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Centre Pompidou, Direction de la communication, Conception graphique : Ch.

Beneyton - Pablo Picasso : LAcrobate bleu 1929, Succession Picasso, Paris - Willem De Kooning : Le pcheur de palourdes 1972 - Jackson Pollock : La femme-lune coupe le cercle 1943 - Alain Schas : Le mannequin 1985 - Martial Raysse : La grande odalisque 1964 - Alssandro Mendini : Canap Kandissi 1979 - Herbert Bayer : Yeux de verre 1928 - Jean Gorin : Composition N5 losangique 1926 - ADAGP, Paris 2005 - Photo : CNAC-GP, MNAM, Dist. RMN - Imp. Floch-London, 2005


Direction de la communication



Centre Pompidou Direction de la communication 75191 Paris cedex 04 head of cummunication Roya Nasser press officer Coralie Sagot telephone 00 33 (0)1 44 78 12 42 fax 00 33 (0)1 44 78 13 02 email

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Centre Pompidou Direction de la communication 75191 Paris cedex 04 head of cummunication Roya Nasser press officer Emilia Stocchi telephone 00 33 (0)1 44 78 42 00 fax 00 33 (0)1 44 78 13 02 email press officer Coralie Sagot telephone 00 33 (0)1 44 78 12 42 fax 00 33 (0)1 44 78 13 02 email Direction des ditions press officer Evelyne Poret telephone 00 33 (0)1 44 78 15 98 email
Five Angels for the Millennium, 2001 Bill Viola Bill Viola, D.R. Photographe Kira Perov Centre Pompidou, MNAM, Paris/ Tate, Londres/ Whitney Museum of American Art, New York (achat conjoint)



13 JUNE 05-28 FEBRUARY 06

The Centre Pompidou will present its collections for the first time, in a thematic, interdisciplinary and non-chronological fashion. Using works from the largest collection of modern and contemporary art in Europe, Big Bang will bring together visual arts, video, photography, architecture, design, and literature to confront works and trends from the beginning of the 20th century through today. This exceptional exhibition is based on an original set of themes: the modern big bang, or the link between creation and destruction in 20th century art. Using an exhibition space of about 45,000 sq. ft., the Centre Pompidou proposes a new way of understanding the cultural phenomena of the XXth century.

Centre Pompidou 75191 Paris cedex 04 telephone 00 33 (0)1 44 78 12 33 fax 00 33 (0)1 44 78 12 07 mtro Htel de Ville, Rambuteau Hours Open daily, except Tuesdays, from 11:00 A.M. to 9:00 P.M. Admission fee: One day at the Centre Pompidou: 10 euros,reduced fee: 8 euros Valid the same day for the Muse National dArt Moderne and all the exhibitions at the Centre Pompidou. Admission tickets are printable at home, on the site Admission fee to the exhibition: 7 euros, reduced fee: 5 euros Admission includes the collections of the Muse National dArt Moderne, the Galerie du Muse, the Galerie dArt Graphique , the Atelier Brancusi and the Espace 315. Free admission for members of the Centre Pompidou (with a valid annual Laissez-passer) Information on the Laissez-passer: 01 44 78 14 63

Centered on the idea of innovation and revolution, the modern project placed itself from the beginning under the auspices of positive destruction. In the creative field, artists tried every mode of inversion of established values by putting representation in crisis and placing the art scene at the crucible of radical renewal: destruction of forms by Cubism, disfiguration by Expressionism, subversion of images by Dadaism, etc. This new exhibition has been conceived around eight major themes: destruction, deconstruction, archaism, sex, war, subversion, melancholy and re-enchantment. For this occasion, the Centre Pompidou will exhibit several new acquisitions, in particular, a major work by Bill Viola, Five Angels For the Millennium, 2001 shown for the first time in France.

PROGRAMMING Director of the Muse National dArt Moderne Alfred Pacquement Head curator Catherine Grenier, curator at the Assistant curators Agnes of Beaumelle, Chantal Bret, Nicole Capon-Coustre, Brigitte Leal, Camille Morineau Advisers for literature Marianne Alphant, Mark Alizart

The exhibition is sponsored by Hublot watches In media partnership with

With the contribution of Air France, of Eurostar, of the Groupe Casino and Thalys

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The themes of the eight sections of the exhibition are those in which the urge for destruction/creation plays itself out preferentially, in the form, the procedures and the principal areas of practice of this constructive violence. Each theme permits or demands a fundamental calling into question (of origins, sex, war subversion, melancholy), until the last section on re-enchantment. I. DESTRUCTION Modernity inscribed the idea of destruction at the heart of the redefinition of art. This will to start from scratch is present at each level of the creative act: dismissal of the traditional subjects of art, dislocation of the figure, breaking apart and scrambling of scale and perspective... The status of the artistic object (coherence, limits, verticality...) is devalued while a desire for reformation, both anthropological and social, affirms itself through art. 1. The disenchanted body The privileged ground for aesthetic experiences, the body, sometimes glorified sometimes afflicted, is the battleground for all the conflicts, the reflection of the instability of the world. The exhibition opens with several convulsive representations of modern man: Francis Bacon, Willem De Kooning, Marlene Dumas, Alberto Giacometti, Pablo Picasso, Dennis Oppenheim, Daniel Richter, Thomas Schtte, Andy Warhol... An improbable outline made up of aggregates, The Clamdigger, 1972, by Willem de Kooning, is subjected to a kind of petrifaction, and seems to emerge from chaos: Neanderthal man or last survivor of an atomic war? The same anxiety is present in the inhuman human figures presented today by Thomas Schtte (Untitled, 1996) with their grotesque contortions and unsettling distortions that go beyond the gymnastics of the passions invented by Rodin at the beginning of the century. 2. Disfiguration The destruction of the figure: Jean Dubuffet, Annette Messager, Pablo Picasso, Francis Picabia, Cham Soutine, Georg Baselitz, Bruce Nauman... 3. Chaos Scale and perspective are abandoned. The surface is broken. The relationship between the motif and the background is made chaotic through decomposition, scrambling, superposition or interpenetration of forms. The exploded or scrambled composition: George Braque, Robert Delaunay, Jasper Johns, Fernand Leger, Jackson Pollock, Christopher Wool, Francis Picabia, Sigmar Polke, Coop Himmelbau...

Daniel Richter Duueh, 2003

Willem De Kooning The Clamdigger, 1972

Thomas Schtte Sans Titre, 1996

Francis Picabia Le rechir , 1924 / 1926

Bruce Nauman Pulling Mouth, 1969

Avec la participation du Groupe Casino, d'Air France, d'Eurostar et de Thalys

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4. Passage to the horizontal The pedestal is removed, the authority of the vertical form is disputed: far from traditional sculpture, works develop in space through modularity, repetition, and expansion... No more pedestal, the horizon: Carl Andre, Csar, Ulrich Rckriem, and Superstudio... 5. Geometric space With the use of the straight line, elementary shapes, bold colors posed in flat patches, a new vision of the world is instituted: rational, serial, minimal... Daniel Buren, Sonia Delaunay, Csar Domela, Charles Eames, Herzog & De Meuron, Donald Judd, Ellsworth Kelly, Piet Mondrian, Olivier Mosset... 6. The Abstract City The distinction between painting and sculpture, architecture and furniture, is abandoned in place of a total art or a synthesis of the arts, aimed at transforming man and his environment: abstraction setting out to conquer the world! Abstraction setting out to conquer the world: Marcel Breuer, Vassily Kandinsky, Jacobus Johannes Oud, Gerrit T. Rietveld, Theo Van Doesburg... 7. The Grid System of order, symbol of enclosure, the grid imposed itself as a major reference point for modern art. It structures repetitive and geometric forms, at times employed with humor and irony. Ron Arad, Piet Mondrian, Kurt Schwitters, Frank Stella, Sophie Taeuber-Arp, Theo Van Doesburg, Claude Viallat, Sarah Morris, Louis Kahn, Alison and Peter Smithson... 8. Monochrome By a process of subtraction or condensation, painting reaches for pure color, which replaces form and answers to multiple examinations: spiritual, analytical, satirical... Ellsworth Kelly, Yves Klein, Kasimir Malevich, Gottfried Honegger, Allan McCollum, John Baldessari, Clairet & Jugnet, Bernard Tschumi, Inga Semp...

II. CONSTRUCTION / DECONSTRUCTION Begun with the Cubist adventure, the formal and analytical deconstruction of the work of art became more and more complex in a succession of new artistic procedures going from transparency to randomness, from the soft to the change of scale, etc. This speculation on the form of the work of art is also the source for Conceptual Art, which conceives language as an artistic procedure in and of itself. Already, between 1914 and 1966, part of Marcel Duchamps artistic activity consisted of the elaboration of preparatory handwritten notes for his works.

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1. Conceptualize By dissociating the idea of art from the physical existence of objects, the critical analysis of language and artistic facts produced works based upon theoretical, philosophical, political or poetic propositions. Concept and language: Guillaume Apollinaire, Art and Language, Marcel Duchamp, Andrea Branzi, Dennis Crompton, Stanley Brouwn, Jenny Holzer, Iliazd, Joseph Kosuth, Robert Morris, Remy Zaugg... 2. White room At the same time empty and full, degree zero and sublime space, white indicates a threshold, a limit, a beginning or an end. The monochromic white: Jean Arp, Enrico Castellani, Dan Flavin, Yves Klein, Le Corbusier, Piero Manzoni, Kasimir Malevich, Franois Morellet... 3. Transparencye A space of dematerialization and opening, of passage between interior and exterior, intimate and social, mind and reality, transparency expresses the modern Utopia of a major transformation in the relationship of man to the world. The void and transparency: Laszlo Moholy-Nagy, Wilhelm Wagenfeld, Raoul Hausmann, Marcel Duchamp, Andre Bruyre, Robert Julius Jacobsen, Gyulia Kosice, Laszlo Moholy-Nagy, Robert Watts, Rene Coulon, Toyo Ito, Rem Koolhaas, Erwine and Estelle Laverne... 4. Randomness Chance and indetermination, the combinatorial became one of the key procedures of an art open to invention, precariousness and hybridization. In direct conjunction with life, forms are evolutional and irrational. The laws of chance: Constant, Marcel Duchamp, Robert Filliou, Francis Picabia, Man Ray, Gil Wolman, Franois Morellet, Peter Cook... 5. Mirror-Entropy Creating a fictitious space, the mirror introduces a principle of disorganization and entropy. Reflections, echoes and imitations generate deformed, whirling, unstable spaces. Robert Smithson, Marcel Janco, Constantin Brancusi, Dan Graham, Raymond Hains, Robert Morris, Andr Kertesz, Marc Newson... 6. Aberrant Scale The passage to either a monumental or a miniature scale upsets hierarchies, undermines the ideal of balance and plausibility, and invests the image with a critical quality or the capacity for subjugation. Shifts in scale: Marcel Duchamp, Richard Goldstone, Raymond Hains, Malcolm Morley, Gaetano Pesce, Holy Florian, Yona Friedman, Kyonori Kikutake...

Andr Kertesz Distorsion n60, 1933

Marc Newson Chaise, Alufelt Chair, 1993

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7. Violent procedures Destructive energy engendered aesthetics of violence and transgression. Combustions, compressions, ripping and tearing, created residual objects, expressing the cracks and fissures that link art to life. Burning, Cutting, Crushing, Compressing: Arman, Alberto Burri, Lucio Fontana, Niki de Saint Phalle, Ant Farm, Didier Fiuza Faustino, Massimiliano Fuksas... PLEATING: INGO MAURER, ISSEY MIYAKE The Big Bang exhibition presents numerous artists, painters, photographers, architects, and designers who experimented with the concepts of creation and destruction in their art. Issey Miyakes clothing line Pleats Please finds a place in this movement, resting on a positive deconstruction of a process of creation: the pleat. Issey Miyake has always sought new avenues in his creations, radical and practical at the same time, mixing traditions and new technologies. His work is a constant quest of creation for the greatest number: a garment as universal as Jeans or T-shirts, adapted to the needs of modern life functional as much as playful. Commissioned by William Forsythe at the beginning of the 1990s to design ballet costumes, Issey Miyake became aware of the ingeniousness of the pleat. Dancers would have a need for clothing that combined freedom of movement and great aesthetic beauty. What could be a better way of expressing movement than the pleat? Traditional methods of pleating since ancient Egypt consisted in folding fabric, cutting it and then sewing it. The folded effect was largely temporary. Miyakes breakthrough was to reverse the process of pleating, and to make it permanent. First of all, the fabric is cut out and sewn two to three times larger than its real dimensions. Then the fabric is folded, ironed, and oversewn so that the straight lines remain in place. Lastly, the garment is placed between two paper sheets into a high temperature press from where it comes out permanently pleated. The garment thus obtained provides thanks to its simplicity freedom of movement and an unlimited choice of combinations of forms and colors. 8. Fragments Analytical or critical, the artists eye cuts out the form and parcels it. New spaces are constructed, based on fragmentation, dispersion, and hybridization. Dislocation, Dismemberment: Jean Arp, Daniel Buren, Henri Laurens, Kurt Schwitters, Gino Severini, Gordon Matta-Clark, Alessandro Mendini, William Alsop, M. Fuksas, Jean Nouvel, Otto Steidle... 9. The soft With unstable and passive materials, the artist uses the plastic and metaphorical potential that comes with softness. Subject to gravity, the form becomes free, modifiable an anti-form without limits. Piero Gatti, Cesare Paolini and Franco Teodoro, Guilleminot Marie-Angel, Robert Morris, Claes Oldenburg, Barry Flanagan, Kol/Mac Studio...

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III. ARCHAISM Primitivisms and archaisms crisscrossed the 20th century, from the exotic evocations inherited from the 19th century through to contemporary interbreeding expressions. During the watershed 1920s and 30s, the mythical idea of a return to a childhood of art affirms itself Andr Breton forcefully declared, "The eye exists in a wild state" and the will to find an original force that the German expressionist painters had already invoked. In the 1940s, multiple procedures appeared which produced or simulated effects of regression, which referred to hidden territories of consciousness, and which explored languages that were hybrid and archaic. 1. Regression Art is freed from aesthetic regulations and structural systems by regressing to an organic and primitive state, allowing the unconscious and sexual dimensions of human urges to surface. Jean Dubuffet, Jean Fautrier, Lucio Fontana, Kazuo Shiraga, Philip Guston, Franz Kupka, Eugene Leroy, Hans Hollein, Fernando and Humberto Campana 2. Nature Film Spiral Jetty de Robert Smithson 3. Collection, compulsion Andr Breton Wall, Christian Boltanski 4. The Wild Eye In order to move beyond the values of the modern Western world, artists advocated an archaic violence a return to the instinct. Animality, spontaneity and brutality nourished the ideal of a radical re-beginning. Asger Jorn, Michel Larionov, Mario Merz, Jackson Pollock, Jean-Michel Basquiat, Garouste & Bonetti, Edouard Franois & Duncan Lewis... While Jackson Pollock created The Moon- Woman Cuts the Circle, circa 1943, the figure of a sacred and "savage" dance that anticipated that of the painter around his drippings, an artist like Asger Jorn also an ethnologist sought the pictorial terms for a "universal language" which would express a "natural primitivism in Femme du 5 octobre, 1958, where raw color and rapid gesture confer to the feminine figure an immediate presence. 5. The Sleep of Reason Childhood is summoned as a liberating force, appearing as a place both for brutality and innocence, violence and play. Gaston Chaissac, Francesco Clemente, Robert Combas, Vassily Kandinsky, Michel Larionov, Pablo Picasso, Jean Tinguely, Laurel & Hardy...

Lucio Fontana Concetto Spaziale, 1947

Kazuo Shiraga Chizensei-Kouseimao, 1960

Asger Jorn Femme du 5 octobre, 1958

Jackson Pollock The moon women cuts, 1943

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5. Childhood Childhood is summoned as a liberating force, appearing as a place both for brutality and innocence, violence and play. Gaston Chaissac, Francesco Clemente, Robert Combas, Vassily Kandinsky, Michel Larionov, Pablo Picasso, Jean Tinguely, Laurel & Hardy... 7. Hybrid Shifting the nature of objects, hybridization introduced a chaotic and playful force into creation. Forms that were stuck together, grafted, semi-animal, semi-vegetable, chimerical, told turbid stories, of dreams for metamorphosis. The hybrid and the monster: Louise Bourgeois, Ronan Bouroullec, Constantin Brancusi, Victor Brauner, Max Ernst, Fabrice Hybert, Jannis Kounellis, Joan Mir, Francis Picabia, Studio Nao, Jean Nouvel, Ron Herron, Iakov Tchernikov IV. SEX 20th century art ceaselessly drew much of its creative energy from the essential risks from one who looks, or better yet desires, and takes. The affirmation of the right to the pleasure, of women's liberation, of the body in general, and of sexual practices make sex a permanent exploratory ground for forms, styles, gestures, a stumbling point for thought. From Sigmund Freud to George Bataille, and from Charles Baudelaire to Pierre Guyotat, reality and reflection jointly put into place an indisputable bond between sex and death at the heart of the 20th century. 1. The Bride
Pablo Picasso Lacrobate bleu, 1929

Louise Bourgeois Cumul I, 1968

Dorothea Tanning De quel amour, 1970

Sublime, pathetic or subversive, the figure of the bride conveys sentimental, political and sometimes mythical connotations. Marcel Duchamp, Jim Dine, Robert Doisneau, Lyonel Feininger, Niki de Saint Phalle, Rudolph Schwarzkogler... For Niki de Saint Phalle, the bride also occupies a central place, constituting the symbol of "a kind of disguise" and "a total failure of individuality". Her Marie, 1963 monumental, immaculate, and rigid in its attire, with its face broken up by suffering makes public the female condition. 2. The Prostitute

Niki De Saint Phalle La marie, 1963

Object of fascination, the figure of the prostitute is the site where the gaze is freed. Both an apology for Bohemian freedom, and a denunciation of a corrupting system, she incarnates the revolt of the modern artist. Emil Nolde, Kees Van Dongen, Otto Dix, Pablo Picasso, George Rouault, Pierre Klossowski, Larry Rivers, Victor Burgin...

Robert Doisneau La marie, 1947

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In a spirit close to Pop Art and New Realism, Larry Rivers recast the models of classical painting in a popularized, vulgarized form. With I like Olympia in Black Face, 1970, he distorted the representation of one of most famous and scandalous prostitutes in the history of art Manets Olympia, 1863. By the inversion of black and white, Rivers subverts the meaning of the work and its references: American and Europeans, masters and slaves. 3. Voyeurism By setting a scene in which a taboo body is subjected to the desirous glance penetrating or penetrated the artist places the viewer in the situation of voyeur. Balthus, Hans Bellmer, Diego Giacometti, Ren Magritte, David Salle, Nobuyoshi Araki, Cui Xiuwen... 4. Obscene Film: Jack Smith, Flaming Creatures 5. Transgression By unmasking taboos death, sex, gender artists probe the limits of creation, assimilated to the limits of the human body. Pablo Picasso, Salvador Dal, Ed Paschke, Tetsumi Kudo... Assimilating sex and scissors (William Tell, 1930), Salvador Dal offers a vision of frightening effectiveness: sex, defined as the symbol of the paternal authority, updates the genuine mechanism of power and renders the anguish of castration visible. Fixing his sights on Americas shady "junk culture," painter Ed Paschke undertakes an acute and provocative observation of scenes from life: an imaginary portrait of an old whore in his signature bright colors woman or transvestite? Jolla, 1973, brutally presents itself both as an object of desire and of repulsion. 6. Sacrilege With the figure of Christ taken as a target by artists, it is the sacred character of art as a whole that is questioned and placed under the sign of "profanation. Jean Fautrier, Jean Hlion, Arnulf Rainer, Peter Saul, Wim Delvoye, Jean-Michel Alberola, Raymond Pettibon, Joel Peter Witkin...

Larry Rivers I like Olympia, 1970

Otto Dix Salle miroir Bruxelles, 1920

Germaine Krull La mme Bijou, vers 1932

Salvador Dal Guillaume Tell, 1930

Ed Paschke Jolla, 1973

Pablo Picasso La pisseuse, 1965

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V. WAR Devastated by two world wars, shaken by ceaseless conflicts affecting the entire planet, marked by the appearance of new weapons and the rise of a new form of "barbarism," the 20th century seriously and profoundly integrated the questioning of history. A double movement occurs. On the one hand there is an extraordinary assumption of history by artists accompanied by a feeling of responsibility and a need to testify, which often involves engagement and mobilization. On the other hand there is a radical upheaval of the form, undertaken within an irreversible process of deconstruction and renewal. A direct confrontation with historical events is replaced by the more general and moral questions of memory and forgetting, of anguish of death and the precariousness of the contemporary human condition. 1. Revolution The energy of ideals and revolutionary Utopias accompanied artistic revolts. The image of revolution took on multiple forms: militant, playful, critical, parody. Erik Boulatov, Err, Ian Hamilton Finlay, Michel Parmentier, Jrg Immendorff, Annette Messager, Daniel Pommereulle, Gerard Fromanger, Philippe Cazal... Le Rouge, 1968-1970, by Gerard Fromanger with a first version created in collaboration with Jean-Luc Godard was born in the heart of the leftist agitations of May 1968, and testifies to the radicalism of the artists political engagement. The second version made with Marin Karmitz is a rapid montage of fixed shots a provocative stream of red paint on a French flag, ordinary street photographs, news images of the demonstrations and protests on which the color red is superimposed over the figures, little by little invading the screen. 2. War The devaluation of heroism gives way to a desperate vision of a fragmented and selfdestructive man, abandoned to history. Sophie Ristelhueber, Mona Hatoum, Luc Delahaye, Gottfried Bhm
Andy Warhol Electric chair, 1967

Michel Parmentier Rouge, 1968

3. Pathos / Death Haunted by the existential anguish of man without hope of a hereafter, works are suffused with suffering, mourning, and death. Kasimir Malevich, Andy Warhol, Joseph Beuys, Yves Klein, Meret Oppenheim, Martial Raysse, Gina Pane, Carlo Scarpa, Cy Twombly... Andy Warhols (Electric Chair, 1966) allusions to death or images of violent death, traversing the ensemble of his work, are devoid of melancholy, sadness, or aestheticism. Just a cold and tragic vision of modern death, one that is violent, daily and anonymous. Without any expression of grief or judgment, the paintings indicate an absence death to which each one of us seems complicit.

Joseph Beuys Infiltration homogen fr Konzertflgel, 1966

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4. Memory/Forgetting On the surface of artworks, a singular relation is established between memory and forgetting: matter makes buried memories surface, or else absorbs them and makes forgetting an act of foundation. Francis Picabia, Anselm Kiefer, Jochen Gerz, Toni Grand, Daniel Libeskind 5. Vanity Unhappy conscience of the human condition and critique of material pleasure, vanity and its emblems are reinterpreted in a serious or playful tone. Georges Braque, Arshile Gorky, Man Ray, Marcel Duchamp, Eric Dietman, Francesco Clemente, Daniel Spoerri, Peter Fischli et David Weiss, Emile Aillaud The motif of the skull is familiar in the work of George Braque. With its austerity, lack of ornamentation and bareness, Vanitas, 1939, a still life with a skull, a crucifix and a rosary, fits directly in a continuum with Philippe de Champaignes Jansenist vanitas.

Georges Braque Vanitas, 1939

VI. SUBVERSION The attitudes subversion takes, such as parody, laughter or the witty remark, have been an integral part of artistic action throughout the 20th century. These strategies of provocation, which include transgression and derision, operate against established values and good taste, calling forth the irrational, absurdity and generalized doubt. They apply to the status of the work of art as well as the underlying mechanisms of the different power structures (political, institutional, mercantile, etc.). Nourished on readings from the great rebels of history Sade, Nietzsche, Lautramont, Rimbaud the spirit of subversion develops also a taste for black humor, blasphemy and the grotesque. The figure of Ubu, created by Alfred Jarry, becoming emblematic for many. .
Marcel Duchamp, LHOOQ, 1919

1. Pastiche and parody Clichs and academic commonplaces (still lifes, nudes, etc.) are revisited with humor and irony. A subversion that addresses itself to the icons of art; while also playing on the idea of the amateurish painting. Victor Brauner, Francis Picabia, Pablo Picasso, Braco Dimitrijevic, Bertrand Lavier, Claes Oldenburg, Paul McCarthy, Philippe Starck, UFO, Radi Designers, Marcel Duchamp

Philippe Starck Tabouret-table, Gnomes, 1999

2. Anti-Muse The putting into question, the critique, better yet, the rejection of the museum as institution, are paths that leads to stripping art of its sacredness. These iconoclastic gestures question the status of an artwork and the role of the artist within the institution. Marcel Broodthaers, Joseph Cornell, Richard Artschwager, Grard Gasiorowski, Louise Lawler, Bertrand Lavier, Claude Rutault, Andrea Fraser, Roland Topor, Hans Hollein, Franois Roche, Gianni Arnaudo Anti-architecture: Yan Kaplicky, Klaus Pinter, Michael Webb, Guy Rottier, Jean Aubert, Zund Up,R&Sie, Hans Hollein

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3. Grotesque The game, the joke, sarcasm and humor translate a reactive revolt vis-a-vis the established order and the destiny of contemporary man. Ubu: Victor Brauner, Dado, Dora Maar, Rosemarie Trockel, Jean-Paul Yungmann The grotesque portrait: Gino Severini, Natalia Gontcharova, Georg Grosz, Jacques-Andre Boiffard, Glenn Brown, John Currin, Urs Fischer...
John Currin The Moroccan, 2001

Rene Magrittes Le Stropiat, 1948, is undoubtedly a coded self-portrait. The ugly allure of the artist, rigged up in a fake beard and a red nose, expresses the rejection of a culture whose values could not prevent barbarity. John Currins unlikely image, The Moroccan (2001), brings together in an incongruous way genres from the history of art: the bourgeois portrait and the still life using photocopies of works by Old Masters as models for his work (Rembrandt, Fragonard...).

VII. MLANCHOLY The theme of melancholy, which treats the existential condition of man suffering from his distance from an Ideal, his absence of hope, and time that devours him inexorably, is the subject of art through many eras and in different ways. It continued to be so through the 20th century for an entire lineage of artists. "Saturns Children" and fallen angels of the avant-garde, guided by nostalgia and the metaphysical search for the sublime or the void, aspired, for example, to the absolute of non-representation, nevertheless deplored the death of subject and style, while challenging all morality and instituting a mystical conception of transgression. 1. Uncanniness Between beauty and anxiety, fascination and fear, the visible world appears as a kind of uncanniness," according to Freud a feeling, which involves a withdrawal of conscience a nausea in the face of everyday reality. Fernand Lger, Eli Lothar, Marcel Duchamp, Andy Warhol, Wols, Tetsumi Kudo, Arman, Christo, Jana Sterbak, Georges Tony Stoll 2. Figures of Melancholy Suspension of time outside of history, loneliness, worthlessness. The feeling of death of a bygone world haunts the figures. Giorgio De Chirico, Ren Magritte, Otto Dix, Christian Schad, Cindy Sherman, Dcosterd et Rahm, Aldo Rossi 3. Disappearance "Would the image itself be what remains visually when the image takes the risk of its own end, enters the process of deterioration, of bruising itself, or else of distancing itself until it disappears as a visible object as such?" Ad Reinhardt, Jackson Pollock, Mark Rothko, Cy Twombly, Sam Francis, Antoni Tpies, Pierre Soulages, Alighiero Boetti, Gerhard Richter, Gary Hill Jean Nouvel, Hans Hollein, Christos Papoulias, Christian de Portzamparc
Christian Schad Portrait du Comte St Genois dAnneaucourt, 1927

Ren Magritte Le stropiat, 1948

Otto Dix La journaliste Sylvia von Harden, 1926

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4. Nostalgia "Thought awaits the day the memory of what was missed will come to pull it out of sleep and transform it into a philosophy lesson". Around La Tristesse du Roi de Matisse: Peter Doig, Martial Raysse At the end of his life, Henri Matisse delivered along with the immense La Tristesse du Roi (The Sadness of the King), 1952, more than an image of Salomes dance in front of King Herod he produced a reflection on memory and old age. With jubilant audacity the masterful control of a dance of colored papers cut with scissors Matisse drew an ultimate self-portrait in the midst of exquisite pleasures long past and realities forever gone: an exultant and nostalgic swan song to his life as a painter. In 100 Years Ago, 2001, by Peter Doig, the languor and regret of twilight thoughts seem to find a place in a vast horizontal landscape, traversed by a character drifting in a canoe, looking off in the distance.

Henri Matisse La Tristesse du roi, 1952

Peter Doig 100 Years Ago, 2000

VIII. RE-ENCHANTEMENT The lively forces for a possible re-enchantment are always present, at the heart of destruction, derision or subversion, and sometimes even in full confrontation with the drama of everyday life and History. The marvelous, the sacred, hope and Utopia find new forms in the global era. It is because contemporary man, who has all of the freedoms and unprecedented technological achievements, must unceasingly reinvent himself. Fear, melancholy, cruelty, mediocrity and lucidity live within him, but he is also tormented by thirst for renewal, both individual and collective. To describe what is concealed to the eye, make silence speak, liberate taboos, reactivate a terrain for memory, and believe in new Utopias... Mirrors of revelation or ladders of escape, the processes of re-enchantment are multiple for artists: the sublime was one, others have followed one another: the primitive with the savage object, the real with the ready-made, color alone with monochromic works, the moving image with video... The two plastic art propositions we present here for the first time, at the end of "Big-Bang," constitute spaces of initiation, between dizziness and dream. 1. Cristina Iglesias: Passage 2. Bill Viola: Five Angels for the Millenium, 2001

Cristina Iglesias Untitled (Passage II), 2002

Bill Viola Five Angels for the Millennium, 2001

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Two major works acquired recently by the Centre Pompidou will be shown within the context of the Big Bang exhibition. Five Angels for the Millennium by Bill Viola and LHOOQ by Marcel Duchamp, a prestigious loan from the Parti Communiste Franais. Bill Viola Five Angels for the Millennium, 2001

The Big Bang exhibition is the opportunity to present for the first time in France Bill Violas Five Angels for the Millennium, 2001. This work was purchased jointly by the Centre Pompidou with the support of Madame Edmond Safra, the Tate in London with the support of Mrs. Lynn Forester de Rothschild and the Whitney Museum of American Art in New York with the support of Mr. Leonard Lauder. This acquisition is the first joint international purchase of this magnitude by three museums. Recognized as one of the most important artists in the international scene, Bill Viola has been working with video since the 1970s to explore the phenomena of sense perception and achieve knowledge. His works are centered on universal human experiences: birth, death, and the revelations of consciousness. In Five Angels for the Millennium, video projections show the images of five angelic figures descending in water and rising to the surface. These mysterious images give the impression that something is taking place. On each screen, the water becomes more and more disturbed, until a human figure appears violently, then disappears after a few seconds leaving behind a turbulence that slowly ebbs away. Imbued with spirituality and reflection, this work, in which the image and the sound are equally important, evokes the idea of passage and of rebirth at various stages in life. This visual and sound installation will be shown near the exit to the Big Bang exhibition, in the Re-enchantment section. Collection Centre Pompidou, MNAM, Paris / Tate, London / Whitney Museum of American Art, New York

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Marcel Duchamp L.H.O.O.Q., 1930


This historical work was placed in trust at the Centre Pompidou on 15 March 2005, at the initiative of the Secretary-general of the Parti Communiste Franais (French Communist Party), Robert Hue, and Marie-George Buffet. In a spectacular way it has come to enrich the already sizable collection of works by Marcel Duchamp that the Museum already holds, thanks to the artists widow, Alexina Duchamp. Beginning on 15 June, this emblematic work by Duchamp will be exhibited in the Subversion section of the Big Bang exhibition. Duchamps iconoclastic version of Leonardo da Vincis famous Mona Lisa constitutes for the Centre Pompidous public, an essential benchmark in the history of 20th century art, and of Dadaism in particular. Marcel Duchamp conceived this provocative work in 1919, at the height of the Dada effervescence. He drew on a reproduction of the Mona Lisa a simple postcard a moustache and a little goatee, adding as a caption the five letters L.H.O.O.Q. an act he qualified as a very daring joke on La Joconde. Rectifying this ready made with unusual effectiveness, he made use of subversive procedures that were dear to him: bisexual cross-dressing and dirty puns, a game which he shared with his friend Francis Picabia, who also wrote on a large enamel on canvas painting (Mamenez-Y; le double monde included at the heart of the Breton Wall also displayed in the exhibition) LHOOQ in big letters. Via this double act of profanation of the Italian Renaissances ultimate icon and of the Louvres emblematic masterpiece Duchamp takes aim at both the history of art and the museum. There exist different versions of this famous interpretation of the Mona Lisa. The first, on a common postcard (19.7 x 12.4 cm.), is from 1919 and was published by Picabia in the magazine 391. The present second version, done on a fine rotogravure reproduction made in Italy, is in a larger format (61.5 x 49.5 cm.), and was given to the Surrealist poet Louis Aragon on the occasion of the famous La Peinture et le Dfi exhibition which he organized along with Andr Breton in 1930, at the Galerie Goermans in Paris. * Louis Aragon, a member of the Communist Party, then gave it to the Parti Communiste Franais before his death on 1982.

*Marcel Duchamp, catalogue raisonn by Jean Clair, p 96

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Centre Pompidou Direction des ditions 75191 Paris cedex 04 press contact Evelyne Poret phone 00 33 1 44 78 15 98 fax 00 33 )1 44 78 14 44 e-mail evelyne.poret@

BIG BANG Destruction and creation in 20th century art sous la direction de Catherine Grenier
format 22 x 28 cm, soft-cover, 176 pages 186 color images Bilingual French/English 29,90 euros

Following the presentation of the exhibition, the catalog will consist of eight chapters, which will be illustrated by masterpieces in the collection, considered in a new way. Claiming innovation and revolution, the idea of modernity in the 20th century is linked to that of positive and fruitful destruction: the modern big bang which shattered all established values. The field of creation was the scene of radical renovation: destruction of forms by Cubism, disfiguration by Expressionism, subversion by Dadaism, etc. Freed from the weight of history and the yoke of academic culture, artists brought forth, by carrying out a profound upheaval, a complete renewal of perception and interpretation. This work closely accompanies a new presentation of the collection, conceived on the basis of this fundamental set of themes, articulated around eight central propositions which cover the whole 20th century: destruction, construction/deconstruction, primitivisms and archaisms, sex, war, subversion, melancholy and re-enchantment. This ambitious display, both trans-historical confronting modern and contemporary art at every step and interdisciplinary closely associating the visual arts, architecture, design, photography and video will give place to a renewed reading of the cultural and artistic phenomena of the 20th century, as well as an understanding of the urges and procedures that were at play.

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The reproduction of works by artists associated to the ADAGP requires previous approval from the ADAGP (01 43 59 09 79) and artists rights must be paid directly to that organization. In other cases the requests must be made directly to the holders of the rights. Succession Picasso: 00 33 1 47 03 69 70. Contact: Christine Pinault Succession Matisse: 00 33 1 46 33 02 68. Contact: Isabelle Alonso

INTRODUCTORY WORK 0- Daniel Richter Duueh, 2003 Huile sur toile 300 x 200 cm Centre Pompidou, MNAM, distr.RMN Galerie Ghislaine Hussenot Photo : Philippe Migeat I DESTRUCTION 1- Willem De Kooning The Clamdigger, 1972 Sculpture, Bronze Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Willem de Kooning Revocable Estate Trust 2- Germaine Richier Lorage, 1947-48 Sculpture, Bronze 200 x 80 x 52 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 3- Alberto Giacometti Femme debout II, 1959-60 Sculpture, Bronze 275 x 32 x 58 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 4- Thomas Schtte Sans titre,1996 Sculpture, Fonte d'aluminium 250 x 100 x 150 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Georges Meguerditchian

5- Georg Baselitz Ralf III, 1965 Huile sur toile 100,5 x 80 cm Centre Pompidou, MNAM, dist.RMN D.R. Georg Baselitz 6- Francis Picabia Le rechir , 1924-1926 Gouache et encre de Chine sur carton 103,3 x 74,1 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Philippe Migeat 7- Chaim Soutine Le sculpteur Miestchaninoff, 1923 Huile sur toile 83 x 65 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Jacqueline Hyde 8- Bruce Nauman Pulling Mouth, 1969 Film cinmatographique 16 mm noir et blanc, silencieux, dure : 9' Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 9- Herzog et De Meuron Galerie Goetz, 1989-92 Projet ralis. Maquette de rendu Bois, carton et verre 44 x 152 x 62 cm Centre Pompidou, MNAM, dist.RMN Herzog & de Meuron 10- Katarzyna Kobro Sculpture spatiale, 1928 Sculpture. Tle d'acier peint 44,8 x 44,8 x 46,7 cm Centre Pompidou, MNAM, dist.RMN D. R.

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11- Charles Eames Etagre, ESU 400, 1950 Structure en acier tremp profil froid. Compartiments et portes coulissantes en contre-plaqu embouti 149 x 119 x 43 cm Centre Pompidou, MNAM, dist.RMN D. R. Photo : Jean-Claude Planchet 12- Piet Mondrian Composition en rouge, bleu et blanc II, 1937 Huile sur toile 75 x 60,5 cm Centre Pompidou, MNAM, dist.RMN HCR, Warreton USA

5- Issey Miyake Making Things 1991 - Pleats Please 23 mtres x 1,50 mtres Collection Issey Miyake D.R. 6- Ingo Maurer Wo Tum Bu I, 1998 Papier, silicone, pierre et verre Hauteur : 190 cm Centre Pompidou, MNAM, dist.RMN D.R. Photo : Jean-Claude Planchet 7- Andr Kertsz Distorsion n60, 1933 Tire par Igor Bakht Epreuve glatino-argentique 25,2 x 20,3 Centre Pompidou, MNAM, dist.RMN D.R. Patrimoine Photo 8- Constantin Brancusi Le nouveau n II, 1927 Sculpture. Acier inoxydable 18 x 24,8 x 17 cm Socle en 2 parties : Disque en acier inoxydable : 0,5 x 45 cm Chne : 80 x 25 x 39 cm (AM 4002-165) Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Adam Rzepka 9- Marc Newson Chaise, Alufelt Chair, 1993 Aluminium poli et dos laqu 85 x 67 x 100 cm Centre Pompidou, MNAM, dist.RMN D.R. Photo : Georges Meguerditchian III ARCHAISM 1- Asger Jorn Femme du 5 octobre, 1958 Huile sur toile 63 x 76 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Jacqueline Hyde

II CONSTRUCTION / DECONSTRUCTION 1- MarieAnge Guilleminot Mes poupes, 1993 Vido Betacam SP, PAL, couleur, son. dure : 32' (prsente en boucle) Centre Pompidou, MNAM, dist.RMN 2- Gatti, Paolini et Teodoro, Sacco Pouf Sacco, 1968-69 Sac de vinyle avec fermeture glissire, rempli de billes de polystyrne expans 100 x 85 x 100 cm Centre Pompidou, MNAM, dist.RMN Arch. Franco Teodoro Photo : Jean-Claude Planchet 3- Claes Oldenburg Ghost Drum Set, 1972 Installation Dix lments en toile cousus et peints contenant des billes de polystyrne Toile peinte, polystyrne 80 x 183 x 183 cm Socle : 60,5 x 183 x 183 cm Centre Pompidou, MNAM, dist.RMN Claes Oldenburg 4- Kol / Mac Resi / Rise Skyscraper, 1999 Maquette Mousse haute densit avec fibre de verre, surface enduite et colore avec pigments 64 x 150 x 71 cm Centre Pompidou, MNAM, distr.RMN D.R.

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2- Mario Merz Girasole , 1960 Recto-verso Tempera sur toile 85 x 120 cm Centre Pompidou, MNAM, distr.RMN D.R. Photo : Philippe Migeat 3- Jackson Pollock The Moon Women Cuts the Circle, 1943 Huile sur toile 109,5 x 104 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 4- Lucio Fontana Concetto Spaziale, 1947 Sculpture. Cramique polychrome 60 x 64 x 60 cm Centre Pompidou, MNAM, dist.RMN Fondazione Lucio Fontana Photo : Christian Bahier et Philippe Migeat 5- Kazuo Shiraga Chizensei-Kouseimao, 1960 Huile sur toile 161,5 x 130 cm Centre Pompidou, MNAM, dist.RMN D.R. 6- Jean Dubuffet Le voyage sans boussole, 1952 Huile sur isorel 118,5 x 155 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 7- Louise Bourgeois Cumul I, 1968 Sculpture. Marbre blanc 51 x 127 x 122 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Philippe Migeat 8- Constantin Brancusi Princesse X, 1915/1916 Sculpture. Bronze poli 61,7 x 40,5 x 22,2 cm Centre Pompidou, MNAM, dist.RMN Photo : Adam Rzepka

9- Dorothea Tanning De quel amour, 1970 Sculpture. Tissu, mtal, fourrure 174 x 44,5 x 59 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Jacqueline Hyde 10- Vincent Beaurin Pouf, Noli me tangere, 1994 Mousse de polyurthane souple peau 45 x 50 x 55 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Bertrand Prvost 11- Pablo Picasso LAcrobate bleu, 1929 Fusain et huile sur toile 162 x 130 cm Centre Pompidou, MNAM, dist.RMN Photo : Philippe Migeat Succession Picasso IV SEX 1- John Chamberlain The Bride, 1988 Assemblage. Fragments de tle chrome et laque, dforms et souds Tle chrome et laque 216 x 120 x 114 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 2- Niki De Saint Phalle La Marie, 1963 Sculpture. Grillage, pltre, dentelle encolle, jouets divers peints 222 x 200 x 100 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 3- Robert Doisneau La marie sur le tape-cul, Joinville, chez Ggne, 1947 Epreuve glatino-argentique 40,8 x 30,3 cm Centre Pompidou, MNAM, dist.RMN The Estate of Robert Doisneau & Agence Rapho, Paris Photo : Philippe Migeat

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4- Otto Dix Souvenir de la galerie des glaces Bruxelles, 1920 Huile et glacis sur fonds d'argent sur toile 124 x 80,4 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 5- Larry Rivers I like Olympia in blackface, 1970 Construction peinte Huile sur bois, toile plastifie, plastique et plexiglas 182 x 194 x 100 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Philippe Migeat 6- Germaine Krull La mme Bijou, vers 1932 Epreuve glatino-argentique 18,1 x 16,1 cm Centre Pompidou, MNAM, dist.RMN Muse Folkwang, Essen Photo : Philippe Migeat 7- Salvador Dali Guillaume Tell, 1930 Huile et collage sur toile 113 x 87 cm Centre Pompidou, MNAM, dist.RMN Salvador Dali, Fondation Gala-Salvador Dali / Adagp, Paris Etat espagnol, lgataire universel de Salvador Dali / Adagp Photo : Jean-Claude Planchet 8- Ed Paschke Jolla, 1973 Huile sur toile 152,5 x 127 cm Centre Pompidou, MNAM, dist.RMN D.R. 9- Pablo Picasso La Pisseuse, 1965 Huile sur toile 194,8 x 96,5 cm Centre Pompidou, MNAM, dist.RMN Succession Picasso 10- Jack Smith Flaming Creatures, 1963 Film cinmatographique 16 mm noir et blanc, sonore. dure : 42' Centre Pompidou, MNAM, dist.RMN D.R.

V WARS 1- Jrg Immendorff Alles geht vom Volke aus, 1976 Huile sur toile 286 x 286 x 2,8 cm Centre Pompidou, MNAM, dist.RMN Courtesy Galerie Michael Werner, Cologne et New York Photo : Philippe Migeat 2- Michel Parmentier Rouge, 1968 Huile sur toile cire 233,5 x 240 cm Centre Pompidou, MNAM, dist.RMN Association Michel Parmentier 3- Grard Fromanger Le rouge, 1968 Film cinmatographique 16 mm couleur, sonore dure : 2'30" Centre Pompidou, MNAM, dist.RMN Grard Fromanger 4- Erro Watercolors in Moscow, 1975 Huile sur toile 97 x 73,7 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 5- Cy Twombly Achilles mourning, the death of Patroclus, 1962 Huile, mine de plomb sur toile 259 x 302 cm Centre Pompidou, MNAM, dist.RMN Cy Twombly Photo : Adam Rzepka 6- Yves Klein Ci-gt lespace, 1960 Sculpture. Eponge peinte, fleurs artificielles, feuilles d'or sur panneau 10 x 100 x 125 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Jacques Faujour 7- Andy Warhol Electric chair, 1967 Srigraphie sur toile, acrylique et laque appliques 137,2 x 185,3 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005

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8- Joseph Beuys Infiltration homogen fr Konzertflgel, 1966 Piano queue recouvert de feutre gris Piano, feutre, tissu 100 x 152 x 240 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 9- Georges Braque Vanitas,1939 Huile sur toile 38 x 55 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 10- Francesco Clemente Codice,1982 Fusain et pastel sur papier 45,7 x 60,8 cm Centre Pompidou, MNAM, dist.RMN Francesco Clemente 11- Eric Dietman Dpche, 2000-2002 Scie mtaux crmaillre portant sur la lame un pansement nou Scie, bande Velpeau 5 x 51 x 12,5 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 12- Sigmar Polke Jeux denfants, 1988 Acrylique et encre d'imprimerie sur tissu synthtique 225 x 300 cm Centre Pompidou, MNAM, dist.RMN Sigmar Polke VI SUBVERSION 1- George Grosz Remember Uncle August, the unhappy inventor, 1919 Huile, crayon, papiers et cinq boutons colls sur toile 49 x 39,5 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 2- Hannah Hch Mutter, 1925/1926 Aquarelle et photographies colles sur papier gris 41 x 35 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Peter Willi

3- John Currin The Moroccan, 2001 Huile sur toile 66,04 x 55,88 cm Centre Pompidou, MNAM, dist.RMN John Currin Photo : Georges Meguerditchian 4- Ren Magritte Le stropiat, 1948 Huile sur toile maroufle sur contre-plaqu 59,5 x 49,5 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Jean-Claude Planchet 5- Eric Fischl Strange Place to Park n2, 1992 Huile sur toile 219 x 249,5 cm Centre Pompidou, MNAM, dist.RMN Eric Fischl 6- Francis Picabia Bull Dog, 1941-42 Huile sur carton 106 x 76 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Jean-Claude Planchet 7- Marcel Duchamp LHOOQ, 1919 Crayon sur papier imprim 19,7 x 12, 40 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Succession Marcel Duchamp 8- Philippe Starck Tabouret-table, Gnomes, 1999 Srie de 3 tabourets Attila, Napolon et Saint-Esprit Technopolymre thermoplastique teint Hauteur : 44 cm, diamtre : 40 cm Centre Pompidou, MNAM, dist.RMN Philippe Starck Photo : Georges Meguerditchian 9- Jan Kaplicky Bulle, 1983 Dessin d'architecture Photomontage 59 x 83,7 cm Centre Pompidou, MNAM, dist.RMN Jan Kaplicky

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10- Klaus Pinter The Cocoon, 1971 Dessin d'architecture Collage, photomontage rhauss de couleurs sur papier 51,5 x 63,5 cm Centre Pompidou, MNAM, dist. RMN Adagp, Paris, 2005 Photo : Georges Meguerditchian VII MLANCHOLY 1- Arman La vie pleine dents, 1960 Accumulation de dentiers dans une bote Rsine, mtal, bois 18 x 35 x 6 cm Centre Pompidou, MNAM, dist. RMN Adagp, Paris, 2005 2- Georges Tony Stoll Ma main, Ta main, 1997 Photographie couleur Epreuve contrecolle sur aluminium 120 x 80 cm Centre Pompidou, MNAM, dist.RMN D.R. Photo : Jean-Claude Planchet 3- Marcel Duchamp Torturemorte, 1959 Assemblage Pltre peint, mouches synthtiques, papier sur bois, verre 29,5 x 13,4 x 10,3 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Succession Marcel Duchamp 4- Jana Sterbak Vanitas robe de chair pour albinos anorexique, 1987 Robe en bavettes de boeuf entires et pares expose sur un mannequin de couture et accompagne d'une photographie couleur monte au mur proximit de la sculpture Viande de buf crue sur mannequin et photographie Hauteur : 113 cm Centre Pompidou, MNAM, dist.RMN Jana Sterbak Photo : Jean Faujour

5- Andr Derain Portrait dIturrino, 1914 Huile sur toile 92 x 65 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 6- Otto Dix La journaliste Sylvia von Harden, 1926 Huile et tempera sur bois 121 x 89 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 7- Christian Schad Portrait du comte St Genois dAnneaucourt, 1927 Huile sur bois 103 x 80,5 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Georges Meguerditchian 8- Cindy Sherman Untiled, # 141, 1981 Tirage limit 10 exemplaires Cibachrome 184,2 x 122,8 cm Centre Pompidou, MNAM, dist.RMN Cindy Sherman 9- Henri Matisse La Tristesse du roi, 1952 Papiers gouachs, dcoups, maroufls sur toile 292 x 386 cm Dimensions du socle de chne: 30 x 389 x 17 cm Centre Pompidou, MNAM, dist.RMN Succession H. Matisse 10- Peter Doig 100 years ago, 2000 Srigraphie sur papier 75,1 x 101,8 cm Centre Pompidou, MNAM, dist.RMN D.R. Photo : Philippe Migeat 11- Martial Raysse Ceux du maquis, 1992 Dtrempe sur toile 205 x 319,5 cm Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005 Photo : Adam Rzepka

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VIII RE-ENCHANTMENT 1- Bill Viola Five Angels for the Millennium, 2001 photographe : Kira Perov Bill Viola, D. R. photograghe : Kira Perov Centre Pompidou, MNAM, Paris / Tate, Londres / Whitney Museum of American Art, New York (joint purchase) 1- Cristina Iglesias Untitled (Passage II), 2002 Installation Ensemble of raffia braids attached to the ceiling making a text formed by braided capital letters each braid has seven squared lengthwise and 18 height-wise, each with a letter.. Raffia, string each element: 298 x 126 x 1 cm unique piece Centre Pompidou, MNAM, dist..RMN All rights reserved