WANDERLABYRINTHINE

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12.09.11 > 05.03.12centrepompidou-metz.fr

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TABLE OF CONTENTS1. INTRODUCTION TO THE EXHIBITION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02

2. THE EXHIBITION I THE LAByRINTH AS ARCHITECTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03 II SpACE / TImE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03 III THE mENTAL LAByRINTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 04 IV mETROpOLIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 05 V KINETIC DISLOCATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06 VI CApTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 07 VII INITIATION / ENLIgHTENmENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08 VIII ART AS LAByRINTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09

3. LIST OF EXHIBITED ARTISTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

4. LINEAgES, LAByRINTHINE DETOURS - WORKS, HISTORICAL AND ARCHAEOLOgICAL ARTEFACTS . . . . . . . . . . . . . . . . . . . . 12

5. COmmISSIONED WORKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

6. EXHIBITION DESIgN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

7. THE LENDERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

8. THE CATALOgUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

9. THE EXHIBITION gAmE: LAByRINT* IN A VALISE (*H) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

10. CREDITS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

11. EVENTS AND pERFORmANCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

12. pARTNER VENUES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

13. VISITOR INFORmATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

14. pATRONS AND pARTNERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

15. pRESS VISUALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

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1.INTRODUCTION

TO THE EXHIBITION Wander, Labyrinthine Variations follows Masterpieces ? as the second major thematic exhibition at the Centre Pompidou-Metz.

Wander, Labyrinthine Variations is an international group exhibition, which takes its cue from the model of the labyrinth, tackling the notions of straying, loss and wandering as well as their various representations in contemporary art.

Mystical, archaic forms, labyrinths and mazes are examined here as metaphors. They form complex figures that associate the image of non-linear progression through bends, curves, repentance and returns… whether architectural, mental, economic or structural in nature. The show itself is organised thematically according to a sinusoidal principle that follows the detours and polysemy of the subject itself, offering a loss of reference both figuratively as well as formally. It veers from an architectural maze to thoughtful meandering, from global political-economic chaos to disorientated contemporary urbanism, from bodily spatial confinement to maieutics, from exploded narration in cinema or literature to geometric abstraction as an eye-catcher.

The exhibition is presented in eight themed parts, which develop the subject from an angle that is both conceptual and sensory.

Painting, architecture, penetrable works, sculptures, films, maps and archaeological artefacts offer as many different perspectives on, and immersions in, these curious and surprising worlds.

Beyond its historical references, Wander, Labyrinthine Variations sets out to represent certain contemporary aesthetic, political and intellectual trends of our era. It addresses the history of forms and ideas by challenging a strictly linear model or progressive vision. Instead, it multiplies possibilities, draws the visitor into zones of confusion, multiple choices and lays obstacles to our apprehending of what is real, with all that this implies in terms of adventurous speculation and uncertainty.

Unfolded on 2,000 square metres across two of the gallery spaces at Centre Pompidou-Metz, the exhibition shows different generations of French and international artists, alongside major works from the Centre Pompidou, Musée national d'art moderne in Paris and important international collections. There will also be specific commissions by Matt Mullican, Public Space With a Roof and re-enacted pieces by Gianni Colombo, Gianni Pettena and Julio Le Parc.

Wander, Labyrinthine Variations is also a game in the form of an enigma - Labyrint* in a Valise (*h) - elaborated by the independent curator, Jean de Loisy.

Hélène GueninHead of Programming Department at the Centre Pompidou-Metz

Hélène Guenin was appointed Head of programming at the Centre Pompidou-Metz in November 2008. Alongside Laurent Le Bon, she supervises exhibition projects and parallel programming in the Wendel Auditorium and the Studio.Prior to this, from 2002 to 2008, she worked with Béatrice Josse at the Fonds régional d'art contemporain in Lorraine.

Guillaume DésangesCurator, Art Critic, Director of Work Method

Guillaume Désanges has curated numerous exhibitions in France and internationally. He is the director of Work Method, an independent production entity. Between 2001 and 2007, he coordinated artistic activity at Les Laboratoires in Aubervilliers. In 2007-2008 he was head of programming at La Tôlerie Arts Centre in Clermont-Ferrand. Since 2009, and until 2011, he has been guest curator at Le Plateau-Frac Ile de France arts centre in Paris for a series of exhibitions entitled Érudition Concrète.

THE CURATORS

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I - THE LAByRINTH AS ARCHITECTUREThe labyrinth originates in architecture. Greek mythology popularised the concept with the Minotaur, a creature that is half-man, half-bull, imprisoned in a construction so complex that no one can find their way out. Invented by Daedalus, the original labyrinth was thus based on paradox: how can a rational, methodical structure produce confusion, disorientation and wandering? Modern-day architects and artists have considered these questions anew, and imagined principles based on broken lines, twists and turns, tangles and bulges. This part of the exhibition looks at practices which are both programmatic and decorative, and which break with the readability of straight lines.

2.THE EXHIBITION

Kasimir Malevitch

Painter of Black Cross and Suprematist Composition: White on White, two major works of the avant-garde abstract movement, Kazimir Malevich turned to geometry and volume in the 1920s, during Suprematism's "white phase." In 1926-1927, in Leningrad, Malevich produced a series of models which he called Architektons. They include Bêta and Suprematist Ornaments. The way the various plaster shapes align arose from the artist's study of the effects of moving a square to different positions to produce rhomboid shapes of various lengths. The cube, considered the "point zero" of architecture, becomes the minimum unit, the perfect volume, divest of all concrete purpose, multiplying and proliferating in space. Henceforth, Malevich's three-dimensional work was permeated with the fundamental question of how to include the body in a white and immaterial abstraction of architecture. These two symbols of Malevich's three-dimensional work were reconstructed by Danish artist Poul Pedersen in 1978.

II - SpACE / TImEThe labyrinth is the archetypal space that generates time. Inside the labyrinth, times feels warped in a succession of detours that bring us back to our starting point. In mathematics, spirals, loops and Möbius strips are the physical embodiment of this paradoxical progress through space and time. Each of the works and projects in this section identify with this highly specific dynamic immobility or involution, examples of which are also found in the natural world, in seashells and nebulae, from mystical wanderings to the revolving planets.

Yona Friedman

Architect Yona Friedman was born in Budapest and has lived in Paris since the late 1950s. Early on in his career, Friedman sought to distance himself from the intensive constructions of the post-war era. He founded the Groupe d'Architecture Mobile (GEAM), whose "mobile architecture" places the user firmly at the centre of the design, in contrast to previous and existing views which, Friedman believed, tended to see users almost as an irrelevance, or at best an abstract identity. The "spatial city" utopia, which is illustrated in this series of drawings, seeks to give form to the basic tenets of mobile architecture. Friedman's adaptable, non-prescriptive structures allow for individual expression and for groups to choose their preferred layouts through a grid structure in which walls and space alternate and exchange: "The city, as a mechanism, is nothing other than a labyrinth: a configuration of starting points and destinations, separated by obstacles". The project's utopian dimension appears in these drawings of cities which might appear more at home in works of fiction, so far removed are they from conventional architectural plans. We are offered a fantasy as food for thought, an object of beauty and inspiration for new ways of living in the cities of the modern world.

1. Quoted in Architecture Expérimentale, 1950-2000, Marie-Anne Brayer (ed.) Collection Frac-Centre, Orléans, Hyx, 2003, p. 214.

Frederick Kiesler Exterior view of theEndless House model,1958Photograph Gelatin silver print 25.4 x 20.3 cm Photograph: George Barrows Architecture & Design Study Center

The Museum of Modern Art, New York

© 2011 Austrian Frederick and Lillian Kiesler Private Foun-dation, Vienne / Photo: 2011. Digital image, The Museum of Modern Art, New York/Scala, Florence

Yona Friedman Étude pour la ville spatiale,1958-1959Project Photocopy and felt tip pen on paper 29.7 x 42 cm

Centre Pompidou, Paris Collection Musée national d’art moderne / Centre de création industrielle Gift from the architect, 1992

© Adagp, Paris 2011 / Collec-tion Centre Pompidou, Dist. RMN / Philippe Migeat

Kazimir Malevich (according to) Suprematist Ornaments, 1927-2002Reconstructed by Poul Pedersen 7 original parts and 11 reconstructed parts mounted on a plate Plaster 27.5 x 45 x 60 cm

Centre Pompidou, Paris Musée national d’art moderne / Centre de création industrielle

© Adagp, Paris 2011 / Collection Centre Pompidou, Dist. RMN / Philippe Migeat

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Mike Kelley

Educational Complex resembles an architect's model but is in fact a form of autobiography as Kelley has assembled the buildings – home, school, church, etc. - that have played a significant part in his life. All symbols of authority, they trigger thoughts on individual trauma and repressed memories. Empty spaces have deliberately been left in the buildings to represent gaps in the memory. Beyond references to psychoanalysis and the Freudian subconscious, the amalgam of buildings in Educational Complex touches on recent debates in the cognitive sciences, in particular the evolutionary theory which states that the human mind consists of a large number of semi-independent units. Kelley invites observers to get lost in this labyrinth of inaccessible blocks, maybe even slip, voyeur-like, underneath to see the basement at Cal Arts, where Kelley was a student. Educational Complex also plays with the suspended volumes around it, reminders of the mobiles that hang above a baby's cot.

Frederick Kiesler

Artist, architect, architectural theorist and member of the De Stjil group, throughout the inter-war period Kiesler developed and defended a style of architecture that was radically opposed to the prevailing functionalism; a style that embraced suspensions, curves, sensuality and mobility, in direct contrast with the all-pervading perpendicular. Kiesler was the undisputed pioneer of spirals and continuity in architecture. "In 1924-1925, I eliminated separations in house-building, that is the distinction between floor, walls and ceiling, and I created a single continuum of floor, walls and ceiling." Towards the late 1920s, he began work on Endless House, a project that would occupy him for virtually the rest of his life. This continuous, egg-shaped structure suggests a cave, a seashell, even the organic. Indeed, the project developed, grew and changed over time as though it too were a living organism. Drawings, photographs, models, poems and painting illustrate these 40 years of research. They are shown alongside the models on exceptional loan from the MoMA and the Whitney Museum of American Art in New York.

Thomas Hirschhorn

The Maps, which the artist Thomas Hirschhorn has made with the philosopher Marcus Steinweg, form a subjective panorama of western philosophy. These map-pictures use fragile materials such as underlined and annotated pages from books. The works, which have an aura of urgency and necessity, visually portray the thought mechanisms of the likes of Michel Foucault, Hannah Arendt and Spinoza, and the connections they have established between concepts. Mapping philosophical thinking, or indeed one's own thoughts as in MOI-MAP, implies entering a brain at work; part system, part chaos. These works are based on the belief that there is a direct, stimulating, vibrant connection between art and thought. This first-ever showing of the complete collection of Maps takes visitors inside the artist's thought processes in an all-encompassing scenography.

Robert Smithson

Robert Smithson's Spiral Jetty was built on Great Salt Lake in Utah in April 1970. It is a 500-metre long, five-metre wide spiral made of mud, salt crystals and rocks. An icon of land art, this "outside-the-gallery" sculpture results from a direct experience of the environment. In the corresponding film, Smithson narrates how the work was created, and describes a staggering number of references. It begins with a close-up of the molten surface of the sun, followed by an alternating sequence of maps and stacks of books (including The Lost World, and Mazes and Labyrinths). After a sequence showing the actual building of the jetty, the final part comprises a series of aerial views during which the helicopter blades rhythmically whirr in time with the voice of the artist, whose thoughts leap and twirl with the sunlight. As the camera whirls, it minutely examines the spiral that blackly scars the vast shimmering surface of the water - a mirror so often used by Smithson to question our perception of reality. The spiral conveys the infinite and the off-centre; it blurs our bearings as it coils around itself and unites opposites: inside/outside, microcosm/macrocosm, immobility/movement, appearance/disappearance.

III - THE mENTAL LAByRINTHThe structure of the human mind is often likened to a labyrinth. In physical terms, the brain can be seen as an inextricable network of neurons and synapses while, metaphorically, "thinking is like entering a maze" (Cornelius Castoriadis). In philosophy, wandering and digression are necessary stages in the quest for truth.The mental labyrinth encompasses knowledge, as well as dreams and memory. It embodies the depths of consciousness, from loss to revelation, through which we attain the "light through darkness" which Henri Michaux describes. Various ways of formalising thought are assembled here, in the work of artists who map these complex areas of the mind and invent new orders of ideas and reality.

Robert Smithson Spiral Jetty, 197016mm film, colour, audio, running time 32'

Centre Pompidou, Paris Musée national d’art moderne / Centre de création industrielleAcquisition, 1975

© Adagp, Paris, 2011 / Collection Centre Pompidou, Dist. RMN / image Centre Pompidou

Mike Kelley Educational Complex (detail),1995Various materials 146.7 x 488.2 x 244.2 cm

Whitney Museum of American Art, New YorkAcquired with funds from the Contemporary Painting and Sculpture Committee

Courtesy of the artist Photo: Göran Örtegren

Thomas Hirschhorn and Marcus Steinweg The Map of Friendship between Art and Philosophy…, 2007Cardboard, paper, plastic sheet, clear tape, prints, photocopies, marker, ballpoint 240 x 400 cm

Stephen Friedman Gallery, Londres

Courtesy of the artist and Stephen Friedman Gallery, London / Photo: Stephan White

Jacques Fabien Gautier d’Agoty Myologie complète en couleur et grandeur naturelle, composée de l’Essai et de la Suite de l’Essai d’anatomie en tableaux par Gautier d’Agoty,Anatomie de la tête, 1746Coloured mezzotint 53.5 x 37 cm

Bibliothèques-Médiathèques de Metz

© Bibliothèques-Médiathèques de Metz / Département Patrimoine

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Agnes Denes

A pioneering artist in land art and conceptual art, Agnes Denes' practice is a crossover between science and art. Her interventions in landscape and nature are indicative of her belief in the importance of art as a trigger for social change: "A well-conceived work can motivate people, unite communities, and affect the future,” she writes. This is the erudite line of thought that lies behind the artist's inroads into politics. Mathematics, natural science, philosophy, linguistics and social science are all grist to her mill. The drawings in Wander bring to mind scientific documents, blueprints and diagrams. They show us synthetic mathematical shapes such as pyramids and triangles, and reveal her fascination with the spiral motif, the perfect mathematical form, which recalls the golden ratio. Agnes Denes sets out to chart human thought and language.

IV - mETROpOLISDescribed by the poet Emile Verhaeren as "tentacular", the modern city has much in common with the labyrinth. Viewed from a distance, it resembles a comprehensible network but once in its midst, this network reveals itself to be an inextricable web of chaos. Thus it elicits new behaviours – inadvertent or deliberate drifting, marginality and dispersion – and becomes a new space for individual adventure. Paul Citroen's Metropolis, which inspired Fritz Lang's film, embodies the overwhelming, the dizzyingly dense in much the same way as the Babylon of antiquity, the symbol of power and authority. These mythical cities inspire a new kind of artist-surveyor/cartographer. They portray the complexity of the modern city, or approach it as a playground and laboratory, part poetry, part social deviance.

moveable walls. The social lives of the residents of these cities of the future become a game while the buildings, with their multiple interpretations, become a flickering array of interacting desires. The labyrinth was a constant source of inspiration for Constant even beyond his New Babylon project, the archetype for both interior thought and for the unexpected, the accidental.

Constant Nieuwenhuys known as Constant

A Dutch artist and architect, Constant was a founding member of the Cobra group of artists. From 1956 to 1974, he worked on a visionary architectural project that he called New Babylon. Arising from Constant's involvement with the Situationists, the project combined utopian and activist principles. The inhabitants of this New Babylon move from place to place within an endless network of "sectors" and, as they do, redefine each aspect of their surroundings to their own wishes. Walls, floors, lighting, sounds, colours, textures and smells constantly change in this infinite chain of multi-level interior spaces that connect and propagate until they cover the planet. The sectors float above the ground on top of tall columns, while traffic rushes below and aeroplanes ply the skies above. Inhabitants move around the labyrinthine interiors, continually reconstructing their surroundings, altering the lighting and reconfiguring the temporary,

Ian Breakwell

The Walking Man Diary is a photographic record that the British artist Ian Breakwell made between 1975 and 1978. From the window of his London flat, Breakwell watched a man's daily drifting through the tumult of Smithfield Market. With bowed head, the unknown man would walk the streets, with no apparent purpose but to follow the same twisting, turning route. Over a period of three years, the artist, who was interested in the observation and surveillance of social deviance, sequentially recorded the enigmatic path travelled by this man on the fringes of society. Breakwell takes the stance of a critical observer of normality, as defined and imposed by society. The Walking Man Diary is presented as a series of collages that chart the physical and mental wanderings of this unknown man over a given time frame. In 1977 the walking man disappeared. He reappeared in 1978, walking more slowly. He disappeared for good in 1979.

Agnes Denes Snail Pyramid-Study for Self-Contained, Self-Supporting City Dwelling – A Future Habitat, 1988Ink on clear millimetred plastic film 98.4 x 145.4 cm

The Museum of Modern Art, New York

Courtesy of the artist Photo: © 2011. Digital image, The Museum of Modern Art, New York/Scala, Florence

Ian Breakwell The Walking Man diary, 1975-1978Black and white photographs on paper, typed and hand-written texts on paper 123.3 x 615.9 x 1.9 cm

Tate Acquisition, 2001

© Tate, London 2011. Courtesy The Estate of Ian Breakwell and Anthony Reynolds Gallery, London

Constant (Constant Anton Nieuwenhuys, known as) Leiterlabyrinth, 1967 Brass, glass, acrylic, wood 72 x 86.5 x 96.6 cm

Friends of the Stiftung Wilhelm Lehmbruck Museum, Duisburg, Germany

© Adagp, Paris 2011 / Photo: Lehmbruck Museum, Duisburg, Allemagne

Paul Citroen Metropolis, 1923 Reproduction 76 x 59 cm

Leiden University Library, The Netherlands

© Adagp, Paris 2011 / Photo: University Library Leiden, the Netherlands

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Julio Le Parc

As a leading exponent of kinetic art, the work of Julio Le Parc features prominently in the exhibition.From 1960, Le Parc was an active member of the GRAV research group into visual art, alongside François Morellet, Horacio Garcia Rossi and Francisco Sobrino, Pierre Yvaral and Joël Stein. The group's projects advocate active or involuntary participation on the part of the spectator, and simplicity of form. Between 1963 and 1967, GRAV installed four labyrinth-exhibitions in museums and public spaces. The group was drawn to the labyrinth not only as a means of creating an alternate space within the museum, but because its very form favours the concept of a path or route, and the introduction of a playful, sensory approach to the work. The labyrinth thus becomes a space where new sensations are offered and the senses repeatedly elicited. It is a space that is experienced and perhaps, on occasion, endured, as the visitor becomes actively involved with the works and the unfolding path. The group was dissolved in 1968. Julio Le Parc, meanwhile, has continued his research into light. Part of Galerie 1 is set aside for Le Parc, who has installed large-scale works in rooms plunged into darkness. Visitors are invited to enter the installations and experience light as a constantly changing work of art. Places of distraction, contemplation and meditation, Le Parc's works disorient the visitor as the diffraction and scintillation of prisms of light blur visual bearings.Julio Le Parc was awarded the Grand Prix for painting at the 1966 Venice Biennale for his light installations.

Gianni Colombo

Part of a flourishing art scene in Milan, Gianni Colombo came to international attention in the 1950s and 1960s as one of arte ambientale's most iconic figures. Significantly influenced by Lucio Fontana, he saw works of art as participatory objects that demand interaction with their audience. He was one of the founding members of Gruppo T, a collective that invited the public to "co-create" its exhibitions. The movement of the alveolar cylinders of Strutturazione acentrica (1962) produces a kinetic effect, sometimes caused by the deplacement of the spectators themselves. Varying in size and colour, these mobile sculptures produce an unceasing cycle of light waves that flow along their walls. Installed for the first time in 1967, Spazio Elastico is an immersive environment, comprising a dark space criss-crossed by fluorescent elastic threads. Inside the installation, the observer slowly becomes aware of this kinetic light device that disorientates and at the same time instils a feeling of sensorial wonderment.

Gianni Colombo Spazio elastico, 1967 - 1968Reactivation Engine, elastic threads 400 x 400 x 400 cm

Archivio Gianni Colombo, Milan

Courtesy Archivio Gianni Colombo, Milan. Photo: Eckart Schuster, droits réservés

V - KINETIC DISLOCATIONThis part of the exhibition considers experiences of loss in its physical and optical dimensions. From the 1950s, kinetic artists began to conduct plastic research into movement, whether achieved mechanically by the observer's movement, or resulting from the material's own inner vibration. These necessarily interactive works elicit feelings of illusion and disorientation, halfway between giddiness and wonder. They use extremely simple mechanisms to produce momentous disorientation of perception. They are shown with films that associate the kinetic experience with psychological confusion.

Julio Le Parc Continuel-lumière cylindre, 1962Various materials 171 x 122 x 35 cm

Artist's collection

© Adagp, Paris 2011. Daros Latinamerica Collection, Zürich / Photo : Adrian Fritschi, Zürich

Henri-Georges Clouzot La Prisonnière, 196835 mm film transferred to video, colour, audio

Running time: 101'40”

Studio Canal

La Prisonnière © 1968 StudioCanal - Fono Roma

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VI - CApTIVEThe fundamental paradox of the labyrinth lies in its twofold purpose: to imprison and simultaneously protect the Minotaur. An insidious, open, constantly shifting prison, the labyrinth allows a certain degree of freedom while controlling from afar. The inability to fully comprehend where a space begins and ends, the loss of bearings and the absence of any map produce a feeling of confused claustrophobia, no matter how many perspectives the labyrinth seemingly opens. Like a spider's web, this complex architecture is a trap that encircles, closes in on and ultimately suffocates. The labyrinth thus elicits ambivalent responses, part protection and part conditioning, as well as magnificent and also desperate attempts to escape.

Rem Koolhaas

In 1972, the Dutch architect and theorist Rem Koolhaas (RK) produced a series of 18 drawings, watercolours and collages entitled Exodus,or The Voluntary Prisoners of Architecture. Created against a backdrop of political tension, it is a portrait of the psychological and symbolic effects of the Berlin wall, which RK describes as being "infinitely more powerful" than the object (the wall) itself. The decision to build the wall was made in 1961 to physically separate Germany and the allied forces from the Soviet Union, after the Second World War. Its purpose was to stem population movements and exodus. The wall became the symbol of this policy and of the tension inherent in the Cold War. Exodus is a critical and uncompromising parody of political and utopian ideals. It is a fictional account of a process to build a new area above an existing city – in this instance an imaginary London. This new walled city becomes an object of desire for those on the outside, but a gilded cage for its residents or "voluntary prisoners." RK emphasises the power of architecture, and draws our attention to its ambiguity and dangers. In addition to this historical reference, Exodus is a critical study of the capitalist system and productivity through theories of socialism that reject the idea of labour. The inhabitants of this new city are freed from the obligation to work; Exodus takes us inside a city divested of existing spatial, social and economic relations, going as far as to abolish capital.

Mona Hatoum

Light Sentence, a play on words with life sentence, is one of Mona Hatoum's early installations. It comprises stacks of wire mesh lockers of the type once found in public baths and factory changing-rooms in England. "I immediately could see the associative potential of this locker because it looked more like a little animal cage that you would see in a lab or a chicken factory. It also looked like an architectural model of a skyscraper," she explains.Lighting is deliberately theatrical, consisting of a single bulb in the centre of the installation that moves slowly up and down. The wire mesh recalls the constant surveillance in prisons and science labs. Light Sentence brings to mind the Panoptican imagined by Jeremy Bentham in the eighteenth century, and which forms the basis of Michel Foucault's analysis in Discipline and Punish (1975).

Gertrud Goldschmidt, known as Gego

Gertrud Goldschmidt, commonly known as Gego, was born in Germany but emigrated to Venezuela in 1939. Along with her Venezuelan compatriots Alejandro Otero, Jesus Raphael Soto and Carlos Cruz Diez, she is one of the most important artists from 1950s to 1970s. The kinetic movement in Venezuela embodied the country's modernism and progressivism; evolving on its margins, Gego's work is singular in its search for the essential, its analytical dimension and its fragility. In 1965, Gego began working with steel rods and wires to fill space with an evolutive geometry. Her many reticuláreas show how she used her knowledge of mathematics to support her quest for a shape that would be "as fleeting as it is magical." Our vision is continually renewed by the exploded shapes and flowing, shifting configurations that produce a completely new awareness of space. Both her three-dimensional works and works on paper appear to trap the spectator's vision in the intricate mesh of a net or a spider's web. Wander presents a significant selection of Gego's work, which gained full recognition in 1969 with her Reticulárea exhibition at the Museo de Bellas Artes in Caracas.

Rem Koolhaas, Madelon Vriesendorp, Zoe Zenghelis, Elia Zenghelis Exodus or the VoluntaryPrisoners of Architecture Exhausted Fugitives Led to Reception, project, 1972Installation made of 18 gelatine silver proofs, gouache, watercolour, paper 148 x 915 cm (total dimensions)

The Museum of Modern Art, New York Gift from Patricia Phelps de Cisneros, Takeo Ohbayashi and Susan de Menil acquisition fund

© Adagp, Paris 2011 / Photo: 2011 Digital image, The Museum of Modern Art, New York / Scala, Florence

Piranese (Giovanni Battista Piranese, known as) Carceri d’invenzione (Prisons imaginaires),1745-1761Series of 16 etchings 56 x 79 cm each

Bibliothèques-Médiathèques de Metz

© Bibliothèques-Médiathèques de Metz / Département Patrimoine

Mona Hatoum Light Sentence, 1992Installation, 36 wire mesh lockers, electric motor, timer, light bulb, cables, electric wire Various dimensions

Centre Pompidou, Paris Musée national d’art moderne / Centre de création industrielle State acquisition, 1994, attributed to Centre Pompidou, Paris

© Mona Hatoum, 2011 / Photo: Collection Centre Pompidou, Dist. RMN / Philippe Migeat

Gego (Gertrud Goldschmidt, known as) Reticulárea 1972Exhibit view

Museo de Bellas Artes, Caracas

© Archivo Fundación Gego Photo Paolo Gasparini

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Maya Deren

Meshes of the Afternoon is a 1943 experimental short film, directed by Maya Deren and her husband Alexander Hammid. Maya Deren plays the main character who, in a waking dream, performs a series of symbolic actions. Everyday objects such as a key, a knife, a flower, and a telephone play a crucial role, and create an unsettling atmosphere. The key and the knife repeatedly change places to finally become a weapon for suicide. One after the other, these curious events form an endless dream. The film eschews the conventions of linear narration and invites its audience to become lost among the overlapping shots and sequences. Meshes of the Afternoon made Maya Deren, who claimed Jean Cocteau as a major influence, the leading artist in the field of New American Cinema. The film went on to inspire other experimental filmmakers, such as Kenneth Anger and Stan Brakhage.

Bas Jan Ader

Bas Jan Ader's work resembles an existential quest, and represents a subjective change of direction in conceptual art. In In Search of the Miraculous (one night in Los Angeles), he spends the night walking in Los Angeles, "that wild, romantic city where so many extremes come together." The sequence of photographs from this performance presents a unity of time, action and place. The long walk takes him from the city's suburbs to the Pacific Ocean, the furthest point of his quest. The film is a homage to his adopted home town and combines references to pop music culture, Hollywood's film noir, and the photographic tradition of works that convey the atmosphere of the city at night, such as Brassaï's photographs of Paris.This, at times romantic, journey made in 1973, was intended to be the first part of a trilogy. Shortly after, Ader set sail in a 13-foot pocket cruiser to attempt a single-handed transatlantic crossing. Nine months later, the wreck of the boat was found off the Irish coast.

VII - INITIATION / ENLIgHTENmENTAs a sinuous path strewn with obstacles and trials, the labyrinth has, from the very inception of the myth, been associated with the initiatory quest, both spiritual and physical. This concentric, spiralling progression has a moral, even heroic, dimension, whether processional route or symbol of wisdom, church labyrinth or Tibetan mandala. One emerges from the labyrinth as another; it is a pretext for a journey to self-knowledge. Finding one's way through the labyrinth is like finding a path through life, with its choices, hesitations and periods of wandering as we move towards self-fulfilment. In contemporary art, this moral dimension is sometimes portrayed metaphorically, within the ordinary and the banal.

Plate from the exhibition catalogue Representations of games of snakes and laddersGraphical design: Les Associés réunis

Bas Jan Ader In Search of the Miraculous (one night in Los Angeles),1973-1975Photographs and ink on paper 14 parts, 27.5 x 34.5 cm each

Kröller-Müller Museum, Otterlo

© Bas Jan Ader, droits réservés / Collection Kröller-Müller Museum, Otterlo, Pays-Bas / Photo: Tom Haartsen

Maya Deren & Alexander Hammid Meshes of the Afternoon, 194316mm black and white film, audio, running time 13'

Centre Pompidou, Paris Musée national d’art moderne / Centre de création industrielleAcquisition, 1987

© Tavia Ito et droits réservés pour Alexander Hammid

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Guy de Cointet

French-born artist Guy de Cointet emigrated to the United States in the late 1960s, where he developed a body of work that explores the possibilities offered by language and text, via an enigmatic narrative style. A little-known figure of conceptual art, he was close to Mike Kelley, Paul McCarthy and John Baldessari, all of whom shared his taste for physical art.Guy de Cointet's work testifies to his interest in language codes; many use a form of symbolised writing, similar to hieroglyphs. His drawings, objects and diagram works come to life as props for his theatre performances, in which language is one of the characters. His drawings are graphic explorations of the page. More densely populated areas are juxtaposed with sparser zones in which language's potential for abstraction of all kinds is revealed. A shift occurs between the signifying caption and its coded representation of simple geometric strokes, vertical and horizontal lines that become architectural, labyrinthine angles.

Art & Language

Between 1985 and 1987, Michael Baldwin and Mel Ramsden created Incident in a Museum, a series of pictures depicting galleries in an imaginary modern art museum. The two artists had been working together as part of the Art & Language collaboration since late 1976, and were now ready to reintroduce painting as their core practice, after a decade producing mostly text works. The paintings in the Incident in a Museum series closely resemble interior views of, hypothetically, the Whitney Museum of American Art; the observer can even make out, among the overlapping maze of spaces, the reflection of the very work they are looking at. Index: Incident in a Museum XV (1986) shows a gallery in the museum with a horizontal picture-rail, from which hangs a picture that exactly reproduces the layout of the series. Mel Ramsden and Michael Baldwin use this device to present a dizzying mise en abyme of the museum, substituting continually subdividing architecture for works of modern art.

VIII - ART AS LAByRINTHAvant-garde and modern artists challenged the idea, inherited from the Renaissance, of representing the world from a single perspective, or vanishing point. The explosion of points of view on the surface of the canvas, and the increasing abstraction of form, were accompanied in experimental cinema by a corresponding blurring of meaning and deconstruction of the linear storyline. The empty space created between meaning and form is the very place of vertigo. Thus a work of art becomes a conceptual, sensual labyrinth where we can lose ourselves. It is a complex, auto-referential structure, the experience of which defies all reason, yet which brings us to a new form of understanding.

Guy de Cointet The Tattoing on his back…, vers 1982Ink on Arches paper 78 x 92 x 3.5 cm

Collection Air de Paris, Paris Guy de Cointet estate

© Succession Guy de Cointet Courtesy Air de Paris, Paris

Art & Language (Michael Baldwin and Mel Ramsden) Index : Incident in a Museum – Francisco Sabate, 1986Acrylic on canvas 176 x 274.5 cm

Fonds régional d’art contemporain de Midi-Pyrénées, les Abattoirs, Toulouse Deposited at les Abattoirs, Toulouse Acquired from the artists, 1986

© Art & Language / photo: J-L. Auriol

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3.LIST OF EXHIBITED ARTISTS

A Vito Acconci (New York, United States,

1940 – lives in New York)

Bas Jan Ader(Winschoten, Netherlands, 1942 – lost at sea between Cape Cod and Ireland, 1975)

Jacques Fabien Gautier d’Agoty (Marseille, 1716 – Paris, 1785)

Francis Alÿs (Antwerp, Belgium, 1959 – lives in Mexico City, Mexico)

Carl Andre

(Quincy, United States, 1935 – lives in New York, United States)

Art & Language:

Michael Baldwin(Chipping Norton, England, 1945),

Mel Ramsden(Ilkeston, England, 1944 – live in Middleton Cheney, England)

B Saul Bass(New York, United States, 1920 – Los Angeles, United States, 1996)

Didier Beaufort(Liege, Belgium, 1955 – lives in Brussels, Belgium)

Christophe Berdaguer(Marseille, 1968) & Marie Péjus(Marseille, 1969 – live in Paris and Marseille)

Lee Bontecou(Providence, United States, 1931 – lives in Orbisonia, United States)

Ian Breakwell(Long Eaton, England, 1943 – London, England, 2005)

C Santiago Ramón y Cajal(Petilla de Aragón, Spain, 1852 – Madrid, Spain, 1934)

Vija Celmins(Riga, Latvia, 1938 - lives in New York, United States)

Paul Citroen(Berlin, Germany, 1896 - Wassenaar, Netherlands, 1983)

Henri-Georges Clouzot(Niort, 1907 – Paris, 1977)

Guy de Cointet(Paris, 1934 – Los Angeles, United States, 1983)

Gianni Colombo(Milan, Italy, 1937 – Melzo, Italy, 1993)

Constant (ConstantAnton Nieuwenhuys,known as)(Amsterdam, Netherlands, 1920 – Utrecht, Netherlands, 2005)

Coop Himmelb(l)au: Wolf D. Prix

(Vienna, Austria, 1942), Helmut Swiczinsky(Poznan, Poland, 1944 – live in Vienna, Austria and Los Angeles, United States)

D Guy Debord(Paris, 1931 – Champot, 1994)

Agnes Denes(Budapest, Hungary, 1931 – lives in New York, United States)

Maya Deren(Kiev, Russia, 1917 – New York, United States, 1961) & Alexander Hammid(Linz, Austro-Hungarian Empire, 1907 – New York, United States, 2004)

Julien Discrit(Epernay, 1978 – lives in Paris)

Gino de Dominicis(Ancona, Italy, 1947 – Rome, Italy, 1998)

Marcel Duchamp(Blainville-Crevon, 1887 - Neuilly-sur-Seine, 1968)

E Viking Eggeling(Lund, Sweden, 1880 – Berlin, Germany, 1925)

David-Georges Emmerich(Debrecen, Hungary, 1925 – Paris, 1996)

F Harun Farocki(Nový Jicín, Neutitschein, Germany, 1944 – lives in Berlin, Germany)

León Ferrari(Buenos Aires, Argentina, 1920 – lives in Bueos Aires)

Michel François(Saint-Trond, Belgium, 1956 – lives in Brussels, Belgium) & François Curlet(Paris, 1967 – lives in Paris and Brussels, Belgium)

Yona Friedman(Budapest, Hungary, 1923 - lives in Paris)

g Gego (GertrudGoldschmidt, known as)(Hamburg, Germany, 1912 – Caracas, Venezuela, 1994)

Joseph Grigely(East Longmeadow, United States, 1956 – lives in Chicago, United States)

H Richard Hamilton(London, England, 1922 – lives in London, England)

Mona Hatoum(Beirut, Lebanon, 1952 – lives in London, England)

Thomas Hirschhorn (Berne, Switzerland, 1957 –

lives in Aubervilliers) & Marcus Steinweg (Koblenz, Germany, 1971 – lives in Berlin, Germany)

I Isidore Isou (Jean-IsidoreIsou Goldstein, known as)(Botosani, Romania, 1925 – Paris, 2007)

K Mike Kelley(Detroit, United States, 1954 - lives in Los Angeles, United States)

Toba Khedoori(Sydney, Australia, 1964 – lives in Los Angeles, United States)

Abbas Kiarostami(Teheran, Iran, 1940 – lives in Teheran)

Frederick Kiesler(Czernowitz, Austro-Hungarian Empire, 1890 – New York, United States, 1965)

Bela Kolárová(Terezín, Czechoslovakia, 1923 – Prague, Czech Republic, 2010)

Rem Koolhaas(Rotterdam, Netherlands, 1944 – lives in Rotterdam),

´

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Madelon Vriesendorp (Bilthoven, Netherlands, 1945 – lives in London, England), Zoe Zenghelis (Athens, Greece, 1937 – lives in London, England),

Elia Zenghelis(Athens, Greece, 1937 – lives in Brussels, Belgium)

Svetlana(Voronej, USSR, 1950) & Igor Kopystiansky(Lviv, USSR, 1954 – live in New York, United States)

Kisho Kurokawa(Nagoya, Japan, 1934 – Tokyo, Japan, 2007)

L Andreas Laurentius(Arles, 1558 – Paris, 1609)

Julio Le Parc(Mendoza, Argentina, 1928 – lives in Cachan)

Augustin Lesage(Saint-Pierre-lez-Auchel, 1876 - Burbure, 1954)

Barry Le Va(Long Beach, United States, 1941 – lives in New York, United States)

Mark Lombardi(Syracuse, United States, 1951 – New York, United States, 2000)

Richard Long(Bristol, England, 1945 – lives in Bristol)

m Kasimir Malevitch(Kiev, Russia, 1879 – Leningrad, USSR, 1935)

Corey McCorkle(La Crosse, United States, 1969 - lives in New York, United States)

Henri Michaux(Namur, Belgium, 1899 – Paris, 1984)

Vera Molnár(Budapest, Hungary, 1924 – lives in Paris)

Robert Morris(Kansas City, United States, 1931 – lives in New York, United States)

Nicolas Moulin(Paris, 1970 – lives in Berlin, Germany)

Matt Mullican(Santa Monica, United States, 1951 - lives in Berlin, Germany)

N Rosalind Nashashibi(Croydon, England, 1973 – lives in London, England)

p Gianni Pettena(Bolzano, Italy, 1940 – lives in Fiesole, Italy)

Piranèse (Giovanni BattistaPiranese, known as)(Mogliano Veneto, Republic of Venice, 1720 – Rome, Italy, 1778)

Public Space With a Roof:Tamuna Chabashvili(Tbilisi, Georgia, 1978), Adi Hollander(Brussels, Belgium, 1976), Vesna Madzoski(Zajecar, Serbia, 1976 – live in Amsterdam, Netherlands)

R Jean Renaudie(La Meyze, 1925 – Ivry-sur-Seine, 1981)

Alexandre Rodtchenko(Saint Petersburg, Russia, 1891 – Moscow, USSR, 1956)

S Nicolas Schöffer(Kalocsa, Hungary, 1912 – Paris, 1992)

Robert Smithson(Passaic, United States, 1938 – Amarillo, United States, 1973)

Frank Stella(Malden, United States, 1936 – lives in New York, United States)

U Günther Uecker(Wendorf, Germany, 1930 – lives in Düsseldorf, Germany)

V Isidoro Valcárcel Medina(Murcia, Spain, 1937 – lives in Madrid, Spain)

Aldo Van Eyck(Driebergen, Netherlands, 1918 – Loenen aan de Vecht, Netherlands, 1999)

Z Raphaël Zarka(Montpellier, 1977 – lives in Paris)

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Maps, anatomical plates, old etchings, games and archaeological artefacts are interspersed throughout the exhibition. They offer a view of, or indeed an entrance into, curious worlds, and suggest the emergence and sources of this labyrinthine, speculative train of thought, as they sketch possible lineages or more formal relationships.Thus Piranesi's Carceri are placed alongside works by Gego and Colombo. Gautier d'Agoty's anatomical plates, a phrenological skull, and the first engravings of neuron connections by Santiago Ramon y Cajal introduce the section on mind spaces and knowledge. Mandalas and games of snakes and ladders shed light on questions of moral initiation or the quest for self-knowledge. Treasures from Metz' libraries and multimedia centres, the Louvre, the Musée de Rambouillet, the Musée Testut Latarjet and the Musée Guimet give insight into contemporary aesthetic and intellectual trends, and elucidate ways of structuring thought and knowledge that are still relevant today.

4.LINEAgES,

LAByRINTHINE DETOURS - WORKS, HISTORICAL AND

ARCHAEOLOgICAL ARTEFACTS Anonyme Mandala de Kâlachakra Tibet, Fin XVIe siècleDétrempe sur toile 103 x 94 x 4 cm

Musée Guimet, Paris

© RMN (musée Guimet, Paris) / P. Pleynet

Partie supérieure d'une niche, Ier siècle - IIe siècleaprès J.-C.Suweida Hauran (Syrie du Sud) Basalte 58 x 89 x 32 cm

Paris, Musée du Louvre, Département des Antiquités orientales

Don du H.C. R.F. en Syrie, 1927 © Musée du Louvre / Pierre et Maurice Chuzeville

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Wander has occasioned commissions to artists and requests for re-enactments of important works, such as those by Julio Le Parc, Gianni Colombo, and Gianni Pettena. Some of these commissions are described below.

Public Space With a Roof

Public Space With a Roof is an artists' collective, founded in 2003 in Amsterdam by artists Tamuna Chabashvili and Adi Hollander, and the theorist Vesna Madzoski. Wander has invited the collective to slip between the seams of the exhibition, like a spider spinning its web. The Inverted City offers a mise en abyme of subject and exhibition.As we go from room to room, it reveals the labyrinths and stories that filled the thoughts of the exhibited artists, as well as previously unsuspected connections between some of the works. We follow the thoughts of an imaginary character who haunts the exhibition, speculating on the labyrinth theme, producing notes, illustrations and documentation along the way. PSWR considers both the conceptual dimension of the labyrinth, and how it is transposed into the museum context of this exhibition. On the first floor, a map of this Upside-Down City could be the exhibition's reflection in a distorting mirror. The disturbing feeling experienced by the visitor is now revealed through this map.

5.COmmISSIONED WORKS

Matt Mullican

American artist Matt Mullican (b. 1951) is a unique figure on today's contemporary art scene. His work has been shown a number of times in France, most recently at the Lyon Institut d'art contemporain. He was also the subject of a wide-ranging retrospective at Munich's Haus der Kunst (10 June – 11 September 2011).Working in the fields of performance art, installation, drawing and sculpture, as well as using hypnosis in his work, Matt Mullican has, since the 1970s, evolved a personal cosmology comprising a formal, symbolic vocabulary. He uses the sign- and colour-based vocabulary he invents to organise society within reinvented worlds. Primary colours associated with symbols refer to five fundamental concepts: green for nature and elements, red for spiritual values, yellow for conscious manifestations of art and science, blue for the mysteries of the unconscious mind, and black for language. Assembled in various combinations in a range of media, his pictograms classify reality. Using his own system of classification, Mullican devises charts: universal cities and maps that simulate natural phenomena or the mysteries of the human being. Centre Pompidou-Metz has commissioned Mullican to produce a work in keeping with the dimensions of the spectacular 20 metre-high wall of the Grande Nef. A monumental exploration of mental space and the brain, it will be one of the artist's largest ever commissions for a museum.

Matt Mullican

Two into One becomes Three, 201170 éléments Pastel gras sur toile 1464 x 1098 cm

Commande du Centre Pompidou-Metz, 2011

Courtesy Matt Mullican

Public Space With a Roof Model #3 - The Inverted City: Looking through the cracks of a labyrinth, 2011Installation Matériaux divers Dimensions variables

Commande du Centre Pompidou-Metz

Courtesy Public Space With A Roof© Public Space With a Roof, Amsterdam, 2011

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Michel François et François Curlet

Michel François and François Curlet's contribution to Wander takes position on the glass windows above the museum entrance, which are inscribed with curious black lines. They trace the outline of a network, part way between a mechanical circuit and a spider's web. The seemingly random tracings suggest a cracked window that has been hastily repaired with black adhesive tape.Broken glass has been central to Michel François’ work since the late 1980s, either working visually with the imploded, diffuse craquelure effect of shattered glass or, from a more urban and social stance, linking the idea of rebellion to the star-shaped impact of a projectile. The aim in both cases is to alter the transparency of the modern city, and the notions of exposure and surveillance that surround it.Map of Metz (As it was broken) in fact portrays a simplified map of the city. The glass windows become larger-than-life telescopes, trained on the city. Looking outwards, the building becomes a giant observatory, and this stylised representation of the surrounding territory is superimposed on the city itself.

Michel François & François Curlet

Map of Athènes (As it was Broken), 2003Encre noire sur impression offset

© Michel François © François Curlet

Michel François & François Curlet

Map of Athènes (As it was broken), 2003Adhésif noir sur vitre

© Michel François © François Curlet

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6.EXHIBITION DESIgN

Created by La Ville Rayée, the scenography for Wander builds on an existing design that was originally devised by Jasmin Oezcebi for the Masterpieces ? exhibition. It describes a space in which traces of a previous exhibition remain, while hinting at their future disappearance. This de-densification of the existing structure significantly increases the number of possible configurations, and creates the necessary conditions for wandering and drifting.

La Ville Rayée, an architects' collective, was invited to put forward an original proposal, based on the existing structure, that would be both eco-friendly and cost-effective.

La Ville Rayée was set up in 2006 by David Apheceix, Benjamin Lafore and Sébastien Martinez Barat.

The collective refurbished the Galerie Balice-Hertling in Paris, produced a limited edition of tables for Gallery Serge Bensimon and built a summer restaurant for the 2010 Imaginez Maintenant event in Metz. They are currently converting a former paper-mill into an arts centre (Le Moulin) for Galleria Continua in Boissy-le-Châtel, and are working with JC Decaux on experimental urban furniture for the La Défense district on the outskirts of Paris.

lavillerayee.com

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AUSTRIAVIENNAFondation KieslerDieter Bogner, PresidentMonika Pessler, DirectorGenerali FoundationDietrich Karner, PresidentSabine Folie, DirectorDoris Leutgeb, Head of collections

BELgIUmKNOKKEAndré Simoens GalleryAndré Simoens

FRANCELyONMusée Testut Latarjet d'anatomie et d'histoire naturelle médicale de LyonJean-Christophe Neidhardt, Curator of Collections, Société Nationale de Médecine et des Sciences Médicales de Lyon

mETZBibliothèques-Médiathèques de MetzAndré-Pierre Syren, DirectorPierre-Edouard Wagner, Chief Curator, Heritage Department

ORLÉANSFrac CentreFrançois Bonneau, PresidentMarie-Ange Brayer, Director

pARISCentre national des Arts Plastiques, Ministère de la Culture et de la CommunicationAnne-Marie Charbonneaux, Chairwoman of the BoardRichard Lagrange, Director Aude Bodet, Inspector for Artistic Creation, Director, FNAC CollectionsSébastien Faucon, Inspector for Artistic Creation, Head of Plastic Arts CollectionsCentre Pompidou Alain Seban, PresidentAlfred Pacquement, Director, Musée National d’Art ModerneGalerie Air de ParisFlorence Bonnefous and Edouard MerinoGalerie Chez ValentinFrédérique and Philippe ValentinGalerie de MultiplesGiles DrouaultGalerie Martine AboucayaMartine AboucayaMusée du LouvreHenri Loyrette, President and Director

Béatrice André-Salvini, Curator-General, Director of the Asian Antiquities DepartmentElizabeth Fontan, Chief Curator, Asian Antiquities DepartmentMusée GuimetJacques Giès, PresidentCaroline Arhuero, Director of Exhibitions and MuseographyNathalie Bazin, Curator, Nepal and Tibet Department

RAmBOUILLETVille de Rambouillet, Service du Patrimoine-Musée du jeu de l'oie Gérard Larcher, Senate President, Senator of Yvelines, Mayor of RambouilletSophie de Juvigny, Chief Curator

REImS Frac Champagne-ArdenneJean-Michel Jacquet, PresidentFlorence Derieux, Director

SÉLESTATFrac AlsaceClaude Sturni, President of Agence culturelle d'Alsace Olivier Grasser, Director

TOULOUSEFrac Midi-PyrénnéesAlain Mousseigne, Director of Les Abattoirs Pascal Pique, Director of Frac Midi-Pyrénnées

gERmANyBERLINBerlinische Galerie - Landesmuseum für Moderne Kunst, Fotografie und ArchitekturThomas Köhler, DirectorAndreas Piel, Chief CuratorHeinz Stahlhut, Curator, Head of the Modern and Contemporary Art Collection

DUISBURgWilhelm Lehmbruck MuseumRaimund Stecker, DirectorLeinz Gottlieb, Assistant Director, Curator of the Sculptures CollectionMarion Bornscheuer, Chief Curator

ITALymILANArchivio Gianni ColomboLuciano Pizzagalli, PresidentMarco Scotini, Curator

NETHERLANDSTHE HAgUEGemeentemuseum Den HaagBenno Tempel, DirectorTitus Eliens, Head of Collections

Franz W. Kaiser, Head of ExhibitionsFrans Peterse, Curator

LEIDENUniversity LibrariesK.F.K. de Belder, DirectorMaartje Van den Heuvel, Curator Matthijs Holwerda, Head of Collections

OTTERLOKröller-Müller MuseumAnthonie L. Stal, Chairman of the BoardEvert van Straaten, DirectorLiz Kreijn, Associate Director of Collections

pORTUgALpORTOFundação de Serralves - Museu de Arte ContemporâneaJoão Fernandes, Director

SpAINBARCELONAMACBA, Museu d'Art Contemporani de Barcelona ConsortiumBartomeu Marí, DirectorAntònia Maria Perelló, Curator

mADRIDSuccession Cajal, Institut Cajal (CSIC)Ignacio Torres Alemán, DirectorJuan A. De Carlos, Cajal Estate

UNITED KINgDOmEDINBURgHGalerie DoggerfisherSusanna Beaumont and Matt Carter

LONDONStephen Friedman GalleryDavid HubbardTateNicholas Serota, Director of TateCaroline Collier, Director of Tate National Stéphanie Busson, Chief Curator, Tate Modern Sheena Wagstaff, Chief Curator, Tate Modern Lucy Askew, Chief Curator, Artist RoomsCranford CollectionBethany Childs

UNITED STATES LOS ANgELESThe Centre Pompidou-Foundation Robert M. Rubin, PresidentScott Stover, Director

mIAmIThe Ella Fontanals - Cisneros CollectionElla Fontanals-Cisneros, PresidentPatricia Garcia-Velez, Director

NEW yORKMetro Pictures GalleryJanelle Reiring and Helene Winer The Museum of Modern ArtGlen D. Lowry, DirectorRamona Bronkar Bannayan, Chief Curator, Collection Management and Exhibition Registration Christophe Chérix, Chief Curator, Department of Prints and Illustrated Books – The Abby Aldrich RockefellerJodi Hauptman, Curator, Department of DrawingsAnn Temkin, Chief Curator, Department of Painting and SculptureLeah Dickerman, Curator, Department of Painting and SculptureAnn Umland, Curator, Department of Painting and SculpturePaola Antonelli, Curator, Department of Architecture and DesignPaul Galloway, Head of Architecture and Design Study CenterWhitney Museum of American ArtAdam Weinberg, DirectorDonna de Salvo, Chief Curator

VENEZUELA CARACASFondation GegoBarbara Gunz, DirectorPriscilla Abecassis, Administrator

pRIVATE COLLECTIONSMatthias Arndt, Corrado Beldi – Oleggio, Italy, Marie de Brugerolle – Lyon, Bruno Van Lierde – Brussels, Nicholas Logsdail, Philippe Méaille, Gian Enzo Sperone.

ARTISTS' COLLECTIONSVito Acconci, Didier Beaufort, Christophe Berdaguer and Marie Péjus, Agnes Denes, Michel François and François Curlet, Joseph Grigely, Thomas Hirschhorn, Julio Le Parc, Corey McCorkle, Véra Molnar, Matt Mullican, Gianni Pettena, Public Space With a Roof, Isidoro Valcárcel Medina.

7.THE LENDERS

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8.THE CATALOgUE

The catalogue for Wander is the fourth exhibition catalogue to be published by the Centre Pompidou-Metz.

Its design is freely inspired by the mail-order catalogues which Manufacture Française d'Armes et Cycles published in the early 1900s, and which had a longstanding influence on artists. Marcel Duchamp, for example, wanted his catalogue raisonné to take this form; likewise for Jacques Carelman's Catalogue d'objets introuvables ("catalogue of unfindable objects").

There is no hierarchy of content, just a free and non-exhaustive inventory of labyrinthine thought and imaginings. Information about the works mingles with thematic entries in a maze-like mapping of the exhibition. Thus fairy tales, kaleidoscopes, literature on drifting and exhibited works criss-cross the catalogue's pages.

It also includes essays by Eric Duyckaerts, Luc Gwiazdzinski, Marcella Lista, Céleste Olalquiaga, Doina Petrescu, Pierre Rosenstiehl, Olivier Schefer and Philippe Vasset, with prefaces by Alain Seban and Laurent Le Bon.

Graphic design and layout is by Les Associés réunis.

The primary activity of the graphic design studio Les Associés réunis is book design. The agency was founded in 2005 by Gérard Lo Monaco. Following their studies at the graphic arts school ESAG Penninghen, Marie Sourd and more recently Katie Fechtmann joined the studio. The agency produces the graphic design, covers and typography for over twenty works per year published by Hélium and other known publishers including Denoël, 10/18 and Gallimard.

lesassociesreunis.com

Description

272 pages

Only in French

Publication in September 2011

€39,00

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Les Associés réunis Catalogue cover and inside pagesScreen-printed canvas cover

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9.THE EXHIBITION gAmE:

LAByRINT* IN A VALISE (*H)An enigma within an enigma, Labyrint* in a Valise (*h) is an exhibition-sized game that revives the tradition of garden mazes, where clues were scattered or whispered among the hedges. An initiatory quest where poems, works, quotes and equations weave a thread of romance and adventure through the exhibition.

A prize will reward visitors who resolve the enigmas, riddles and the Mystery that await them inside the exhibition labyrinth.

Keep track of the game, specially devised for the exhibition and which runs for its duration, on the Centre Pompidou-Metz website (“Le jeu Erre” / “The Wander Game”) and Facebook page.

THE LAByRINT* IN A VALISE (*H) CARD gAmE

A pack of 49 cards, this "Labyrinth in a Valise" snakes its way through the Centre Pompidou-Metz and out into the town itself. Players discover a set of clues and enigmas with which to imagine an itinerary, pulled along by the power of attraction of an ideal being. The visitor’s task is to find the way out of this maze of images, texts and mathematical formulas. A game that is part puzzle, part divination, and part…

Price: €10,00

Elaborated by the independent curator Jean de Loisy at the invitation of the curators of Wander.

Jean de Loisy is President of the Palais de Tokyo. His previous positions include Inspector for Creation at the Ministry of Culture, Curator at the Fondation Cartier and Curator at the Centre Georges Pompidou. He has also directed and co-directed a number of art venues in France. Jean de Loisy has staged numerous solo shows and other memorable exhibitions, including “La Beauté” in Avignon in 2000, and “Traces du Sacré” at the Centre Pompidou in 2008. He curated “Monumenta 2011 / Anish Kapoor” at the Grand Palais and the Israeli Pavilion by Sigalit Landau at the 2011 Venice Biennale. His current projects include an exhibition of works by Jacques Lizène at the Passage de Retz in Paris in October 2011, and an exhibition on shamanism, “Les Maîtres du Désordre”, at the Musée du Quai Branly in 2012.

With contributions from Estelle Delesalle, artist, and Laurent Derobert, philosopher and mathematician. In partnership with the Ecole Supérieure d’Art d’Avignon.

1 The game's title was inspired by Marcel Duchamp's la Boîte-en-valise (Box in a Valise).

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10.CREDITS

WANDER IS pRODUCED By THE CENTRE pOmpIDOU-mETZ

EXHIBITION WANDERCurators Hélène Guenin

Guillaume Désanges

Assisted by Élodie Stroecken

Associate Curator for the Labyrint* in a Valise (*h) game Jean de Loisy

Production Manager Fanny Moinel

Scenographer La Ville Rayée

David Apheceix, Benjamin Lafore

and Sébastien Martinez Barat

based on original graphic elements

designed by Jasmin Oezcebi

Research Assistants Léa Bismuth

Laure Jaumouillé

Work MethodMélanie Mermod

Hélène Meisel

Caroline Bléteau

Works Registrars Eléonore Mialonier

Irene Pomar

Galleries Registrars Alexandre Chevalier

Clitous Bramble

AV Production Manager Géraldine Celli

AV and Lights Jean-Philippe Currivant

Graphic Design for the Exhibition, Invitation and Signage Les Associés réunis

Gérard Lo Monaco,

Katie Fechtmann, Marie Sourd

and Léopold Roux

Pop-up: Bernard Duisit

Museum Signage Coordinator Les Pointilleuses

Aurélia Monnier

Lighting Design Odile Soudant - Lumières Studio

Odile Soudant, Alix Abanda

and Mélanie Dessales

Internship Assistants Thibault Casagrande, Sophie

Chiarla, Aline Elwert, Mathieu

Loctin, Pauline Mellinger,

Alice Pfister, Juliette Pollet,

David Rodriguez, Raphaël Saubole

and Coline Soubieux.

École supérieure d'art de Lorraine:

Bérenger Barois, François Bellabas,

Bernard Gissinger, Lucie Linder,

Anaïs Prioux and Pierre Von-Ow

LABYRINT* IN A VALISE (*H)

Game elaborated by Jean de Loisy

With participation from Estelle

Delesalle and Laurent Derobert

Coordination by Jean-Baptiste

de Beauvais

In partnership with the École

supérieure d'art d'Avignon, Jean-

Marc Ferrari, Director

CATALOGUE

Editors in chief Hélène Guenin and

Guillaume Désanges

EditorElsa Belaieff

Image Researchers Aurianne Cox and Marie Rocamora

Copy Editing and Proofreading Les Pointilleuses

Aurélie Argellies, Céline Derouet

and Ana Sinde

Graphic Design Les Associés réunis

Gérard Lo Monaco,

Katie Fechtmann and Marie Sourd

Maquette: Katie Fechtmann

Manufacturing Coordinator Dominique Oukkal

CENTRE pOmpIDOU-mETZBOARd Of AdMINISTRATORS

President Alain Seban, President

Honorary President Jean-Marie Rausch

Vice-President Jean-Luc Bohl, President of Metz

Métropole

Representing the Centre Pompidou Alain Seban, President,

Agnès Saal, Chief Executive,

Jean-Marc Auvray, Director

of Legal and Financial Affairs,

Bernard Blistène, Director of

Cultural Development, Frank

Madlener, Director of Institut

de Recherche et Coordination

Acoustique/Musique (IRCAM),

Alfred Pacquement, Director of

Musée National d'Art Moderne,

Vincent Poussou, Director

of Educational and Public

Programmes.

Representing Metz Métropole Jean-Luc Bohl, President, Antoine

Fonte, Vice-President, Pierre

Gandar, Community Counsellor,

Patrick Grivel, Community

Counsellor, Henri Hasser,

Vice-President, Thierry Hory,

Vice-President, William Schuman,

Community Counsellor.

Representing the Conseil Régional de Lorraine Jean-Pierre Masseret, President,

Nathalie Colin-Osterlé, Regional

Councillor, Josiane Madelaine,

Vice-President, Roger Tirlicien,

Chairman of the Commission

on Social and Inter-regional

Relations, Thibault Villemin,

Vice-President.

Representing the StateChristian Galliard de Lavernée,

Préfet for the Lorraine region,

Préfet for the Moselle department.

Representing the City of Metz Dominique Gros, Mayor of Metz

Richard Lioger, First Deputy Mayor

Ex-Officio Frédéric Lemoine, Chairman

of the Wendel Group Executive

Board,

Patrick Weiten, President

of the Conseil Général

de la Moselle

Representing Staff of the Centre Pompidou-Metz Philippe Hubert, Technical Director

Benjamin Milazzo, Visitor Relations

and Membership Officer

Management

Laurent Le Bon Director

Claire Garnier Personal Assistant

and Project Coordinator

General Secretariat

Emmanuel Martinez Secretary General

Pascal Keller Assistant Secretary General

Julie Béret Administrative Coordinator

Hélène de Bisschop Legal Advisor

Émilie Engler Secretarial Assistant

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Department of Administration and Finance

Jean-Eudes Bour Head of Department - Accountant

Jérémy fleur Accounts Assistant

Audrey JeanrontHuman Resources Management

Assistant

Ludivine Morat Administrative Coordinator

Alexandra MorizetPublic Contracts Coordinator

Department of Building Maintenance and Operations

Philippe Hubert Technical Director

Christian BertauxHead of Building Maintenance

Sébastien BertauxChief Electrician

Vivien CassarTechnical Coordinator

Jean-Pierre del VecchioSystems and Networks

Administrator

Christian HeschungHead of Information Systems

Stéphane LeroyOperations Manager

André MartinezHead of Security

Jean-david PuttiniPainter

Department of Communications and Development

Annabelle TürkisHead of Department

Erika ferrand-CooperCommunications and Events Officer

Marie-Christine HaasMultimedia Communications

Officer

Louise MoreauCommunications and Press

Relations Officer

Marine Van SchoonbeekCommunications and Public

Relations Officer

Amélie WatiezCommunications and Events Officer

Aurélien ZannMultimedia Communications

Officer

Pauline fournierPublic Relations Assistant

(cooperative education programme)

Department of Production

Anne-Sophie Royer Head of Department

Charline BeckerProject Manager

Clitous BrambleGalleries Registrar

Géraldine CelliPerforming Arts Production Officer

Alexandre ChevalierGalleries Registrar

Jean-Philippe CurrivantTechnical Registrar

Olivia davidsonProject Manager

Jennifer GiesProject Manager

Thibault LeblancPerforming Arts Registrar

Eléonore Mialonier Works Registrar

fanny MoinelProject Manager

Irene PomarWorks Registrar

Department of Programming

Hélène Guenin Head of Department

Ada Ackerman Research and Exhibitions Officer

Camille Aguignier Research and Exhibitions Officer

Elsa Belaieff Editor

Léa Bismuth Editorial Assistant

Claire Bonnevie Editor

Matthieu Goeury Studio and Wendel Auditorium

Programming Officer

Laure Jaumouillé Research and Exhibitions Officer

Anaïs Lellouche Programming Assistant

and Assistant to the Director

Alexandra Müller Research and Exhibitions Officer

dominique Oukkal Manufacturing Coordinator

Élodie StroeckenCoordinator and Assistant

to the Department

Ada AckermanResearch and Exhibitions Officer

Department of Visitor Relations

Aurélie dablanc Head of Department

fedoua Bayoudh Visitor Relations and Tourism

Officer

djamila Clary Assistant to the Department

Jules Coly Visitor Relations, Information

and Accessibility Officer

Anne-Marine Guiberteau Youth Programming and Youth

Activities Officer

Benjamin Milazzo Visitor Relations and Membership

Officer

Anne Oster Educational Establishments

Relations Officer

Internship / Assistants

Ophélie Binet, Evelyne Briand,

Sonia Cabon, Caroline Darcq,

Amélie Evrard, Nastasia Gallian,

Nadia Kabbach, Eliane de

Larminat, Sarah Ligner,

Pauline Mellinger, Aurèlia Ongena,

Juliette Pollet, Marianne Pouille,

Mathieu Taraschini

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Not about everything, Daniel Linehan©Jason Somma

LIVE pERFORmANCE

NOT ABOUT EVERyTHINg DANIEL LINEHAN DANCE30.09.2011 (in partnership with Nuit Blanche 4)10.30pm - Studio 35 minutes

01.10.2011 6pm - Studio

FILm

CUBE VINCENZO NATALI01.10.2011 4pm – Auditorium Wendel 90 minutes

STALKER ANDREI TARKOVSKI02.10.2011 4pm – Auditorium Wendel 163 minutes

The Centre Pompidou-Metz stages a regular programme of multidisciplinary events in its different spaces - Wendel Auditorium, Studio and Forum – as well as at outside venues. De-partitioning spaces and content in this way creates opportunities for dialogue between the exhibitions and live performances.

Presented in seasons, these events further develop the themes examined in the exhibitions through other modes of expression, including live performance, music, lectures and films.

As a place to experiment with new ideas and experiences, Centre Pompidou-Metz takes an original and engaging approach to modern and contemporary art by bringing different disciplines together and encouraging real exchange between artists and audiences.

The start to the 2011-2012 season is developed around Wander with weekend events that echo the exhibition's themes.

SEpTEmBER – OCTOBER>TEmpS FORT 1 (HIgHLIgHTS 1)Echoing the Captive section of “Wander, Labyrinthine Variations”

11.EVENTS AND pERFORmANCES

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OCTOBER>TEmpS FORT 2 (HIgHLIgHTS 2)

LIVE pERFORmANCEINSTANTANÉ (SNApSHOT), FANNy DE CHAILLÉInstantanés (Snapshots) invites artists for one week, during which the public can discover different aspects of their work. After Tiago Guedes in January 2011 and Hubert Colas in March 2011, Fanny de Chaillé will take up residency at the Centre Pompidou-Metz and other partner venues in October 2011. Fanny de Chaillé works in a number of fields, including dance, theatre, readings and performance art, but always with the same objective: to explore her raw material, language. After working with Daniel Larrieu, Rachid Ouramdane, Emmanuelle Huynh and Alain Buffard, in November 2009 she became an associate artist of the Théâtre de la Cité Internationale in Paris.

LE VOyAgE D’HIVER FANNy DE CHAILLÉ BASED ON gEORgES pEREC pERFORmANCE READINg12.10.20117pm - Ecole Supérieure d'Art de Lorraine (Metz) 20 minutes

gONZO CONFÉRENCE + CONCERT FANNy DE CHAILLÉ, FOR AND WITH CHRISTINE BOmBALpERFORmANCE LECTURE14.10.20118.30pm - Les Trinitaires40 minutes + concert

JE SUIS UN mETTEUR EN SCÈNE JApONAIS FANNy DE CHAILLÉ pERFORmINg ART15.10.20118.30pm - Studio60 minutes

VISIT AND INTERpRETATION OF WANDER

LA VISITE DE FANNy (VISIT WITH FANNy) FANNy DE CHAILLÉgUIDED EXHIBITION TOUR COmmENTED AND INTERpRETED By FANNy 15.10.201111am – Meeting point in front of the Here and There space (Forum) at 10.50 am30 minutes

LA COURSE DE LENTEUR FANNy DE CHAILLÉpARTICIpATIVE pROJECT FOR pUBLIC SpACE16.10.201111h30 - Parvis des Droits-de-L’Homme

NOVEmBER>TEmpS FORT 3 (HIgHLIgHTS 3)Echoing the The mental labyrinth section of “Wander, Labyrinthine Variations”

"FROm TRANCE TO TRANSCENDENCE" 18.11.2011 > 20.11.2011

ORBES EmmANUEL HOLTERBACH, SOpHIE DURAND mUSIqUE18.11.20118pm - 49 Nord 6 Est - Frac Lorraine

VERTIgES DU DÉpLACEmENT OLIVIER SCHEFER CONFERENCEfollowed by

« TWO INTO ONE BECOmES THREE » mATT mULLICAN TALK / pERFORmANCE 19.11.20115pm – Auditorium Wendel and Grande Nef

Gonzo Conférence, Fanny de Chaillé©Marc Domage

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pERFORmANCE DE CHLOÉ mAILLET & LOUISE HERVÉ CHLOÉ mAILLET & LOUISE HERVÉpERFORmANCES20.11.20114pm – La Synagogue de Delme contemporary arts centre – Conseil général de Moselle

Partners: La Synagogue de Delme contemporary arts centre; 49 Nord 6 Est – Frac Lorraine

DECEmBER>TEmpS FORT 4 (HIgHLIgHTS 4)Echoing the Space / Time section of “Wander, Labyrinthine Variations”

LIVE pERFORmANCEINSTANTANÉ (SNApSHOT) ANTOINE DEFOORT / HALORy gOERgER / JULIEN FOURNET Warning, sci-fi! Echoing the Space/Time section of Wander, Centre Pompidou-Metz has invited three inspired inventors to make a stopover in Metz. Join Antoine Defoort, Halory Goerger and Julien Fournet for an introduction to the music-hall of 2052, DIY sci-fi, masterpieces of speculative cinema, and football…but not as we know it! With a sometimes light and often offbeat touch, the three performers set us thinking about the world of today by making us laugh about the world of tomorrow.

mÉTRAgE VARIABLE HALORy gOERgERpERFORmANCE01.12.20118pm - Espace Bernard-Marie Koltès – Théâtre Universitaire du Saulcy55 minutes

INDIgENCE = ÉLÉgANCE ANTOINE DEFOORT pERFORmANCE01.12.20119pm - Espace Bernard-Marie Koltès – Théâtre Universitaire du Saulcy55 minutes

&&&&& & &&& ANTOINE DEFOORT AND HALORy gOERgERpERFORmANCE / INSTALLATION03.12.2011 > 04.12.201103.12 from 2.30pm to 5.30pm and 04.12 from 2pm to 5pm admission at any time - Studio60 minutes on average

VISIT AND INTERpRETATION OF WANDER

LA VISITE D’ANTOINE ET HALORy (VISIT WITH ANTOINE AND HALORy) ANTOINE DEFOORT AND HALORy gOERgERgUIDED EXHIBITION TOUR COmmENTED AND INTERpRETED By ANTOINE AND HALORy04.12.201111am – Meeting point: in front of the Here and There space (Forum) at 10.50am 30 minutes

CHEVAL ANTOINE DEFOORT AND JULIEN FOURNETpERFORmANCE07.12.20118pm - Espace Bernard-Marie Koltès – Théâtre Universitaire du Saulcy60 minutes

Cheval, Antoine Defoort et Julien Fournet© Guillaume Schmitt

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LES 1 000 RêVES DE STELLAVISTA 15.10.2011 > 05.02.2012La Synagogue de Delme contemporary arts centre

This exhibition questions how architecture relates to ghosts, the archaeology of customs and memory. It also considers how a memory can remain alive despite the passage of time and the sedimentation of past customs. The exhibition title refers to JG Ballard's short story, The Thousand Dreams of Stellavista, in which the author describes a strange city in which psychotropic houses retain the psychology of their successive inhabitants. The houses continue to respond to their owners’ affects, as though they were physical extensions of their moods.

Group show with Inassi Aballi, Samuel Beckett, Stanley Brouwn, Clino Trini Castelli, Delphine Coindet, Dunne and Raby, Michel François, Peter Friedl, Tamar Guimaraes, Susan Hiller, Sherrie Levine, Chloé Maillet and Louise Hervé, Gianni Pettena, François Roche

Curators: Christophe Berdaguer & Marie Péjus, artists, and Marie Cozette, Director of La Synagogue de Delme contemporary arts centre

Centre d’art contemporain – la synagogue de Delme 33 rue Poincaré 57590 Delme +33 (0)3 87 01 35 61 cac.delme@wanadoo.fr cac.synagoguedelme.org

LE mOINS DU mONDE 07.10.2011 > 08.01.2012Frac Lorraine

An experience of inner sensations through retinal and auditory waves and vibrations.

Meditation lies at the core of many religions and spiritual belief systems, as do medical practices, perhaps because an empty mind and altered states of consciousness are inherently part of the way our mind and brain function. Altering this through meditation could also transform our way of being.

Le Moins du Monde* is a moment of meditation, a mental eclipse in search of invisible realities.

In association with Fragment for the audio and music selection. Full programme at www.fraclorraine.org

*Title borrowed from Roger Munier (b. 1923 in Nancy, d. 2010 and buried in Xertigny in the Vosges).

Artists: Marina Abramovic, Susanna Fritscher, Craigie Horsfield, Ann Veronica Janssens, Tania Mouraud, Yazid Oulab, Peter Vermeersch, Ian Wilson & Charles Curtis, Jean-Claude Eloy, Morton Feldman, Henry Flint, Catherine Christer Hennix, Eliane Radigue et al.

49 Nord 6 Est – Fonds régional d’art contemporain de Lorraine 1 bis, rue des Trinitaires 57000 Metz +33 (0)3 87 74 20 02info@fraclorraine.org fraclorraine.org

12.pARTNER VENUES

"FROm TRANCE TO TRANSCENDENCE" 18.11.2011 > 20.11.2011

A weekend of altered states of consciousness and trances: from meandering thoughts to meditation, from the search for different levels of perception and understanding to the creatures that wander in other spheres of reality, this weekend embarks on a journey of the mind to three different sites and three exhibitions. Performances, lectures and visits explore the different ways of going beyond the rational world, duplication, multiple personalities and the wandering that produces meanings and forms.

Partners: La Synagogue de Delme contemporary arts centre; 49 Nord 6 Est - Frac Lorraine

Artists / guests: Matt Mullican, Chloé Maillet & Louise Hervé, Olivier Schefer, Emmanuel Holterbach and Sophie Durand

EXHIBITIONS

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OpENINg HOURS Centre Pompidou-Metz is open every day except Tuesday and 1st May. Opening times are as follows (subject to modification):

Monday .................... 11am - 6pmTuesday ................... closed Wednesday .............. 11am - 6pmThursday ................. 11am - 8pmFriday ...................... 11am - 8pmSaturday .................. 10am - 8pmSunday ..................... 10am - 6pm

Last ticket sales 45 minutes before closing time.

ADmISSION General admission: €7A ticket gives admission to all the exhibitions showing on the day of your visit.

Free admission (on presentation of an official document) for:— under 26s, — teachers with a Pass Education, — disabled visitors and a companion, — job-seekers who are registered in France

(proof of status must be less than 6 months old),

— beneficiaries of income support (proof of status must be less than 6 months old),

— beneficiaries of a basic State pension, — registered tour guides, — holders of an Icom, Icomos or Aica card, — journalists with a press card, — artists registered with the Maison

des Artistes.

The priority line is for:— holders of a Centre Pompidou-Metz “Pass”

membership card,— disabled visitors and a companion,— persons with reservations or pre-paid

admission, — holders of an Icom, Icomos or Aica card, — journalists with a press card.

Audioguides : €3 Multimedia audioguides can be rented at the ticket desk. Languages: French, English, German. Adapted for hearing-impaired visitors (AFIL).

For more information go to centrepompidou-metz.fr

gROUpS Visit with a Centre Pompidou-Metz guide Price: €170 Languages: French, English, GermanThe price includes admission, a 90-minute guided tour and group booking fees.Groups are strictly limited to 20 people.

Self-led group visit or with a guide from outside the Centre Pompidou-Metz: Price: €7 per person + €20 booking fee for priority access

Groups are strictly limited to 20 people.

WHERE TO BUy TICKETS Online at centrepompidou-metz.fr and through the Fnac, Digitick, France Billet and TicketNet services

On site from the ticket desks or the ticket machines

HOW TO gET TO THE CENTRE pOmpIDOU-mETZ On foot: a 2-minute walk from the high-speed TGV Metz Ville station; 10 minutes from the historical town centre.

By car: A4 (Paris / Strasbourg) and A31 (Luxembourg / Lyon) motorways, exit Metz Centre. Underground 700-space parking garage on avenue François Mitterrand. Open 24/7.

By coach: A4 (Paris / Strasbourg) and A31 (Luxembourg / Lyon) motorways, exit Metz Centre. Group drop-off zone on avenue François Mitterrand; reserved coach parking on avenue Louis Débonnaire.

By train: high-speed TGV Metz Ville station with direct trains from Paris (1hr 20min) and Luxembourg City (40 min). “Lorraine TGV” station (29 km from Metz, shuttle service) with directs trains from Lille Europe (2hrs), Rennes (4hrs), Bordeaux (5hrs) and Frankfurt (2hrs 40min).

By plane: Metz-Nancy Lorraine Airport (33 km / 20 min), Luxembourg Airport (69 km / 45 min), Sarrebruck Airport (79 km / 1h), Zweibrücken Airport (110 km / 1h20).

Centre Pompidou-Metz 1, parvis des Droits-de-l'Homme CS 60490 F-57020 Metz Cedex 1 +33 (0)3 87 15 39 39 contact@centrepompidou-metz.fr

centrepompidou-metz.fr

Join Centre Pompidou-Metz on Facebook and Twitter!

13.VISITOR INFORmATION

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14.pATRONS AND pARTNERS

The Centre Pompidou-Metz is the first offshoot of a French cultural institution, the Centre Pompidou, developed in collaboration with a regional authority, the Communauté d’Agglomération de Metz Métropole (the combined district council for the Greater Metz area).

Greater Metz was the contracting authority for the project and provided the majority of funding, in association with the City of Metz (agent) and the Centre Pompidou. Construction of the Centre Pompidou-Metz also received funding from the Conseil Général de la Moselle, the Conseil Régional de Lorraine, the French State and the European Union (European Regional Development Fund – ERDF).

The Centre Pompidou-Metz is an “Établissement Public de Coopération Culturelle” (public establishment for cultural cooperation) whose founding members are the French State, the Centre Pompidou, the Lorraine Region, Communauté d’Agglomération de Metz Métropole and the City of Metz.

The Centre Pompidou-Metz would like to thank all its partners for their essential contribution to the staging of its exhibitions.

In collaboration with Vranken-Pommery Monopole

Work by Isidoro Valcárcel Medina is presented thanks to funding from the AC/E Acción cultural española (Seacex)

Work by Public Space With a Roof is produced thanks to funding from Fondation Mondriaan and Fonds BKVB / Netherlands Foundation for visual arts, design and architecture

Centre Pompidou-Metz would also like to thank SAMSUNG Electronics France

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15.pRESS VISUALS (UpON REqUEST)

Download visuals for the exhibition at centrepompidou-metz.fr/photothequewith the following user name: presse and password: Pomp1d57.

Any and all use of these visuals requires prior authorisation from successors, or agencies managing artists’ royalties, notably ADAGP, which must give prior permission to reproduce these visuals which are subject to the terms and conditions set out below. All royalties must be paid.

Press publications which have an agreement with ADAGP should refer to the terms of this agreement.

All other press publications Royalties are waived for the first two reproductions illustrating an article on a current event up to a maximum of one quarter-page; in excess of this number or format, reproduction rights must be paid; any reproduction on a front cover or front page must have the prior permission of the ADAGP Press Division.

Online publications Royalties are waived for the first two reproductions illustrating an article on a current event; in excess of this number, reproduction rights must be paid.

Contacts à l'ADAGPPatricia Louot & Géraldine de Spéville Société des Auteurs dans les Arts Graphiques et Plastiques 11, rue Berryer - 75008 Paris, France

Tél. : +33 (0)1 43 59 09 79 - Fax. : +33 (0)1 45 63 44 89

adagp.fr

Press contacts

EPCC Centre Pompidou-MetzLouise Moreau

+33 (0)3 87 15 39 63louise.moreau@centrepompidou-metz.fr

Claudine Colin CommunicationDorélia Baird-Smith+33 (0)1 42 72 60 01

centrepompidoumetz@claudinecolin.com