Moving

 From the Aesthetic education Secret Files
La Galerie de Le Musée d'art contemporain
83 Pictures et 18 vidéos

La Galerie de Le Musée d'art contemporain

83 Pictures et 18 vidéos

4NIMORPH5 4NIMORPH5 4NIMORPH5 4NIMORPH5 4NIMORPH5 One Thing After Another After Another One Thing After Another After Another One Thing After Another After Another One Thing After Another After Another picto play One Thing After Another After Another Relations and hypotheses, dialogues from a set of factors Relations and hypotheses, dialogues from a set of factors Relations and hypotheses, dialogues from a set of factors picto play Relations and hypotheses, dialogues from a set of factors Not blacking out, just turning the lights off Not blacking out, just turning the lights off Did I ? Did I ? picto play Did I ? We are Pirates of Uncharted History We are Pirates of Uncharted History We are Pirates of Uncharted History picto play We are Pirates of Uncharted History But that is not the important part of the story But that is not the important part of the story But that is not the important part of the story But that is not the important part of the story picto play But that is not the important part of the story Untitled Untitled Untitled Untitled Mad Particles Mad Particles Mad Particles picto play Mad Particles Untitled Untitled Untitled picto play Untitled Fat shades Fat shades picto play Fat shades I’m Intact and I Don’t Care I’m Intact and I Don’t Care Succession of Three Ages Succession of Three Ages picto play Succession of Three Ages About the unknown girl – Ma Sise About the unknown girl – Ma Sise Il était une fois... Il était une fois... Il était une fois... picto play Il était une fois... Oracles, Owls – Some Animals Never Sleep Oracles, Owls – Some Animals Never Sleep Oracles, Owls – Some Animals Never Sleep Oracles, Owls – Some Animals Never Sleep Oracles, Owls – Some Animals Never Sleep picto play Oracles, Owls – Some Animals Never Sleep Pax Kaffraria: The Ruse of Disavowal picto play Pax Kaffraria: The Ruse of Disavowal Installation et vidéos picto play Installation et vidéos Ambergris and Winch in Flensing Station Ambergris and Winch in Flensing Station Ambergris and Winch in Flensing Station Ambergris and Winch in Flensing Station Ambergris and Winch in Flensing Station Drawing restraint 9 Drawing restraint 9 The Black Box Penny Arcade Peep Show The children are sleeping ; The doctors are sleeping Dr. med. Jürgen W. Bauer Dr. med. Axel Jung The children are sleeping ; The doctors are sleeping Dr. med. Jürgen W. Bauer Dr. med. Axel Jung The children are sleeping ; The doctors are sleeping Dr. med. Jürgen W. Bauer Dr. med. Axel Jung picto play The children are sleeping ; The doctors are sleeping Dr. med. Jürgen W. Bauer Dr. med. Axel Jung The Counterfeiters The Counterfeiters Untitled Untitled picto play Untitled From the Aesthetic education Secret Files From the Aesthetic education Secret Files From the Aesthetic education Secret Files picto play From the Aesthetic education Secret Files L'Eden et après ; N a pris les dés L'Eden et après ; N a pris les dés L'Eden et après ; N a pris les dés L'Eden et après ; N a pris les dés In and Out and In and Out, Again In and Out and In and Out, Again In and Out and In and Out, Again picto play In and Out and In and Out, Again Balloon Venus Antiquity 2 Antiquity 4 The Great Art History The Great Art History The Great Art History The Great Art History picto play The Great Art History
4NIMORPH5
4NIMORPH5 2013

David Douard finds that a story is often true but it feelsas if it has been invented. It can be written and givenshape in any kind of medium: pictures from Facebook,for example, scientific figures (especially if they havebeen forgotten about), science fiction, or sitcoms. Inhis installations, the printed word and carefully organisedmaterial (although it is not immediately obviousthat it is organised), multiple sequences and theirtemporalities are overlaid in the service of a narrativewhose thread we constantly lose. David Douardis telling us the first signs of a future, which couldas easily be the traces of a recent past, in which thework unfolds – in the indefinable time frame peculiar to fiction.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
4NIMORPH5
4NIMORPH5 2013

David Douard finds that a story is often true but it feelsas if it has been invented. It can be written and givenshape in any kind of medium: pictures from Facebook,for example, scientific figures (especially if they havebeen forgotten about), science fiction, or sitcoms. Inhis installations, the printed word and carefully organisedmaterial (although it is not immediately obviousthat it is organised), multiple sequences and theirtemporalities are overlaid in the service of a narrativewhose thread we constantly lose. David Douardis telling us the first signs of a future, which couldas easily be the traces of a recent past, in which thework unfolds – in the indefinable time frame peculiar to fiction.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
4NIMORPH5
4NIMORPH5 2013

David Douard finds that a story is often true but it feelsas if it has been invented. It can be written and givenshape in any kind of medium: pictures from Facebook,for example, scientific figures (especially if they havebeen forgotten about), science fiction, or sitcoms. Inhis installations, the printed word and carefully organisedmaterial (although it is not immediately obviousthat it is organised), multiple sequences and theirtemporalities are overlaid in the service of a narrativewhose thread we constantly lose. David Douardis telling us the first signs of a future, which couldas easily be the traces of a recent past, in which thework unfolds – in the indefinable time frame peculiar to fiction.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
4NIMORPH5
4NIMORPH5 2013

David Douard finds that a story is often true but it feelsas if it has been invented. It can be written and givenshape in any kind of medium: pictures from Facebook,for example, scientific figures (especially if they havebeen forgotten about), science fiction, or sitcoms. Inhis installations, the printed word and carefully organisedmaterial (although it is not immediately obviousthat it is organised), multiple sequences and theirtemporalities are overlaid in the service of a narrativewhose thread we constantly lose. David Douardis telling us the first signs of a future, which couldas easily be the traces of a recent past, in which thework unfolds – in the indefinable time frame peculiar to fiction.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
4NIMORPH5
4NIMORPH5 2013

David Douard finds that a story is often true but it feelsas if it has been invented. It can be written and givenshape in any kind of medium: pictures from Facebook,for example, scientific figures (especially if they havebeen forgotten about), science fiction, or sitcoms. Inhis installations, the printed word and carefully organisedmaterial (although it is not immediately obviousthat it is organised), multiple sequences and theirtemporalities are overlaid in the service of a narrativewhose thread we constantly lose. David Douardis telling us the first signs of a future, which couldas easily be the traces of a recent past, in which thework unfolds – in the indefinable time frame peculiar to fiction.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
One Thing After Another After Another
One Thing After Another After Another 2013

An assemblage on the wall includes an electricalswitch, resin casts of elements from a cable management system hung with an industrial hanging system, and photographs Patricia Lenn ox-Boydtook of herself cooking eggs in her studio. Thephotographs embody an attempt to record theactivity of domestic labour while doing it: the cameramisfires, the artist’s own hand is caught in the frame.There is something to say about everything: dothe switches function even while they are also partof the work? Both the anthropomorphised resincasts, coloured according to a makeup range, andthe photographs are treated with the same severelogic of the hanging system. Patricia Lennox-Boydengages with an entanglement between production,reproduction and self-(re)production to composea narrative whose protagonist is the infrastructuresystems that are normally out of view.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
One Thing After Another After Another
One Thing After Another After Another 2013

An assemblage on the wall includes an electricalswitch, resin casts of elements from a cable management system hung with an industrial hanging system, and photographs Patricia Lenn ox-Boydtook of herself cooking eggs in her studio. Thephotographs embody an attempt to record theactivity of domestic labour while doing it: the cameramisfires, the artist’s own hand is caught in the frame.There is something to say about everything: dothe switches function even while they are also partof the work? Both the anthropomorphised resincasts, coloured according to a makeup range, andthe photographs are treated with the same severelogic of the hanging system. Patricia Lennox-Boydengages with an entanglement between production,reproduction and self-(re)production to composea narrative whose protagonist is the infrastructuresystems that are normally out of view.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
One Thing After Another After Another
One Thing After Another After Another 2013

An assemblage on the wall includes an electricalswitch, resin casts of elements from a cable management system hung with an industrial hanging system, and photographs Patricia Lenn ox-Boydtook of herself cooking eggs in her studio. Thephotographs embody an attempt to record theactivity of domestic labour while doing it: the cameramisfires, the artist’s own hand is caught in the frame.There is something to say about everything: dothe switches function even while they are also partof the work? Both the anthropomorphised resincasts, coloured according to a makeup range, andthe photographs are treated with the same severelogic of the hanging system. Patricia Lennox-Boydengages with an entanglement between production,reproduction and self-(re)production to composea narrative whose protagonist is the infrastructuresystems that are normally out of view.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
One Thing After Another After Another
One Thing After Another After Another 2013

An assemblage on the wall includes an electricalswitch, resin casts of elements from a cable management system hung with an industrial hanging system, and photographs Patricia Lenn ox-Boydtook of herself cooking eggs in her studio. Thephotographs embody an attempt to record theactivity of domestic labour while doing it: the cameramisfires, the artist’s own hand is caught in the frame.There is something to say about everything: dothe switches function even while they are also partof the work? Both the anthropomorphised resincasts, coloured according to a makeup range, andthe photographs are treated with the same severelogic of the hanging system. Patricia Lennox-Boydengages with an entanglement between production,reproduction and self-(re)production to composea narrative whose protagonist is the infrastructuresystems that are normally out of view.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
One Thing After Another After Another 2013

An assemblage on the wall includes an electricalswitch, resin casts of elements from a cable management system hung with an industrial hanging system, and photographs Patricia Lenn ox-Boydtook of herself cooking eggs in her studio. Thephotographs embody an attempt to record theactivity of domestic labour while doing it: the cameramisfires, the artist’s own hand is caught in the frame.There is something to say about everything: dothe switches function even while they are also partof the work? Both the anthropomorphised resincasts, coloured according to a makeup range, andthe photographs are treated with the same severelogic of the hanging system. Patricia Lennox-Boydengages with an entanglement between production,reproduction and self-(re)production to composea narrative whose protagonist is the infrastructuresystems that are normally out of view.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Relations and hypotheses, dialogues from a set of factors
Relations and hypotheses, dialogues from a set of factors 2013

Paulo Nimer Pjota is happy with any support. He takes as easily to the surface of a sheet of metal as to the texture of a canvas and marks out on the one or the other his tragic or light-hearted stories of urban life. The evocative realism of his works employs imagery straight out of the streets of São Paulo – plants, weapons, skulls, tools, isolated words and phrases, all floating free in a space which though indeterminate is definitely our own. Pjota’s narrative is never literal; inits blending of street codes with representational art, it creates forms that are enigmatic, violent and close to home.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Relations and hypotheses, dialogues from a set of factors
Relations and hypotheses, dialogues from a set of factors 2013

Paulo Nimer Pjota is happy with any support. He takes as easily to the surface of a sheet of metal as to the texture of a canvas and marks out on the one or the other his tragic or light-hearted stories of urban life. The evocative realism of his works employs imagery straight out of the streets of São Paulo – plants, weapons, skulls, tools, isolated words and phrases, all floating free in a space which though indeterminate is definitely our own. Pjota’s narrative is never literal; inits blending of street codes with representational art, it creates forms that are enigmatic, violent and close to home.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Relations and hypotheses, dialogues from a set of factors
Relations and hypotheses, dialogues from a set of factors 2013

Paulo Nimer Pjota is happy with any support. He takes as easily to the surface of a sheet of metal as to the texture of a canvas and marks out on the one or the other his tragic or light-hearted stories of urban life. The evocative realism of his works employs imagery straight out of the streets of São Paulo – plants, weapons, skulls, tools, isolated words and phrases, all floating free in a space which though indeterminate is definitely our own. Pjota’s narrative is never literal; inits blending of street codes with representational art, it creates forms that are enigmatic, violent and close to home.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Relations and hypotheses, dialogues from a set of factors 2013

Paulo Nimer Pjota is happy with any support. He takes as easily to the surface of a sheet of metal as to the texture of a canvas and marks out on the one or the other his tragic or light-hearted stories of urban life. The evocative realism of his works employs imagery straight out of the streets of São Paulo – plants, weapons, skulls, tools, isolated words and phrases, all floating free in a space which though indeterminate is definitely our own. Pjota’s narrative is never literal; inits blending of street codes with representational art, it creates forms that are enigmatic, violent and close to home.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Not blacking out, just turning the lights off
Not blacking out, just turning the lights off 2011

James Richards surfs on a substratum of easily accessed images which he steals unashamedly – music videos, artists’ films, film archives, internet streaming and television. Pursuing the long artistic tradition of appropriation and sampling, he creates precise, sculptural installations. Here, Richards dramatises the means for projecting his film with such effects as the marked visual presence of technical references and by decentring the perspective. This is done to create a mismatch between the projected image and the atmosphere in the room, which he describes as “clinical” and like an airport. The film is asort of collage of found images. Its narrative structure is that of an abstract film for which the artist has decided to “monumentalise” the motifs and re-shootthem with tighter shots.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Not blacking out, just turning the lights off
Not blacking out, just turning the lights off 2011

James Richards surfs on a substratum of easily accessed images which he steals unashamedly – music videos, artists’ films, film archives, internet streaming and television. Pursuing the long artistic tradition of appropriation and sampling, he creates precise, sculptural installations. Here, Richards dramatises the means for projecting his film with such effects as the marked visual presence of technical references and by decentring the perspective. This is done to create a mismatch between the projected image and the atmosphere in the room, which he describes as “clinical” and like an airport. The film is asort of collage of found images. Its narrative structure is that of an abstract film for which the artist has decided to “monumentalise” the motifs and re-shootthem with tighter shots.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Did I ?
Did I ? 2011

How can the mind lose its memory? This recent work by Hiraki Sawa was inspired by the experience ofone of his friends who had to reinvent his life afterlosing his memory. Hiraki Sawa’s installation, which consists of two screens and a vinyl record playerhas a soundtrack, played forwards and in reverse,that tells this lost story. The camera perspectives differaccording to the direction in which it is played,some visual elements are lost while others are addedand some sequences are modified. The aesthetics ofSawa’s poetry lies in the quality of the image and itsslowness, on discreet cut-ins, echoes and effects ofscale. By blurring the linearity of the narrative through overlays and sound to image displacement, the artist enquires into the cognitive structures of memory –our own memory.With the support of the EU-Japan Fest Japan Committee.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Did I ?
Did I ? 2011

How can the mind lose its memory? This recent work by Hiraki Sawa was inspired by the experience ofone of his friends who had to reinvent his life afterlosing his memory. Hiraki Sawa’s installation, which consists of two screens and a vinyl record playerhas a soundtrack, played forwards and in reverse,that tells this lost story. The camera perspectives differaccording to the direction in which it is played,some visual elements are lost while others are addedand some sequences are modified. The aesthetics ofSawa’s poetry lies in the quality of the image and itsslowness, on discreet cut-ins, echoes and effects ofscale. By blurring the linearity of the narrative through overlays and sound to image displacement, the artist enquires into the cognitive structures of memory –our own memory.With the support of the EU-Japan Fest Japan Committee.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Did I ? 2011

How can the mind lose its memory? This recent work by Hiraki Sawa was inspired by the experience ofone of his friends who had to reinvent his life afterlosing his memory. Hiraki Sawa’s installation, which consists of two screens and a vinyl record playerhas a soundtrack, played forwards and in reverse,that tells this lost story. The camera perspectives differaccording to the direction in which it is played,some visual elements are lost while others are addedand some sequences are modified. The aesthetics ofSawa’s poetry lies in the quality of the image and itsslowness, on discreet cut-ins, echoes and effects ofscale. By blurring the linearity of the narrative through overlays and sound to image displacement, the artist enquires into the cognitive structures of memory –our own memory.With the support of the EU-Japan Fest Japan Committee.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
We are Pirates of Uncharted History
We are Pirates of Uncharted History 2013

Nobuaki Takekawa’s contribution to the 2013 Biennale is of epic proportions. He describes it as an “ideological adventure” focusing on China, Asia and the Middle East. He proposes alternatives to the West’s great mythical narratives. Here maps, charts and objects form allegories that accumulate and unfold in space like exquisite accounts of personal, natural and cultural histories. Takekawa investigates the consequences of the Fukushima nuclear accidentas well as its causes and the global repercussions. Struck by the flagrant lack of reaction on the part ofthe authorities after the accident, Takekawa symbolises the history of the world as a galley full of slaves, rowing at the disembodied command of a world economygone completely mad – and with no one to stopthe ship drifting.

With the kind support of EU-Japan Fest Japan Committee

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
We are Pirates of Uncharted History
We are Pirates of Uncharted History 2013

Nobuaki Takekawa’s contribution to the 2013 Biennale is of epic proportions. He describes it as an “ideological adventure” focusing on China, Asia and the Middle East. He proposes alternatives to the West’s great mythical narratives. Here maps, charts and objects form allegories that accumulate and unfold in space like exquisite accounts of personal, natural and cultural histories. Takekawa investigates the consequences of the Fukushima nuclear accidentas well as its causes and the global repercussions. Struck by the flagrant lack of reaction on the part ofthe authorities after the accident, Takekawa symbolises the history of the world as a galley full of slaves, rowing at the disembodied command of a world economygone completely mad – and with no one to stopthe ship drifting.

With the kind support of EU-Japan Fest Japan Committee

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
We are Pirates of Uncharted History
We are Pirates of Uncharted History 2013

Nobuaki Takekawa’s contribution to the 2013 Biennale is of epic proportions. He describes it as an “ideological adventure” focusing on China, Asia and the Middle East. He proposes alternatives to the West’s great mythical narratives. Here maps, charts and objects form allegories that accumulate and unfold in space like exquisite accounts of personal, natural and cultural histories. Takekawa investigates the consequences of the Fukushima nuclear accidentas well as its causes and the global repercussions. Struck by the flagrant lack of reaction on the part ofthe authorities after the accident, Takekawa symbolises the history of the world as a galley full of slaves, rowing at the disembodied command of a world economygone completely mad – and with no one to stopthe ship drifting.

With the kind support of EU-Japan Fest Japan Committee

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
We are Pirates of Uncharted History 2013

Nobuaki Takekawa’s contribution to the 2013 Biennale is of epic proportions. He describes it as an “ideological adventure” focusing on China, Asia and the Middle East. He proposes alternatives to the West’s great mythical narratives. Here maps, charts and objects form allegories that accumulate and unfold in space like exquisite accounts of personal, natural and cultural histories. Takekawa investigates the consequences of the Fukushima nuclear accidentas well as its causes and the global repercussions. Struck by the flagrant lack of reaction on the part ofthe authorities after the accident, Takekawa symbolises the history of the world as a galley full of slaves, rowing at the disembodied command of a world economygone completely mad – and with no one to stopthe ship drifting.

With the kind support of EU-Japan Fest Japan Committee

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
But that is not the important part of the story
But that is not the important part of the story 2013

Dineo Seshee Bopape tells stories which she sometimesinterrupts before they are finished, complementing standard linear narrative with the artistic chaos ofa practice founded on the simultaneous use of painting, performance, and video. Operating on the cuspof abrupt artistic gesture and intangible poetry, shetackles issues of race, gender, politics, psychologyand sexuality. Here Bopape presents a work with thetitle But that is not the important part of the story, asif to remind us that this installation was first createdas a performance in South Africa, her home country,before being sent to Lyon – to be interpreted.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
But that is not the important part of the story
But that is not the important part of the story 2013

Dineo Seshee Bopape tells stories which she sometimesinterrupts before they are finished, complementing standard linear narrative with the artistic chaos ofa practice founded on the simultaneous use of painting, performance, and video. Operating on the cuspof abrupt artistic gesture and intangible poetry, shetackles issues of race, gender, politics, psychologyand sexuality. Here Bopape presents a work with thetitle But that is not the important part of the story, asif to remind us that this installation was first createdas a performance in South Africa, her home country,before being sent to Lyon – to be interpreted.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
But that is not the important part of the story
But that is not the important part of the story 2013

Dineo Seshee Bopape tells stories which she sometimesinterrupts before they are finished, complementing standard linear narrative with the artistic chaos ofa practice founded on the simultaneous use of painting, performance, and video. Operating on the cuspof abrupt artistic gesture and intangible poetry, shetackles issues of race, gender, politics, psychologyand sexuality. Here Bopape presents a work with thetitle But that is not the important part of the story, asif to remind us that this installation was first createdas a performance in South Africa, her home country,before being sent to Lyon – to be interpreted.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
But that is not the important part of the story
But that is not the important part of the story 2013

Dineo Seshee Bopape tells stories which she sometimesinterrupts before they are finished, complementing standard linear narrative with the artistic chaos ofa practice founded on the simultaneous use of painting, performance, and video. Operating on the cuspof abrupt artistic gesture and intangible poetry, shetackles issues of race, gender, politics, psychologyand sexuality. Here Bopape presents a work with thetitle But that is not the important part of the story, asif to remind us that this installation was first createdas a performance in South Africa, her home country,before being sent to Lyon – to be interpreted.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
But that is not the important part of the story 2013

Dineo Seshee Bopape tells stories which she sometimesinterrupts before they are finished, complementing standard linear narrative with the artistic chaos ofa practice founded on the simultaneous use of painting, performance, and video. Operating on the cuspof abrupt artistic gesture and intangible poetry, shetackles issues of race, gender, politics, psychologyand sexuality. Here Bopape presents a work with thetitle But that is not the important part of the story, asif to remind us that this installation was first createdas a performance in South Africa, her home country,before being sent to Lyon – to be interpreted.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Untitled
Untitled 2013

Tommie Smith is the American athlete who, after winning the 200 metres at the 1968 Mexico Olympics in 19 sec 83, received his medal in black socks with his head bowed and his black-gloved fist raised. This gesture of protest, seen world wide in media images, was a sign of African Americans’ commitment totheir civil rights. It also meant he was stripped of his medal by the IOC and banned for life from participationin any Olympic event. He was only 24 yearsold. In this work, Glenn Kaino operates allusively, hinting indirectly at the event. His installation combines a soundtrack with a frieze of photographs that describe, almost image by image, Tommie Smith’s exploit. To use his own word, Kaino has “repainted” these images. In the middle of the work there is a gold-platedpodium, not so much a symbol of the Olympics as a reference to the endless struggles for emancipation – and a goal to be attained.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Untitled
Untitled 2013

Tommie Smith is the American athlete who, after winning the 200 metres at the 1968 Mexico Olympics in 19 sec 83, received his medal in black socks with his head bowed and his black-gloved fist raised. This gesture of protest, seen world wide in media images, was a sign of African Americans’ commitment totheir civil rights. It also meant he was stripped of his medal by the IOC and banned for life from participationin any Olympic event. He was only 24 yearsold. In this work, Glenn Kaino operates allusively, hinting indirectly at the event. His installation combines a soundtrack with a frieze of photographs that describe, almost image by image, Tommie Smith’s exploit. To use his own word, Kaino has “repainted” these images. In the middle of the work there is a gold-platedpodium, not so much a symbol of the Olympics as a reference to the endless struggles for emancipation – and a goal to be attained.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Untitled
Untitled 2013

Tommie Smith is the American athlete who, after winning the 200 metres at the 1968 Mexico Olympics in 19 sec 83, received his medal in black socks with his head bowed and his black-gloved fist raised. This gesture of protest, seen world wide in media images, was a sign of African Americans’ commitment totheir civil rights. It also meant he was stripped of his medal by the IOC and banned for life from participationin any Olympic event. He was only 24 yearsold. In this work, Glenn Kaino operates allusively, hinting indirectly at the event. His installation combines a soundtrack with a frieze of photographs that describe, almost image by image, Tommie Smith’s exploit. To use his own word, Kaino has “repainted” these images. In the middle of the work there is a gold-platedpodium, not so much a symbol of the Olympics as a reference to the endless struggles for emancipation – and a goal to be attained.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Untitled
Untitled 2013

Tommie Smith is the American athlete who, after winning the 200 metres at the 1968 Mexico Olympics in 19 sec 83, received his medal in black socks with his head bowed and his black-gloved fist raised. This gesture of protest, seen world wide in media images, was a sign of African Americans’ commitment totheir civil rights. It also meant he was stripped of his medal by the IOC and banned for life from participationin any Olympic event. He was only 24 yearsold. In this work, Glenn Kaino operates allusively, hinting indirectly at the event. His installation combines a soundtrack with a frieze of photographs that describe, almost image by image, Tommie Smith’s exploit. To use his own word, Kaino has “repainted” these images. In the middle of the work there is a gold-platedpodium, not so much a symbol of the Olympics as a reference to the endless struggles for emancipation – and a goal to be attained.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Mad Particles
Mad Particles
Helen Marten collects frames of reference that aretaken for granted and suggests new codificationsfor them. In her installations, sculptures and videos, language and images are associated with perverseand stylised deliberate errors in a surreptitious and sophisticated deranging of the classical symbols of human activity. For the Biennale, Marten has createda new installation comprising existing works that shehas reorganised in the manner of a conversation. The poetry of the fragment, the execution and the expressivity of the materials, the pattern, the enigma, the scale relationships, the way things are assembled, therhythm, and the literary allusions all create a scenario that enables the visitor to grasp its multifarious layers.
Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Mad Particles
Mad Particles
Helen Marten collects frames of reference that aretaken for granted and suggests new codificationsfor them. In her installations, sculptures and videos, language and images are associated with perverseand stylised deliberate errors in a surreptitious and sophisticated deranging of the classical symbols of human activity. For the Biennale, Marten has createda new installation comprising existing works that shehas reorganised in the manner of a conversation. The poetry of the fragment, the execution and the expressivity of the materials, the pattern, the enigma, the scale relationships, the way things are assembled, therhythm, and the literary allusions all create a scenario that enables the visitor to grasp its multifarious layers.
Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Mad Particles
Mad Particles
Helen Marten collects frames of reference that aretaken for granted and suggests new codificationsfor them. In her installations, sculptures and videos, language and images are associated with perverseand stylised deliberate errors in a surreptitious and sophisticated deranging of the classical symbols of human activity. For the Biennale, Marten has createda new installation comprising existing works that shehas reorganised in the manner of a conversation. The poetry of the fragment, the execution and the expressivity of the materials, the pattern, the enigma, the scale relationships, the way things are assembled, therhythm, and the literary allusions all create a scenario that enables the visitor to grasp its multifarious layers.
Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Mad Particles
Helen Marten collects frames of reference that aretaken for granted and suggests new codificationsfor them. In her installations, sculptures and videos, language and images are associated with perverseand stylised deliberate errors in a surreptitious and sophisticated deranging of the classical symbols of human activity. For the Biennale, Marten has createda new installation comprising existing works that shehas reorganised in the manner of a conversation. The poetry of the fragment, the execution and the expressivity of the materials, the pattern, the enigma, the scale relationships, the way things are assembled, therhythm, and the literary allusions all create a scenario that enables the visitor to grasp its multifarious layers.
Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Untitled
Untitled 2012

As Bjarne Melgaard puts it, “I’d rather tell a good storythan a boringly truthful one.” Defying established narrative norms, his overlapping scenes, ideas and digressions confront us with reality in all its chaotic splendour. Driven by the purest creative impulse, Melgaard plunges the viewer into a surfeit of words and ideas, drawings and sculptures, paintings and installations. For the Biennale, Melgaard is “writing”a novel which is also an installation, or vice versa. Like a tide that cannot be pushed back, his narrative invades the space to the point of becoming, in all the violence of its beauty, a total environment.

With the support of the Office for Contemporary Art Norway and the Royal Embassy of Norway.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Untitled
Untitled 2012

As Bjarne Melgaard puts it, “I’d rather tell a good storythan a boringly truthful one.” Defying established narrative norms, his overlapping scenes, ideas and digressions confront us with reality in all its chaotic splendour. Driven by the purest creative impulse, Melgaard plunges the viewer into a surfeit of words and ideas, drawings and sculptures, paintings and installations. For the Biennale, Melgaard is “writing”a novel which is also an installation, or vice versa. Like a tide that cannot be pushed back, his narrative invades the space to the point of becoming, in all the violence of its beauty, a total environment.

With the support of the Office for Contemporary Art Norway and the Royal Embassy of Norway.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Untitled
Untitled 2012

As Bjarne Melgaard puts it, “I’d rather tell a good storythan a boringly truthful one.” Defying established narrative norms, his overlapping scenes, ideas and digressions confront us with reality in all its chaotic splendour. Driven by the purest creative impulse, Melgaard plunges the viewer into a surfeit of words and ideas, drawings and sculptures, paintings and installations. For the Biennale, Melgaard is “writing”a novel which is also an installation, or vice versa. Like a tide that cannot be pushed back, his narrative invades the space to the point of becoming, in all the violence of its beauty, a total environment.

With the support of the Office for Contemporary Art Norway and the Royal Embassy of Norway.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Untitled 2012

As Bjarne Melgaard puts it, “I’d rather tell a good storythan a boringly truthful one.” Defying established narrative norms, his overlapping scenes, ideas and digressions confront us with reality in all its chaotic splendour. Driven by the purest creative impulse, Melgaard plunges the viewer into a surfeit of words and ideas, drawings and sculptures, paintings and installations. For the Biennale, Melgaard is “writing”a novel which is also an installation, or vice versa. Like a tide that cannot be pushed back, his narrative invades the space to the point of becoming, in all the violence of its beauty, a total environment.

With the support of the Office for Contemporary Art Norway and the Royal Embassy of Norway.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Fat shades
Fat shades 2008

For the 2013 Biennale, Takao Minami gives us the story of an impossible landscape for which soundand video recordings, drawings and animations areused to compose narratives dilated within the infinity of time. This work is a sort of filmed diary whose narrative structure is a product of the editing. Video and experimental film are tools in Minami’s pictorialstrategy. From raw material filmed in different partsof the world, he creates a continuous sequence,pictorially reworked by means of effects such ascut-ins, variations of contrast, and loops, and all thiscreates the effect of sending us into space, almostsuspending the passage of time.

With the support of the EU-Japan Fest Japan Committee.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Fat shades
Fat shades 2008

For the 2013 Biennale, Takao Minami gives us the story of an impossible landscape for which soundand video recordings, drawings and animations areused to compose narratives dilated within the infinity of time. This work is a sort of filmed diary whose narrative structure is a product of the editing. Video and experimental film are tools in Minami’s pictorialstrategy. From raw material filmed in different partsof the world, he creates a continuous sequence,pictorially reworked by means of effects such ascut-ins, variations of contrast, and loops, and all thiscreates the effect of sending us into space, almostsuspending the passage of time.

With the support of the EU-Japan Fest Japan Committee.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Fat shades 2008

For the 2013 Biennale, Takao Minami gives us the story of an impossible landscape for which soundand video recordings, drawings and animations areused to compose narratives dilated within the infinity of time. This work is a sort of filmed diary whose narrative structure is a product of the editing. Video and experimental film are tools in Minami’s pictorialstrategy. From raw material filmed in different partsof the world, he creates a continuous sequence,pictorially reworked by means of effects such ascut-ins, variations of contrast, and loops, and all thiscreates the effect of sending us into space, almostsuspending the passage of time.

With the support of the EU-Japan Fest Japan Committee.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
I’m Intact and I Don’t Care
I’m Intact and I Don’t Care 2013

Lili Reynaud-Dewar maps out oblique perspectivesthat relate her position as an artist to the emblematicfigures involved in the fight for racial equality and the assertion of identity. She constructs formal, fictional and symbolic relations between them. In pointing up these invisible connections between the perception of certain public figures and her own biography, she dramatises the media forces and the taken-for granted image they reflect. For the Biennale, Lili Reynaud-Dewar is presenting a new installation, which gives symbolic substance to the notion of a room: “A Room of One’s Own” in Virginia Woolf’s phrase, aroom in which to find refuge, a room to live in, albeit briefly. The narrative tension that the artist creates comes from the enigmatic presences that seem to float about rather than inhabit this room. In a set of performances enacted by her and presented on ascreen, Reynaud-Dewar references issues of cultural transformation and the impossibility of maintaining afixed identity.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
I’m Intact and I Don’t Care
I’m Intact and I Don’t Care 2013

Lili Reynaud-Dewar maps out oblique perspectivesthat relate her position as an artist to the emblematicfigures involved in the fight for racial equality and the assertion of identity. She constructs formal, fictional and symbolic relations between them. In pointing up these invisible connections between the perception of certain public figures and her own biography, she dramatises the media forces and the taken-for granted image they reflect. For the Biennale, Lili Reynaud-Dewar is presenting a new installation, which gives symbolic substance to the notion of a room: “A Room of One’s Own” in Virginia Woolf’s phrase, aroom in which to find refuge, a room to live in, albeit briefly. The narrative tension that the artist creates comes from the enigmatic presences that seem to float about rather than inhabit this room. In a set of performances enacted by her and presented on ascreen, Reynaud-Dewar references issues of cultural transformation and the impossibility of maintaining afixed identity.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Succession of Three Ages
Succession of Three Ages 2013

Mary Sibande tells the story of Sophie, whose imaginary existence she organises in a series of sculptures and installations. Sophie lives in a dream world that offers an escape from the pragmatism of a dulllife with no prospects. “What she can dream, she can live”, Sibande explains. She garbs her character in work uniforms which, as if taking up a challenge, gradually morph into magnificent ball gowns.Thanks to these, Sophie gains access to a world ofluxury in total contradiction with working-class life inpost-apartheid South Africa. For the Biennale, MarySibande recounts a new chapter in Sophie’s life, inspired by a particular event in South African history.In the late 1980s, anti-apartheid demonstrators were regularly sprayed with purple indelible ink to make it easy to identify them. Yet another story about colours– and Sibande uses it to create a huge sculpture with Sophie as the absolute heroine. Event organised as part of the 2012 & 2013 South Africa-France Seasons.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Succession of Three Ages
Succession of Three Ages 2013

Mary Sibande tells the story of Sophie, whose imaginary existence she organises in a series of sculptures and installations. Sophie lives in a dream world that offers an escape from the pragmatism of a dulllife with no prospects. “What she can dream, she can live”, Sibande explains. She garbs her character in work uniforms which, as if taking up a challenge, gradually morph into magnificent ball gowns.Thanks to these, Sophie gains access to a world ofluxury in total contradiction with working-class life inpost-apartheid South Africa. For the Biennale, MarySibande recounts a new chapter in Sophie’s life, inspired by a particular event in South African history.In the late 1980s, anti-apartheid demonstrators were regularly sprayed with purple indelible ink to make it easy to identify them. Yet another story about colours– and Sibande uses it to create a huge sculpture with Sophie as the absolute heroine. Event organised as part of the 2012 & 2013 South Africa-France Seasons.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Succession of Three Ages 2013

Mary Sibande tells the story of Sophie, whose imaginary existence she organises in a series of sculptures and installations. Sophie lives in a dream world that offers an escape from the pragmatism of a dulllife with no prospects. “What she can dream, she can live”, Sibande explains. She garbs her character in work uniforms which, as if taking up a challenge, gradually morph into magnificent ball gowns.Thanks to these, Sophie gains access to a world ofluxury in total contradiction with working-class life inpost-apartheid South Africa. For the Biennale, MarySibande recounts a new chapter in Sophie’s life, inspired by a particular event in South African history.In the late 1980s, anti-apartheid demonstrators were regularly sprayed with purple indelible ink to make it easy to identify them. Yet another story about colours– and Sibande uses it to create a huge sculpture with Sophie as the absolute heroine. Event organised as part of the 2012 & 2013 South Africa-France Seasons.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
About the unknown girl – Ma Sise
About the unknown girl – Ma Sise 2013

Yang Fudong, who is primarily a filmmaker, hasdesigned an installation for this Biennale featuring ayoung Chinese actress, Ma Sise, with whom he hasalready made films. He has “invented” a new life for Ma Sise. Archive material, films and photographsgo to make up the potential effects of a story thatis both true and untrue (the actress is filmed goingabout her ordinary life, then directed on a film set).Yang Fudong’s films reveal the profound changes incontemporary China’s cultural values that have beenbrought about by rapid modernisation. These visualnarratives, of classical and timeless beauty, are a studyof the creation of identities through myth, memoryand personal experience – or of how to lend realityto a fictional character. The work was conceivedexpressly for Lyon and is the starting point for a filmthat could be three years in the making.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
About the unknown girl – Ma Sise
About the unknown girl – Ma Sise 2013

Yang Fudong, who is primarily a filmmaker, hasdesigned an installation for this Biennale featuring ayoung Chinese actress, Ma Sise, with whom he hasalready made films. He has “invented” a new life for Ma Sise. Archive material, films and photographsgo to make up the potential effects of a story thatis both true and untrue (the actress is filmed goingabout her ordinary life, then directed on a film set).Yang Fudong’s films reveal the profound changes incontemporary China’s cultural values that have beenbrought about by rapid modernisation. These visualnarratives, of classical and timeless beauty, are a studyof the creation of identities through myth, memoryand personal experience – or of how to lend realityto a fictional character. The work was conceivedexpressly for Lyon and is the starting point for a filmthat could be three years in the making.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Il était une fois...
Il était une fois...

For this Biennale Antoine Catala has created a riddle. His work comprises various elements using many differentsupports. Once they have been assembled in the right order, they make up the famous phrase that comes at the start of every story in the world. Whether in his video-sculptures or his witticisms, Catalaplays with the imprecisions of language, the physicality of images and their tactile quality, using chance and technology, holograms, a 3D printer and morphing.His works are a response to the digital media of today and they question our physical relationship to images as well as the way we interpret them according to the media that carry them.

Production FRAC Champagne-Ardenne, Reims.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Il était une fois...
Il était une fois...

For this Biennale Antoine Catala has created a riddle. His work comprises various elements using many differentsupports. Once they have been assembled in the right order, they make up the famous phrase that comes at the start of every story in the world. Whether in his video-sculptures or his witticisms, Catalaplays with the imprecisions of language, the physicality of images and their tactile quality, using chance and technology, holograms, a 3D printer and morphing.His works are a response to the digital media of today and they question our physical relationship to images as well as the way we interpret them according to the media that carry them.

Production FRAC Champagne-Ardenne, Reims.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Il était une fois...
Il était une fois...

For this Biennale Antoine Catala has created a riddle. His work comprises various elements using many differentsupports. Once they have been assembled in the right order, they make up the famous phrase that comes at the start of every story in the world. Whether in his video-sculptures or his witticisms, Catalaplays with the imprecisions of language, the physicality of images and their tactile quality, using chance and technology, holograms, a 3D printer and morphing.His works are a response to the digital media of today and they question our physical relationship to images as well as the way we interpret them according to the media that carry them.

Production FRAC Champagne-Ardenne, Reims.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Il était une fois...

For this Biennale Antoine Catala has created a riddle. His work comprises various elements using many differentsupports. Once they have been assembled in the right order, they make up the famous phrase that comes at the start of every story in the world. Whether in his video-sculptures or his witticisms, Catalaplays with the imprecisions of language, the physicality of images and their tactile quality, using chance and technology, holograms, a 3D printer and morphing.His works are a response to the digital media of today and they question our physical relationship to images as well as the way we interpret them according to the media that carry them.

Production FRAC Champagne-Ardenne, Reims.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 Oracles, Owls – Some Animals Never Sleep
Oracles, Owls – Some Animals Never Sleep 2012 - 2013

For these works created specially for the 2013 Biennial, Ann Lislegaard draws freely on the Blade Runner replicant owl. She sees science fiction as an experimental take-off point for the invention of new narrative structures. Her installations, 3D animations and architectural creations are characterised by narratives whose blend of the fragmentary and the complex challenges our cognitive and sensory capacities.The owl, a symbol of wisdom and insight in the Ancientworld, became a bird of ill omen in the Middle Ages.The owl in Philip K. Dick’s novel and Ridley Scott’s filmis a twin symbol of attraction and repulsion and Ann Lislegaard tells its dislocated story. Her video-literary fantasy gives us an oracle whose weird, enigmatic words seem totally incapable of being decoded.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 Oracles, Owls – Some Animals Never Sleep
Oracles, Owls – Some Animals Never Sleep 2012 - 2013

For these works created specially for the 2013 Biennial, Ann Lislegaard draws freely on the Blade Runner replicant owl. She sees science fiction as an experimental take-off point for the invention of new narrative structures. Her installations, 3D animations and architectural creations are characterised by narratives whose blend of the fragmentary and the complex challenges our cognitive and sensory capacities.The owl, a symbol of wisdom and insight in the Ancientworld, became a bird of ill omen in the Middle Ages.The owl in Philip K. Dick’s novel and Ridley Scott’s filmis a twin symbol of attraction and repulsion and Ann Lislegaard tells its dislocated story. Her video-literary fantasy gives us an oracle whose weird, enigmatic words seem totally incapable of being decoded.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 Oracles, Owls – Some Animals Never Sleep
Oracles, Owls – Some Animals Never Sleep 2012 - 2013

For these works created specially for the 2013 Biennial, Ann Lislegaard draws freely on the Blade Runner replicant owl. She sees science fiction as an experimental take-off point for the invention of new narrative structures. Her installations, 3D animations and architectural creations are characterised by narratives whose blend of the fragmentary and the complex challenges our cognitive and sensory capacities.The owl, a symbol of wisdom and insight in the Ancientworld, became a bird of ill omen in the Middle Ages.The owl in Philip K. Dick’s novel and Ridley Scott’s filmis a twin symbol of attraction and repulsion and Ann Lislegaard tells its dislocated story. Her video-literary fantasy gives us an oracle whose weird, enigmatic words seem totally incapable of being decoded.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 Oracles, Owls – Some Animals Never Sleep
Oracles, Owls – Some Animals Never Sleep 2012 - 2013

For these works created specially for the 2013 Biennial, Ann Lislegaard draws freely on the Blade Runner replicant owl. She sees science fiction as an experimental take-off point for the invention of new narrative structures. Her installations, 3D animations and architectural creations are characterised by narratives whose blend of the fragmentary and the complex challenges our cognitive and sensory capacities.The owl, a symbol of wisdom and insight in the Ancientworld, became a bird of ill omen in the Middle Ages.The owl in Philip K. Dick’s novel and Ridley Scott’s filmis a twin symbol of attraction and repulsion and Ann Lislegaard tells its dislocated story. Her video-literary fantasy gives us an oracle whose weird, enigmatic words seem totally incapable of being decoded.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 Oracles, Owls – Some Animals Never Sleep
Oracles, Owls – Some Animals Never Sleep 2012 - 2013

For these works created specially for the 2013 Biennial, Ann Lislegaard draws freely on the Blade Runner replicant owl. She sees science fiction as an experimental take-off point for the invention of new narrative structures. Her installations, 3D animations and architectural creations are characterised by narratives whose blend of the fragmentary and the complex challenges our cognitive and sensory capacities.The owl, a symbol of wisdom and insight in the Ancientworld, became a bird of ill omen in the Middle Ages.The owl in Philip K. Dick’s novel and Ridley Scott’s filmis a twin symbol of attraction and repulsion and Ann Lislegaard tells its dislocated story. Her video-literary fantasy gives us an oracle whose weird, enigmatic words seem totally incapable of being decoded.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Oracles, Owls – Some Animals Never Sleep 2012 - 2013

For these works created specially for the 2013 Biennial, Ann Lislegaard draws freely on the Blade Runner replicant owl. She sees science fiction as an experimental take-off point for the invention of new narrative structures. Her installations, 3D animations and architectural creations are characterised by narratives whose blend of the fragmentary and the complex challenges our cognitive and sensory capacities.The owl, a symbol of wisdom and insight in the Ancientworld, became a bird of ill omen in the Middle Ages.The owl in Philip K. Dick’s novel and Ridley Scott’s filmis a twin symbol of attraction and repulsion and Ann Lislegaard tells its dislocated story. Her video-literary fantasy gives us an oracle whose weird, enigmatic words seem totally incapable of being decoded.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Pax Kaffraria: The Ruse of Disavowal
Pax Kaffraria: The Ruse of Disavowal 2013

Meleko Mokgosi borrows from the movies and psychoanalysisto tell political stories in which time and space are overlaid. His deliberately figurative painting challenges ideas of nation and colonialism andreopens issues labelled “historical” and generally considered to be closed. In this work, Mokgosi isconcerned with effects of globalisation in SouthernAfrica. The circular piece is divided into eight chaptersthat question and condemn the negative effectsof the Nation-State and the degree to which peopleare identified with a country or a skin colour. Meleko Mokgosi has painted a history painting in the classic sense of the term but has included in it the wideangle shots and the pauses of cinema storytelling – ameans of writing the history of the world in images by using exploded shots and points of view.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Pax Kaffraria: The Ruse of Disavowal 2013

Meleko Mokgosi borrows from the movies and psychoanalysisto tell political stories in which time and space are overlaid. His deliberately figurative painting challenges ideas of nation and colonialism andreopens issues labelled “historical” and generally considered to be closed. In this work, Mokgosi isconcerned with effects of globalisation in SouthernAfrica. The circular piece is divided into eight chaptersthat question and condemn the negative effectsof the Nation-State and the degree to which peopleare identified with a country or a skin colour. Meleko Mokgosi has painted a history painting in the classic sense of the term but has included in it the wideangle shots and the pauses of cinema storytelling – ameans of writing the history of the world in images by using exploded shots and points of view.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Installation et vidéos
Installation et vidéos 2013

Ryan Trecartin and Lizzie Fitch’s sculpture-theatreis the scenery for a series of films – videos that you might think had been shot with mobile telephones for posting on social network sites. These artists, with their complete mastery of today’s technology and in a riot of noise and visual effects, tell the story of their generation – one that is more interested in the reactions of the audience than in the film being shown, a generation for whom the idea of private life no longermakes sense and who think of life as an enormousstage-set. Situated somewhere between snuff moviesand scenes from reality TV, shows and social networks,Trecartin and Fitch’s work has such a comic side to it, with its ultra-rapid editing, syncopation, and amputated dialogue, that it ends up putting a certain distance between it self and the spectator. The fact that you come across these images in an installation rather than on YouTube is a strong hint not to take them atface value – in spite of their very obvious “reality”.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Installation et vidéos 2013

Ryan Trecartin and Lizzie Fitch’s sculpture-theatreis the scenery for a series of films – videos that you might think had been shot with mobile telephones for posting on social network sites. These artists, with their complete mastery of today’s technology and in a riot of noise and visual effects, tell the story of their generation – one that is more interested in the reactions of the audience than in the film being shown, a generation for whom the idea of private life no longermakes sense and who think of life as an enormousstage-set. Situated somewhere between snuff moviesand scenes from reality TV, shows and social networks,Trecartin and Fitch’s work has such a comic side to it, with its ultra-rapid editing, syncopation, and amputated dialogue, that it ends up putting a certain distance between it self and the spectator. The fact that you come across these images in an installation rather than on YouTube is a strong hint not to take them atface value – in spite of their very obvious “reality”.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Ambergris and Winch in Flensing Station
Ambergris and Winch in Flensing Station 2005 - 2010

A ship sets out for the Antarctic laden with a mass of molten petroleum jelly. When the ship reaches the Southern Ocean and the petroleum jelly turns into a sculpture, a game takes place between two passengers on the top deck of the factory ship. Drawing Restraint 9 by Matthew Barney breaks the narrative frame into several pieces : first a feature length film, then a sculpture and a set of drawings. These elements are put together in the manner of a storyboard. The Drawing Restraint cycle is an extended oeuvre that ranges from discipline to transcendence. In it Matthew Barney, using various voluntary constraints, has been continually pushing back the limits of the human body and its representation, and experimenting with the creativity induced by obstacles and repression. His performances in sculptural environments stimulate a paradoxical desire – indulged whatever the cost – based on the antagonistic relation between body and mind.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Ambergris and Winch in Flensing Station
Ambergris and Winch in Flensing Station 2005 - 2010

A ship sets out for the Antarctic laden with a mass of molten petroleum jelly. When the ship reaches the Southern Ocean and the petroleum jelly turns into a sculpture, a game takes place between two passengers on the top deck of the factory ship. Drawing Restraint 9 by Matthew Barney breaks the narrative frame into several pieces : first a feature length film, then a sculpture and a set of drawings. These elements are put together in the manner of a storyboard. The Drawing Restraint cycle is an extended oeuvre that ranges from discipline to transcendence. In it Matthew Barney, using various voluntary constraints, has been continually pushing back the limits of the human body and its representation, and experimenting with the creativity induced by obstacles and repression. His performances in sculptural environments stimulate a paradoxical desire – indulged whatever the cost – based on the antagonistic relation between body and mind.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Ambergris and Winch in Flensing Station
Ambergris and Winch in Flensing Station 2005 - 2010

A ship sets out for the Antarctic laden with a mass of molten petroleum jelly. When the ship reaches the Southern Ocean and the petroleum jelly turns into a sculpture, a game takes place between two passengers on the top deck of the factory ship. Drawing Restraint 9 by Matthew Barney breaks the narrative frame into several pieces : first a feature length film, then a sculpture and a set of drawings. These elements are put together in the manner of a storyboard. The Drawing Restraint cycle is an extended oeuvre that ranges from discipline to transcendence. In it Matthew Barney, using various voluntary constraints, has been continually pushing back the limits of the human body and its representation, and experimenting with the creativity induced by obstacles and repression. His performances in sculptural environments stimulate a paradoxical desire – indulged whatever the cost – based on the antagonistic relation between body and mind.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Ambergris and Winch in Flensing Station
Ambergris and Winch in Flensing Station 2005 - 2010

A ship sets out for the Antarctic laden with a mass of molten petroleum jelly. When the ship reaches the Southern Ocean and the petroleum jelly turns into a sculpture, a game takes place between two passengers on the top deck of the factory ship. Drawing Restraint 9 by Matthew Barney breaks the narrative frame into several pieces : first a feature length film, then a sculpture and a set of drawings. These elements are put together in the manner of a storyboard. The Drawing Restraint cycle is an extended oeuvre that ranges from discipline to transcendence. In it Matthew Barney, using various voluntary constraints, has been continually pushing back the limits of the human body and its representation, and experimenting with the creativity induced by obstacles and repression. His performances in sculptural environments stimulate a paradoxical desire – indulged whatever the cost – based on the antagonistic relation between body and mind.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Ambergris and Winch in Flensing Station
Ambergris and Winch in Flensing Station 2005 - 2010

A ship sets out for the Antarctic laden with a mass of molten petroleum jelly. When the ship reaches the Southern Ocean and the petroleum jelly turns into a sculpture, a game takes place between two passengers on the top deck of the factory ship. Drawing Restraint 9 by Matthew Barney breaks the narrative frame into several pieces : first a feature length film, then a sculpture and a set of drawings. These elements are put together in the manner of a storyboard. The Drawing Restraint cycle is an extended oeuvre that ranges from discipline to transcendence. In it Matthew Barney, using various voluntary constraints, has been continually pushing back the limits of the human body and its representation, and experimenting with the creativity induced by obstacles and repression. His performances in sculptural environments stimulate a paradoxical desire – indulged whatever the cost – based on the antagonistic relation between body and mind.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 Drawing restraint 9
Drawing restraint 9 2005

A ship sets out for the Antarctic laden with a mass of molten petroleum jelly. When the ship reaches the Southern Ocean and the petroleum jelly turns into a sculpture, a game takes place between two passengers on the top deck of the factory ship. Drawing Restraint 9 by Matthew Barney breaks the narrative frame into several pieces : first a feature length film, then a sculpture and a set of drawings. These elements are put together in the manner of a storyboard. The Drawing Restraint cycle is an extended oeuvre that ranges from discipline to transcendence. In it Matthew Barney, using various voluntary constraints, has been continually pushing back the limits of the human body and its representation, and experimenting with the creativity induced by obstacles and repression. His performances in sculptural environments stimulate a paradoxical desire – indulged whatever the cost – based on the antagonistic relation between body and mind.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 Drawing restraint 9
Drawing restraint 9 2005

A ship sets out for the Antarctic laden with a mass of molten petroleum jelly. When the ship reaches the Southern Ocean and the petroleum jelly turns into a sculpture, a game takes place between two passengers on the top deck of the factory ship. Drawing Restraint 9 by Matthew Barney breaks the narrative frame into several pieces : first a feature length film, then a sculpture and a set of drawings. These elements are put together in the manner of a storyboard. The Drawing Restraint cycle is an extended oeuvre that ranges from discipline to transcendence. In it Matthew Barney, using various voluntary constraints, has been continually pushing back the limits of the human body and its representation, and experimenting with the creativity induced by obstacles and repression. His performances in sculptural environments stimulate a paradoxical desire – indulged whatever the cost – based on the antagonistic relation between body and mind.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
The Black Box Penny Arcade Peep Show
The Black Box Penny Arcade Peep Show 2013

Gerry Bibby challenges the relevance of an artistic “language”. It is a limitless process fuelled by anendless, ironic chain of cultural signifiers. His work is built on sculptural acts of great precision and complexity, personal or borrowed texts, and meticulous choreographies that he integrates into daring, deliberately random performances. Gerry Bibby considers that a sculpture can be borrowed from any of the components or forms of real things. It can thusas easily be a form of protest as an act of power, ametaphor or a poem.

With the kind support of Australia Council for the Arts.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
The children are sleeping ; The doctors are sleeping Dr. med. Jürgen W. Bauer Dr. med. Axel Jung
The children are sleeping ; The doctors are sleeping Dr. med. Jürgen W. Bauer Dr. med. Axel Jung 2013

Cushions are scattered on the ground. They are of various shapes and colours and each one has only been used by one person. Jason Dodge asked several people – the mayor of a small town, some doctors and some children – to sleep with these cushions fora few nights. By limiting his artistic statement to the ephemeral, delicate trace of something, Jason Dodgehas created a narrative about absence, an absence evoked by a few objects that bear a trace andrecount, in the manner of an empty mould, a memory experience that is specifically invisible. By positioning himself on the edge of the narrative, Dodge invitesus to give free rein to our emotions and to imagine an indefinable story of tenuous, though totally real, connections.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
The children are sleeping ; The doctors are sleeping Dr. med. Jürgen W. Bauer Dr. med. Axel Jung
The children are sleeping ; The doctors are sleeping Dr. med. Jürgen W. Bauer Dr. med. Axel Jung 2013

Cushions are scattered on the ground. They are of various shapes and colours and each one has only been used by one person. Jason Dodge asked several people – the mayor of a small town, some doctors and some children – to sleep with these cushions fora few nights. By limiting his artistic statement to the ephemeral, delicate trace of something, Jason Dodgehas created a narrative about absence, an absence evoked by a few objects that bear a trace andrecount, in the manner of an empty mould, a memory experience that is specifically invisible. By positioning himself on the edge of the narrative, Dodge invitesus to give free rein to our emotions and to imagine an indefinable story of tenuous, though totally real, connections.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
The children are sleeping ; The doctors are sleeping Dr. med. Jürgen W. Bauer Dr. med. Axel Jung
The children are sleeping ; The doctors are sleeping Dr. med. Jürgen W. Bauer Dr. med. Axel Jung 2013

Cushions are scattered on the ground. They are of various shapes and colours and each one has only been used by one person. Jason Dodge asked several people – the mayor of a small town, some doctors and some children – to sleep with these cushions fora few nights. By limiting his artistic statement to the ephemeral, delicate trace of something, Jason Dodgehas created a narrative about absence, an absence evoked by a few objects that bear a trace andrecount, in the manner of an empty mould, a memory experience that is specifically invisible. By positioning himself on the edge of the narrative, Dodge invitesus to give free rein to our emotions and to imagine an indefinable story of tenuous, though totally real, connections.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
The children are sleeping ; The doctors are sleeping Dr. med. Jürgen W. Bauer Dr. med. Axel Jung 2013

Cushions are scattered on the ground. They are of various shapes and colours and each one has only been used by one person. Jason Dodge asked several people – the mayor of a small town, some doctors and some children – to sleep with these cushions fora few nights. By limiting his artistic statement to the ephemeral, delicate trace of something, Jason Dodgehas created a narrative about absence, an absence evoked by a few objects that bear a trace andrecount, in the manner of an empty mould, a memory experience that is specifically invisible. By positioning himself on the edge of the narrative, Dodge invitesus to give free rein to our emotions and to imagine an indefinable story of tenuous, though totally real, connections.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
The Counterfeiters
The Counterfeiters 2013
Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
The Counterfeiters
The Counterfeiters 2013
Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 Untitled
Untitled 1978 - 1979

For the 2013 Biennale, Robert Gober tells, in all simplicity, the story of his life – and the genesis of his oeuvre - through some of the dolls’ houses he painstakingly created in the early years of his career. Initially he was reluctant to think of them as worksof art but he soon saw that “each house became more complex and more interesting to conceive and constructe”, until he realized that it wasn’t actually thedolls’ houses that he was interested in: what fascinated him was “the house as a symbol”, with all its potential for narrative tension. In fact, the questions of sexuality, nature, politics and religion that have pervaded Gober’s oeuvre for over thirty years have their roots in his childhood memories. Washbasins, doors, cradles, chairs and human body parts pervadehis oeuvre; the details evoke an ordinary domestic setting but within this there is also a highly personal narrative. His sculptures are accompanied by a series of drawings and some hand-painted wallpaper.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 Untitled
Untitled 1978 - 1979

For the 2013 Biennale, Robert Gober tells, in all simplicity, the story of his life – and the genesis of his oeuvre - through some of the dolls’ houses he painstakingly created in the early years of his career. Initially he was reluctant to think of them as worksof art but he soon saw that “each house became more complex and more interesting to conceive and constructe”, until he realized that it wasn’t actually thedolls’ houses that he was interested in: what fascinated him was “the house as a symbol”, with all its potential for narrative tension. In fact, the questions of sexuality, nature, politics and religion that have pervaded Gober’s oeuvre for over thirty years have their roots in his childhood memories. Washbasins, doors, cradles, chairs and human body parts pervadehis oeuvre; the details evoke an ordinary domestic setting but within this there is also a highly personal narrative. His sculptures are accompanied by a series of drawings and some hand-painted wallpaper.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Untitled 1978 - 1979

For the 2013 Biennale, Robert Gober tells, in all simplicity, the story of his life – and the genesis of his oeuvre - through some of the dolls’ houses he painstakingly created in the early years of his career. Initially he was reluctant to think of them as worksof art but he soon saw that “each house became more complex and more interesting to conceive and constructe”, until he realized that it wasn’t actually thedolls’ houses that he was interested in: what fascinated him was “the house as a symbol”, with all its potential for narrative tension. In fact, the questions of sexuality, nature, politics and religion that have pervaded Gober’s oeuvre for over thirty years have their roots in his childhood memories. Washbasins, doors, cradles, chairs and human body parts pervadehis oeuvre; the details evoke an ordinary domestic setting but within this there is also a highly personal narrative. His sculptures are accompanied by a series of drawings and some hand-painted wallpaper.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 From the Aesthetic education Secret Files
From the Aesthetic education Secret Files

Václav Magid’s work for this year’s Biennale references both late 18th century German philosophy, which saw beauty as a path to freedom, and the 1973 Soviet television mini-series Seventeen Moments of Spring. This told the story of a Soviet secret agent who infiltrated the Nazi elite during the last months of the Second World War. Václav Magid recounts, in the style of a spy novel, the episodes of a story where aprivileged space for art needs to be found and preserved. As an artist and an essayist, Magid conceives of his works as projects for exhibitions focusing on thesocial and political issues that govern any cultural undertaking. Texts, models, maps, posters and videos give fresh expression to personal experiences in the way that autobiographies do and, like autobiographies, they become universal stories.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 From the Aesthetic education Secret Files
From the Aesthetic education Secret Files

Václav Magid’s work for this year’s Biennale references both late 18th century German philosophy, which saw beauty as a path to freedom, and the 1973 Soviet television mini-series Seventeen Moments of Spring. This told the story of a Soviet secret agent who infiltrated the Nazi elite during the last months of the Second World War. Václav Magid recounts, in the style of a spy novel, the episodes of a story where aprivileged space for art needs to be found and preserved. As an artist and an essayist, Magid conceives of his works as projects for exhibitions focusing on thesocial and political issues that govern any cultural undertaking. Texts, models, maps, posters and videos give fresh expression to personal experiences in the way that autobiographies do and, like autobiographies, they become universal stories.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 From the Aesthetic education Secret Files
From the Aesthetic education Secret Files

Václav Magid’s work for this year’s Biennale references both late 18th century German philosophy, which saw beauty as a path to freedom, and the 1973 Soviet television mini-series Seventeen Moments of Spring. This told the story of a Soviet secret agent who infiltrated the Nazi elite during the last months of the Second World War. Václav Magid recounts, in the style of a spy novel, the episodes of a story where aprivileged space for art needs to be found and preserved. As an artist and an essayist, Magid conceives of his works as projects for exhibitions focusing on thesocial and political issues that govern any cultural undertaking. Texts, models, maps, posters and videos give fresh expression to personal experiences in the way that autobiographies do and, like autobiographies, they become universal stories.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
From the Aesthetic education Secret Files

Václav Magid’s work for this year’s Biennale references both late 18th century German philosophy, which saw beauty as a path to freedom, and the 1973 Soviet television mini-series Seventeen Moments of Spring. This told the story of a Soviet secret agent who infiltrated the Nazi elite during the last months of the Second World War. Václav Magid recounts, in the style of a spy novel, the episodes of a story where aprivileged space for art needs to be found and preserved. As an artist and an essayist, Magid conceives of his works as projects for exhibitions focusing on thesocial and political issues that govern any cultural undertaking. Texts, models, maps, posters and videos give fresh expression to personal experiences in the way that autobiographies do and, like autobiographies, they become universal stories.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 L'Eden et après ; N a pris les dés
L'Eden et après ; N a pris les dés 1971

Along with Nathalie Sarraute, Alain Robbe-Grillet was one of the leading lights of the “Nouveau Roman”, which sought to overturn literary conventions by undermining the notions of “realism” and “narrator”. As a writer of words and images, he was also a screen writer (notably of L’année dernière à Marienbad, for Alain Resnais, in 1961) and a film director. The Biennale is presenting L’Eden et après (Eden and After) and N a pris les dés, two films from the same shoot. “There would be a singles hoot, leading to a first film for release in cinemas andcalled L’Eden et après (Eden and After), then a second film, for television, with the same shots but used in a different order and telling a different story and this would be called – in a sort of anagram of L’Eden et après (Eden and After) – N a pris les dés (N Feared Dante,as it might be)”. This is how Robbe-Grillet explained it; basically two versions of the same fantasmagoric, hallucinatory tale, a mixture of violently sensual mirror effects and erotic fantasies set between white houses and the sea under the hot Tunisian sun.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 L'Eden et après ; N a pris les dés
L'Eden et après ; N a pris les dés 1971

Along with Nathalie Sarraute, Alain Robbe-Grillet was one of the leading lights of the “Nouveau Roman”, which sought to overturn literary conventions by undermining the notions of “realism” and “narrator”. As a writer of words and images, he was also a screen writer (notably of L’année dernière à Marienbad, for Alain Resnais, in 1961) and a film director. The Biennale is presenting L’Eden et après (Eden and After) and N a pris les dés, two films from the same shoot. “There would be a singles hoot, leading to a first film for release in cinemas andcalled L’Eden et après (Eden and After), then a second film, for television, with the same shots but used in a different order and telling a different story and this would be called – in a sort of anagram of L’Eden et après (Eden and After) – N a pris les dés (N Feared Dante,as it might be)”. This is how Robbe-Grillet explained it; basically two versions of the same fantasmagoric, hallucinatory tale, a mixture of violently sensual mirror effects and erotic fantasies set between white houses and the sea under the hot Tunisian sun.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 L'Eden et après ; N a pris les dés
L'Eden et après ; N a pris les dés 1971

Along with Nathalie Sarraute, Alain Robbe-Grillet was one of the leading lights of the “Nouveau Roman”, which sought to overturn literary conventions by undermining the notions of “realism” and “narrator”. As a writer of words and images, he was also a screen writer (notably of L’année dernière à Marienbad, for Alain Resnais, in 1961) and a film director. The Biennale is presenting L’Eden et après (Eden and After) and N a pris les dés, two films from the same shoot. “There would be a singles hoot, leading to a first film for release in cinemas andcalled L’Eden et après (Eden and After), then a second film, for television, with the same shots but used in a different order and telling a different story and this would be called – in a sort of anagram of L’Eden et après (Eden and After) – N a pris les dés (N Feared Dante,as it might be)”. This is how Robbe-Grillet explained it; basically two versions of the same fantasmagoric, hallucinatory tale, a mixture of violently sensual mirror effects and erotic fantasies set between white houses and the sea under the hot Tunisian sun.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 L'Eden et après ; N a pris les dés
L'Eden et après ; N a pris les dés 1971

Along with Nathalie Sarraute, Alain Robbe-Grillet was one of the leading lights of the “Nouveau Roman”, which sought to overturn literary conventions by undermining the notions of “realism” and “narrator”. As a writer of words and images, he was also a screen writer (notably of L’année dernière à Marienbad, for Alain Resnais, in 1961) and a film director. The Biennale is presenting L’Eden et après (Eden and After) and N a pris les dés, two films from the same shoot. “There would be a singles hoot, leading to a first film for release in cinemas andcalled L’Eden et après (Eden and After), then a second film, for television, with the same shots but used in a different order and telling a different story and this would be called – in a sort of anagram of L’Eden et après (Eden and After) – N a pris les dés (N Feared Dante,as it might be)”. This is how Robbe-Grillet explained it; basically two versions of the same fantasmagoric, hallucinatory tale, a mixture of violently sensual mirror effects and erotic fantasies set between white houses and the sea under the hot Tunisian sun.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
In and Out and In and Out, Again
In and Out and In and Out, Again 2013

For the Biennale, Matthew Ronay is showing a work which tells the great story of death and all that follows it. With their obsessive symbolic forms, his sculptures make their way slowly towards the threshold of apainting – a gateway to the unknown. In its mix of the contemplative and the shamanistic, Ronay’s oeuvre is a sensory and mental experience with a straight forward but enigmatic storyline. Makeshift materials like papier-mâché, wood and fabric are pushed to the limits of their potential, but the artist has ensured that the work, which highlights the interplay of mind and body, defies immediate interpretation. The leading role is given to a ship in order to give substance to the idea of a journey with an unknown destination. The huge assemblage seems to connect with some kind of archaic ritual, forgotten to contemporary society.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
In and Out and In and Out, Again
In and Out and In and Out, Again 2013

For the Biennale, Matthew Ronay is showing a work which tells the great story of death and all that follows it. With their obsessive symbolic forms, his sculptures make their way slowly towards the threshold of apainting – a gateway to the unknown. In its mix of the contemplative and the shamanistic, Ronay’s oeuvre is a sensory and mental experience with a straight forward but enigmatic storyline. Makeshift materials like papier-mâché, wood and fabric are pushed to the limits of their potential, but the artist has ensured that the work, which highlights the interplay of mind and body, defies immediate interpretation. The leading role is given to a ship in order to give substance to the idea of a journey with an unknown destination. The huge assemblage seems to connect with some kind of archaic ritual, forgotten to contemporary society.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
In and Out and In and Out, Again
In and Out and In and Out, Again 2013

For the Biennale, Matthew Ronay is showing a work which tells the great story of death and all that follows it. With their obsessive symbolic forms, his sculptures make their way slowly towards the threshold of apainting – a gateway to the unknown. In its mix of the contemplative and the shamanistic, Ronay’s oeuvre is a sensory and mental experience with a straight forward but enigmatic storyline. Makeshift materials like papier-mâché, wood and fabric are pushed to the limits of their potential, but the artist has ensured that the work, which highlights the interplay of mind and body, defies immediate interpretation. The leading role is given to a ship in order to give substance to the idea of a journey with an unknown destination. The huge assemblage seems to connect with some kind of archaic ritual, forgotten to contemporary society.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
In and Out and In and Out, Again 2013

For the Biennale, Matthew Ronay is showing a work which tells the great story of death and all that follows it. With their obsessive symbolic forms, his sculptures make their way slowly towards the threshold of apainting – a gateway to the unknown. In its mix of the contemplative and the shamanistic, Ronay’s oeuvre is a sensory and mental experience with a straight forward but enigmatic storyline. Makeshift materials like papier-mâché, wood and fabric are pushed to the limits of their potential, but the artist has ensured that the work, which highlights the interplay of mind and body, defies immediate interpretation. The leading role is given to a ship in order to give substance to the idea of a journey with an unknown destination. The huge assemblage seems to connect with some kind of archaic ritual, forgotten to contemporary society.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Balloon Venus
Balloon Venus 2013

Jeff Koons’s work embraces all the media, including photography, painting, sculpture and installation. He is the artist who, at the turn of this century, recreated the marvellously standardised aesthetics of popular culture. At first sight his works seem to be imbued with remarkable visual clarity, but they also develop the complex principles that Koons calls “a biological narrative”. For the Biennale Jeff Koons is exhibiting a work comprising two paintings and a sculpture, which are a particularly fine illustration of this biological chain. The picture of Venus, goddess of love is central. Several layers of images and interpretations referencing Classical and contemporary themes are overlaid in his pictures. The combination of anartistic vocabulary, borrowed, discovered or founddelineates a genealogy of works and artists, periods and styles. The references to children’s drawings and to Dali, who was himself inspired by the folded sheet of Raphaël Peale’s Venus Rising from the Sea, create an infinite chain of inter-responding meanings. The same effect is at work in the Delos with Eros group, where Aphrodite, played by actress Gretchen Molsits astride a dolphin in a three-way reference to mythology, sexuality and culture (e.g. Betty Page). The reference to the Palaeolithic era sculpture of the Venus of Willendorf rounds off the never-ending cycle of a fertility symbol that runs through all human history.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
 Antiquity 2
Antiquity 2 2009 - 2012

Jeff Koons’s work embraces all the media, including photography, painting, sculpture and installation. He is the artist who, at the turn of this century, recreated the marvellously standardised aesthetics of popular culture. At first sight his works seem to be imbued with remarkable visual clarity, but they also develop the complex principles that Koons calls “a biological narrative”. For the Biennale Jeff Koons is exhibiting a work comprising two paintings and a sculpture, which are a particularly fine illustration of this biological chain. The picture of Venus, goddess of love is central. Several layers of images and interpretations referencing Classical and contemporary themes are overlaid in his pictures. The combination of anartistic vocabulary, borrowed, discovered or founddelineates a genealogy of works and artists, periods and styles. The references to children’s drawings and to Dali, who was himself inspired by the folded sheet of Raphaël Peale’s Venus Rising from the Sea, create an infinite chain of inter-responding meanings. The same effect is at work in the Delos with Eros group, where Aphrodite, played by actress Gretchen Molsits astride a dolphin in a three-way reference to mythology, sexuality and culture (e.g. Betty Page). The reference to the Palaeolithic era sculpture of the Venus of Willendorf rounds off the never-ending cycle of a fertility symbol that runs through all human history.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
Antiquity 4
Antiquity 4 2013

Jeff Koons’s work embraces all the media, including photography, painting, sculpture and installation. He is the artist who, at the turn of this century, recreated the marvellously standardised aesthetics of popular culture. At first sight his works seem to be imbued with remarkable visual clarity, but they also develop the complex principles that Koons calls “a biological narrative”. For the Biennale Jeff Koons is exhibiting a work comprising two paintings and a sculpture, which are a particularly fine illustration of this biological chain. The picture of Venus, goddess of love is central. Several layers of images and interpretations referencing Classical and contemporary themes are overlaid in his pictures. The combination of anartistic vocabulary, borrowed, discovered or founddelineates a genealogy of works and artists, periods and styles. The references to children’s drawings and to Dali, who was himself inspired by the folded sheet of Raphaël Peale’s Venus Rising from the Sea, create an infinite chain of inter-responding meanings. The same effect is at work in the Delos with Eros group, where Aphrodite, played by actress Gretchen Molsits astride a dolphin in a three-way reference to mythology, sexuality and culture (e.g. Betty Page). The reference to the Palaeolithic era sculpture of the Venus of Willendorf rounds off the never-ending cycle of a fertility symbol that runs through all human history.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
The Great Art History
The Great Art History 2005 - 2013

Gustavo Speridião is a painter. He paints in every format and on any support, in particular on large sheets of not particularly good paper. If paper is the traditional support for images and texts, images and texts must be the supports for the History of Art. Here, Speridião has invented his own history of art from anenormous archive that he put together himself. The archive comes in the form of a book – a book that can be taken apart and displayed in any order. This unconventional art history comprises a cleverly organised mix of current-affairs images, famous scenes, careful cut-outs, and references to different styles, artworks, periods, and geographies. All these scenesare part of socio-political reality and Speridião uses them to connect art to life.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
The Great Art History
The Great Art History 2005 - 2013

Gustavo Speridião is a painter. He paints in every format and on any support, in particular on large sheets of not particularly good paper. If paper is the traditional support for images and texts, images and texts must be the supports for the History of Art. Here, Speridião has invented his own history of art from anenormous archive that he put together himself. The archive comes in the form of a book – a book that can be taken apart and displayed in any order. This unconventional art history comprises a cleverly organised mix of current-affairs images, famous scenes, careful cut-outs, and references to different styles, artworks, periods, and geographies. All these scenesare part of socio-political reality and Speridião uses them to connect art to life.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
The Great Art History
The Great Art History 2005 - 2013

Gustavo Speridião is a painter. He paints in every format and on any support, in particular on large sheets of not particularly good paper. If paper is the traditional support for images and texts, images and texts must be the supports for the History of Art. Here, Speridião has invented his own history of art from anenormous archive that he put together himself. The archive comes in the form of a book – a book that can be taken apart and displayed in any order. This unconventional art history comprises a cleverly organised mix of current-affairs images, famous scenes, careful cut-outs, and references to different styles, artworks, periods, and geographies. All these scenesare part of socio-political reality and Speridião uses them to connect art to life.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
The Great Art History
The Great Art History 2005 - 2013

Gustavo Speridião is a painter. He paints in every format and on any support, in particular on large sheets of not particularly good paper. If paper is the traditional support for images and texts, images and texts must be the supports for the History of Art. Here, Speridião has invented his own history of art from anenormous archive that he put together himself. The archive comes in the form of a book – a book that can be taken apart and displayed in any order. This unconventional art history comprises a cleverly organised mix of current-affairs images, famous scenes, careful cut-outs, and references to different styles, artworks, periods, and geographies. All these scenesare part of socio-political reality and Speridião uses them to connect art to life.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller
The Great Art History 2005 - 2013

Gustavo Speridião is a painter. He paints in every format and on any support, in particular on large sheets of not particularly good paper. If paper is the traditional support for images and texts, images and texts must be the supports for the History of Art. Here, Speridião has invented his own history of art from anenormous archive that he put together himself. The archive comes in the form of a book – a book that can be taken apart and displayed in any order. This unconventional art history comprises a cleverly organised mix of current-affairs images, famous scenes, careful cut-outs, and references to different styles, artworks, periods, and geographies. All these scenesare part of socio-political reality and Speridião uses them to connect art to life.

Le Musée d'art contemporain


81 Quai Charles de Gaulle
69006, Lyon


Comment y aller