Musée d'Art moderne de la Ville de Paris







  • Musée d'Art moderne de la Ville de Paris






  • Exhibitions

  • Name Anat (Slider 2 blocs, image right)


    • Ron Amir

      14 SEPT 2018 > 6 JAN 2019

      Composed of thirty large format colour photographs and six videos, the exhibition evokes the living conditions of refugees from Sudan and Eritrea who were held in Holot Detention Centre, located in the Negev Desert and now closed. These migrants had fled to Israel to escape terror and oppression in their countries of origin and were not allowed to live or work legally in Israel. Although they could move freely out of Holot centre during the day, they were required to clock in morning and evening.

      Ron Amir's photographs from 2014-2016 document the daytime activities of these refugees. They show how, in the middle of the desert, and without resources, they tried to develop a common and daily life. Using sticks, sand, stones and all kinds of abandoned objects, they have managed to build community huts as well as tea houses, benches, sports halls, makeshift ovens and other equipment to complement the basic equipment provided in Holot.
    • Zao Wou-Ki

      Zao Wou-Ki | L'espace est silence

      1 JUN 2018 > 6 JAN 2019

      The Musée d’Art Moderne de la Ville de Paris is presenting the first major exhibition devoted to Zao Wou-Ki (1920–2013) in France for fifteen years.

      His work has now achieved the fame it deserves, but the opportunities to appreciate its complexity have been too rare here. This exhibition sets out to consider it in a new light while also inviting the viewer to reflect on the question of large-format paintings.

      The exhibition itinerary begins with Zao Wou-Ki's adoption of a new, "abstract" approach – even if he found the term too restrictive – with the 1956 painting titled Traversée des apparences. This decisive step preceded a first stay in the United States, in 1957, that encouraged him in his quest for an ever-larger picture space.

      Working at the intersection of several different worlds, Zao left China for Paris in 1948, just as the domain of "living art" was beginning to be divided between France and the United States. His oeuvre traverses the aesthetic debates that accompanied the development of modern art, and while part of a rewarding Paris scene, he was very quick to spot the vitality of American painting; in addition he was gradually returning to certain aspects of Chinese painting that he had previously severed contact with.

      No lover of the term "landscape", Zao preferred to speak of "nature". His relationships with the outside world were born of travel, discovery and fruitful encounters, the first of which were with Henri Michaux and composer Edgar Varèse. Poetry and music were for him two enduring poles of attraction, providing a kind of tension with his painting and, as his art grew more assured, giving meaning to the declaration he inspired from Michaux early in their friendship: Space is silence.

      Emphasising the universal scope of Zao's art and his place alongside the true greats of the second half of the 20th century, the Musée d'Art Moderne is presenting 40 very large works, some of which – a group of inks from 2006, for example – have never been shown before.

      Curators : François Michaud, Erik Verhagen

      The exhibition has received support from the Zao Wou-Ki Foundation.

      Image: Zao Wou-Ki , Hommage à Claude Monet , février-juin 91 – Triptyque, 1991
      Photo: Jean-Louis Losi Zao Wou-Ki © ADAG P , Paris, 2018
  • Visitor information


    Address

    11, avenue du Président Wilson
    75116 Paris
    T.+33 (0)1 53 67 40 00
    www.mam.paris.fr


    Opening hours

    Tuesday > Sunday from 10am to 6pm
    Thursday until 10pm

In Paris during FIAC

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