Tania Mouraud. a retrospective

The long tradition of paper in Europe has been at the base of Sequana group's activities since 18th century. With this expertise and its close ties to the art world, the group has been engaged in cultural partnerships for over ten years, focusing on bringing art to a vast audience.

Along these lines, Sequana has decided to support Centre Pompidou-Metz by contributing to the publication of the Tania Mouraud catalogue. The high-quality papers by Ideal and Olin used in this work are manufactured by Arjowiggins and distributed by Antalis.

As a global stakeholder in the paper industry, Sequana is on the forefront in each of these sectors with: Antalis, no. 1 in paper and wrapping product distribution in Europe.

Present in 44 pays, Antalis employs approximately 6000 associates.

Arjowiggins, world leader in technical and art papers, employs over 4000 people.

With over 10,000 associates the world over, Sequana achieved a turnover of 3.3 billion Euros in 2013.

--------Contact: Head of Communications +33 (0)1 58 04 22 80 For more information: www.sequana.com

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Tania Mouraud. a retrospective

The Female Circle of Support to Tania Mouraud The circle The Female Circle of Support to Tania Mouraud was launched on 13 November 2014 and brings together women who are willing to commit themselves alongside the artist and Centre Pompidou-Metz, that highlights for the first time a female artist on a city-wide scale.

The amount of donations collected until now contributed to the recreation, into the retrospective, of One more night, the first meditation room designed by the artist in 1969 and shown in 1970 at the galerie Rive Droite in Paris. This founding work was acquired by the Musée d’Art Moderne de la Ville de Paris.

Tania Mouraud, One more night Built within a white cube, One more night is an environment constituted by a central podium which the visitor reaches after climbing several steps. At the heart of this platform, a 20 cm deep rectangular area, that corresponds to the measurements of the artist’s body, has been designed in hollow. Enabling introspection, this simple and plain shaped room has been conceived as a "psycho-sensory" environment, distributing a soothing sound frequency.

Sound composition and spatialization have originally been entrusted to Eliane Radigue.

With the kind contribution of TATIANAFABECK ARCHITECTE.

and then?

Be a part of the Female Circle of Support to Tania Mouraud is also be associated with the exhibition's programme: members regularly receive information about the events around the exhibition; they discover educational and social projects developed within the context of the retrospective and will meet up for a special moment on the occasion of the city-wike walk's opening on 26 June...

Women who would like to become members of the Female Circle of Support to Tania Mouraud can address: Amélie Watiez amelie.watiez@centrepompidou-metz.fr Amandine Butticaz amandine.butticaz@centrepompidou-metz.fr

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Tania Mouraud. a retrospective

10. press visuals Login: presse Password: Pomp1d57

Visuals of works in the exhibition, amongst them the images below, can be downloaded at the following address: centrepompidou-metz.fr/phototheque

Tania Mouraud in front of Infini au carré, 1968 © All rights reserved © ADAGP, Paris 2014

Tania Mouraud, Autodafé, 1968

Tania Mouraud, Initiation Room N°2 , 1971

Hôpital de Villejuif

White lacquer on floor, walls and ceiling, indirect lighting, sinusoidal frequency 200 hertz, 600 x 500 x 150 cm Installation view (detail), Galleria LP 220, Turin

© ADAGP, Paris 2014 © All rights reserved

© ADAGP, Paris 2014 © Gianni Berengo Gardin / Courtesy Fondazione Forma per la Fotografia

Tania Mouraud, People call me Tania Mouraud, 1973 Artist's collection © ADAGP, Paris 2014 © Photograph Tania Mouraud

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Tania Mouraud. a retrospective

Tania Mouraud, Can I be anything which I say I Possess?, 1971-1973/2015

Tania Mouraud, Mandala n°3, 1974/2015

Heliography and laminated letters on laminate, 89.5 × 260 cm Collection at Centre National des arts plastiques

Heliographic film, metal frame Artist's collection

© ADAGP, Paris 2014 © Photograph Didier Béquillard

© ADAGP, Paris 2014 © Photograph Tania Mouraud

Tania Mouraud, City performance n°1, 1977-1978

Tania Mouraud, Art space n°6, Memory of a non-existent seeing, 1977

Urban intervention Collection at 49 NORD 6 EST - Frac Lorraine, Metz

Acrylic on walls Installation view, (detail), PS1, New York

© ADAGP, Paris 2014 © Photograph Tania Mouraud

© ADAGP, Paris 2014 © Photograph Tania Mouraud

Tania Mouraud, WYSIWYG, 1989

Tania Mouraud, De la décoration à la décoration II (France), 1996

Wall painting, variable dimensions Exhibition view - La Force de l'Art, Grand Palais, Paris, 2006 Collection at Musée National d'Art Moderne, Centre Pompidou, Paris

Acrylic on wood on painted wall Installation view, Le Quartier, Quimper Originals Artist's collection

© ADAGP, Paris 2014 © Photograph Thierry Depagne

© ADAGP, Paris 2014 © All rights reserved

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Tania Mouraud. a retrospective

Tania Mouraud, Sightseeing, 2002

Tania Mouraud, AD NAUSEAM, 2014

DVD video, pal, colour, sound Duration: 7’- Edition of 5 Collection at Musée d’art moderne de la Ville de Paris

Video installation Sound Tania Mouraud assisted by Ircam Production Tania Mouraud, Mac /Val, Ircam

© ADAGP, Paris 2014 © Videogram Tania Mouraud

© ADAGP, Paris 2014 © Videogram Tania Mouraud

Tania Mouraud, Backstage 0129, 2013 Digital print on Hahnemühle Rag, 23.60 × 100 cm Edition 5 + 2EA Artist's collection © ADAGP, Paris 2014 © Photograph Tania Mouraud

Tania Mouraud, L’indienne, "Images fabriquées" series, 1981 Black and white photograph, 50 x 60 cm 3 prints Artist's collection © ADAGP, Paris 2014 © Photograph Tania Mouraud

Tania Mouraud, Opéra 500/46, "Vitrines" series, 1981 Black and white photograph, 13 x 18 cm Edition of 4 Artist's collection © ADAGP, Paris 2014 © Photograph Tania Mouraud

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Tania Mouraud, Made in Palace 326/8, 1980 Black and white photograph, 53.50 × 35 cm Edition 2/5 Artist's collection © ADAGP, Paris 2014 © Photograph Tania Mouraud

Tania Mouraud. a retrospective

Tania Mouraud, Bordeland 0683, 2010 Pigment ink one Fine Art paper Art, 163.70 x 108.70 cm © ADAGP, Paris 2014 © Photograph Tania Mouraud

Tania Mouraud, Rubato 034R/0125b/036R , 2010-2013

Tania Mouraud, Ad Infinitum, 2007-2009

Triptych Pigment ink one Fine Art paper, 100 × 198.40 cm Edition of 5 Artist's collection

HD video, black and white, sound (loop) Duration: 8’10" Edition of 3 + 2 EA Installation view, 2009, Musée des Beaux-Arts - Chapelle de l'Oratoire, Nantes

© ADAGP, Paris 2014 © Photograph Tania Mouraud

© ADAGP, Paris 2014 © Photograph C. Clos

Tania Mouraud, La Curée, 2003-2004

Tania Mouraud, La Fabrique, 2006

Tania Mouraud, Once Upon a Time, 2011-2012

DVD, pal, sound Duration: 2’ (loop) Edition of 5 + 1EA Production: La Box et Bandits Mages, Bourges Artist's collection

Video installation 15 Tvs, 4 video projections, 19 sound sources Collection at Centre National des arts plastiques, Paris Production Tania Mouraud, Lille3000, Frac Nord-Pas-de-Calais

HD video Duration: 9'16" (loop) Edition of 5 + 2EA Installation view 2012, City Hall, Nuit Blanche, Toronto Production Tania Mouraud & Scotiabank Nuit Blanche, Toronto

© ADAGP, Paris 2014 © Videogram Tania Mouraud

© ADAGP, Paris 2014 © Photograph Thierry Depagne

© ADAGP, Paris 2014 © Photograph Tania Mouraud

Tania Mouraud, HCYS?, 2005

Tania Mouraud, A Collection, 1996

Digital print on tarp, 5 x 30 m Collection at 49 NORD 6 EST - Frac Lorraine, Metz

Paper leafs glued to a wall, variable dimensions Installation view, University Museum CSULB, Long Beach, California

Adhesive tape on cardboard, 50 cm each Artist's collection

© ADAGP, Paris 2014 © Photograph Tania Mouraud

© ADAGP, Paris 2014 © Photograph Cyprien Quairiat

© ADAGP, Paris 2014 © Photograph Rémi Villaggi

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Tania Mouraud, Projet de peinture interactive, 1968

Press Contact Centre Pompidou-Metz NoĂŠmie Gotti Communications and Press Officer +33 (0)3 87 15 39 63 noemie.gotti@centrepompidou-metz.fr Claudine Colin Communication Diane Junqua +33 (0)1 42 72 60 01 centrepompidoumetz@claudinecolin.com

# TaniaMouraud