DP MJCCSW 4.10_EN - copie - Maison de la France

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III. TEMPORARY EXHIBITIONS Jean Cocteau should be seen as one of the fathers of contemporary art. For his inextinguishable thirst for freedom, his rejection of limits and constant striving for new forms of creation, he has often been described as a « genius jack of all trades ». Author of poems, draughstman, embosser, creator of monumental paintings, ceramics, tapestries, theatre, cinema, of « free films », he can rightly be considered as one of the first multimedia artists of the 20th century. His taste for experimentation, for the new, for manual work, absorbs the whole of his work into a constantly renewed studio practice, whose creative process is the principal object. « All my poetry is there: I trace the invisible (invisible to you). » With the aim of perpetuating this experimental spirit and questioning the creation of the work, the musée Jean Cocteau invites contemporary artists to take possession, physically and poetically, of the temporary exhibition space and to install their studio there. The aim of each exhibition is to show the gestation of an idea, the experimentation of a gesture, the birth of a form, the illumination of a studio practice. The invited artists, if they all different media (painting, sculpture, photography, video, installation) have in common an asidous method of drawing which, freeing itself from the traditional paper medium, opens itself to the space and constitutes a new experimental artistic territory. Jean Sabrier The inaugural exhibition at the musée Jean Cocteau collection Séverin Wunderman is dedicated to Jean Sabrier, a French artist born in 1951 and living in Bordeaux. The exhibition includes nearly sixty paintings, drawings, objects and video animations made between 1975 and 2010. Fascinated by questions of perspective, Jean Sabrier uses drawing to unveil the invisible side of works borrowed from the history of art. Lifting the fabric of the representation, he allows you to see the underlying skeleton, in the form of complex geometric structures. Thus he provides a new perspective on the paintings, which are volumised and energised by means of folds, projections or reflections on various objects. This practice of drawing revives the art of the idea, the disegno of the artists and theorists of the Renaissance. Jean Sabrier, Cristal Liquide, 1982 Collection FRAC-‐Aquitaine © Jean Sabrier The works in the Jean Sabrier exhibition come from the following public collections : Fonds national d’art contemporain, CAPC Bordeaux, Fonds régional d’art contemporain Aquitaine, Fonds régional d’art contemporain Limousin, 16
Artothèque de Bordeaux, Musée de la Roche sur Yon and from twelve private collections. The exhibition catalogue, published by Editions Le Bleu du Ciel, was conceived by the artist with texts by Célia Bernasconi, Bernard Noël and Jean-‐Louis Schefer. Jean Sabrier, Stained-‐glass window model, 1982-‐86 Collection FRAC-‐Aquitaine © Jean Sabrier Jean Sabrier, OMBROYEUSE N°3 Chocolate crusher in the shade of the eye-doctor witnesses,2010 Collection Marie-‐France & Janick Prémon © Jean Sabrier « An arc has been drawn and stretched for many years in the work of Jean Sabrier; or constructed even, by folding, collage, découpage: the object of meticulous work, stereoscopic images (accompanied by glasses made by the artist to see the image in relief). We can see an image of a clockwork child, fastidiously taking out the pendulums of pocket watches to display the innards, spring mechanisms, the chiming wheels, the minutes and hours, to reconstruct a kind of inert monster in which the obsessive tick-‐tock of time is only recognisable by its weight, lightened by the memoiry of the old mechanism, of something that has lost its use: a pure form, not an accident but a construction. A link and a tension, or even a bridge between the works of architect-‐painters and mathematicians, poets of cadence and the humour of Marcel Duchamp. A patient and fascinated approach to the recompression of the historical issue of the rules of illustration: taking into account what the Kantian esthetic called the transformation of coherent beauty, linked to a function or use, to vague or free beauty (« flowers, certain birds like a hummingbird or a parrot, and numerous seashells»). Jean-‐Louis Schefer, « Idées du corps » in Jean Sabrier, Editions Le Bleu du Ciel, 2011. 17
Page 1 and 2: Opens to the public on 6 November 2
Page 3 and 4: I. GENESIS OF THE PROJECT: A SERIES
Page 5 and 6: Committed to the preservation and p
Page 7 and 8: October 2009 Construction work begi
Page 9 and 10: l’Imposteur, were conceived durin
Page 11 and 12: Overview of the collection* Jean Co
Page 13 and 14: Jean Cocteau Le Jeune Aviateur (Rol
Page 15: PART II THE COLLECTION IN 10 VIEWS
Page 19 and 20: V. THE ARCHITECTURAL PROJECT* Selec
Page 21 and 22: © Lisa Ricciotti “The truth is t
Page 23 and 24: © Lisa Ricciotti * All images are
Page 25 and 26: VI. VISITOR INFORMATION MUSEE JEAN

DP MJCCSW 4.10_EN - copie - Maison de la France

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