Displaying items by tag: centre pompidou

In a decision that should bring some relief to art experts, the German art historian and the former director of the Centre Pompidou, Werner Spies, no longer has to pay a fee for mistakenly authenticating a painting as a genuine work by Max Ernst. On 3 December, the Versailles Court of Appeal overturned a 2013 ruling against Spies that ordered him to reimburse the collector Louis Reijtenbagh for a work that turned out to be a fake produced by the forger Wolfgang Beltracchi.

Three days after the devastating terrorist attacks in Paris that rattled the world and left 129 innocent people dead, the city is attempting to restore some semblance of normalcy by reopening its museums and cultural institutions. Landmarks including the Louvre, Musee d’Orsay, Centre Pompidou, and Grand Palais, which was in the midst of hosting Paris Photo when the attacks broke out, have been shuttered since Friday as part of a general state of emergency.

By reopening its storied museums, monuments, buildings and libraries, Paris has expressed that its spirit will not waver in the face of these despicable acts. The attacks, which took place at six locations throughout the city, including the Bataclan, a 19th century concert hall in the 11th arrondissement, two...

Where the newness of art comes from (when it comes) is something of a conundrum. The New Presentation of the Modern Collection at the Centre Pompidou Musée National d’Art Moderne (the second largest collection of modern and contemporary art in the world, after the Museum of Modern Art in New York) attempts to remedy this conundrum by pointing out and celebrating certain shrewd and ardent theorists, art critics, art historians, publishers, editors, poets, and thinkers who helped shape Modern art’s prevailing theories and tastes. As selected by Pompidou director Bernard Blistène, these influential figures of theoretical inquiry are shown putting forth key concepts that inspired and framed the artworks made between 1905 and 1965.

Was the paradigm-changing architect known as Le Corbusier a fascist-leaning ideologue whose plans for garden cities were inspired by totalitarian ideals, or a humanist who wanted to improve people’s living conditions — a political naïf who, like many architects, was eager to work with almost any regime that would let him build?

These questions, long debated by experts, are at the heart of fresh controversy in France set off by three new books that re-examine that master Modernist’s politics and an exhibition on Le Corbusier at the Pompidou Center here through Aug. 3, commemorating the 50th anniversary of his death.

The first Joan Miró sculpture exhibit in the Netherlands opened in the Rijksmuseum garden on Friday. The exhibit consists of 21 sculptures by the Spanish artist.

Guest curator Alfred Pacquement, former director of the Centre Pompidou in Paris, selected the Miró sculptures for this exhibit.

When Bernard Blistène arrived at the Pompidou Center just over 30 years ago as a young curator, the massive factory-like windows of the Richard Rogers and Renzo Piano-designed museum didn’t look out onto the sun-sprinkled streets of Paris as they do today.

“It was the mid-1980s and people wanted walls,” recalls Mr. Blistène, 60 years old, who succeeded the museum’s longtime director Alfred Pacquement in 2013.

The newly appointed president of the Centre Pompidou in Paris, Serge Lasvignes, is in talks with Chinese officials about a number of joint projects, including temporary pop-up Pompidous at venues across the Asian country. Lasvignes visited China May 15-16 with Laurent Fabius, the French minister of foreign affairs and international development. A spokesman for the Centre Pompidou declined to comment on the initiative.

Serge Lasvignes, a high-level French government official, was nominated this week to head the Pompidou Center, in a surprise choice to replace Alain Seban.

Mr. Seban’s term of service is ending after eight years in which he drove the expansion of the Paris museum, which houses one of the largest collections of modern art in Europe.

The succession — the topic of rumors for weeks — must still be approved by a government council, which will weigh the appointment of Mr. Lasvignes, 61, whose hiring was unexpected because of his low profile in the art world. (When Mr. Seban was hired in 2007, he had no museum management experience.)

The Pennsylvania Academy of the Fine Arts presents "The Artist's Garden: American Impressionism and the Garden Movement, 1887–1920." On view February 13 – May 24, 2015, the exhibition illuminates the intertwining stories of Impressionism, Philadelphia’s role in the national garden movement, and the growing popularity of gardening among middle-class Americans during the Progressive era.

Philadelphia boasts a distinguished gardening history dating back to William Penn’s 17th century vision of the city as a wholesome “green country town.” It is in the City of Brotherly Love that the Colonial Revival Garden movement originated with the Centennial Exhibition in 1876, and where, in 1913, the Garden Club of America was founded.

Towns and cities across France will soon be able to boost their culture offerings by hosting pop-up branches of the Centre Pompidou. The Paris museum is expanding its empire, and aims to establish domestic temporary outposts. “We will soon launch an open call for candidates [to select a French city],” says a spokesman for the Centre Pompidou. These pop-ups will remain open for four years.

The city authorities in Libourne, a town in southwestern France, have already expressed an interest in opening a temporary Centre Pompidou venue.