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SCENOGRAPHY Laurent Guinamard-Casati, Heritage architect “Today, you may dare just about anything”, this is Gauguin’s advice, claiming, like François Villon “the right to say everything”. This is indeed the main characteristic of Art. Museums as well as exhibitions should never be accountable to any commonplaces nor generally accepted ideas, including on matters such as lighting or setting up paintings, otherwise they are likely to lose them. They are on the contrary, under the obligation , if one may say so, to shout their freedom and their right to be daring. An exhibition is most often the connection between the intention of the curator and the encounter with the public, with exceptional gatherings of masterworks from all over the world, something which is only possible nowadays. Like Art, an exhibit must induce a wish to discover them. As social phenomenon, the exhibition adopts a new form of expression, a renewed means of communion between the public and Art which excludes any elitism. The Tokyo Palace exhibitions perfectly illustrate this movement. The space dedicated to an exhibition is the place “par excellence” for and exchange between a work of art and us. The Paris Pinacothèque will be above all, a tool allowing this communion; and first and before all, a living space and a sharing place. For each exhibition I force myself to stretch out the frame of the collection in order to better penetrate it. That is how we proceeded for Roy Lichtenstein. This time, the first idea was to rebuild the living space of his studio. The second is to progressively solicit memories from a painting to the other. The whole space o rganisation must help this approach, by the means of transparencies, highlights, or decisive memories. As far as I am concerned, architecture is nothing but a transition between the different spaces which we keep in our memories. The architect’s job is to provoke this recollection of different places. Should there be a good and a bad architecture, the bad one would be the one resembling a lifestyle which “would be reduced to successive moments of an ever passing present”, according to Chateaubriand’s expression. Secondly, my scenographies attempt to abolish “the useless complication of forms” taking up Emilie Bernard’s idea, and immerging the visitor into a dreamful and fabulous world. 18
CATALOGUE 1. Ocean Motion, 1966 Rowlux, printed and cut paper, small motor 22 1/2 x 26 1/4 inches 2. Untitled Drawings for Film, 1970 Ballpoint pen on paper, 4 sheets 8 1/2 x 5 1/2 inches each. 3. Untitled Drawings for Film, 1970 Orange marker, graphite and ballpoint pen on paper, 2 sheets 10 7/8 x 8 3/8 inches each 4. Untitled Drawings for Film, 1970 Ballpoint pen on spiral- edged paper, 3 sheets 8 x 6 1/8 inches each 5. Film-Untitled (LACMA’S Art and Technology project), 1970 Film, laser disc, VHS video tape 6. Drawing for Still Life with Picasso, ca. 1973 Graphite and colored pencils on paper 8 1/4 x 5 1/16 inches 7. Collage for Still Life with Picasso, 1973 Magic marker, tape, painted and printed paper on board 28 1/2 x 21 inches 8. Drawing for Still Life, 1973 Graphite and colored pencils on paper 8 1/4 x 5 1/16 inches 9. Collage for Still Life, 1973 Tape, painted and printed paper on board 35 5/8 x 24 1/2 inches 10. Still Life, 1973 Aubusson tapestry Edition of 8 77 1/2 x 58 inches 11. Drawing for Two Paintings: Dagwood, 1983 Graphite on yellowed mattboard. 7 3/4 x 4 inches. Blondie and Dagwood © King Features Syndicate Inc. 12. Drawing for Two Paintings: Dagwood, 1983 Graphite and colored pencils on paper 8 3/4 x 5 1/2 inches. Blondie and Dagwood © King Features Syndicate Inc. 13. Collage for Two Paintings: Dagwood, 1983 Tape, painted and printed paper on board 54 3/4 x 40 inches Blondie and Dagwood © King Features Syndicate Inc. 14. Two Paintings: Dagwood, 1984 Woodcut and lithograph on Arches 88 paper Edition of 60. 53 7/8 x 38 15/16 inches Blondie and Dagwood © King Features Syndicate Inc. 15. Drawing for Seascape, 1984. Graphite and colored pencils on paper 7 1/2 x 10 5/8 inches 16. Collage for Seascape, 1984 Tape, painted and printed paper on board 39 3/4 x 55 inches 17. Drawing for The Sower, 1984 Graphite and colored pencils on paper 7 3/8 x 10 3/8 inches 19
Page 2 and 3: S U M M A R Y I n t r o d u c t i o
Page 4 and 5: ROY LICHTENSTEIN ÉVOLUTION : Befor
Page 6 and 7: Superficially, approximately one ha
Page 8 and 9: During its 34 years of artistic exi
Page 10 and 11: THE EXHIBITION: “Roy Lichtenstein
Page 12 and 13: ROY LICHTENSTEIN: Biography Roy Fox
Page 14 and 15: outlines that embody he whimsical,
Page 16 and 17: oils featuring the conceit of giant
Page 20 and 21: 18. Collage for The Sower, 1984 Tap
Page 22 and 23: 56. Drawing for Endless Drip, 1995
Page 24 and 25: 96. Collage for Nude, 1997 Tape, pa
Page 26 and 27: Nude with Pyramid, 1994 Oil and Mag
Page 28: Collage for Nude, 1997 Tape, painte

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