Press kit

2012 Palais de Tokyo

French Ministry of Culture and Communication Department of Information and Communication Tel.: +33 (0)1 40 15 74 71 service-presse@culture.gouv.fr

General information contact@latriennale.org

Press contact Dolorès Gonzalez Vanessa Julliard presse@latriennale.org

La Triennale- Intense Proximity

and

Bétonsalon – Centre for art and research,

Centre d’art contemporain d’Ivry – le Crédac,

Galliera – musée de la Mode de la Ville de Paris,

Grand Palais, Instants Chavirés,

Les Laboratoires d’Aubervilliers,

Musée du Louvre

Contents

3 Foreword by the Minister of Culture and Communication

4 Press release

5 La Triennale - Facts

6 Intense Proximity – Art as network

9 Biography of Okwui Enwezor

10 The four associate curators

12 Dossier 1

The Palais de Tokyo

14 Dossier 2

Collaborating institutions

22 Dossier 3

The contributors

27 Dossier 4

Publications of La Triennale

28 Dossier 5

Mediated learning - A public service undertaking,

a commitment to exchange and share with others

32 Practical information

36 The French ministry of Culture and Communication and its operators

38 Institutional partners

39 Partners

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Foreword by the Minister of Culture and Communication

As a large contemporary art event whose goal is to highlight cur-rent creation in the visual arts in France, La Triennale has be-come an incontrovertibly essential gathering, actively contribut-ing to reinforce Paris’ position on the international art stage. The dyna mism of the art centers and the FRACs (Regional Funds for Contemporary Art), the critic and public success of international art fairs FIAC and Paris Photo, the vigor of the art market and of the galleries, and of course the sumptuous appeal of the large ex-hibitions also testify to the vitality of the French art scene.

In 2012, La Triennale constitutes the first major exhibition of the renovated Palais de Tokyo, which becomes, thanks to the President of the Republic’s encouragement, one of the largest sites dedi-cated to contemporary art in Europe. Anne Lacaton and Jean-Philippe Vassal, winners of the Grand prix national d’architecture in 2008 and the Équerre d’argent in 2011, were in charge of real-izing this renovation, after having been responsible for the con-version of the Palais de Tokyo’s first floor in 2002. Ten years after that triumphant achievement, conceived of and seen through by the Ministry of Culture and Communication, the Palais de Tokyo will be able to expand its activities throughout the entirety of the building’s 22,000 sq. m., now offering the public more than 5,000 sq. m. exhibition spaces as well as a number of social spaces – restaurants, bars, bookstore and shops – designed in collabora-tion with artists.

Having in mind the increasing globalization of exchanges that concerns even contemporary art, I hoped that this new edition of La Triennale would widen the notion of the French art scene to encompass creation from a multipolar and diversified world, displaying the wealth of exchanges and influences at the intersec-tions of research and thought. It is for this reason that I entrust-ed the artistic direction of the 2012 Triennale to Okwui Enwezor. Okwui Enwezor is a major figure in international art: he has served as the artistic director of many events, such as documenta 11 and the Gwangju and Johannesburg biennials, he is a professor, cura-tor, art critic and currently the director of the Haus der Kunst in Munich. Exploring new territories, Okwui Enwezor has here im-agined for us an exhibition under the sign of “Intense Proximity”.

As a prefiguration for the Grand Paris of Culture, in which I place my highest hopes, La Triennale extends far beyond the walls of the Palais de Tokyo. Galliera – musée de la Mode de la Ville de Paris, Bétonsalon – Centre for art and research, the Grand Palais and the Musée du Louvre in Paris, Instants Chavirés in Montreuil, Centre d’art contempo rain d’Ivry – le Crédac in Ivry-sur-Seine, and Les Laboratoires d’Aubervilliers have all affiliated themselves with La Triennale 2012 in order to bring this Intense Proximity into the view of new audiences.

As Alain Robbe-Grillet wrote, “the function of art is never to illus-trate a truth, or even a question. It is to bring into the world ques-tions that haven’t been uncovered as such yet.” Such is the am-bition of this Triennale 2012, which I hope will allow the widest public to discover many artists and to open themselves to new horizons.

Frédéric Mitterrand

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PRESS RELEASE

Organized from April 20th to August 26th, 2012, the 3rd edition of the contemporary art triennial exhibition (former “La Force de l’Art”) will move into the open galleries of the Palais de Tokyo and seven institutions based in Paris and the surrounding region: Bétonsalon – Centre for art and research, Centre d’art contem-porain d’Ivry – le Crédac, Galliera – musée de la Mode de la Ville de Paris, the Grand Palais, Instants Chavirés, Les Laboratoires d’Aubervilliers, and the Musée du Louvre. The collaboration be-tween these institutions and the Palais de Tokyo will create a unique space of exchange and debate that will make possible for La Triennale to investigate, through the concept of Intense Proximity, what it means to be active as an artist working today, in the context of a globalized and diverse French art scene.

The French Ministry of Culture and Communication has invited Okwui Enwezor to serve as Artistic Director of La Triennale. The first major event marking the reopening of the Palais de Tokyo in 2012, La Triennale will offer a large panorama of contemporary art at the intersection of the French art scene and global sites of production. Beginning within the interiors of the expanded and refurbished Palais de Tokyo, La Triennale is set in a series of over-lapping cartographies that include small-scale collaborations with emerging research, production, debate, exhibition, and perfor-mance spaces in Paris and the surrounding areas, whose scope of activities range from contemporary art to fashion, photography, music, performance, and academic research.

Artistic Director Enwezor proposes a broad, stimulating pano-rama of contemporary art. Aiming to explore potential areas of dialogue between various artistic disciplines and cultural scenes, he will work in close collaboration with a team of four associate curators, all passionately involved in the contemporary art scene on which they have their own personal take: Mélanie Bouteloup, Abdellah Karroum, Émilie Renard and Claire Staebler.

Inspired by the great work of early to mid 20th century French eth-nography figures such as Claude Levi-Strauss, Marcel Mauss, Michel Leiris, and Marcel Griaule, La Triennale sets off on a jour-ney to explore the nodes where art and ethnography converge in a renewal of fascination and estrangement. Fundamentally, the goal of the project is to shift from the idea of national space, as a constituted physical location, to a frontier space that constantly assumes new morphologies and new models of categorization (local, national, trans-national, geo-political, denational, pure, contaminated, etc.). Contemporary art has become a global phe-nomenon fostered by an ever growing network of relations over-coming distances. La Triennale will therefore approach the art of today through this wealth of connections.

“Most importantly, La Triennale wants to create a space of intellec-tual generosity.” (Okwui Enwezor, in conversation with Alfredo Jaar, École Nationale des Beaux-Arts, Paris, February 16th, 2011.)

Its title, Intense Proximity, points to those frictions, those hetero-geneous tensions which set every human activity into motion. It also questions how an individual’s origins, intellectual education or life path have an impact on his/her situation in the larger con-text of a society in which the fault lines are increasingly uncharted. It also asks how La Triennale can be constituted within the de-bates that currently animate French society. Set against the back-ground of a globalization brimming with both hopes and fears as well as the looming shadow of cultural isolationism, artists from different origins and different fields, but all somehow sharing the cultural references which contemporary art provides, will address these tricky issues in their individual practice and alongside an ex-pansive and robust guest program.

Okwui Enwezor is the director of Haus der Kunst, Munich. He has served as artistic director of documenta 11 in Kassel, and the bi-ennials of Johannesburg, Sevilla, and Gwangju. He was Dean of Academic Affairs and Senior Vice President of the San Francisco Art Institute (2005-2009), and is widely acknowledged as a lead-ing and influential figure on the contemporary art scene. As artis-tic director of La Triennale, Okwui Enwezor brings incisive critical insight, international awareness and extensive practical experi-ence. After La Force de l’Art 01 and 02 at the Grand Palais in 2006 and 2009, the newly-reinvented La Triennale will be one of the major art events of 2012.

La Triennale is organized at the initiative of the Ministère de la Culture et de la Communication / Direction générale de la création artistique, commissioner, with the Centre national des arts plastiques (CNAP), associate commissioner, and produced by the Palais de Tokyo.

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La Triennale -– Facts

Title of the show La Triennale – Intense Proximity, 2012

Duration April 20th – August 26th, 2012

Opening April 19th, 2012

Venues Palais de Tokyo and Bétonsalon – Centre for art and research, Centre d’art contemporain d’Ivry – le Crédac, Galliera – musée de la Mode de la Ville de Paris, Grand Palais, Instants Chavirés, Les Laboratoires d’Aubervilliers, Musée du Louvre

Opening times Palais de Tokyo: daily except on Tuesdays, from noon to midnight Collaborating institutions: variable

Artistic Director Okwui Enwezor

Associate Curators Mélanie Bouteloup, Abdellah Karroum, Emilie Renard, Claire Staebler

Contributors 113 contributors will be featured at the Palais de Tokyo while 33 will present their work at the collaborating institutions, all coming from 40 different countries.

Organization La Triennale is organized at the initiative of the Ministère de la Culture et de la Communication / Direction générale de la création artistique, commissioner, with the Centre national des arts plastiques, associate commissioner, and produced by the Palais de Tokyo.

Internet website www.latriennale.org

General information contact@latriennale.org

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Intense Proximity

ART AS NETWORK

What is the landscape that Intense Proximity seeks to traverse? It examines, through recourse to visual art, performance, and cultural action, a sociopolitical environment in which a fracture between belief and its symbols has become unmistakably visible.

The recent shaping of national and cultural narratives through exhibitions offers

a salient basis for critical reflection on the exhibition project La Triennale, which,

in its earlier incarnation as La Force de l’Art, was intended to display and promote

“contemporary French creations.” Whatever the benefits of such exhibitions in

ad vancing the notion of a particular “national” aesthetic in an increasingly glo-

balized world, it could be argued that the blind spots of nation-oriented exhibi-

tions are even greater.

Throughout the 1990s, as large-scale artistic events such as biennials and trien-

nials became increasingly global, exhibitions, which were conceived along the

lines of a national model, were exposed to increasing scrutiny and critique. Such

exhibitions were not only considered anachronistic, especially in the wake of the

supposed post-identitarian network of global artistic spaces being opened up by

globalization, migration, and border crossing; they were also viewed as limiting

the scope of the complex conversations that often exists within each national

scene.

OKWUI ENWEZOR

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La Triennale 2012 takes as its starting point this externally bounded space of ar-

tistic production, and proposes to explore this contested space according to the

following questions:

First, how can the seemingly opposing, yet complimentary systems of the imagined

national space be reconciled in an exhibition project within contexts in which the very

structure of multiple identity, social expression, and individual autonomy have become

part of the national conversation?

In turn, is contemporary art and its various systems of legitimation, mediation, and

diffusion, capable of shaping this debate, able to occupy critical positions beyond the

circumscribed borders erected by an art system intent on reflecting only its own en-

trenched values?

These questions come, not without risk of misunderstanding. Given the un-

ambiguous nature of the identitarian gambits of French politics at this historic

moment, it could be easily assumed that La Triennale 2012 is making an argu-

ment for identity. It is not.

La Triennale 2012 instead begins by arguing that while the general culture in

France is entangled in the conundrum of identitarian debates, contemporary art

provides a more complex mechanism for opening an exploratory public forum

into a post-identitarian discourse. La Triennale 2012 proposes an exhibition

space that serves as a civic nerve for exploring the contradictions inherent in the

idea of a national exhibition which, simultaneously aims to celebrate its artists

and also show great hospitality to those artists who are outside of the national

space but who share part of its cultural imaginary. Rather than conceive an exhi-

bition project that smoothes over differences, and blends the inherent tensions

between aesthetic and critical concepts, between social diversity and cultural dif-

ferences; or between national and secular identities on the one hand, and ethnic

and religious identifications on the other; or between civic rights of indigenes

and human rights of aliens, La Triennale 2012 proposes the concept of Intense

Proximity as an organizing principle.

The great heritage of post-enlightenment thought created a model of global re-

lations in which the concept of distance, particularly in the field of ethnographic

research, delineated a spatial paradigm that all but severed temporal contigu-

ity with a broad array of cultural scenes that were assumed to be incompatible

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with the modern conception of social identity. Incompatibility framed a world

of the outside. And on the inside, it furnished a philosophical program that in

turn shaped decades of discovery and exploration. Twentieth century ethnogra-

phy’s great legacy, and its impact on the world of forms and visual production, is

not simply in its prodigious research output, or its voracious appetite for radical

alterity. Rather, it is in that moment of ethnographic poetics: the entry into the

field of research by the speculative camera. As long there existed that critical

measure of distance between the near and far, ethnographic poetics invariably

projected to the world: the image of man at a remove from modern society. Thus,

in this historic moment when there are arguably no more outside cultures to dis-

cover or far away places to explore, when the asymptotic relationship between

outside and inside has become cause for alarm and anxiety, it appears that our

time is emblematized, and equally traumatized by the collapse of distance. With

this collapse, difference and alterity leaps out of the abyss where it had long been

confined, and we enter the zone of Intense Proximity, a form of disturbing near-

ness that unsettles as much as it exhilarates and transforms the coordinates of

national cultural vectors.

At its core, Intense Proximity is based on a series of programmatic directions on

the ways of sharing space, social experience, and aesthetic antagonism without

resorting to the strident pieties of identity politics, nativist self-regard, ethnocen-

trism, and myths of national cultural cohesion. The proximity suggested here is

with regards to both the public’s physical relationship to the artistic works, but

also with metaphoric combinations that sometimes exacerbate the relationship

between art and society. Fundamentally, the goal of the project is to shift from

the idea of national space, as a constituted physical location, to a frontier space

that constantly assumes new morphologies (local, national, trans-national, geo-

political, denational, contaminated, etc.)

Now, approximately four months before the exhibition begins, we are pleased to

see that the collective curatorial development of La Triennale 2012 has developed

organically alongside the research of the artists and institutions affiliated with the

program. Together, we anticipate a project that blends subtlety with force, ambi-

tion with rigor.

January 5th, 2012

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Okwui Enwezor, artistic director

Okwui Enwezor is the director of Haus der Kunst in Munich. He is a curator, an art critic, an editor and a writer. Enwezor’s wide ranging practice spans the world of international exhibitions, mu-seums, academia, and publishing. He is currently Joanne Cassulo Fellow at Whitney Independent Study Program, Whitney Museum of American Art, New York, and Adjunct Curator at International Center of Photography, New York. He is the founder and editor of Nka: Journal of Contemporary African Art published by Duke University Press.

Enwezor has held academic appointments as Dean of Academic Affairs and Senior Vice President at San Francisco Art Institute (2005-2009); Visiting Professor in the Department of Art History and Architecture at University of Pittsburgh and University of Illinois, Urbana-Champaign, and Visiting Professor at the Department of Art History and Archaeology, Columbia University, New York. In the Spring of 2012, he will serve as Kirk Varnedoe Visiting Professor at Institute of Fine Arts, New York University.

Amongst his numerous curatorial credits, he was Artistic Director of 2nd Johannesburg Biennale (1996-1998), Artistic Director of documenta 11, Kassel, Germany (1998-2002), Artistic Director of 2nd International Biennial of Contemporary Art, Seville, Spain (2005-2007), and Artistic Director of 7th Gwangju Biennale (2008). His many exhibitions include The Short Century: Independence and Liberation Movements in Africa, 1945-1994, Museum Villa Stuck, Munich; Century City, Tate Modern, London; Mirror’s Edge, Bildmuseet, Umea; In/Sight: African Photographers, 1940-Present, Guggenheim Museum; Global Conceptualism, Queens Museum, New York; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona; Stan Douglas: Le Detroit, Art Institute of Chicago; Snap Judgments: New Positions in Contemporary African Photography, International Center of Photography, New York; The Unhomely: Phantom Scenes in Global Society, Centro Andaluz de Arte Contemporáneo, Seville, and Archive Fever: Uses of the Document in Contemporary Art, at International Center of Photography, New York. He is also com-pleting work on several projects including: The Rise and Fall of

Apartheid and Sun in their Eyes: Photography and the Invention of Africa, 1839-1939, both for International Center of Photography; and 1979-1989: Art and Culture Between Revolutions.

His recent publications include: Archive Fever: Uses of the Document in Contemporary Art (Steidl and ICP, 2008), and Contemporary African Art Since 1980 (Damiani Editore, 2009) with Chika Okeke-Agulu. He was the co-editor with Terry Smith and Nancy Condee of Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity: (Duke University Press, 2008). His forthcoming books include James Casebere: Works, 1975-2010, a monograph on the work of the American artist; and Archaeology of the Present: The Postcolonial Archive, Photography, and African Modernity which will be published in 2012.

Biography of

Okwui Enwezor

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The four associate curators

Mélanie Bouteloup,Abdellah Karroum,Émilie Renard,Claire Staebler,associate curators

Mélanie Bouteloup

Mélanie Bouteloup is co-founder and director of Bétonsalon – Centre for art and research. By organizing seminars (12 Gestures in collaboration with Kadist Art Foundation from 2009 to 2011 or Sous le ciel libre de l’histoire at musée du quai Branly in 2011), workshops (Parties Prenantes with among others SPEAP - Sciences Po – École des arts politiques in January 2010) or exhi-bitions-performances such as Playtime in September 2008 and 2009, Mélanie Bouteloup is committed to developing research and experimentation in society. The projects she implements as-sociate working groups with variable geometry, in order to shed multiple lights to marginalized zones of history, memories, re-alities and potentialities. In 2011, she co-curated with Anna Colin the following projects: Ce dont on sera dans l’avenir capable, an exhibition with artists Frédéric Moser and Philippe Schwinger questionning different forms of learning, Eldoradio, confronting possible uses of documents related to radio micro-histories, A Lure a Part Allure Apart screening the essay films of collective The Otolith Group and lastly Une légende en cache une autre exploring the ethical, scientific, political and juridical questions raised by museums’repatriation cases. Mélanie Bouteloup is regularly in-volved in teaching (Université Paris 7) or jurys (1% artistic, art schools’diplomas).

Abdellah Karroum

Abdellah Karroum is an independent curator and researcher based in Paris and Rabat whose work is committed to creating spaces for and vocabularies of art. He is the founder of L’appartement 22, which was created in 2002 in Morocco and is a unique exhibition space that began with the JF_JH exhibition series on art and social issues. The space became cooperative in 2004. In 2007 Karroum launched the webradio R22 as an extension of L’appartment 22. Other long-term projects include Le Bout Du Monde, art expedi-tions in different locations around the globe since 2000. Karroum recently served as associate curator for several international bien-nials, including Dakar 2006, Gwangju 2008. In 2009, he curated A Proposal for Articulating Works and Places for the 3rd Marrakech Biennale. He initiated the “Curatorial Delegation” and the re-search laboratory “Art, Technology and Ecology,” a micro-academy in association with L’appartement 22. His research has been sup-ported by the Clark Art Institute and CIMAM. Karroum is a mem-ber of the advisory council for SUD (Salon Urbain de Douala) in Cameroon. He is the artistic director of the Fondation Prince Pierre de Monaco’s International Prize for Contemporary Art. He collaborates with various international institutions such as the Darat Al-Funun Khalid Shoman Foundation in Amman, where he curated Sentences on the banks and other activities (2010) and the Museum of Contemporary Art in Barcelona. In 2011, he curat-ed Working for Change, a project in the Rif Mountains and at the 54th Venice Biennale.

Émilie Renard

Émilie Renard is an independent curator based in Paris. Her work explores structural modalities of fiction and characters in contem-porary art forms. Her research also focuses on the resurgence of the arcadian myth. She supervises the exhibition program at the École Nationale Supérieure des Beaux-Arts de Lyon, where

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she is also a teacher, and has curated several shows including La ronde (The Circle Dance), Ferme du Buisson (2011), The Waves, FRAC Pays de la Loire (2010), Monsieur Miroir for the Prix de la Fondation d’Entreprise Ricard (2010), INSIDERS – experience, practices, know-how, CAPC Musée d’art contemporain, Bordeaux (2009), Bonnes résolutions en haute montagne, Atelier Cardenas Belanger, Paris (2007), Madame la baronne était plutôt maniérée, assez rococo et totalement baroque. Acte 1, Chapitre 2, Volume 3, Livre 4, Maison Populaire, Montreuil (2006). From 2002 to 2010, she was co-editor of Trouble, and co-director of Public, a curator-run exhibition space in Paris, from 2001 to 2006.

Claire StaeblerClaire Staebler is freelance curator and art critic based in Paris. She served as a curator at Palais de Tokyo in Paris (2002-2007), and was later appointed artistic director of the PinchukArtCentre in Kyiv, Ukraine (2007-2009). Staebler was an associate curator on the exhibition Radiodays, De Appel (2005) and the Busan Biennial (2006). She co-founded with Jelena Vesic No More Reality, Crowd and Performance, a project featured in Belgrade, Amsterdam and Istanbul between 2007 and 2009, and curated independent-ly several exhibitions including La Fabrique sonore, Experience Pommery#9, Reims (2011), Transaction Abstraite, Charles Atlas, Mika Tajima, New Galerie, Paris (2011), and Retrait, Fondation d’Entreprise Ricard, Paris (2007). She collaborates with various magazines such as Flashart, Idea and Zérodeux.

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The Palais de Tokyo

The Palais de Tokyo is a 21st-century cultural institution with a public service mission, whose core activities and mandate have both been redefined and expanded. It is a place where today’s artists and different sectors of the public can explore the emergence of groundbreaking ways of doing things, thinking, and living. Its unique character promotes interaction between the creativity and the society of today. It invites the public and artists to share the adventure of the emergence of new behaviours, new forms, new languages, new beauties.

The Palais de Tokyo was created ten years ago: Its liveliness, joyfulness, and adven-

turous approach made Paris sit up and take notice. As an anti-museum par excel-

lence, a rebellious undeveloped plot in the 16th arrondissement, a offbeat yet ambi-

tious “palace”, a place for exchanges and surprises, it was the pioneer of a movement

of reconciliation between the City of Light and contemporary art. It has been emulated

as a model and for its programming well beyond the frontiers of France, both among

specialists, art-lovers, and the wide public.

Following on from these years of success, in 2012 the Palais de Tokyo will become one

of the largest sites devoted to contemporary creativity in Europe, its surface area rising

from 8,000 sq. m. to 22,000 sq. m. It now extends right to the River Seine, forming

a link on the side of the hill between the Eiffel Tower and the Champs-Elysées. Its

success, its spirit of adventure, and these new spaces made available to artists, their

gestures, and their ways of looking increase our capacity to perceive, imagine, and

open up new paths.

DOSSIER 1

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Today, the expansion of its premises and its mission provides the Palais de Tokyo with

an opportunity to rethink the role of cultural institutions in view of the permanent

speeding up of our lives. It becomes a place where we can come face to face with the

art of our time. A place that was born from its contradictions, is inhabited by them and

has grown up among them. Magical yet violent, poetic and transgressive, sensual yet

meditative, huge yet intimate, public yet secret – a place where they know how to be

enthusiastic without pontificating, relaxed and at the same time attentive, thorough

yet accessible, where they work not on art but with art, and where art works on us.

This enhanced Palais de Tokyo will become a destination with broad spaces that are as

mobile as the lives that pass through them. A permanent landing stage moored by the

river, a terraced garden with branching pathways, a utopia on the move, an interface

whose inhabitants and visitors live simultaneously within and outside the codes of the

city, of “culture”, of everyday life. A territory offering present-day explorers the modest

but crucial opportunity to sample the pulsation and flavors of what is emerging, finally

allowing us to keep pace with the audacities of our own epoch.

From April 12th to April 13th, the expanded and renovated Palais de Tokyo will be opened

during a 36-hour-long non-stop marathon that will unveil the corridors of its metamor-

phosis through concerts, performances, installations,… and set the tone of its future

ambition. From April 20 will be presented La Triennale, a major event whose overall

cu ratorship has been placed in the hands of Okwui Enwezor, internationally renowned

curator. With the subtitle Intense Proximity, it will demonstrate the correspondences

and complicities that are woven between creativity in France and in other art scenes

elsewhere in the world.

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Collaborating INSTITUTIONS

La Triennale 2012 is pleased to announce its colla boration with Bétonsalon – Centre for art and research, Centre d’art contemporain d’Ivry – le Crédac, Galliera – musée de la Mode de la Ville de Paris, the Grand Palais, Instants Chavirés, Les Laboratoires d’Aubervilliers, and the Musée du Louvre, seven insti tutions based in Paris and the surrounding region. Ranging from large to small scale, the collaboration between La Triennale 2012 and each of these institutions will contribute to enriching the concept, programming, and cartography of Intense Proximity, while developing a network of ideas and practices that radiates out from the Palais de Tokyo to the edges of Paris.

Much more than venues, each of these institutions has conceived and developed spe-

cific projects in collaboration with La Triennale 2012 and will feature innovative pro-

gramming across a variety of media including exhibitions, performances, concerts,

discussions, and screenings. Together, these partnerships will create a space of ex-

change and debate that will contribute to the richness and complexity of La Triennale

2012. The scope of activities within these institutions range from contemporary art to

fashion, photography, music, performance, and academic research.

DOSSIER 2

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BÉTONSALON – CENTRE FOR ART AND RESEARCH

Tropicomania: the social life of plants

An exhibition devised by Mélanie Bouteloup and Anna Colin, with the help of Flora Katz

Scientific curators: Françoise Vergès and Serge Volper

1899: The colonial trial garden, today known as the Jardin d’Agronomie Tropicale, is created at the Bois de Vincennes. Serving simultaneously as a center for research, teaching and ag-ronomic information, it was also given the remit of promoting tropical plant products to businesses and the general public. It was with this aim in view that colonial exhibitions were organized on two occasions, in 1905 and 1907; vestiges of them can still be seen today. Left to grow wild for many years, but once again opened to the public in 2004, this largely disregarded site is an archive of “greater France”, as the collection of the historic CIRAD library, an integral part of the site, attests.

Taking the library’s resources as a starting point and bringing to-gether art works, scientific illustrations, archival documents, lit-erary accounts and films reflecting a variety of points of view, Tropicomania: the social life of plants sets out to trace the routes followed by some tropical plants such as the banana, the pineap-ple and the rubber plant from their original environment to our lo-cal supermarkets. Borrowing the concept of the “social life of ob-jects” from the anthropologist Arjun Appadurai, the project sets out more particularly to map the socio-economic, cultural and po-litical whys and wherefores of the exploitation and commodifica-tion of tropical plants from the late 16th century to the present day. Indeed, if the tropical world has today extended to cover the whole planet, what is the cost of that expansion?

With contributions from: Maria Thereza Alves, Édouard Bouët-Willaumez, Pablo Bronstein, Hendrick Danckerts, Mark Dion, Amos Gitaï, Yo-Yo Gonthier, Dominique Juhé-Beaulaton, Germaine Krull, André Lassoudière, Otobong Nkanga, Claire Pentecost, Dan Peterman, Marie Preston, Lois Weinberger.

Associated institutions and partners: Bibliothèque Historique du Centre de coopération internationale en recherche agronomique pour le développement (CIRAD); École du Breuil; Jardin  d’Agronomie Tropicale and the City of Paris; musée du quai Branly (Jacques Kerchache room); Muséum national d’Histoire naturelle; Paris Diderot University.

Bétonsalon is an association set up in 2003 under the 1901 Act, and transformed into a centre for art and research center in 2007. Integrated at the very heart of Paris Diderot University in the 13th arrondissement of Paris, Bétonsalon – Centre for art and re-search has undertaken to develop an area for thought and con-frontation at the confluence of art and university research, by giv-ing shape to discourses of an aesthetic, cultural, political, social or economic nature.

Bétonsalon – Centre for art and research enjoys the support of the Ville de Paris, the Département of Paris, the Paris Diderot University, the Ile-de-France Regional Directorate of Cultural Affairs under the Ministry of Culture and Communication, the Ile-de-France Regional Council, and Leroy Merlin (quai d’Ivry). Bétonsalon – Centre for art and research is a member of the TRAM network, a Paris/Ile-de-France contemporary art network.

Bétonsalon – Centre for art and research is run jointly by Mélanie Bouteloup and Anna Colin.

Press contact: Flora Katz +33 (0)1 45 84 17 56 florakatz@betonsalon.net

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CENTRE D’ART CONTEMPORAIN D’IVRY - LE CRÉDAC

Boris Achour, Séances

Founded in 1987, Centre d’art contemporain d’Ivry – le Crédac is a center for exhibitions, production, research and mediation. For 25 years Crédac has been housed in the basements of a building designed by Jean Renaudie, but in September 2011 it moved into the third floor of the “American” building of the Manufacture des Œillets. Through a program of exhibitions by artists, emerging or established, French or foreign, Crédac offers artists intellectual, critical and technical support, while at the same time encouraging sensitive contact with the public through visits, lectures, meet-ings, and workshops covering artistic practices.

The concept of Intense Proximity formulated by Okwui Enwezor for La Triennale is in tune with the issues addressed by Centre d’art contemporain d’Ivry - le Crédac at several levels. Firstly in the re-lationship the center has with the periphery, but also as concerns how and why an art center takes up a stance with regard to “lo-cal” cultural problem areas in view of a “global” world, and above all in the construction of the relationship of “intense proximity” between the various sectors of the public interested in the art of today and artists.

Crédac and La Triennale are jointly presenting Séances by Boris Achour, a project that has something of both an exhibition and a theatrical experience where various artistic disciplines and fields of knowledge are intermingled in an uninterrupted space.

Boris Achour devises exhibitions in the shape of production tools, and works that are all scripts to be used by the onlooker. With Séances, Boris Achour offers a new episode in the Conatus series initiated in 2006. We are dealing with a story taking the form of a space that is both physical and mental, based on a practice of structuring (forms, ideas, sensations) and on apprehension of the fragment as a fundamental principle of our relationship to the world. Various elements with no predefined organization or meaning (sculptures, films, texts, sounds, but no actors or “live” events) compose a landscape/set to be walked through for a pe-riod lasting approximately 45 minutes. The combined effect of for-mal elements, a space, a time frame and an audience turn this of-fering into a theatrical experience.

Centre d’art contemporain d’Ivry - le Crédac has been directed by Claire Le Restif since 2003.

Press contact: Axelle Blanc, Communication manager + 33 (0)1 49 60 25 04 ablanc.credac@ivry94.fr

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GALLIERA, MUSÉE DE LA MODE DE LA VILLE DE PARIS

El Anatsui, Untitled, 2012

Galliera, musée de la Mode de la Ville de Paris, is housed in a palace inspired by the Renaissance and built at the end of the 19th century for the Duchess of Galliera. It stands opposite the Musée d’Art moderne de la Ville de Paris and the Palais de Tokyo.

The Galliera collections are among the finest in the world. These exhibits are a reflection of dress codes and dressing habits in France from the 18th century to the present day. They attest to the creative genius of fashion right down to its most contemporary expressions. The museum, using exclusively temporary exhibi-tions – monographic or thematic –, presents and publicly displays part of its invaluable but fragile collections.

Currently closed for renovation work, Galliera is pursuing its pol-icy of extramural exhibitions, under the guidance of its director Olivier Saillard. It is presenting two simultaneous exhibitions at Paris Dock en Seine - Cité de la Mode et du Design – one devoted to Cristobal Balenciaga, the other to Comme des Garçons.

In 2013 – when it reopens – the museum will resume its series of programs in situ. It will also embark on a program of events held in conjunction with neighboring institutions – the Musée d’Art moderne de la Ville de Paris and the Palais de Tokyo. Given this background, Galliera has of course become involved in La Triennale 2012: the organizers have entrusted the artist El Anatsui with the ambitious project of covering the façade of the museum overlooking the garden with one of his works.

The monumental work by El Anatsui can be seen from the Avenue du Président Wilson – on the same level as the Palais de Tokyo. The public can get close to it by going into the public garden in front of the Musée Galliera.

Press contacts: Dolorès Gonzalez + 33 (0)1 47 23 52 00 doloresgonzalez@palaisdetokyo.com

Vanessa Julliard +33 (0)1 47 23 54 57 vanessajulliard@palaisdetokyo.com

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GRAND PALAIS

Rirkrit Tiravanija, Soup/No Soup

As a prelude to the public opening of La Triennale 2012 at the Palais de Tokyo and associated institutions in and around Paris on April 20th, the renowned contemporary artist Rirkrit Tiravanija will present Soup/No Soup, a project which will transform the main nave of Grand Palais into an enormous, festive, twelve-hour banquet composed of a single meal of Tom Ka soup. Open to all, this project, which is presented for the first time in Paris, is a large-scale version of an earlier artwork, Soup/No Soup, which premiered at his exhibition in January 2011 in New York. 

On Saturday, April 7th, from noon until midnight, for 12 hours non-stop, the Grand Palais will be open to the public, to share and sample a soup prepared and offered by the artist and his team. Generous yet modest, collective yet singular, Soup/No Soup con-venes a summoning of all, where each and everyone will be able to enjoy a transactional, immaterial artistic experience based on exchange, encounter, and generosity. From being a passive spec-tator, the visitor becomes a participant in a developing work.

Since the early 1990s, Tiravanija’s artistic practice has focused on a series of projects, which take the preparation and sharing of meals for those who visit his installations as a context in which the no-tion of community and associational life is explored. Emphasizing a sense of conviviality and exchange, Tiravanija enacts public en-counters centered around the cooking, eating, and sharing of food. Such actions may be understood in terms of the production of liter-al and interpersonal space, such that visitors to these events create a kind of architecture of hospitality, and social sculpture. 

While Tiravanija’s meals find precedents in other contemporary art-ists who have engaged the culinary, such as Gordon Matta-Clark’s “Food” restaurant (1971-73), Tiravanija’s artworks suggest a com-plex engagement with what Marcel Mauss once referred to as the “inalienability of the gift,” or, said differently, the complexity of value and exchange when one possesses, gifts, and receives objects from another person. Further, although Tiravanija privileges Thai recipes in his meals, he avoids simplistic associations with exoticism, in-stead emphasizing the intangible and interpersonal dimensions of experience among others.

With Soup/No Soup, La Triennale right away declares its desire to federate all its energies round an ambitious artistic project that is open to all. In addition to Soup/No Soup, La Triennale 2012 will feature a project by Rirkrit Tiravanija in the Palais de Tokyo.

Soup/No Soup enjoys the support of The Absolut Company.

Each year the Réunion des musées nationaux - Grand Palais pres-ents around 40 very diverse cultural events in Paris, the regions and on the international scene. The Grand Palais, one of the favor-ite monuments of the French people, is its prestigious showcase at the very heart of Paris.

Jean-Paul Cluzel is the President of the Réunion des musées nationaux - Grand Palais.

Press contacts: Dolorès Gonzalez + 33 (0)1 47 23 52 00  doloresgonzalez@palaisdetokyo.com

Vanessa Julliard +33 (0)1 47 23 54 57 vanessajulliard@palaisdetoky

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INSTANTS CHAVIRÉS

Concerts

Program: Thierry Schaeffer, Jean-François Pichard

Since 1991 the Instants Chavirés project has been centered on the production and distribution of artists involved in the field of ex-perimental music-making. By “experimental” we mean all types of music characterized by an exploration of new working methods re-newing technical skills and languages, promoting the emergence of new aesthetics, but nonetheless not constituting a defined genre. This constellation of artists based on individuals coming from ex-tremely diverse musical backgrounds, something that precisely constitutes its richness, encompasses all the musical trends of everything that has been most innovative since the beginning of the 20th century. The diversity of these languages is represented within our structure that has no historiographic or aesthetic hi-erarchy. It is this logic of decompartmentalization that the pro-gram of concerts of international artists devised for La Triennale has in common with the issues raised by Intense Proximité. Two intersecting components of concerts and performances for a constant dialogue, from the Instants Chavirés concert hall in Montreuil, a place emblematic of the route we have traveled for 20 years, to the multiple spaces of the Palais de Tokyo. Instants Chavirés is directed by Thierry Schaeffer.

Instants Chavirés enjoys the support of Ville de Montreuil, Conseil Général de Seine-Saint-Denis, Région Île-de-France, ministère de la Culture et de la Communication, CNV, and Sacem.

Press contact: Jean-François Pichard +33 (0)1 42 87 25 91 jf@instantschavires.com

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LES LABORATOIRES D’AUBERVILLIERS

Pauline Boudry & Renate Lorenz, Toxic

Installation / film and seminar

Les Laboratoires d’Aubervilliers are a tool dedicated to artistic re-search. They intend to gather the necessary conditions for pro-jects that do not fit pre-existing systems of artistic and cultural production. Researches initiated by artists come from all disci-plines. They are addressed to the public through formats pro-duced during the research process (lectures, performances, films, books, newsletters, workshops…), and experiments with alterna-tive approaches to ways of sharing knowledges and practices. Through this method, Les Laboratoires d’Aubervilliers set out to offer an ongoing criticism and renewal of what is at stake in ar-tistic research.

In 2012 Les Laboratoires d’Aubervilliers are inviting the Berlin art-ists Pauline Boudry and Renate Lorenz. Their work revisits docu-ments from the past, photographs or films, searching history for erased or illegible “queer” moments. This work presents corpora capable not only of traveling across epochs, but also of imagining links between those epochs, so foreshadowing the possibility of a queer future. Through their films and installations, the artists ap-propriate historical images to allow a displacement or a skewing of authority and the means that lead to knowledge.

These questions are at the heart of their new project Toxic, which will take the form of an installation with film, devised in col-laboration with the performers Ginger Brooks Takahashi and Werner Hirsch, and a seminar, presented at Les Laboratoires d’Aubervilliers as part of the events accompanying La Triennale. The discourse on toxicity installs violent hierarchies between nor-mal and non-normal/queer bodies, between abled bodies and nonabled bodies, between “us” and “strangers”, middle-class bodies and working-class bodies. And what happens if another technology and its history (film camera and images instead of chemical substances) is focused from a perspective of toxicity? While the cinematic apparatus tries to allow for unmediated ob-jectivity and knowledge about “stranger danger” (Sara Ahmed, 2000), it might–as dirty and uncanny by-products–also produce ec/static bodies and queer connections.

Toxic arises from Boudry and Lorenz’s interest in the performanc-es of Jack Smith and the “Theater of the Ridiculous” in the 1960s and 1970s, which formulated an anarchic and outrageous critique of capitalism and normal bodies, by integrating self-referential as-pects into his stage shows.

Toxic is co-produced by Les Laboratoires d’Aubervilliers, La Triennale, and Electra Productions, in collaboration with the gal-lery Marcelle Alix, and with the support of the Goethe Institut and the IFA (Institut für Auslandsbeziehungen).

Since 2010 Les Laboratoires d’Aubervilliers have been run by Alice Chauchat, Grégory Castéra and Nataša Petrešin-Bachelez.

Press contact: Anne Millet + 33 (0)1 53 56 15 96 a.millet@leslaboratoires.org

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MUSÉE DU LOUVRE

The slave at the Louvre

Thematic visits

Founded in 1793 as a universal museum, the Musée du Louvre celebrates humanity’s long journey with the remarkable scope of a collection that spans thousands of years, from -3000 BC to 1848, reaching from America to the borders of India and China, and making it a focal point for permanent dialogue between past and present. Henri Loyrette is the current President and Director of the Musée du Louvre.

For Intense Proximité, Françoise Vergès plans to set off in search of the “slave” in the Louvre’s collections, in the company of Laurella Rinçon, heritage curator, and a guest, historian, artist, or poet. These visits involving several voices set out to ask questions about the spectral or figurative presence of the slave. A central figure running through the history of mankind, and accompany-ing the emergence of the modern age in Europe, the slave keeps asking us questions about our world.

Françoise Vergès is today a Consulting Professor at Goldsmiths College, London, and President of the Comité pour la Mémoire et l’Histoire de l’Esclavage. She has published works on slavery and abolitionism, post-colonialism, Frantz Fanon, Aimé Césaire, and postcolonial museography.

With the sponsorship of the Direction générale des patrimoines, Ministry of Culture and Communication.

Press contact: Sophie Grange + 33 (0)1 40 20 53 14 sophie.grange@louvre.fr

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The contributors

The contributors of La Triennale

are listed below in chronological

order. The indicated mediums

relate to the works that will be

presented during La Triennale.

DOSSIER 3

Palais de Tokyo contributors1. André Gide and Marc Allegret (film) b. 1869, Paris, France – d. 1951 b. 1900, Basel, Switzerland – d. 1973

2. Marcel Griaule (photographs) b. 1898, Aisy-sur-Armaco, France – d. 1956

3. Wifredo Lam (drawing) b. 1902, Sagua la Grande, Cuba – d. 1982

4. Pierre Verger (photographs) b. 1902, Paris, France – d. 1996

5. Walker Evans (photographs) b. 1903, St. Louis, United States – d. 1975

6. Claude Lévi-Strauss (photographs, drawing) b. 1908, Brussels, Belgium – d. 2009

7. Helen Levitt (film) b. 1913, Brooklyn, United States – d. 2009

8. Jean Rouch (film) b. 1917, Paris, France – d. 2004

9. Carol Rama (painting) b. 1918, Turin, Italy – lives in Turin, Italy

10. Ivan Kozaric (drawing, sculpture, painting) b. 1921, Petrinja, Croatia – lives in Zagreb, Croatia

11. Geta Bratescu (film, painting) b. 1926, Ploieşti, Romania – lives in Bucharest, Romania

12. Öyvind Fahlström (painting, installation, drawing) b. 1928, Sao Paulo, Brazil – d. 1976

13. Timothy Asch (film) b. 1932, Southampton, United States – d. 1994

14. Lorraine O’Grady (photographs) b. 1934, Boston, United States – lives in New York, United States

15. Ahmed Bouanani (film) b. 1938, Casablanca, Morocco – d. 2011

16. Daniel Buren (work in situ) b. 1938, Boulogne-Billancourt, France – lives in situ

17. Sarkis (sculpture, photographs, installation) b. 1938, Istanbul, Turkey – lives in Paris, France

18. Georges Adéagbo (installation) b. 1942, Cotonou, Benin – lives in Cotonou, Benin

19. Werner Herzog (film) b. 1942, Munich, Germany – lives in Munich, Germany, and Los Angeles, United States

20. Antoni Muntadas (installation, video) b. 1942, Barcelona, Spain – lives in New York, United States

21. Eugenio Dittborn (works on paper) b. 1943, Santiago, Chile – lives in Santiago, Chile

22. David Hammons (sculpture) b. 1943, Springfield, United States – lives in New York, United States

23. Annette Messager (sculpture) b. 1943, Berck-sur-Mer, France – lives in Paris, France

24. El Anatsui (sculpture) b. 1944, Anyako, Ghana – lives in Nigeria

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25. Lothar Baumgarten (installation) b. 1944, Rheinsberg, Germany – lives in Berlin, Germany, and New York, United States

26. Michael Buthe (painting, sculpture, photographs) b. 1944, Sonthofen, Germany – d. 1994

27. Haim Steinbach (sculpture) b. 1944, Rehovot, Israel – lives in New York, United States

28. Rainer Werner Fassbinder (film) b. 1945, Bad Wörishofen, Germany – d. 1982

29. Ewa Partum (photographs, video) b. 1945, Grodzisk Mazowiecki, Poland – lives in Berlin, Germany, and Warsaw, Poland

30. Adrian Piper (video, poster, sculpture) b. 1948, New York, United States – lives in Berlin, Germany

31. Chantal Akerman (film) b. 1950, Brussels, Belgium – lives in Paris, France

32. Miklos Onucsan (painting, video) b. 1952, Gherla, Romania – lives in Oradea, Romania

33. Trinh T. Minh-ha (film) b. 1952, Hanoi, Vietnam – lives in Berkeley, United States

34. Terry Adkins (photographs, video installation) b. 1953, Washington D.C., United States – lives in New York, United States

35. Teresa Tyszkiewicz (film) b. 1953, Ciechanów, Poland – lives in Paris, France

36. Carrie Mae Weems (photographs) b. 1953, Portland, United States – lives in Syracuse, New York

37. Thomas Struth (photographs) b. 1954, Geldern, Germany – lives in Berlin, Germany

38. Anne Lacaton & Jean-Philippe Vassal (architecture) b. 1955, Saint-Pardoux-la-Rivière, France – lives in Paris, France b. 1954, Casablanca, Morocco – lives in Paris, France

39. Jean-Luc Moulène (photographs) b. 1955, Reims, France – lives in Paris, France

40. Alfredo Jaar (video, prints, installation) b. 1956, Santiago, Chile – lives in New York, United States

41. Thomas Hirschhorn (video) b. 1957, Bern, Switzerland – lives in Paris, France

42. Jochen Lempert (photographs) b. 1958, Moers, Germany – lives in Hamburg, Germany

43. Peter Friedl (video, installation) b. 1960, Oberneukirchen, Austria – lives in Berlin, Germany, and New York, United States

44. Isaac Julien (video) b. 1960, London, United Kingdom – lives in London, United Kingdom

45. Meschac Gaba (installation) b. 1961, Cotonou, Benin – lives in Rotterdam, The Netherlands

46. Dan Perjovschi (wall painting) b. 1961, Sibiu, Romania – lives in Bucharest, Romania

47. Rirkrit Tiravanija (installation, sculpture, performance) b. 1961, Buenos Aires, Argentina – lives in New York, United States, and Bangkok, Thailand

48. Ariella Azoulay (prints) b. 1962, Tel Aviv, Israel – lives in Tel Aviv, Israel

49. Huma Bhabha (sculpture) b. 1962, Karachi, Pakistan – lives in Poughkeepsie, United States

50. Luc Delahaye (photographs) b. 1962, Tours, France – lives in Paris, France

51. Rosângela Rennó (photographs) b. 1962, Belo Horizonte, Brazil – lives in Rio de Janeiro, Brazil

52. Guy Tillim (photographs) b. 1962, Johannesburg, South Africa – lives in Cape Town, South Africa

53. Claude Closky (works on paper) b. 1963, Paris, France – lives in Paris, France

54. Ali Essafi (film) b. 1963, Fes, Morocco – lives in Casablanca, Morocco

55. Monica Bonvicini (sculpture) b. 1965, Venice, Italy – lives in Berlin, Germany

56. Ellen Gallagher (painting, works on paper) b. 1965, Providence, United States – lives in Rotterdam, The Netherlands, and New York, United States

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57. Alejandra Riera and Andreas M. Fohr (image, texte) b. 1965, Buenos Aires, Argentina – lives in Paris, France b. 1971, Freiburg, Germany – lives in Paris, France

58. Walid Sadek (installation, sculpture) b. 1966, Beirut, Lebanon – lives in Beirut, Lebanon

59. Barthélémy Toguo (drawings) b. 1967, M’Balmayo, Cameroon – lives in Paris, France, and Bandjoun, Cameroon

60. Ivan Boccara (film) b. 1968, Marrakech, Morocco – lives in Marrakech, Morocco, and Paris, France

61. Minouk Lim (video, sculpture) b. 1968, Daejeon, South Korea – lives in Seoul, South Korea

62. Chris Ofili (painting) b. 1968, Manchester, United Kingdom – lives in Trinidad and Tobago

63. Jason Dodge (installation) b. 1969, Newton, United States – lives in Berlin, Germany

64. Joana Hadjithomas and Khalil Joreige (video installation) b. 1969, Beirut, Lebanon – live in Paris, France, and Beirut, Lebanon

65. Marcia Kure (drawing) b. 1970, Kano, Nigeria – lives in Princeton, United States

66. Adel Abdessemed (video installation) b. 1971, Constantine, Algeria – lives in Paris, France

67. Yto Barrada (video, photographs, sculpture) b. 1971, Paris, France – lives in Tangier, Morocco

68. Jewyo Rhii (installation) b. 1971, Seoul, South Korea – lives in Seoul, South Korea

69. Joost Conijn (video) b. 1971, Amsterdam, The Netherlands – lives in Amsterdam and Tilburg, The Netherlands

70. Seulgi Lee (sculpture) b. 1972, Seoul, South Korea – lives in Paris, France

71. Pauline Boudry and Renate Lorenz (film) b. 1972, Lausanne, Switzerland – lives in Berlin, Germany b. 1963, Bonn, Germany – lives in Berlin, Germany

72. Wangechi Mutu (installation) b. 1972, Nairobi, Kenya – lives in New York, United States

73. Eric Baudelaire (video installation) b. 1973, Salt Lake City, United States – lives in Paris, France

74. Emmanuelle Lainé (photographs) b. 1973, Maisons-Alfort, France – lives in Paris, France

75. David Maljkovic (video, photographs) b. 1973, Rijeka, Croatia – lives in Zagreb, Croatia

76. NaoKo TaKaHaShi (installation, video) b. 1973, Nigata, Japan – lives in London, United Kingdom

77. Isabelle Cornaro (sculpture) b. 1974, Aurillac, France – lives in Paris, France

78. Aneta Grzeszykowska (video) b. 1974, Warsaw, Poland – lives in Warsaw, Poland

79. Victor Man (painting) b. 1974, Cluj-Napoca, Romania – lives Cluj-Napoca, Romania, and Berlin, Germany

80. Batoul S’Himi (sculpture, installation) b. 1974, Asilah, Morocco – lives in Martil, Morocco

81. Marie Voignier (video) b. 1974, Ris-Orangis, France – lives in Paris, France

82. Clemens von Wedemeyer (video installation, prints, photographs) b. 1974, Göttinger, Germany – lives in Berlin, Germany

83. Desire Machine Collective (Sonal Jain and Mriganka Madhukaillya) (video installation) b. 1975, Shillong, India b. 1978, Jorhat, India – lives in Guwahati, India

84. Nicholas Hlobo (painting) b. 1975, Cape Town, South Africa – lives in Johannesburg, South Africa

85. Hiwa K (video installation) b. 1975, Kurdistan, Iraq – lives in Berlin, Germany

86. Bouchra Khalili (video) b. 1975, Casablanca, Morocco – lives in Paris, France

87. Hassan Khan (video installation) b. 1975, London, United Kingdom – lives in Cairo, Egypt

88. Selma and Sofiane Ouissi (video) b. 1975 / b. 1972, Tunis, Tunis – lives in Tunis, Tunis, and Paris, France

89. Younes Rahmoun (video, site specific installation) b. 1975, Tetouan, Morocco – lives in Tetouan, Morocco

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90. Lili Reynaud-Dewar (sculpture, photographs, video) b. 1975, La Rochelle, France – lives in Paris, France

91. Köken Ergun (video installation, documents) b. 1976, Istanbul, Turkey – lives in Berlin, Germany

92. Bojan Fajfric (video) b. 1976, Belgrade, Serbia – lives in Amsterdam, The Netherlands

93. Mathieu Kleyebe Abonnenc (installation, performance) b. 1977, French Guiana – lives in Paris, France

94. Anca Benera and Arnold Estefan (video, drawing, performance) b. 1977, Constanta, Romania – lives in Bucharest, Romania b. 1978, Romania – lives in Bucharest, Romania

95. Basim Magdy (works on paper) b. 1977, Assiut, Egypt – lives in Basel, Switzerland, and Cairo, Egypt

96. Haroon Mirza (sound installation) b. 1977, London, United Kingdom – lives in London and Sheffield, United Kingdom

97. Konrad Smolenski (sound installation, video) b. 1977, Kalisz, Poland – lives in Warsaw, Poland

98. Ziad Antar (photographs) b. 1978, Saida, Lebanon – lives in Beirut, Lebanon, and Paris, France

99. Carolina Caycedo (installation) b. 1978, London, United Kingdom – lives in Los Angeles, United States

100. Camille Henrot (film, installation) b. 1978, Paris, France – lives in Paris, France

101. Nina Canell (installation) b. 1979, Växjö, Sweden – lives in Berlin, Germany

102. Tarek Atoui (sound installation) b. 1980, Beirut, Lebanon – lives in Beirut, Lebanon

103. Dominik Lang (sculpture) b. 1980, Prague, Czech Republic – lives in Prague, Czech Republic

104. Adam Pendleton (video installation) b. 1980, Richmond, United States – lives in New York, United States

105. Louise Hervé & Chloé Maillet (performance, sculpture) b. 1981, Chauny, France b. 1981, Loudun, France – lives in Paris, France

106. Karthik Pandian (film installation) b. 1981, Los Angeles, United States – lives in Los Angeles, United States

107. Aurélien Porte (painting) b. 1981, Rochefort-sur-Mer, France – lives in Paris, France

108. Ekta Mittal and Yashaswini Raghunandan (video) b. 1982, Mangalore, India – lives in Bangalore b. 1984, Bangalore, India – lives in Bangalore

109. Bertille Bak (video) b. 1983, Arras, France – lives in Paris, France

110. Neil Beloufa (video installation) b. 1985, Paris, France – lives in Paris, France

111. Dominique Hurth (installation) b. 1985, Colmar, France – lives in Berlin, Germany

112. Mihut Boscu (video) b. 1986, Romania – lives in Cluj-Napoca, Romania

113. Centre for Visual Introspection (performance) Art collective based in Bucharest, Romania, founded in 2008

Collaborating institutions contributors

BÉTONSALON

– CENTRE FOR ART AND RESEARCH

1. Hendrick Danckerts b. 1625, The Hague, The Netherlands – d. 1680

2. Édouard Bouët-Willaumez b. 1808, Brest, France – d. 1871

3. Germaine Krull b. 1897, Poznan, Poland – d. 1985

4. André Lassoudière b. 1943 – lives in Paris, France

5. Lois Weinberger b. 1947, Stams/Tirol, Austria – lives in Vienna, Austria

26

6. Amos Gitaï b. 1950, Haifa, Israel – lives in Haifa, Israel, and Paris, France

7. Claire Pentecost b. 1956 – lives in Chicago, United States

8. Dominique Juhé-Beaulaton b. 1960 – lives in Paris, France

9. Dan Peterman b. 1960, Minneapolis, United States – lives in Chicago, United States

10. Maria Thereza Alves b. 1961, Sao Paulo, Brazil – lives in Berlin, Germany

11. Mark Dion b. 1961, New Bedford, United States – lives in New York, United States

12. Otobong Nkanga b. 1974, Kano, Nigeria – lives in Antwerp, Belgium

13. Yo-Yo Gonthier b. 1974, Niamey, Niger – lives in Saint-Denis, France

14. Pablo Bronstein b. 1977, Buenos Aires, Argentina – lives in London, United Kingdom

15. Marie Preston b. 1980, Paris, France – lives in Paris, France

CENTRE D’ART CONTEMPORAIN

D’IVRY - LE CRÉDAC

Boris Achour (installation) b. 1966, Marseille, France – lives in Paris, France

GALLIERA, MUSÉE DE LA MODE

DE LA VILLE DE PARIS

El Anatsui (sculpture) b. 1944, Anyako, Ghana – lives in Nigeria

GRAND PALAIS

Rirkrit Tiravanija (installation, sculpture, performance) b. 1961, Buenos Aires, Argentina – lives in New York, United States, and Bangkok, Thaïland

INSTANTS CHAVIRÉS

1. Skullflower: Matthew Bower / Lee Stokoe / George Proctor / Samantha Davies (United Kingdom)

2. Astral Social Club: Neil Campbell (United Kingdom)

3. Regenorchester: Franz Hautzinger / Tony Buck / Luc Ex / Ava Mendoza / Raphaël Vanoli (Austria, Australia, The Netherlands, United States)

4. Api Uiz: Enrique Vega / Ian Saboya / Jorge Vega (France)

5. Stephen O’Malley (United States)

6. MKM: Jason Khan / Günter Müller / Norbert Möslang (Switzerland, United States)

7. Seijiro Murayama (Japan)

8. Michel Doneda (France)

9. The Contest of Pleasures: Xavier Charles / John Butcher / Axel Dörner (France, United Kingdom, Germany)

10. BTR: Alexandre Bellenger / Roger Turner / Arnaud Rivière (France, United Kingdom)

11. Gert-Jan Prins (The Netherlands)

12. Andy Moor / Yannis Kyriakides (The Netherlands)

13. Hubbub: Frédéric Blondy / Bertrand Denzler / Jean-Luc Guionnet / Jean-Sébastien Mariage / Edward Perraud (France)

LES LABORATOIRES

D’AUBERVILLIERS

Pauline Boudry and Renate Lorenz (installation/film) b. 1972, Lausanne, Switzerland – lives in Berlin, Germany b. 1963, Bonn, Germany – lives in Berlin, Germany

MUSÉE DU LOUVRE

Françoise Vergès (lecture, performance) Née en 1952, Paris, France – vit à Paris, France

27

Publications

of La Triennale

DOSSIER 4

Intense Proximity: The Guidebook The Guidebook of La Triennale presents the contributors of the show through illustrated and bilingual (French – English) notes.

Price: 10 EUR 280 pages Coedited by Centre national des arts plastiques – Artlys

Intense Proximity: An Anthology of the Near and the Far More than an exhibition catalogue, this Anthology reflects the the-oretical and conceptual content of La Triennale 2012, and is fully part of the curatorial project. It is a tool of theoretical thinking about the relations between art and anthropology from the begin-ning of the 21st century to the present day through essays written by the curators of La Triennale and guest authors, through ref-erence texts of Michel Leiris, Claude Lévi-Strauss, Aimé Césaire, Franz Fanon, etc. reprinted for the occasion. Last, each of the con-tributors of La Triennale is given carte blanche to propose on a double page an original contribution.

Price: 45 EUR 712 pages Coedited by Centre national des arts plastiques – Artlys

La Triennale online JournalOrganized around a theme, a question, a certain issue of La Triennale project, the five journals gather every month, from January to May 2012, essays, interviews, republishing of funda-mental texts, visual essays, illustrations, … Available online and for downloading on the website of La Triennale, and bilingual, each of these editions is edited by one of the curators of the show and is therefore a testimony of the curatorial research that has been conducted during the preparation of La Triennale 2012.

Journal #1 January 2012 — editor: Claire Staebler – Unlearning / Désaprendre

Journal #2 February 2012 – editor: Émilie Renard 4 Heads and an ear / 4 Têtes et une oreille

Journal #3 March 2012 – editor: Abdellah Karroum

Journal #4 April 2012 – editor: Mélanie Bouteloup

Journal #5 May 2012 – editor: Okwui Enwezor

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Mediated learningA public service undertaking, a commitment to exchange and share with others

DOSSIER 5

La Triennale has a clear objective:

hosting a wide audience and offering

an exceptional mediated learning.

With this in mind, the Palais de Tokyo and each of the other insti-tutions taking part in La Triennale offer a program of special me-diated learning resources for the show, adapted to the particular venue and the exhibition they represent.

The CNAP is coordinating the mediated learning devices for all the associated venues and, in collaboration with each institution, is overseeing the creation of several common documents, such as an educational document for teachers and lecturers, an informa-tion sheet for the general public, etc.

Incorporating the expertise and identity of the mediation policies of each of the participating venues, the CNAP intends these docu-ments to be a tool designed to meet the needs and expectations of the school, individual and disabled visitors.

These resources, designed as resource tools, aim to surprise, to question preconceived ideas and ensure that each visit is an intense, fulfilling personal experience. They will be available for download from the La Triennale website.

From its participation in many major national contemporary art exhibitions, the CNAP has acquired an expertise in mediated learning resources and activities, which have now become a vi-tal element of welcoming the visiting public. Visitors enjoy and recognise these resources and now very much look forward to discovering the ones in place for this new edition of La Triennale.

Taking the public on a journey of discovery

A number of different ressources to meet the needs of every visitor:

- a comprehensive website; - a guidebook, to accompany the visit; - an anthology, bringing together a number of texts for more in-depth information; - a multi-disciplinary artistic and cultural programme throughout the event; - specially-tailored mediated learning resources for people with disabilities; - specialist guides.

1. THE CHALLENGES OF

MEDIATED LEARNING

As part of a public service mission, La Triennale is committed to providing mediated learning activities, which fulfil the remit of promoting culture and making works of art accessible to the gen-eral public through a series of mediated learning ressources es-sential for the comprehension of contemporary art.

Mediated learning aims to foster a new relationship with art based on a more open, inclusive approach, with the accent on discussion and the exchange of ideas. Guides, or mediators, are on hand to accompany each visitor, helping them to consolidate their personal knowledge and responses, and forge a deeper un-derstanding of the artworks in question as well as awakening ar-tistic sensitivity.

On the occasion of La Triennale, the Palais de Tokyo is asserting the visitor’s response to a work of art as the founding stone of his or her artistic sensitivity. By offering a wide range of differ-ent activities, its mediated learning program invites people from

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different walks of life into the universe of an institution dedicated to contemporary creation. Positioned as a resource centre open to permanent dialogue, the education department has developed projects, from a simple exhibition visit to artist-led workshops, based on the exhibitions, the artists, the professions, the history of the building, its architecture or even cultural policy.

The department aims to share its expertise and/or know-how with the participants, enriching their knowledge but also devel-oping their social and intellectual posture to allow them to break free from preconceived ideas. Representatives of the state educa-tion system (teachers, inspectors, academic delegates, etc…) al-ready view the Palais de Tokyo as a receptive partner that can help them devise projects in line with their curriculum and educational objectives.

2. THE MEDIATORS

A team of mediators, contemporary art specialists, art historians, philosophers and artists, will be present in the exhibition areas at all times to answer questions, provide information, discuss the works of art and guide the visitors. These multilingual educational specialists have an in-depth knowledge of the works, the artists on show and the current artistic climate.

To foster a confident approach to contemporary art, the mediators will stimulate the curiosity of the visitors in an attempt to forge the link between not only themselves and the work, but also their respective environments. They will encourage discussion, capi-talising on the visitors’ existing knowledge and expertise, in the hope of hatching nascent ideas.

3. SCHOOL GROUPS:

A SPECIAL ATTENTION

The content of the workshops has been discussed with a broad spectrum of specialists from several educational institutions. La Triennale visits and workshops have been devised to tie in with the curricula of general and vocational education and adapted to the requirements of each branch or level. In doing so, La Triennale has taken into account the major changes in art education in schools, with a specific shift of focus towards art history. The me-diated learning teams have put together an educational booklet developed by all the collaborating institutions of La Triennale, which is available to download from the La Triennale website.

The mediated learning activities and resources geared towards a young audience aim first and foremost to create an aesthetic ex-perience, while touching on the different notions of contemporary art, and will help each young participant to reflect on his or her own position in society.

Mediated learning seeks to open up new avenues, encourage con-templation and span different disciplines: discovering the world, mastering language, literature, living language – English– archi-tecture and visual arts.

The team of mediators will lead visits for school groups of all ages, from kindergarten to high school, aimed primarily at explor-ing the emotions and working on their experience of the exhibi-tion and the role of observation, the imagination and the mind.

Encouraging the pupils to concentrate and reflect on the works, the team will focus on the intensity of their reactions.

The various types of support material for La Triennale fall into two categories. The “Palais Clef en Main” formats are based di-rectly on the French National Education curricula and provide comprehensive support for the work of the teachers. The “Visite Active” format, available from school level upwards, leaves plenty of room for discussion and its unique feature is the very short workshop (10 minutes) at a key point in the visit.

Workshops adapted

to each level of education

— Arts, territories and diversity: approaching the world through the senses and through narrative (Tok Tok Ecoliers)

Level: kindergarten (first two years) Duration: 90 minutes Format: Visit of the exhibition works accompanied by storytelling + “appropriation of space” exercise for the group.

Referring to the world of some of the artists featured in the La Triennale - Intense Proximity, this format takes the children into a fantasy world which sharpens their powers of observation and mental projection. Awakening the children’s basic early learning faculties encourages their awareness of the diversity of the world around them. The exercise then moves onto a performance, allow-ing them to express themselves using their own body and helping them find an answer to the question: how do I inhabit the earth?

Level: kindergarten and primary school (last year of the kindergarten, first two years of the primary school) Duration: 2 hours Format: Guided visit + workshop

This hands-on visit, which seeks to forge a link between the famil-iar and the distant, gives the pupils the opportunity to finetune their language skills by expressing their feelings and opinions, and helps them develop in the wider social context that is their

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class. The workshop looks deeper into the question of their rela-tionship with space and time, while allowing the pupils to develop their manual skills and feeling for art.

Level: primary school Duration: 2 hours Format: Guided visit + workshop

In the course of this visit the pupils discover the fundamentals of humanist culture. A more concrete approach is taken to the relationship between time and space, with reference to the geog-raphy and history of Modern Times. Contemporary art issues are explored through examples taken from the exhibition and during the visual art workshop, where the pupils experiment, individually or collectively, with certain forms of artistic expression.

— Arts, perceptions and usage: towards a structured approach of the world (school level)

Level: levels 6° and 5° (ages 11 and 12) Duration: 90 minutes / 2 hours Format: Interactive visit

In the course of the year the pupils have been studying a tale or adventure story. The questions of (mental) territory and how we use it are the starting point for the guided visit of La Triennale. In terms of aesthetics, the pupils are encouraged to use appropriate descriptive vocabulary when reflecting on the status of the ob-ject of contemporary art and the difference between the notions of work and image. The importance of the interaction between the point of view of the author and that of the observer is also highlighted.

Level: levels 4° and 3° (ages 13 and 14) Duration: 90 minutes / 2 hours Format: Interactive visit + discussion

During the visit, the works of La Triennale are presented as rep-resentative of the history of the modern contemporary world and approached from the angle of their cultural, social and political dimensions. The relationships between image and power and the challenges of how best to stage an exhibition are also studied. For 3° levels, much of the activity is devoted to allowing each pupil to give verbal expression to his or her thoughts and feelings, with a view to preparing the pupils for the end-of-year oral exam. There is no doubt they will leave the workshop with a better grasp of what this exam entails.

— Arts, history of ideas and citizenship: towards a critical approach of the world (high school level)

Level: levels 2° and 1° (ages 15 and 16) Duration: 90 minutes / 2 hours Format: Interactive visit

The visit demonstrates how the artists of La Triennale - Intense Proximité engage in a global context, on the basis of a complex interweaving of relationships which transcend geographical dis-tances. Certain notions of philosophy and citizenship are ex-plained to the pupils to give them an understanding of the aims of the artists. Is the “power of art” driven simply by sight, shape, relationships, ethics and/or aesthetics? Or are there other motiva-tions for artistic activity?

Level: final year (17 years) Duration: 90 minutes / 2 hours Format: Interactive visit + discussion

Based on the national curriculum, this visit aims to prepare final year pupils for the Baccalaureate exam, focussing on the artists-performers or dealing with the question of our relationship with our body. As such, it raises the issues of global culture, national identity and even living together. During the end-of-visit discus-sion, all pupils are given the opportunity to describe the position they believe they occupy in the complex landscape that is con-temporary society, thereby allowing them to confirm their future career choices.

— At the crossover between disciplines: Intense Proximity (higher education)

Courses: Human and Social Sciences, Art schools, professions in the world of culture, etc. Duration: 90 minutes / 2 hours Format: Interactive visit (+ discussion)

La Triennale - Intense Proximity touches on many different topics and thus allows us to welcome students from a wide variety of courses. Students of anthropology, history, visual arts or even po-litical science will find it offers in-depth material to supplement their own research. The format of a triennial itself, very much a present-day cultural phenomenon, could also be used as a topic for a visit by students of cultural mediation. On this basis, the Palais de Tokyo mediated learning team has created the visit con-tent in cooperation with teachers and lecturers, a collaboration which highlights the interdisciplinary approach adopted by La Triennale.

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— Educalab – La Triennale

The more experimental “Educalab” initiative accompanies the school children and participants from the wider social sphere over the longer term, offering them a practical element. Young people are given the chance to develop their sensitivity and creativity by opening their minds to other languages.

These lab programs involve active involvement from the partici-pants. They tackle visual art projects at workshops run by artists featured in the program or practise their debating skills by tak-ing an active part in discussions led by external experts (philoso-phers, historians, academics or sociologists). The young people learn to communicate their discoveries, emotions and percep-tions to others and forge links between artistic creation and their everyday environment. Finally, they work on a collaborative model and very often develop technical skills.

As part of La Triennale, partnerships have been established with institutions such as the ENSA (Paris-Cergy), the University Paris 7, an agricultural high school and some schools in the Ile-de-France region.

On this occasion, more so than ever before, the Palais de Tokyo Educative Action guides are adopting a clear educational role and will try to avoid simply delivering pre-drafted texts. By taking a step back, they are helping the participants develop their feeling for the art. The works of contemporary art, never at the forefront and never imposing an unequivocal message, are there to nur-ture interpretation, study and discussion, to stimulate the imag-ination, creativity and critical evaluation process. The mediated learning department undertakes to develop these qualities in the participants, to allow them to assert themselves as individuals within a wider social context.

4. VISITORS WITH DISABILITIES

Under the coordination of the CNAP, the catering for the needs of visitors with disabilities is a core objective of La Triennale. Specially-adapted devices have been developed:

— an accessible website for the simple, and effective dissemina-tion of information and content;

— special mediated learning resources placed at the disposal of visitors at the Palais de Tokyo and in each of the associated ven-ues, among which booklets in large print and in Braille for people with visual impairments;

— tailor-made guided visits, which have been put together in col-laboration with partner associations.

5. THE WEBSITE, MEDIATED

LEARNING RESSOURCE

Taking the form of a news site, the website www.latriennale.org is constantly updated with news items and video interviews. Photo galleries, artist notes documenting their work and links to related sites, provide visitors with additional information before and af-ter their visit.

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Practical Information

Exhibition open to the public

from April 20th to August 26th, 2012

Public opening at the Palais de Tokyo on

19th April, 2012, from 9:00 pm to midnight.

Website:

www.latriennale.org

Requests for visitors information:

public@latriennale.org

PALAIS DE TOKYO

www.palaisdetokyo.com

Address Palais de Tokyo 13, Avenue du Président Wilson, 75116 Paris

Opening hours Daily, except on Tuesdays From noon to midnight

Access Metro: line 9 / stations: Alma-Marceau or Iéna RER C / station Pont de l’Alma Bus lines: 32, 42, 63, 72, 80, 92 Vélib’: station at 2 rue Marceau

Admission fee The admission ticket includes free admission to the guest program of the same day. Regular fee: 8 EUR Reduced fee: 6 EUR (visitors under 26 years old, holders of France’s Carte Famille Nombreuse, teachers, holders of an entrance ticket to Monumenta 2012 – Daniel Buren)

Free Under 18 years-old, job seekers, people in receipt of French state benefits (minima sociaux) and the minimum pension, people with disabilities and their carers (in accordance with the conditions laid down by the Maison Départementale des Personnes Handicapées). Free admission after 6:00 pm on the 1st Monday of every month.

Admission + guided tour pack (90 min): 12 EUR Beginning of guided tours 10:30 am, 1:30 pm, 3:30 pm, 5:30 pm, 7:00 pm

Adult group fee Tour with mediator-lecturer (up to 30 persons, 90 minutes): 200 EUR

Rates for school and extra-curricular groups Groups of up to 30 students (primary and secondary) Tok-Tok ateliers for pupils: 120 EUR Tok-Tok tale for pupils: 80 EUR

Teachers or apprentice teachers (Education Nationale – IUFM) Tour of 90 minutes or workshop-tour of 2 hours: 160 EUR per group

BÉTONSALON

– CENTRE FOR ART AND RESEARCH

www.betonsalon.net

Tropicomania, the social life of plants will be open to the public from April 20th to July 21st, 2012 (opening: on Friday, April 20th 2012, 6:00 pm - 9:00 pm).

Address Bétonsalon – Centre for art and research 9, esplanade Pierre Vidal-Naquet Rez-de-Chaussée de la Halle aux Farines, 75013 Paris

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Opening hours Tuesday-Saturday: 11:00 am - 7:00 pm Exceptionally open on Sunday, April 22nd, 2012 Bétonsalon – Centre for art and research is closed in August.

Program — Friday, April 20th, 2012, 6:00 pm - 9:00 pm: opening; — Saturday, June 2nd, 2012: study day at musée du quai Branly; — Sunday, June 3rd, 2012: an afternoon of screenings, presentations, and exchanges at Muséum — national d’Histoire naturelle.

Access Metro: ligne 14 / station Bibliothèque François Mitterrand RER C / station Bibliothèque François Mitterrand Bus: lines 62, 89 and 132 / stop Bibliothèque François Mitterrand, line 64 / stop Tolbiac-Bibliothèque François Mitterrand, line 325 / stop Thomas Mann, line PC2 / stop Porte de la Gare

Admission fee Free access

Contact public@latriennale.org

CENTRE D’ART CONTEMPORAIN

D’IVRY - LE CRÉDAC

www.credac.fr

Séances by Boris Achour will be shown from April 13th to June 3rd, 2012 (first show: on Friday, April 13th 2012).

Address La Manufacture des Œillets 25-29 rue Raspail, 94200 Ivry-sur-Seine

Opening hours Tuesday-Friday: 2:00 pm – 6:00 pm Saturday and Sunday: 2:00 pm – 7:00 pm Open on public holidays from 2:00 pm to 7:00 pm except on the 1st of May.

Access Metro: line 7 / station Mairie d’Ivry RER C / station Ivry-sur-Seine Car: from Paris, exit Porte d’Ivry then Ivry Centre ville

Admission fee Free access

Contact public@latriennale.org

GALLIERA, MUSÉE DE LA MODE

DE LA VILLE DE PARIS

www.galliera.paris.fr

Address Galliera, musée de la Mode de la Ville de Paris 10, avenue Pierre 1er de Serbie, 75116 Paris

Opening hours Museum closed to the public. Access to the garden by the Avenue du Président Wilson: — From April 20th to April 30th, 2012: Monday to Friday, 8:30 am - 7:30 pm / Saturday and Sunday, 9:00 am - 7:30 pm. — From May 1st to August 26th, 2012: Monday to Friday, 8:00 am - 8:30 pm / Saturday and Sunday, 9:00 am - 8:30 pm.

Access Metro: line 9 / stations Iena, Alma-Marceau Bus: lines 32, 63, 72, 82, 92 Vélib’: station at 2 rue Marceau

Admission fee Free access

Contact public@latriennale.org

GRAND PALAIS

www.grandpalais.fr

Soup/No Soup will be presented to the public on Saturday, 7th of April 2012, from noon to midnight.

Address Nave of the Grand Palais – Main entrance Avenue Winston Churchill 75008 Paris

Access Metro: lines 1, 9, 13 / stations: Franklin Roosevelt, Champs-Elysées-Clemenceau Bus: lines 28, 32, 42, 72, 73, 80, 83, 93

Admission fee Free access

Contact public@latriennale.org

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INSTANTS CHAVIRÉS

www.instantschavires.com

Address Instants Chavirés 7, rue Richard-Lenoir, 93100 Montreuil

Program — Saturday, April 21st – Instants Chavirés – 8:30 pm: Skullflower (UK), Astral Social Club (UK); — Friday, May 11th – Palais de Tokyo – 8:00 pm: Regenorchester XIV - Tony Buck / Luc Ex / Franz Hautzinger / Ava Mendoza - (Australia / Austria / The Netherlands / USA); — Saturday, May 12th – Palais de Tokyo – 5:00 pm: Api Uiz - Enrique Vega / Ian Saboya / Jorge Vega (France); — Thursday, June 7th – Palais de Tokyo – 8:00 pm: Stephen O’Malley (USA); — Friday, June 8th– Instants Chavirés – 8:30 pm: MKM – Jason Kahn / Günter Müller / Norbert Möslang (Switzerland / USA), Seijiro Murayama (Japan); — Saturday, June 16th – Palais de Tokyo – 5:00 pm: Michel Doneda (France); — Saturday, June 16th – Palais de Tokyo – 8:00 pm: The Contest of Pleasures – Xavier Charles / John Butcher / Axel Dörner - (France / UK / Germany); — Friday, June 22nd – Instants Chavirés – 8:30 pm: BTR - Alexandre Bellenger / Roger Turner / Arnaud Rivière - (France / UK), Gert-Jan Prins (The Netherlands), Andy Moor / Yannis Kyriakides (The Netherlands); — Friday, July 6th – Instants Chavirés – 8:30 pm: Hubbub – Frédéric Blondy / Bertrand Denzler / Jean-Luc Guionnet / Jean-Sébastien Mariage / Edward Perraud - (France).

Reservation is required.

Access Metro: line 9 / station Robespierre

Admission fee Concerts at Instants Chavirés: Regular fee (tickets sold at Instants Chavirés): 12 EUR Tickets sold in advance on digitick.com: 10 EUR Reduced fee for La Triennale ticket holders bought at the Palais de Tokyo: 10 EUR

Concerts at the Palais de Tokyo: Regular fee: 8 EUR Reduced fee: 6 EUR

Contact public@latriennale.org

LES LABORATOIRES

D’AUBERVILLIERS

www.leslaboratoires.org

Toxic (installation/film) will be presented to the public from April 18th to April 28th, 2012.

Address Les Laboratoires d’Aubervilliers 41, rue Lécuyer, 93300 Aubervilliers

Opening hours Monday to Saturday: 10:00 am – 6:00 pm

Seminar in presence of the artists on Saturday, April 21st at 4:00 pm (on reservation at reservation@leslaboratoires.org or +33 (0)153 561 590).

Screening within the framework of the movies programme of La Triennale at the Palais de Tokyo, from April 29th to August 26th, 2012.

Access Metro: line 7 / station: Aubervilliers-Pantin-Quatre-Chemins

Contact public@latriennale.org

MUSÉE DU LOUVRE

www.louvre.fr

Address Musée du Louvre, 75001 Paris

Opening hours Daily from 9:00 am to 6:00 pm except on Tuesdays Late night on Wednesdays and Fridays until 9:45 pm Closed on the 1st of May

Tours “The slave at the Louvre” will be held on Fridays, May 4, 11, 25 and June 1st, 2012 at 7:00 pm. Reservation required by mail: resalouvre@latriennale.org

Programme of the visits: — May 4th: Portrait d’une femme noire by Marie-Guillemine Benoist and Nubian slave figurine; — May 11th: Quatre captifs by Pierre Francqueville;

35— May 25th: Trois diverses Maisons or Habitations des labradores qui plantent le sucre, by Frans Post; — June 1st: Le Radeau de la méduse by Théodore Géricault.

Access Metro: lines 1, 7 / station Palais-Royal - musée du Louvre Bus: lines 21, 24, 27, 39, 48, 68, 69, 72, 81, 95 Vélib’: stations n°1015 at 2 place A. Malraux, n°1023 at 165 rue Saint-Honoré, n°1014 at 5 rue de l’Echelle and n°1013 at 186 rue Saint-Honoré

Meeting point: groups meeting point under the central pyramid, between the Sully and Denon entrances.

Admission fee Regular fee: 10 EUR Exemptions under the free entrance regime of the Musée du Louvre

Contact public@latriennale.org

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The French ministry of Culture and Communication and its operators

The ministry of Culture and Communication

/ Direction générale de la création artistique

The Ministry of Culture and Communication / Direction générale de la creation artistique defines, coordinates and evaluates state policy on the performing arts and visual arts, and determines the conditions of its implementation. The Direction générale de la creation artistique supports artistic creation in all areas of its ex-pression, promoting the dissemination of works and the acces-sibility of artistic productions to the widest possible audience. Among its responsibilities, it coordinates events of national and international scope with the intention of promoting contempo-rary art in France. Thus the creation of “MONUMENTA” and “La Triennale” shows.

These events are united in the common purpose to sensitize the widest possible audience to the issues of contemporary artistic practices. A large mediated learning system gives the broader public the keys to understanding works being created by artists today.

After the first two editions that took place in the Nave of the Grand Palais, “La Force de l’Art”, a triennial contemporary art event organized at the initiative of the Ministry of Culture and Communication (Direction générale de la creation artistique), now becomes “La Triennale”, establishing itself as a fixture of the contemporary art world. Remaining a place of exchange and encounters for artists in the French scene and from around the world, the 2012 Triennale will occupy the Palais de Tokyo’s newly renovated spaces.

La Triennale is organized at the initiative of the ministère de la Culture et de la Communication (Direction générale de la créa-tion artistique), commissioner, with the Centre national des arts plastiques (CNAP), associate commissioner, and produced by the Palais de Tokyo.

Press contact: Department of information and communication +33 (0)1 40 15 74 71 service-presse@culture.gouv.fr

Direction générale de la création artistique Marie-Ange Gonzalez + 33 (0)1 40 15 88 53 marie-ange.gonzalez@culture.gouv.fr

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Centre national des arts plastiques,

associare commissioner

One of France’s primary cultural institutions, the Centre national des arts plastiques (CNAP) is heavily involved in the field of con-temporary art. In collaboration with artists and art professionals, it supports large-scale projects to allow the general public to dis-cover the artists who are creating our future. It promotes, trans-mits, introduces, and opens new horizons for contemporary art.

In 2011, the CNAP celebrated the 220th anniversary of its collec-tion; this forward-looking and uniquely substantial collection to-day holds over 90,000 works of art and tends toward the extreme contemporaneity of the current art scene. With an active policy of circulating its collections in France and abroad, the CNAP contrib-utes to the diffusion of contemporary art to an ever-larger pub-lic. To that effect, the CNAP partners with nearly 300 institutions annually.

In France, the CNAP orchestrates an annual series of events, seek-ing to reinvent its approaches and partnerships every year: these events are alternately created at a city-wide scale, with participa-tion across the urban art circuit, or are tailored to the scale of a particular space. In continuation of this policy, the Collector exhi-bition, presented at the Tripostal in Lille from October 5th, 2011 to January 1st, 2012 in partnership with lille3000, was the first large-scale presentation of the CNAP’s collections in over 10 years; this was a major event both for its amplitude and for the richness of the themes addressed. Abroad, the CNAP takes part in important events, where it promotes the richness of the French art scene; at the Venice Biennale, for example, the CNAP co-produces the French pavilion with the Institut Français. Exhibitions are also scheduled in Barcelona and at the Wolfsonian Museum in Miami Beach (United States) in 2012.

In paralle, the CNAP plays a role as an economic actor in the arts. It supports artistic research and innovation by allocating research grants to artists engaged in experimental approaches, and ac-companies projects undertaken by contemporary art profession-als (galleries, publishers, restorers, art critics, documentary pho-tographers, etc.) with financial assistance.

Finally, the CNAP has co-produced since 2007 prestigious en-counter shows with contemporary art such as MONUMENTA, at the Grand Palais, and La Triennale, at the Palais de Tokyo. For La Triennale, the CNAP developed the curatorial project with a team of curators and its institutional partners, supervised the produc-tion of artworks, accompanied the mediation policy implemented by the Palais de Tokyo and the associated spaces, and co-pub-lished the guidebook and an anthology on the concept of Intense Proximity with Artlys.

Such is the program that has been established and implemented to give the widest possible audience the keys to understanding contemporary art and an entrance into the world of artists.

Press contact: Perrine Martin-Benejam + 33 (0)1 46 93 99 55 perrine.martin@culture.gouv.fr

Palais de Tokyo, producer

The Palais de Tokyo is an institution of the Ministry of Culture and Communication, and has been presided over by Jean de Loisy since June 2011.

Occupying the west wing of the building constructed in 1937 for the International Exhibition of Arts and Technology, the Palais de Tokyo, expanded and renovated by the architects Lacaton & Vassal, became one of the largest spaces dedicated to contem-porary art in Europe in April 2012. Building on its years of suc-cess, the Palais de Tokyo now covers 22,000 sq. m., stretching from the Avenue du Président Wilson to the quay of New York on the banks of the Seine. Its adventurous spirit and its new spaces will be used in the service of artists – of their creations and their visions – to expand our capacity to perceive, to imagine and to open new horizons.

The Palais de Tokyo’s public interest mission is to promote con-temporary, emergent and experimental art, and to contribute to the recognition of established artists, especially those well-estab-lished in France, working in all forms of contemporary art in an international context. Its duty is to reach the widest possible au-dience, to expand familiarity with exhibited artworks and to con-tribute to cultural development while implementing artistic and cultural education activities, with a special emphasis on young people, and contributing to training and research in the field of contemporary visual arts.

Press contact: Dolorès Gonzalez + 33 (0)1 47 23 52 00 doloresgonzalez@palaisdetokyo.com

Vanessa Julliard +33 (0)1 47 23 54 57 vanessajulliard@palaisdetokyo.com

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Institutional partners

Organized at the initiative of the Ministry of Culture and Communication (Direction générale de la création artistique), La Triennale, the first major event marking the reopening of the Palais de Tokyo in 2012, will offer a large panorama of contemporary art at the intersection of the French art scene and global sites of production.

La Triennale is organized by:The Ministry of Culture and Communication (Direction générale de la création artistique), commissioner, the Centre national des arts plastiques (CNAP), associate commissioner, and the Palais de Tokyo, producer.

La Triennale will radiate from the Palais de Tokyo to seven collaborating institutions based in Paris and the surrounding region: Bétonsalon – Centre d’art et de recherche, Centre d’art contemporain d’Ivry – le Crédac, Galliera – musée de la Mode de la Ville de Paris, the Grand Palais, Instants Chavirés, Les Laboratoires d’Aubervilliers and the Musée du Louvre.

Institutional Partners of the exhibition:

SAHA, IstanbulMondriaan Fund, AmsterdamAdam Mickiewicz Institute/culture.plInstitut für Auslandsbeziehungen e. V.Pro Helvetia, Fondation suisse pour la cultureInstitut françaisInstitut Polonais de ParisInstitut Culturel RoumainBritish Council

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Partners

marcal