Damien Hirst: Spot Paintings, Gagosian Gallery exhibition in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong

Damien Hirst: The Complete Spot Paintings 1986-2011 Gagosian Gallery's eleven locations 

Beverly Hills, Los Angeles, through February 10, 2012 New York, London, Paris, Hong Kong, through February 18 Rome, Athens, through March 10 Geneva, through March 17, 2012

I was always a colorist, I’ve always had a phenomenal love of color… I mean, I just move color around on its own. So that’s where the spot paintings came from—to create that structure to do those colors, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of color.

—Damien Hirst

Damien Hirst at Gagosian Gallery

© Damien Hirst/ Science Ltd, 2012 

Photography Prudence Cuming Associates

Damien Hirst: The Complete Spot Paintings 1986-2011, take place at once across all of Gagosian Gallery’s eleven locations. Most of the paintings are being lent by private individuals and public institutions, more than 150 different lenders from twenty countries. Conceived as a single exhibition in multiple locations, The Complete Spot Paintings 1986–2011 makes use of this demographic fact to determine the content of each exhibition according to locality.

Included in the exhibition are more than 300 paintings, from the first spot on board that Damien Hirst created in 1986; to the smallest spot painting comprising half a spot and measuring 1 x 1/2 inch (1996); to a monumental work comprising only four spots, each 60 inches in diameter; and up to the most recent spot painting completed in 2011 containing 25,781 spots that are each 1 millimeter in diameter, with no single color ever repeated.

PUBLICATION

The exhibition is accompagnied by the publication of The Complete Spot Paintings 1986–2011, a fully illustrated, comprehensive and definitive catalogue of all spot paintings made by Damien Hirst from 1986 to the present. Published by Gagosian Gallery and Other Criteria, The Complete Spot Paintings 1986–2011 includes essays by Museum of Modern Art curator Ann Temkin, cultural critic Michael Bracewell, and art historian Robert Pincus-Witten as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari.

The third issue of the Gagosian App for iPad providing an interactive, in-depth look at the series that features more than ninety spot paintings.

Damien Hirst: The Complete Spot Paintings 1986-2011 precedes the first major museum retrospective of Hirst’s work opening at Tate Modern in London in April, 2012.

DAMIEN HIRST was born in 1965 in Bristol, England. Solo exhibitions include "The Agony and the Ecstasy," Museo Archeologico Nazionale di Napoli, Naples (2004); "A Selection of Works by Damien Hirst from Various Collections," Museum of Fine Arts, Boston (2005); Astrup Fearnley Museet for Moderne Kunst, Oslo (2005); "For the Love of God," Rijksmuseum, Amsterdam (2008); "No Love Lost," The Wallace Collection, London (2009); "Requiem," Pinchuk Art Center, Kiev (2009); and “Cornucopia,” the Oceanographic Museum of Monaco (2010). He received the Turner Prize in 1995. His work is included in many important public and private collections throughout the world. Damien Hirst lives and works in London and Devon, United Kingdom.

GAGOSIAN GALLERY

www.gagosiangallery.com

New York, NY, USA: 980 Madison Avenue & 555 West 24th Street & 522 West 21st Street - Beverly Hills, LA, USA: 456 North Camden Drive - London, UK: 6-24 Britannia Street & 17-19 Davies Street - Paris, France: 4 Rue de Ponthieu - Rome, Italy: Via Francesco Crispi 16 - Geneva, Switzerland: 19 Place de Longemalle - Athens, Greece: 3 Merlin Street - Hong Kong, China: 7/F, 12 Pedder Street

Exposition Cézanne et Paris, Musée du Luxembourg. L'artiste entre Provence et Paris, Bords de Marne...

Cézanne et Paris 

Musée du Luxembourg, Paris

Jusqu'au 26 février 2012

Si Paul Cézanne (1839-1906) est à juste titre associé à la Provence, l'exposition Cézanne et Paris nous rappelle qu'on ne saurait l'y restreindre. En effet, plus de la moitié de son temps, à partir du moment où il se consacre à la peinture, se passe à Paris et en région parisienne. Il fait le voyage Aix-en-Provence - Paris plus de vingt fois. Bien entendu, les raisons de sa venue ne sont pas les mêmes à vingt et soixante ans. Après 1890, l’artiste déjà âgé, encore incertain de son œuvre (« je fais de lents progrès » écrit-il à la fin de sa vie)  se retire sur les bords de la Marne ou du côté de Fontainebleau pour peindre quelques paysages apaisés ainsi que des portraits. Il n’est plus le jeune homme, ambitieux  de « conquérir » Paris avec la volonté d’entrer à l’école des Beaux-Arts et de présenter des œuvres au Salon. 

A Paris, Cézanne se confronte tout autant à la tradition qu’à la modernité. Pour employer le vocabulaire de Zola,  il trouve  les « formules » de la nouvelle peinture avant de les exploiter en Provence. Le va-et-vient entre Provence et Ile de France devient constant même si les rythmes évoluent. En tout cas après 1890, les critiques, les marchands, les collectionneurs commencent à s’intéresser à son œuvre et Cézanne se montre attentif à cette reconnaissance parisienne qui facilite celle de son oeuvre de génie de la peinture. Ainsi imprime-t-il plus que tout autre sa marque dans l’art moderne : des post-impressionnistes à Kandinsky, l’avant-garde le considèrera comme un précurseur, « notre père à tous », selon la formule de Pablo Picasso. 

Cette exposition du Musée du Luxembourg (Sénat) est organisée par la Rmn-Grand  Palais, en collaboration avec le Petit Palais, Musée des Beaux-Arts de la Ville de Paris. Elle bénéficie en particulier de prêts exceptionnels du Musée d’Orsay.

Paul Cézanne, Le Quartier du Four à Auvers-sur-Oise (détail), vers 1873 

Philadelphia Museum of Art, Philadelphie, USA 

The Samuel S. White 3rd and Vera White Collection, 1967 

Huile sur toile - 46,3 x 55,2 cm 

© The Philadelphia Museum of Art 

PARCOURS DE L'EXPOSITION AUTOUR DE 80 TABLEAUX DE PAUL CEZANNE

CEZANNE MONTE A PARIS SUR LES PAS DE ZOLA

Poussé et soutenu par Zola, ami rencontré à Aix-en-Provence au collège Bourbon, déjà installé à Paris, Paul Cézanne rejoint la capitale en 1861, contre la volonté de son père, pour devenir « artiste ». Il fréquente l’académie Suisse où il rencontre d’autres peintres tels Pissarro et  Guillaumin, avec lesquels il se lie d’amitié. Paris, où l’académisme s’impose par le Salon, est alors le lieu de la révolte et de l’avant-garde. Durant ces années d’études, Paul Cézanne s’approprie les traditions anciennes et modernes : ses carnets de dessin attestent d’un regard attentif sur les grands maîtres de la peinture, tels Rembrandt, Poussin, Delacroix…, et de la sculpture antique, classique et baroque, avec des copies de Michel Ange et Puget principalement. Dans le même temps, il participe au mouvement impressionniste sans vraiment y adhérer. Bien qu’il se soit construit picturalement à Paris, où il revient jusqu’en 1905, Cézanne a finalement peu représenté la ville dans son œuvre. Il n’évoque jamais les sites célèbres, mais dessine ce qu’il voit de sa fenêtre ou d’une terrasse sur les toits... Il faut une exception, ce sera le tableau  La Rue des Saules. Cézanne a posé son chevalet dans une rue de Montmartre mais la rue est déserte…  

CEZANNE ET PARIS HORS LES MURS, DU COTE D'AUVERS-SUR-OISE

Installé dans la capitale, Paul Cézanne ne cesse de s’y déplacer et d’en sortir.  Ainsi lui connaît-on près de vingt adresses différentes. Il travaille la peinture de paysage, en plein air, « sur le motif »,   se mettant à  l’école de peintres comme Pissarro et Guillaumin,  lesquels participent au mouvement impressionniste. Ils entendent reprendre la tradition du paysage après Courbet, Corot et les peintres de Barbizon qui voulaient représenter, à travers la campagne parisienne, une certaine identité française. Mais très vite Cézanne s’impose comme un maître faisant « de l‘impressionnisme une chose solide et durable comme l’art des musées ». Le tableau Le pont de Maincy en est l’expression autour des années 1880.  

CEZANNE ET LA TENTATION DE PARIS 

De même que chez Gustave Courbet ou Auguste Renoir, le nu est une préoccupation majeure de Paul Cézanne. Il peint plusieurs versions de La Tentation de saint Antoine entre 1870 et 1877, vraisemblablement après une lecture de Flaubert. Dans les mêmes années, les tableaux à caractère érotique se multiplient : Une Moderne Olympia,  L’Orgie, La Lutte d’amour… Plus tard, d’après le témoignage du marchand d’art Vollard, Cézanne travaille sur une grande toile de Baigneuses au moment où il exécute son portrait en 1899 : il ne recherche plus la dimension érotique du corps, mais construit une nouvelle expression du nu et invente son propre langage pictural.  

CEZANNE, LES NATURES MORTES ET LES PORTRAITS 

Pour Paul Cézanne, la « nature morte » est un motif comme un autre. Equivalent d’un corps humain ou d’une montagne, elle  se prête particulièrement bien à des recherches sur l’espace, la géométrie des volumes, le rapport entre couleurs et formes : « Quand la couleur est à sa richesse, la forme est à sa plénitude » disait  l’artiste. Sur quelque 1000 tableaux répertoriés, on compte près de 200 natures mortes. Parfois associées à des thèmes érotiques ou à des portraits, elles « disent » Paris autant que le ferait un paysage. Parmi ces portraits, dont les toiles de fond représentent souvent des papiers peints, figurent les amis emblématiques des séjours parisiens : Victor Chocquet, son premier collectionneur, ou Ambroise Vollard, « le » marchand qui organise ses premières expositions.  

CEZANNE ET LES VOIES DU SILENCE 

A partir de 1888, Paul Cézanne fait plusieurs séjours en région parisienne après être resté plusieurs années en Provence (de 1882 à 1888). S’il vient un été peindre au-delà d’Auvers, à Montgeroult, s’il rend visite à Monet à Giverny en 1894, ses lieux de prédilection dans les années 1890 sont les bords de la Marne vers Maison-Alfort ou Créteil, et la région de Fontainebleau  jusqu’à  Barbizon ou Marlotte. La rivière l’enchante, il y trouve fraîcheur, calme et sérénité et ses toiles expriment le « silence » de la nature. A Paris, les tons s’apaisent autour des bleus et des verts tandis qu’en Provence, il travaille la symphonie des ors des Sainte-Victoire. Ayant conquis sa place dans la capitale et acquis la maîtrise de son art, il se retire définitivement sur ses terres provençales pour lesquelles son attachement n’a cessé de grandir.  

Commissariat général de l'exposition : Gilles Chazal, directeur du Petit Palais, Musée des Beaux-Arts de la Ville de Paris. Commissariat scientifique de l'exposition : Denis Coutagne, conservateur honoraire du patrimoine, Président de la Société Paul Cézanne ; Maryline Assante di Panzillo, conservateur du patrimoine  au département des Peintures, Petit Palais, Musée des Beaux-Arts de la Ville de Paris

Publications :  

 - Catalogue de l’exposition Cézanne et Paris, Editions de la Rmn-Grand Palais, Paris, 2011, 25 x 29 cm, 224 pages, broché à rabats, 250 illustrations, 39 €

- Album de l’exposition, Editions de la Rmn-Grand Palais, Paris, 2011, 48 pages, 9 €

- Cézanne et l’argent, Editions Rmn-Grand Palais, Paris, 2011, 140 pages, broché, 9,90 € 

MUSEE DU LUXEMBOURG, PARIS

www.museeduluxembourg.fr  

After Tanner: African American Artists Since 1940, Pennsylvania Academy of the Fine Arts - PAFA, Philadelphia

After Tanner: 

African American Artists Since 1940 

Pennsylvania Academy of the Fine Arts - PAFA, Philadelphia

January 28 – April 15, 2012 

Henry Ossawa Tanner (1859-1937) was a mentor and role model for younger artists during his lifetime and has been a source of pride for many generations of artists since his death. An exhibition drawn largely from PAFA’s collection and supplemented by several major loans, After Tanner: African-American Artists Since 1940  broadly celebrates what Tanner’s career inspired and made possible in its wake.

Tanner was a trailblazer, bravely choosing his own path and attaining international stature in the arts despite innumerable societal challenges. He was also an innovator of African-American genre painting and in religious subjects, where he made his most lasting and powerful contribution to art history. It is not unreasonable to assert that Tanner’s professional example together with the quality of his work made it possible for subsequent generations of African-American artists to pursue their aspirations in the art world and transform American art in the twentieth century.

“It is important to remember that Henry Ossawa Tanner’s career bridged the 19th and 20th centuries,” says Robert Cozzolino, Senior Curator and Curator of Modern Art. “He navigated a period of rapid change in the art world. While he has been firmly associated with 19th-century styles, PAFA’s Tanner retrospective [...] shows how modern he was and what an extraordinary experimenter he was with regard to imagery and technique.  Younger artists took note and admired the integrity with which he managed his career.  After Tanner is an opportunity to consider the innumerable channels for expression Tanner’s example opened up for African-American artists working in the wake of his career.”

Some of the artists included in the exhibition sought out and met Tanner, including William H. Johnson (in 1926) and Hale Woodruff (in 1928). Other artists, such as Reginald Gammon made paintings in homage to Tanner. Gammon's 1967 portrait of Tanner, based on a 1930s photograph, was a highly personal image for the artist, made on a panel given to him by his friend Romare Bearden. A double homage to two important figures in American art history, it is an icon of creative power and lineage. Faith Ringgold celebrates a key moment in Tanner’s biography -- the moment when he decided to become an artist – by imagining it in a recent print commissioned by PAFA.

Others, such as Romare Bearden and Alma Thomas, took up religious themes that meant a great deal to Tanner, and reworked them by using new materials and a modernist visual language unique to their time. Contemporary artists such as Laylah Ali, Willie Cole, Glenn Ligon, Quentin Morris, and Kara Walker explore identity and a complex cultural past in ways that Tanner could not have imagined.

The installation runs parallel with Henry Ossawa Tanner: Modern Spirit, upstairs from the exhibition in the Annenberg Gallery of the Samuel M. V. Hamilton Building.

Pennsylvania Academy of the Fine Arts - PAFA

Broad and Cherry Streets, Philadelphia, PA 19102

www.pafa.org

Henry Ossawa Tanner: Modern Spirit, Pennsylvania Academy of the Fine Arts - PAFA, Philadelphia

Henry Ossawa Tanner: Modern Spirit 

Pennsylvania Academy of the Fine Arts - PAFA, Philadelphia 

January 28 – April 15, 2012 

Henry Ossawa Tanner: Modern Spirit is organized by the Pennsylvania Academy of the Fine Arts (PAFA), where the artist studied from 1879 to 1885. The exhibition contains over 100 works, including 12 paintings that have never been shown in a Henry Ossawa Tanner retrospective and the only two known sculptures that Tanner completed. The exhibition also includes Tanner's famed Resurrection of Lazarus, from the collection of the Musée d'Orsay in Paris, a career-making canvas that earned Tanner his first international praise when it was exhibited in 1897 and which has never crossed the Atlantic.

“Henry O. Tanner is a transcendent figure both in art and in the history of America," remarks Harry Philbrick, Edna S. Tuttleman Director of the Museum. "His compelling story and rich body of work will make for a superb national traveling exhibition."

Henry Ossawa Tanner: Modern Spirit delves into the life and career of Henry O. Tanner (1859–1937) from his upbringing in Philadelphia in the years after the Civil War; through the artist’s training at the Pennsylvania Academy of the Fine Arts; his success as an American artist at the highest levels of the international art world at the turn of the 20th century; his role as an elected leader of an artist’s colony in rural France; his unique contributions in aid of servicemen during World War I through the Red Cross in France; his modernist invigoration of religious painting deeply rooted in his own faith; and Tanner’s depiction of the Holy Land and North Africa.

Curator: Anna Marley, Curator of Historical American Art

Henry Ossawa Tanner

Modern Spirit

Exhibition Catalogue

University of California Press

This beautiful book presents a complex overview of the life and career of the pioneering African American artist Henry O. Tanner (1859–1937). Recognized as the patriarch of African American artists, Tanner forged a path to international success, powerfully influencing younger black artists who came after him. This book explores many facets of Tanner’s life, including his upbringing in post–Civil War Philadelphia, his background as the son of a bishop in the African Methodist Episcopal church, and his role as the first major academically trained African American artist. Edited and introduced by Anna O. Marley, this volume expands our understanding of Tanner’s place in art history, showing that his status as a painter was deeply influenced by his race but not decided by it.

The most substantial scholarly catalogue to date on Tanner’s life and work accompanies the exhibition. This book includes 14 essays written by established and emerging scholars from the United States and France, and is being published by University of California Press. The catalogue includes essays by American scholars Richard Powell, Marc Simpson, Tyler Stovall, Marcus Bruce, Robert Cozzolino, Adrienne L. Childs, Alan Braddock, Michael Leja, and Anna O. Marley, and French scholars Olivier Meslay, Jean-Claude Lesage, and Hélène Valance.

Additionally, the first-ever children’s book about Henry O. Tanner was published by PAFA and Bunker Hill Press. Written and illustrated by the renowned artist-author Faith Ringgold, this publication will inspire generations of young people through the extraordinary accomplishments of Tanner.

After premiering at PAFA, the show will travel to the Cincinnati Art Museum, from May 26 - September 9, 2012, and the Houston Museum of Fine Arts, from October 21, 2012 - January 13, 2013.

Pennsylvania Academy of the Fine Arts - PAFA

Broad and Cherry Streets, Philadelphia, PA 19102

www.pafa.org

Updated 30.04.2023

Expo Danser sa vie, Art & Danse, Beaubourg, Centre Pompidou, Paris

Exposition : DANSER SA VIE, ART & DANSE DE 1900 à nos jours Centre Pompidou, Beaubourg, Paris
Jusqu'au 2 avril 2012

Les liens entre les arts visuels et la danse, depuis des années 1900 à aujourd’hui sont le sujet d'une exposition remarquable organisée actuellement au Centre Pompidou (galerie 1, niveau 6). L’exposition puise dans la tradition  des grandes manifestations transdisciplinaires du Centre Pompidou que son Président,  Alain Seban, a voulu réactiver. Sur plus de deux mille mètres carrés sont présentées  près de 450 œuvres  : des chefs-d’œuvre de l’art du XXème siècle, de Henri Matisse à Andy Warhol (voir la liste des artistes ci-dessous) ;  des chorégraphies qui marquèrent des moments clefs d’un siècle de danse, de Nijinski à  Merce Cunningham  ; et des œuvres d’artistes contemporains inspirés par la danse, d’Olafur Eliasson à Ange Leccia.

Le titre Danser sa vie est emprunté à la danseuse Isadora Duncan, pionnière de la danse moderne  : « Mon art est précisément un effort pour exprimer en gestes et en mouvements la vérité de mon être. (…) Je n’ai fait que danser ma vie », explique-t-elle dans son ouvrage Ma vie, publié en 1928.

Les commissaires de cette exposition sont Christine Macel, conservatrice en chef, en charge du département création contemporaine et prospective et Emma Lavigne  conservatrice, département création contemporaine et prospective, assistées de Anna Hiddleston et Florencia Chernajovsky.

A travers un parcours en trois actes, l’exposition montre la passion de l’art et de la danse pour le corps en mouvement.

LES TROIS GRANDS VOLETS DE L'EXPOSITION

LA DANSE COMME EXPRESSION DE SOI, DE VASLAV NIJINSKI A MATTHEW BARNEY

L’invention d’une nouvelle subjectivité est explorée à travers la naissance de la « danse libre » dégagée du ballet classique avec Isadora Duncan. En Allemagne, à l’heure de l’expressionnisme et de la Freikörperkultur (la culture du corps libre), se noue un échange sans précédent entre artistes et danseurs qu’incarnent par exemple la danseuse Mary Wigman, les peintres Ernst Ludwig Kirchner et Emil Nolde.

 

Emil Nolde
Kerzentänzerinnen (Danseuses aux bougies), 1912
Huile sur toile - 100,5 x 86,5 cm
Neukirchen, Stiftung Seebüll Ada und Emil Nolde
© Nolde Stiftung Seebuell, Allemagne

 

Ernst Ludwig Kirchner, admirateur de Mary Wigman, la peint à plusieurs reprises.

 Charlotte Rudolph
Mary Wigman dans Hexentanz, 1926
Photographie
Wichtrach/Berne, Galerie Henze & Ketterer& Triebold

 

A Hambourg, dans les années 1920, un couple météore, Lavinia Schulz et Walter Holdt, crée une oeuvre d’art totale récemment découverte, mêlant danse, costume et musique.

 Lavinia Schulz and Walter Holdt
Toboggan Frau, 1923
Costume présenté sur un mannequin
1,67 m de hauteur environ.
Hambourg Museum für Kunst und Gewerbe (MKG)

De Vaslav Nijinski à Matthew Barney, de Mary Wigman à Kelly Nipper, l’art contemporain dialogue également avec les chefs-d’œuvre modernes.

DANSE ET ABSTRACTION, DE LOIE FULLER A NICOLAS SCHOFFER
La naissance de l’abstraction est envisagée à travers les inventions de Loïe Fuller, ou par la façon dont Kandinsky, les cubistes, les futuristes, le Bauhaus et les avant-gardes russes s’emparent de la danse. Certains artistes, comme Sophie Taeuber-Arp, pratiquent à la fois danse et arts plastiques.

« Elle dansait et rêvait, un triangle, un rectangle, un rectangle dans un cercle, un cercle dans un cercle, un cercle qui luit, un cercle qui sonne, un rectangle immobile avec beaucoup de petits cercles sonnants, elle rêvait nuit et jour de cercles vivants. » Jean Arp au sujet de Sophie Taeuber-Arp

Photographie de Sophie Taeuber-Arp dansant avec un masque de Marcel Janco au Cabaret voltaire, Zürich, 1916
Photographe anonyme, épreuve gélatino-argentique
Clamart, Fondation Arp, Maisons-ateliers Jean Arp et Sophie Taeuber

Des artistes dialoguent avec des danseurs, comme Kandinsky avec Gret Palucca. Ballets mécaniques notamment avec Oskar Schlemmer, inventions cinétiques et ballets virtuels achèvent cette histoire avec les recherches de Nicolas Schöffer et d’Alwin Nikolais. Cette section présente aussi Movement Microscope, 2001, une oeuvre inédite d’Olafur Eliasson conçue pour l’exposition.

DANSE ET PERFORMANCE, DE DADA A JEROME BEL
Un dernier volet évoque les liens de la danse avec l’art de la performance, et réciproquement : depuis les premières actions dadaïstes du Cabaret Voltaire jusqu’à l’invention des tasks (gestes empruntés à la vie quotidienne) par la danseuse Anna Halprin, en passant par les happenings d’Allan Kaprow et les recherches du Black Mountain College de Caroline du Nord (Etats-Unis). Dans les années 1960, Merce Cunningham dialogue avec Jasper Johns, ou encore Andy Warhol. Un ensemble d’œuvres et de documents évoque le Judson Dance Theater à New York, puis dévoile l’influence sur l’art de la culture populaire du clubbing et de la techno.

Jan Fabre
Quando l’uomo principale è una donna, 2004
Filmé par Charles Picq à la Maison de la Danse, Lyon, 2004
Film 16 mm, couleur, sonore
Direction, scénographie et chorégraphie : Jan Fabre
Danseuse : Lisbeth Gruwez

OEUVRES LIVE
L’exposition active l’oeuvre Untitled (Go-Go Dancing Platform), 1991 de Felix Gonzalez-Torres.

Felix Gonzalez-Torres
Untitled (Go-Go Dancing platform), 1991
© Kunst Museum St. Gallen, Saint Gall

Cette oeuvre de Felix Gonzalez-Torres est activée 5 min par jour pendant toute la durée de l’exposition

et l’installation Instead of allowing some thing to rise up to your face dancing bruce and dan and other things, 2000 de Tino Sehgal pour un danseur. Trisha Brown (avec le soutien du Centre National de la Danse, Paris, et du Conservatoire National Supérieur de Musique et de Danse de Paris) réactive l’œuvre Planes datant de 1968 (10 séances). De jeunes artistes contemporains donnent également à voir la danse en live. Davide Balula réalise Mechanical Clock for 60 dancers, une performance qui prend la forme d’une horloge mécanique où 60 danseurs incarnent littéralement le passage du temps (1 séance). Alex Cecchetti réalise pour le Centre Pompidou The Conversation of the Arrows, 2011 qui réunit cinq danseurs dans un chassé-croisé d’exercices ludiques laissant la place à l’improvisation.

PUBLICATIONS
Trois ouvrages sont publiés aux éditions du Centre Pompidou sous la direction de Christine Macel et Emma Lavigne accompagnent cette manifestation :

Un catalogue de référence de 320 pages avec illustrations couleurs et essais par des spécialistes : Marc Dachy, Douglas Crimp, Marcelle Lista, Pascal Rousseau, Norbert Servos, Adrien Sina…

Danser sa vie. Art et danse de 1900 à nos jours, Catalogue de l’exposition
Sous la direction de Christine Macel et d’Emma Lavigne,
Editions du Centre Pompidou, Paris
270 ill. couleurs, 22 x 28 cm, broché, 320 pages, 49,90 €

Danser sa vie. Ecrits sur la danse
Sous la direction de Christine Macel et Emma Lavigne
Parallèlement au catalogue, cet ouvrage propose une compilation inédite de textes capitaux autour de la danse, provenant de sources très diverses, de Nietzsche à Mary Wigman, en passant par Maurice Béjart et Henri Michaux. Editions du Centre Pompidou, Paris, 12 x 18,5 cm, broché, 240 pages, 19 €

Danser sa vie. Art et danse de 1900 à nos jours
Sous la direction de Christine Macel et Emma Lavigne
Editions du Centre Pompidou, Paris
Parcours illustré de l’exposition. Bilingue français  /  anglais
60 pages, 70 illustrations

EN RESONANCE AVEC L'EXPOSITION DANSER LA VIE

Parallèlement à l’exposition, le Centre Pompidou propose une programmation de Spectacles vivants riche en danse contemporaine, couvrant une large palette de propositions et d’approches du corps en mouvement : Meg Stuart, Maria La Ribot, Olga de Soto, Myriam Gourfink, Herman Diephuis…

Le Festival Vidéodanse présente les oeuvres de 150 chorégraphes à travers une programmation de 250 films qui retracent une histoire de la danse moderne et contemporaine.

Un programme de conférences et des cycles de Prospectif Cinéma et Vidéo et après sont organisés en lien avec l’exposition.

L’installation interactive de Richard Siegal If/Then, 2001, sera présentée dans le Forum du Centre Pompidou.

LE CENTRE POMPIDOU sur internet : www.centrepompidou.fr

The Art of Video Games – 2012-2016 Traveling exhibition presented by the Smithsonian American Art Museum. After Washington DC the show will travel to 10 cities in the United States

The Art of Video Games
Smithsonian American Art Museum, Washington  DC
March 16 - September 30, 2012

The Art of Video Games features 80 video games that demonstrate the evolution of the medium. The exhibition is organized by the Smithsonian American Art Museum and will travel to 10 cities in the United States following its presentation in Washington, D.C. Confirmed venues include:

Boca Raton Museum of Art, 2013 + EMP Museum in Seattle, 2013 + Hudson River Museum in Yonkers, NY, 2014 + Flint Institute of Arts, 2014 + Toledo Museum of Art, Ohio, 2014 + Memphis Brooks Museum of Art, 2015 + Patricia and Phillip Frost Art Museum at Florida International University in Miami, 2015-2016

 Super Mario Brothers 3
Shigeru Miyamoto, Takashi Tezuka, Hiroshi Yamauchi, directors; Satoru Iwata, executive producer; Konji Kondo, composer, Nintendo Entertainment System, 1990, Nintendo of America, Inc.

 Star Strike
Hal Finney, Brett Stutz, programmers, Mattel Intellivision, 1981, Intellivision Productions, Inc.

 Pitfall!
David Crane, Atari VCS, 1982, Activision Publishing. All trade names and trademarks are properties of their respective parties. All Rights Reserved.

“The Art of Video Games” is one of the first major exhibitions to explore the 40-year evolution of video games as an artistic medium, with a focus on striking graphics, creative storytelling and player interactivity. The exhibition features some of the most influential artists and designers across five eras of game development, from early pioneers to contemporary designers. Video games use player participation to tell stories and engage audiences. In the same way as film, animation and performance, video games are a compelling and influential form of narrative art. 

 Bioshock
Ken Levine, creative director and executive producer; Paul Hellquist, lead designer; Dean Tate, senior designer and artist; Scott Sinclair, art director, Microsoft XBox 360, 2007,  image courtesy of 2K Games, Inc., and Take-Two Interactive Software, Inc.

 Diablo II
Various artists, DOS/Windows, 2000, © 2000 Blizzard Entertainment, Inc. All rights reserved. Diablo is a trademark or registered trademark of Blizzard Entertainment, Inc.

The Art of Video Games will be on display at the Smithsonian American Art Museum from March 16 through Sept. 30. Chris Melissinos, former chief evangelist and chief gaming officer for Sun Microsystems and founder of PastPixels, is the guest curator of the exhibition. Georgina Goodlander, the museum’s social media and Web content manager, is the exhibition coordinator.

“Video game designers are engaged in creating a world, as are all artists,” said Elizabeth Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “The Smithsonian American Art Museum recognizes the designers and developers who create these beguiling worlds in this exhibition. Contemporary video games have taken this creative expression to a whole new level, and we are eager to explore this popular global phenomenon.” 

 Einhander
Tetsuo Mizuno, Tomoyuki Takechi, Shinji Hashimoto, executive producers; Yusuke Hirata, producer; Tatsuo Fujii, director; Yuji Asano, lead design, Sony PlayStation, 1998, © 1997, 1998 SQUARE ENIX CO., LTD.  All Rights Reserved

 flOw
Jenova Chen, Nicholas Clark, game design, Modern Windows, 2006, Sony Computer Entertainment America LLC.

 Flower
Jenova Chen, creative director; John Edwards, lead engineer. Developed by thatgamecompany, LLC, Sony Playstation 3, 2009, Sony Computer Entertainment America LLC.

“Video games are a prevalent and increasingly expressive medium within modern society,” said Chris Melissinos. “In the 40 years since the introduction of the first home video game, the field has attracted exceptional artistic talent. Video games, which include classic components of art, offer designers a previously unprecedented method of communicating with and engaging audiences by including a new element, the player, who completes the vivid, experiential art form by personally interacting with the game elements.”

The Art of Video Games focuses on the interplay of graphics, technology and storytelling through some of the best games for 20 gaming systems ranging from the Atari VCS to the PlayStation 3. The Art of Video Games features 80 video games, selected with the help of the public, that demonstrate the evolution of the medium. The games are presented through still images and video footage. In addition, the galleries will include video interviews with developers and artists, historic game consoles and large prints of in-game screen shots.

 Marble Madness
Mark Cerny, Steve Lamb, SEGA Master System, 1992.

 Earthworm
Jim, Doug TenNapel, original concept, character designer and voice actor; Tommy Tallarico, composer; Steve Crow, lead artist; David Luehmann, producer, SEGA Genesis, 1994, © 1994 Interplay Entertainment Corp.
Earthworm Jim, the Earthworm Jim logo, Interplay, the Interplay logo, and "By Gamers. For Gamers." are trademarks or registered trademarks of Interplay Entertainment Corp. in the U.S. and other countries. All Rights Reserved. 

New technologies allow designers to create increasingly interactive and sophisticated game environments while staying grounded in traditional game types. Five featured games, one from each era, will be available in the exhibition galleries for visitors to play for a few minutes, to gain some feel for the interactivity. The playable games—Pac-Man, Super Mario Brothers, The Secret of Monkey Island, Myst and Flower—show how players interact with the virtual worlds, highlighting innovative new techniques that set the standard for many subsequent games. 

 Tomb Raider
Jeremy H. Smith, executive producer; Toby Gard, Heather Gibson, Neal Boyd, graphic artists; Jason Gosling, Paul Douglas, Gavin Rummery, programmers, SEGA Saturn, 1996,  © 1996 SQUARE ENIX CO., LTD. All Rights Reserved.

Panzer Dragoon II: Zwei
Yukio Futatsugi, Manabu Kusunoki, original design; Kentaro Yoshida, art director, SEGA Saturn, 1996, © SEGA. All Rights Reserved.

 Metal Gear Solid
Hideo Kojima, director; Yoji Shinkawa, artwork director, Sony PlayStation, 1998, © 1990 Konami Digital Entertainment.

Visitors to the exhibition will be greeted by excerpts from selected games projected 12 feet high, accompanied by a chipmusic soundtrack by 8 Bit Weapon and ComputeHer, including The Art of Video Games Anthem recorded by 8 Bit Weapon specifically for the exhibition. These multimedia elements convey the excitement and complexity of the featured video games. An interior gallery will include a series of short videos showing the range of emotional responses players have while interacting with games. Excerpts from interviews with 20 influential figures in the gaming world also will be presented in the galleries.

 Rez
Tetsuya Mizuguchi, producer; Jun Kobayashi, director; Katsumi Yokota, art director and lead artist, SEGA Dreamcast, 2001, © SEGA. All Rights Reserved.

Shenmue
Yu Suzuki, director and producer; Yoichi Takahashi, designer; Eiji Ogawa, writer, SEGA Dreamcast, 2000, © SEGA. All Rights Reserved.

 Sonic Adventure
Yuki Naka, Keith Palmer, producers; Takasi Iizuka, director; Kazuyuki Hoshino, art director, SEGA Dreamcast, 1999,  © SEGA. All Rights Reserved.

SYMPOSIUM: VIDEO GAMES: BEYOND PLAY
Video Games: Beyond Play, a symposium that examines the changing roles of video games, consists of two panel discussions Friday, May 4, from 1 to 4:30 p.m. in the museum’s McEvoy Auditorium. The first panel, “Video Games at Work” from 1 to 2:30 p.m., is an in-depth look at how video games are revolutionizing areas such as health care, education, civics, journalism and national defense. Panelists include: Asi Burak, co-founder of Games for Change; Brian Crecente,  editor-in-chief of the video game blog “Kotaku;” J.C. Herz, author of Joystick Nation; Ben Sawyer, co-founder of DigitalMill Inc.; and moderator Constance Steinkuehler Squire, senior policy analyst with the White House Office of Science and Technology Policy. The second panel, “Game Change: Society and Culture” from 3 to 4:30 p.m., examines the impact of video games in the fields of academic research, science, art and education. Panelists include Hunicke; Richard Lemarchand, lead game designer at Naughty Dog; Eric Zimmerman, game designer, educator and co-author of Rules of Play; and moderator Colleen Macklin, associate professor of design and technology at Parsons the New School for Design.

 Minecraft
Markus Persson, Modern Windows, 2009, © Notch Development AB.

The Art of Video Games is organized by the Smithsonian American Art Museum with generous support from the Entertainment Software Association Foundation; Sheila Duignan and Mike Wilkins; Shelby and Frederick Gans; Mark Lamia; Ray Muzyka and Greg Zeschuk; Rose Family Foundation; Betty and Lloyd Schermer; and Neil Young. Promotional support is provided by the Entertainment Consumers Association. The C.F. Foundation in Atlanta supports the museum’s traveling exhibition program, “Treasures to Go.”

The Smithsonian American Art Museum

Boca Raton Museum of Art, Boca Raton, Florida., October 24 - January 20, 2013
EMP Museum, Seattle, February 16 - May 13, 2013
Hudson River Museum, Yonkers, NY, February 15 - May 18, 2014

Toledo Museum of Art, Toledo, Ohio, June 19 - September 28, 2014
Flint Institute of Arts, Flint, Mich., October 25, 2014 - January 18, 2015
Memphis Brooks Museum of Art, Memphis, Tenn., June 6 - September 13, 2015

Patricia and Phillip Frost Art Museum at Florida International University in Miami, Fla., October 9, 2015 -  January 25, 2016

 

Heavy Rain

David Cage, writer and director, Sony Playstation 3, 2010, Sony Computer Entertainment America LLC. 

  MassEffect 2

Casey Hudson, director;  Mac Walters, Drew Karpyshyn, writers; Casey Hudson, producer, Microsoft XBox 360, 2010, © 2010 Electronic Arts, Inc. All trademarks are the property of their respective owners.

 Uncharted 2: Among Thieves

Amy Hennig, creative director; Robh Ruppel, art direction, Sony Playstation 3, 2009, Sony Computer Entertainment America LLC.

 Geometry Wars: Retro Evolved 2
Stephen Cakebread, game design and programming, Microsoft XBox 360, 2008, Bizarre Creations.

The Legend of Zelda: Twilight Princess
Shigeru Miyamoto, executive producer; Eiji Aonuma, director; Satoru Takizawa, art director; Eiji Aonuma, Satoru Iwata, producers, Nintendo Wii, 2006, Nintendo of America, Inc.

Ōkami
Atsushi Inaba, producer;  Hideki Kamiya, director, Sony Playstation 2, 2006, Capcom Entertainment, Inc.

Shadow of the Colossus
Fumito Ueda, director and game design, Sony Playstation 2, 2005, Sony Computer Entertainment America LLC.

Smithsonian American Art Museum, Washington  DC

americanart.si.edu

Updated Post

Exposition Valérie Blass, MACM, Montréal

VALERIE BLASS compte parmi les artistes les plus importantes ayant émergé au Québec au cours des dix dernières années. Elle a contribué à redonner à la sculpture sa place dans l’histoire de l’art contemporain au sein d’une nouvelle génération d’artistes. Sculpteure dans tous les sens du terme, sa pratique consiste à susciter des rencontres entre son propre corps et les objets qu’elle crée, entre une sculpture et une autre, entre la présence physique du « regardeur » et celle des œuvres dans un espace. Valérie Blass, de plus, emploie l’éventail complet des techniques de la sculpture – du moulage à la fonte, de la taille au modelage, de l’assemblage au bricolage pour créer d’étranges objets hybrides et explorer les territoires entre les formes animales, humaines et inanimées.

Sa pratique est à la fois enracinée dans la tradition classique de la sculpture, par le recours à la figuration, à la verticalité, à l’échelle humaine, et dans la culture matérielle du XXIe siècle, laquelle se manifeste dans la diversité des matériaux et l’abondance des objets fabriqués, achetés et trouvés.

L’exposition présente un premier bilan du travail de Valérie Blass réalisé au cours des quinze dernières années : quelque trente-cinq œuvres, dont pas moins d’une quinzaine d’œuvres inédites, tout droit sorties de l’atelier de l’artiste. La présentation compte également des œuvres de la Collection du Musée : Cargo culte (2011), Femme panier (2010) et Etant donné, le Loris perché sur son socle néo-classique (2008). Femme panier a été récemment acquise par le Musée grâce au Symposium des collectionneurs 2010, Banque Nationale Gestion privée 1859.

Détentrice d’une maîtrise en arts visuels et médiatiques de l’Université du Québec à Montréal, VALERIE BLASS est née à Montréal en 1967. Depuis sa participation à la première Triennale québécoise 2008 au MAC où ses œuvres ont été très remarquées, l’intérêt pour son travail et sa démarche ne cessent de croître au Québec, au Canada et à l’international. Elle compte de nombreuses expositions collectives : C’est ce que c’est, Musée des beaux-arts du Canada en 2010, Chimère/Shimmer, Musée national des beaux-arts du Québec, et Nothing to Declare au Power Plant en 2009 - et individuelles à Montréal et à travers le Canada : Petit losange laqué veiné, Parisian Laundry en 2011, et Une fois de trop, Museum of Canadian Contemporary Art en 2009). En 2012, Valérie Blass participera à l’exposition Oh, Canada présentée au MASS MoCA.

Lesley Johnstone, conservatrice au Musée, est la commissaire de l'exposition VALERIE BLASS

Catalogue d'exposition : L’exposition est accompagnée d’une publication de 152 pages qui regroupe des essais de la commissaire, Lesley Johnstone et de l’historienne de l’art Amelia Jones, professeure et titulaire de la Grierson Chair in Visual Culture de l’Université McGill, à Montréal. Le catalogue contient également une entrevue avec l’artiste réalisée par Wayne Baerwaldt, directeur/conservateur des expositions à l’Illingworth Kerr Gallery de l’Alberta College of Art + Design (ACAD), une liste d’œuvres et une biobibliographie. La publication a été rendue possible grâce à la participation de l’ACAD et au support financier de la RBC Fondation. L’exposition sera en tournée dès l’été 2012.

Site internet du Musée d'art contemporain de Montréal : www.macm.org

Nick Cave, FWM Philadelphia: Recents Soundsuits installation and video

Nick Cave: Let's C 

The Fabric Workshop and Museum, Philadelphia, PA

Through Mid-February, 2012

“There is a transformative moment, when [the wearer has] to be able to make the shift. Since it’s so dominating, this form, you are no longer who you are. So who have you become and what is that? How do you bring conviction to that? What are you willing to give up to move into this other being?” — Nick Cave

Nick Cave: Let’s C is an exhibit of Chicago-based artist Nick Cave's iconic Soundsuits, new installation created at the Fabric Workshop and Museum (FWM), and video. As a current FWM artist-in-residence, Cave worked in collaboration with FWM studio staff and apprentices to debut Architectural Forest (2011), an ambitious, floor-to-ceiling installation of ornamented bamboo that also serves as a mystical setting, in which Cave’s December 16th performance at FWM taken place. Footage of this multisensory performance—which incorporates dance, music, and ambient sounds from the installation itself—is on view during the exhibition run.

NICK CAVE, Speak Louder, 2011 

Buttons, wire, bugle beads, upholstery, and mannequin, 98 X 68 1/2 X 54 inches (installed). 

Photo by James  Prinz, Chicago, courtesy of Nick Cave and the Jack Shainman Gallery, NY

For over two decades, Nick Cave has constructed Soundsuits out of a litany of unique, found materials, such as throw rugs, stuffed animals, gleaming buttons, human hair, and other items from thrift stores, flea markets, and estate sales. The Soundsuits’ sculptural form functions simultaneously to display and conceal the body through the visual references to the exuberance of masquerade and the protection of armor. Let’s C includes recent Soundsuits that showcase a new direction in Cave’s practice, introducing a muted palette, uniform surfaces, and dynamic relationships between multiple figures. Also on view is Drive-By (2011), a video of Soundsuits in motion.

In addition to his exhibition, Nick Cave designed the Museum’s street-level façade, which features a reflective, doily-inspired pattern adhered to the window surface.

NICK CAVE (b. 1959, Missouri) received an MFA from the Cranbrook Academy of Art, Bloomfield, MI (1989) and a BFA from the Kansas City Art Institute, MO (1982). In Fall 2011, Cave had two concurrent solo exhibitions in New York, NY at Jack Shainman Gallery and Mary Boone Gallery. Cave was also included in group exhibitions this past Fall, such as 30 Americans: Rubell Family Collection, at the Corcoran Art Gallery in Washington, DC, and the Prospect.2 Biennial, taking place throughout New Orleans, LA.  His solo traveling exhibition, Meet Me at the Center of the Earth—organized by the Yerba Buena Art Center, San Francisco, CA—will be on view at the Taubman Museum of Art in Roanoke, VA through January 2012. Nick Cave has a forthcoming major presentation of his work scheduled for the Tri Postal in Lille, France, in late 2012. His work is held in the following distinctive public collections: the Brooklyn Museum, New York, NY; Crystal Bridges, Bentonville, AR; the Detroit Institute of Arts, MI; the High Museum, Atlanta, GA; the Hirshhorn Museum and Sculpture Garden, Washington, DC; the Museum of Contemporary Art, Chicago, IL; the Norton Museum of Art, West Palm Beach, FL; the San Francisco Museum of Modern Art, CA; and the Seattle Art Museum, WA; among others. Cave has received several prestigious awards including: the Joan Mitchell Foundation Award (2008), Artadia Award (2006), the Joyce Award (2006), Creative Capital Grants (2002, 2004, and 2005), and the Louis Comfort Tiffany Foundation Award (2001). Cave lives and works in Chicago, IL where he serves as Professor and Chairman of the Fashion Department at the School of the Art Institute of Chicago.

Also on View at The Fabric Workshop and Museum at The New Temporary Contemporary, 1222 Arch

Fighting Kissing Dancing

The Fabric Workshop and Museum, in an exchange with the de la Cruz Collection Contemporary Art Space, Miami, featuring video works by Miami and New York based artists.

FWM - Fabric Workshop and Museum, Philadelphia, PA 19107, USA

www.fabricworkshopandmuseum.org

Exposition Matisse au Centre Pompidou, Beaubourg, Paris : 60 chefs d’oeuvre de l’art moderne par un de ses plus grands maîtres

Exposition Matisse. Paires et Séries Musée national d’art moderne, Centre Georges Pompidou - Beaubourg, Paris7 mars - 18 juin 2012

Henri Matisse est l'un des plus grands maîtres de l'art moderne. C'est aussi l'un des artistes préférés du public. Nombreux sont donc ceux qui se réjouissent de cette nouvelle exposition du Centre Pompidou. D’autant plus qu’elle offre une perspective inédite sur l’oeuvre de Matisse.

 Henri Matisse: Le Rêve, Hôtel Régina, 1940
” La Dormeuse “
Collection particulière 
Photo Courtesy Centre Pompidou, Paris

Matisse. Paires et séries rassemble une sélection exceptionnelle de chefs-d’oeuvre provenant des plus prestigieuses collections publiques et privées dans le monde: soixante peintures, dont quatre grands papiers gouachés découpés, ainsi qu’une trentaine de dessins, parfois réunis et confrontés pour la première fois depuis l’époque de leur création. L'exposition au Centre Pompidou en propose une lecture originale axée sur l’un des aspects singuliers de l’oeuvre de Matisse : l’exploration répétitive d’un même sujet, d’un même motif, qui permet à Matisse d’explorer la peinture elle-même. Ces différents points de vue qu’adopte l’artiste s’expriment, à travers des variations de cadre, de dessin, de touche et de couleurs.

Face à ces couples et à ces digressions, c’est toute l’oeuvre de l’artiste qu’il est ainsi permis de saisir, avec ses interrogations, ses ruptures, ses revirements, ses conquêtes. L’exposition dont Cécile Debray, assistée de Elsa Urtizverea, a assuré le commissariat,  invite le visiteur à comprendre combien le travail de Matisse a contribué à engendrer et à nourrir la peinture moderne, interrogeant sans cesse la représentation, la notion de réalisme, le rapport entre le dessin et la couleur, entre la surface et le volume, entre l’intériorité et l’extériorité. Etudiant de nouvelles solutions formelles, remettant en cause chacune de ses avancées plastiques, Henri Matisse fut un penseur profond de la forme.

 Henri Matisse: Blouse roumaine, 1940
Don de l’artiste en 1953,
Musée national d’art moderne, Centre Pompidou
© Succession Henri Matisse, 2011
Photo Courtesy Centre Pompidou, Paris

De la méthode pointilliste à laquelle Matisse s’essaye à l’été 1904 - Luxe, Calme et Volupté et Le Goûter se trouvent exceptionnellement réunis pour l’occasion - aux ambitieux papiers découpés des années 1950 - la célèbre série Nu bleu de 1952 - en passant par l’ensemble de dessins de Thèmes et variations qui constitue un aboutissement conceptuel du procédé, les grandes périodes du peintre sont représentées dans un parcours chronologique. L’exposition à Beaubourg permet également un nouvel éclairage de la genèse de chaque œuvre de Matisse présentée.

Un catalogue Matisse. Paires et séries est publié par les Editions du Centre Pompidou, sous la direction de Cécile Debray, commissaire de l’exposition et conservateur au Musée national d’art moderne. Un e-album Matisse pour Ipad est également disponible sur l’app store au prix de 4,90€

L’exposition sera ensuite présentée à Copenhague, au Statens Museum for Kunst, du 14 juillet au 28 octobre 2012, et au Metropolitan Museum of Art, à New York, du 4 décembre 2012 au 17 mars 2013.

CENTRE POMPIDOU - BEAUBOURG - PARIS
MUSEE NATIONAL D'ART MODERNEBillet imprimable à domicile
www.centrepompidou.fr

Horaires : L'exposition est ouverte tous les jours de 11h à 21h, sauf le mardi, jours de fermeture du Centre Pompidou.

Kodak: Chapter 11 Business Reorganization

Eastman Kodak Company announced today that it and its U.S. subsidiaries filed voluntary petitions for chapter 11 business reorganization in the U.S. Bankruptcy Court for the Southern District of New York.

The business reorganization is intended to bolster liquidity in the U.S. and abroad, monetize non-strategic intellectual property, fairly resolve legacy liabilities, and enable the Company to focus on its most valuable business lines. The Company has made pioneering investments in digital and materials deposition technologies in recent years, generating approximately 75% of its revenue from digital businesses in 2011.

Kodak has obtained a fully-committed, $950 million debtor-in-possession credit facility with an 18-month maturity from Citigroup to enhance liquidity and working capital. The credit facility is subject to Court approval and other conditions precedent. The Company believes that it has sufficient liquidity to operate its business during chapter 11, and to continue the flow of goods and services to its customers in the ordinary course.

Kodak expects to pay employee wages and benefits and continue customer programs. Subsidiaries outside of the U.S. are not subject to proceedings and will honor all obligations to suppliers, whenever incurred. Kodak and its U.S. subsidiaries will honor all post-petition obligations to suppliers in the ordinary course.

“Kodak is taking a significant step toward enabling our enterprise to complete its transformation,” said Antonio M. Perez, Chairman and Chief Executive Officer. “At the same time as we have created our digital business, we have also already effectively exited certain traditional operations, closing 13 manufacturing plants and 130 processing labs, and reducing our workforce by 47,000 since 2003. Now we must complete the transformation by further addressing our cost structure and effectively monetizing non-core IP assets. We look forward to working with our stakeholders to emerge a lean, world-class, digital imaging and materials science company.”

“After considering the advantages of chapter 11 at this time, the Board of Directors and the entire senior management team unanimously believe that this is a necessary step and the right thing to do for the future of Kodak,” Mr. Perez continued. “Our goal is to maximize value for stakeholders, including our employees, retirees, creditors, and pension trustees. We are also committed to working with our valued customers.

“Chapter 11 gives us the best opportunities to maximize the value in two critical parts of our technology portfolio: our digital capture patents, which are essential for a wide range of mobile and other consumer electronic devices that capture digital images and have generated over $3 billion of licensing revenues since 2003; and our breakthrough printing and deposition technologies, which give Kodak a competitive advantage in our growing digital businesses.”

Mr. Perez concluded, “The Board of Directors, the senior management team and I would like to underscore our appreciation for the hard work and loyalty of our employees. Kodak exemplifies a culture of collaboration and innovation. Our employees embody that culture and are essential to our future success.”

Kodak has taken this step after preliminary discussions with key constituencies and intends to work toward a consensual reorganization in the best interests of its stakeholders. Kodak expects to complete its U.S.-based restructuring during 2013.

The Company and its Board of Directors are being advised by Lazard, FTI Consulting Inc. and Sullivan & Cromwell LLP. In addition, Dominic DiNapoli, Vice Chairman of FTI Consulting, will serve as Chief Restructuring Officer to support the management team as to restructuring matters during the chapter 11 case.

More information about Kodak’s Chapter 11 filing is available on the Internet at: www.kodaktransforms.com. 

Kodak will be filing monthly operating reports with the Bankruptcy Court and also plans to post these monthly operating reports on the Investor Relations section of Kodak.com. The Company will continue to file quarterly and annual reports with the Securities and Exchange Commission, which will also be available in the Investor Relations section of Kodak.com.

This document includes “forward–looking statements” as that term is defined under the Private Securities Litigation Reform Act of 1995.

(c)2012 Eastman Kodak Company

Santiago Sierra Retrospective London Lisson Gallery. A major exhibition

Santiago Sierra: Dedicaced to the Workers and Unemployed 

Lisson Gallery, London

February 1st - March 3, 2012

Lisson Gallery presents a major retrospective of video work and new work by controversial artist Santiago Sierra (born 1966). The exhibition includes a timetabled cycle of performance based films shown alongside documents, photographs and a curated selection of Santiago Sierra’s shorter and less linear video works. 

New works include the recently completed No Global Tour - a film documenting the manufacture and transportation through various world cities of a monumental sculpture in the form of the word "No". Conceived to be understood in as many contexts as possible; and unchanging in form and immediate meaning, the “No” gradually assumes a complex semantic load during a journey full of eventualities, accidents and unexpected events.  A monumental “No” sculpture situated in the sculpture yard accompanies the film’s pared down minimalism presenting a powerful portrait of a humanity that is able to assert itself everywhere and at all times by forcefully saying: “No". Death Counter, a piece comprised of an LED display counting annual number of human deaths worldwide since the beginning of the year will be mounted outside the gallery.

Addressing situations of exploitation and marginalisation Santiago Sierra’s provocative works often spark controversy; especially those in which underprivileged individuals are paid for performing degrading or uncomfortable actions. Drug addicted prostitutes have received the price of a shot of heroin in exchange for having their backs tattooed 160cm Line Tattooed On 4 People (2000) - and homeless women paid the price of a night in a hostel in exchange for standing for long periods with their faces to the wall of a museum - Group Of People Facing A Wall (2002).

Santiago Sierra forces us to question the commodification of human life, exposing and challenging the structures of power that operate in our society. The essence of these works is often in the tension generated and sustained between the event or its documentation and the spectator. Sierra has created a body of work that rescues and renews the expressive power of minimalism and conceptualism, with a political charge that encourages reflection on the classical problems of Western modern and contemporary art while denouncing our current situation.

Santiago Sierra ‘In Conversation’ with Hans Ulrich Obrist

Tuesday 31 January 2012 from 12.30 to 13.30

29 Bell Street, London, NW1 5BY, UK

Free admission. Booking is essential  

www.lissongallery.com

_____________________

Enjoy Contemporary Art!

Michael Scott, Gering & López Gallery, New York

Michael Scott: Black and White Line Paintings 1989 - 2011
Gering & López Gallery, New York
January 12 - February 18, 2012

“Over the last twenty five years my work has taken several forms of expression, from concentric circle or target paintings, to black and white line paintings, to photographs, to cartoon-inspired drawings, to paintings that can be described as psychedelic ‘candyland’ themed landscapes, to small thickly encaustic abstractions. However, over this period of time, the most pre-dominant works are the “highly optical” black and white line paintings done since 1989. These are probably the works for which I am best known. 

In 1994 I stopped making abstract line paintings but I returned to this type of work in 2002 and 2003 and then most recently in 2010 and 2011. It is this grouping of highly optical black and white line paintings around which I have built this exhibition. 

I do not intend for this exhibit to be a survey show or retrospective as it is does not attempt to explain my history as an artist. Rather it presents one type of painting that I have made and returned to making over a twenty five-year period - one that has taken different forms with each re-investigation.”

Michael Scott, November 2011

GERING & LóPEZ GALLERY
730 Fifth Avenue, New York, NY 10019
www.geringlopez.com