COMMUNICATIONS AND PARTNERSHIPS DEPARTMENT PRESS PACK ALINA SZAPOCZNIKOW FROM DRAWING INTO SCULPTURE FEBRUARY 27 - MAY 20, 2013 ALINA SZAPOCZNIKOW

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1 COMMUNICATIONS AND PARTNERSHIPS DEPARTMENT PRESS PACK ALINA SZAPOCZNIKOW FROM DRAWING INTO SCULPTURE FEBRUARY 27 - MAY 20, 2013 ALINA SZAPOCZNIKOW

2 ALINA SZAPOCZNIKOW FROM DRAWING INTO SCULPTURE FEBRUARY 27 - MAY 20, 2013 GALERIE D ART GRAPHIQUE, LEVEL 4 February 25, 2013 CONTENTS Communications and Partnerships Department Paris cedex 04 Director Françoise Pams telephone (0) francoise.pams@centrepompidou.fr Press officer Céline Janvier telephone (0) celine.janvier@centrepompidou.fr 1. PRESS RELEASE PAGE 3 2. PUBLICATION PAGE 4 3. EXCERPTS FROM THE CATALOGUE PAGE 5 4. LIST OF WORKS ON DISPLAY PAGE 8 5. PRESS IMAGES PAGE PRATICAL INFORMATION PAGE 18

3 February 25, 2013 Communications and Partnerships Department Paris cedex 04 Director Françoise Pams telephone (0) Press officer Céline Janvier telephone (0) PRESS RELEASE ALINA SZAPOCZNIKOW FROM DRAWING INTO SCULPTURE FEBRUARY 27 - MAY 20, 2013 GALERIE D ART GRAPHIQUE, LEVEL 4 From February 27 to May 20, 2013, the Centre Pompidou retrospective of Alina Szapocznikow s graphic work will, feature a selection of over one hundred works on paper, along with a series of nine sculptures. While Alina Szapocznikow s works are very much present in Polish museums collections, the country where she was born, France her country of choice, has been forgetful since 1973 when Suzanne Pagé curated an exhibition of her work right after her death. She was first shown at the Centre Pompidou as part of the group exhibition Présences polonaises, held in the Grande Galerie from June 23 to September 26, Then, in 2007 a set of twenty Photosculptures from 1971 entered the Centre Pompidou s collection and was then exhibited at the Kassel Documenta where it received much attention. She was then part of the 2009 rehang of the collection, elles@centrepompidou was also included in the 2010 exhibition Les Promesses du passé, in the Galerie Sud,. Today, the Centre Pompidou pays tribute to Alina Szapocznikow by revealing the extent and the very unique quality of her graphic work, which remaisn little know to this day and has never been exhibited. For this artist, drawing was not a means to round up but rather to kickstart a project. Therefore, while some of her drawings are linked to her research for a specific sculpture, others stand perfectly on their own. The human body and her own body specifically are the privileged subject matter for her works on paper works on paper and sculptures which reveal a disarticulation of the form, to quote French art critic Pierre Restany. In them, the artist will probe or dismember the or even use it together with found objects. These bodily deconstructions obtained on paper are quite varied and, depending on the period, can appear smooth or dense, massive or subtle. Her graphic work bears testimony to the vitality of her artistic language and make the case for what is undoubtedly the most significant rediscovery of the beginning of this new century. Opening with some early drawings, the exhibition s main focus is on her Paris years when organic and sculptural forms as well as technical experiments give birth to marvelous graphic works. In the last part of the exhibition ( ), her works make room for colour in a more dreamlike world, reminiscent of surrealism. From drawing to sculpture gives pride of place to the Centre Pompidou s recent acquisitions, showing five drawings and one impirtnat sculpture Fétiche II [Fetish II] ( ) which were acquired in 2012 thanks to the generosity of the Friends of the National Museum of Modern Art (Société des amis du Musée national d art moderne).

4 4 2. PUBLICATION Catalogue ALINA SZAPOCZNIKOW, FROM DRAWING INTO SCULPTURE 184 p. 19 x 24 cm Coedition Éditions Dilecta / Éditions du Centre Pompidou Preface Alfred Pacquement, Essays by Anne Tronche, Jonas Storsve, Annette Messager and Jola Gola Price : 39

5 4 3. EXCERPTS FROM THE CATALOGUE* by Jonas Storsve, curator of the exhibition * Catalogue released for the exhibition Alina Szapocznikow by the Centre Pompidou, co-published with Dilecta Since the recent resurrection of the work of Alina Szapocznikow, the focus has essentially been on the sculptures of this remarkable French-Polish artist. She is uncontestably an immense sculptor, but the high quality of her abundant drawings more than merits our further consideration. The catalogue raisonné of her drawings, established by the Polish art historian Jola Gola and published in 2004 by Jósef Grabski, contains six hundred and twenty items and is still incomplete. In her recent analysis of the drawings of Alina Szapocznikow, Allegra Pesenti identifies four periods in her short career. The first period is related to her academic training and the study of the human body in Prague ( ), then at the École nationale supérieure des beaux-arts de Paris ( ). This is followed by the Polish period ( ), characterised by official commissions, then by her initial experimentation with both form and materials (cement, resins, glass and stone inlays). The contours of the body gradually relaxed and metamorphosed into anthropomorphic objects. The third period is characterised by a disarticulation of form, as Pierre Restany called it, the critic who followed and defended the artist s work, starting with her participation in the Biennale de Paris in This period corresponds to her Parisian years, until the onset of her illness ( ). The final sequence ( ) shows the emergence of colour in a more dreamlike manner, sometimes reminiscent of surrealism, a tradition that Alina Szapocznikow never strayed far from. Among the many academic drawings, a few more personal pieces stand out. The beautiful self-portrait with long hair (cat. 1) that Jola Gola suggests dates from , most likely completed in Prague, was unfortunately not able to be found for the exhibition. In another, seated, self-portrait (cat. 2), ambitiously drawn on a larger format, she presents herself in a pensive manner, with her hair in a Parisian style. Before leaving for Poland in 1951, Alina Szapocznikow and Ryszard Stanisławski, who she met in Paris in 1948 and married in the summer of 1952, travelled across France to Brittany, where she drew religious sculptures, in particular, in Daoulas and Locquirec, before visiting Picasso in Vallauris. While the beautiful drawings of workmen, made in Poland, correspond well to the programme of socialist realism advocated by the ruling power, one of them, Étude d un homme debout vu de dos avec une rame [Study of a man standing seen from behind with an oar] (cat. 4), seems to rework the composition of a painting by Pierre Subleyras, Carron passant les ombres (circa 1735) which Alina Szapocznikow may very well have seen at the Louvre. Another drawing from the same group seems reminiscent of Les raboteurs de parquet (1875) by Gustave Caillebotte, a painting on display at the Jeu de Paume, which reopened in 1947 as a museum dedicated to the Impressionists. The roses that she drew in 1959 slowly metamorphose into anthropomorphic forms (cat. 5-8), which announce the sculpture Femme-Rose [Woman-Rose]. Towards the end of the 1950s, the artist participated in numerous competitions for official monuments and some of her drawings, such as cat , are linked to this aspect of her work. Others are linked to sculptures in smaller formats, such as the two drawings (cat. 9-10) announcing Le bouffon [The Jester], a work made in , which we can compare to one of the rare colour drawings of this period (cat. 11), reproduced as early as 1960 in the catalogue of her solo exhibition in Sopot, Poland. For the catalogue of her exhibition at the Krzywe Koło Gallery in Warsaw, also in 1960, Alina Szapocznikow experimented with a new technique: the monotype enhanced with ink. Each copy of this catalogue thus contains an original artwork. She would later continue to explore this technique in several series of works, firstly in 1961, then between 1963 and 1965, in Paris, where she was to perfect it. She probably produced her only known print in The catalogue raisonné describes the fifteen known copies as monotypes, but they are clearly lithographs printed either onto beige or pale blue paper (cat.17-18). It seems that only one copy was printed onto grey paper. The motif is similar to that of the sculpture L étoile en marche [The Walking Star] (1961) that the artist exhibited at the Venice Biennale in 1962.

6 5 After the summer of 1963, Alina Szapocznikow, her son Piotr, and RomanCieslewicz, her partner since 1957 and future second husband, definitively left Polandand settled in Paris. This was to become her most fertile period of creation. This creativitynot only concerned her sculpture, but also her drawings, which became more liberatedand ambitious. On paper, she developed ideas that sometimes resulted in sculptures, but the drawings possess such an autonomous power that they immediately stand out as singular artworks. She used new techniques such as felt-tip pens, but it was her ink drawings, with their finely traced lines, that dominated. Abstract forms with anthropomorphic accents interacted and merged. They were complete with bases, as though they were too heavy to support themselves (cat. 30). While small formats predominated, the artist sometimes dared to use a more monumental format that allowed her to evoke grotesque, deformed, and monstrous bodies. The quasi-obsessional preoccupation with the human body manifested itself differently in the monotypes of the same period. To produce them, the artist coated pieces of wood or carton in ink, which she then printed several times onto the paper. In this way, we also recognise the same matrix from one monotype to another. Some of these large sheets of paper with ink prints evoke X-rays of different elements of a body, an imagery that it is tempting to associate with the artist s biography and her problems with tuberculosis, but which she more than surpasses in this boundless exploration of fragmented bodies. This fascination with the body split into parts has often been explained by Alina Szapocznikow s biography, namely through her work in the infirmary of the death camps (to which she owes no less than her survival). But leaving the analysis at that would mean reducing her work to an act of memory, whereas her goal is to inscribe her work into an artistic tradition, while revolutionising it. As soon as she arrived in Paris in 1946, she most likely visited the Rodin Museum, which she returned to during the summer of 1956, when she participated in an international exhibition of contemporary sculpture organised at the Hôtel Biron. Who better than Rodin to offer her guidance in terms of bodily fragmentation? The forms with bases or hung on columns resulted in 1967 in the luminous monumental sculpture Kaprys-Monstre [Kaprys-Monster] (cat. H), made from polyester resin. This monstrous sculpture presents an orifice that is both sealed and revealed by the translucent resin, surrounded by red tentacular forms. It was preceded by several sets of drawings, brought together here for the first time alongside the sculpture. They are sketches that truly allow us to follow the artist s working method very closely, based on an initial ink drawing dating from 1963, which she apparently returned to several years later, in order to rework the subject, this time in felt-tip pen or with a basic graphite pencil. Eroticism is omnipresent in these abstract forms with their everso- bodily connotations. Despite her growing visibility which no doubt reached its apogee with the solo exhibition of her sculptures at the Florence Houston-Brown gallery in the spring of 1967, accompanied by a little catalogue designed by Roman Cieslewicz, with a preface by Pierre Restany the Parisian public remained largely sceptical of Alina Szapocznikow s work, which she nonetheless pursued with lucidity and determination. It is also worthy of note that she participated in the inaugural exhibition of Design SA, on Boulevard Saint-Germain, in the autumn of 1968: the most exclusive design gallery of the time, whose inauguration was a real event on the Parisian agenda. It is as though Alina Szapocznikow wanted to domesticate and exorcise the disease she contracted in 1969: tumours appeared in her sculptures, but especially in her drawings, in which she allowed growths to invade naked bodies, with this curse afflicting women and men indifferently. Yet even when Thanatos came into play, Eros still remained alert: as testified by the wide-open pubic areas in two drawings of women ridden with tumours, from 1970 (cat ). In the drawing of a man s body with truncated arms at the level of the biceps, the disease almost becomes a decorative element, with its rounded forms inscribed within the body itself (cat. 80). During her relapse in 1972 and the mastectomy she underwent in June, she handled the illness with a good dose of black humour. She described her hospitalisation in a letter addressed to her friend Annette Messager, which she illustrated on two pages, with a contorted cartoon. She reworked the description of her operation, but without text, in a second set of drawings, probably intended to be attached to another letter (cat ). According to Jola Gola, Alina Szapocznikow produced her largest corpus of drawings in 1971, for the exhibition Instants et choses at the Galerie Aurora in Geneva. The catalogue raisonné mentions twenty-seven of them. They were large formats,

7 6 measuring 65 x 50 cm or 63 x 48 cm. This graphic series alone would have been enough to establish the artist s work within the art history of the second half of the 20 th century. She traces monstrously grotesque and deformed bodies in black ink, with her thin and fluid line. They are nonetheless always identifiable as bodies, figures that form a parade of barely imaginable beings, as though hell had spat up its most abject creatures. The violence of these compositions, of unparalleled graphic perfection and incomparable balance and harmony, here attains its paroxysm. In recent writings on Szapocznikow s work, several authors readily relate her work to that of the greatest contemporary artists including Eva Hesse, Louise Bourgeois, Hannah Wilke, and Ruth Francken. While this holds true for her sculpture, for her drawings, it is perhaps more appropriate to look to the paintings of Francis Bacon, or another artist of Polish origins, Pinchas Burstein, better known under the name of Maryan, in order to find the expression of such violence. Two black figures frame the ensemble like two terrible guardians, with volumes filled with ink, a technique that she had already tested in 1964 (cat ). Two large drawings, the only ones of their kind, also feature among her final works. In a masculine torso and a more feminine bust, the artist associates graphite pencil with watercolour, producing a wash. The graphic effect of this original technique is striking and proves the extent to which she continued to explore new avenues (cat ). Among the last drawings by Alina Szapocznikow there is a series that she called the Paysage humain [Human landscape] cycle, mostly produced in watercolours and felt-tip pens (cat ). The violence seems very attenuated, as though replaced by a kind of dreamlike quality. Colour is partly responsible for this, but the landscapes of human organs are orientated towards an imaginary world that is more fantastic than it is truly horrible. Eroticism is omnipresent, phallic elements dominate several works, and the overall atmosphere, more serene, recalls surrealist echoes. Several sketches of Piotr naked, made in 1972 with an analogous technique seem to float across a large sheet of paper, which was originally folded up by the artist (cat. 91). The strange position of the body is explained by an absence, that of the mother, who, based on the traditional iconography of the Pietà, supports the body of her son. We decided to unfold the paper to show all of these five variations on a theme that Alina Szapocznikow handles masterfully and with great simplicity, as though she wanted to say, through her art: soon I will no longer be there to support you. She died on the 2 nd of March 1973.

8 8 4. LIST OF WORKS ON DISPLAY Study of a Sitting Woman, c x 32.8 cm Study of a Man Standing with his Arms Raised, Seen from the Back, c x 21.2 cm Study of a Standing Paddler Seen from the Back, c x 29.5 cm Study of a Flower 1, c x 20.8 cm Study of a Flower 2, c x 20.8 cm Sketch for the sculpture Woman - Rose, c x 20.8 cm Courtesy Galerie Isabella Czarnowska, Berlin Sketch of a Design for a Monument 1, c Ink, graphite pencil and felt-tip pen on paper 29.8 x 20 cm The Museum of Modern Art, New York Gift of The Judith Rothschild Foundation Sketch of a Design for a Monument 2, c x 20 cm Sketch of a Design for a Monument 3, c Graphite pencil and oil pastels on paper 42 x 29.6 cm Study of Flowers in a Vase, x 20.9 cm Untitled, c x 20.8 cm Private Collection Study for Jester 2, c x 29.5 cm Study for Jester 4, x 29.5 cm Untitled, c x 24.4 cm Private Collection Untitled, x 20.7 cm

9 9 Untitled, x 20.7 cm Untitled, c Lithograph on paper 64.6 x 48 cm Sylvie et Stéphane Corréard Collection, Paris Untitled, c Lithograph on paper 64.6 x 48 cm Centre Pompidou, Musée national d art moderne, Paris Donation from the Galerie Loevenbruck and Piotr Stanislawski, 2012 Untitled, 1963 Ballpoint pen on paper 26.8 x 35.9 cm Untitled, x 20.6 cm The Museum of Modern Art, New York Purchased with funds provided by the Rendl Endowment for Slavic Art Untitled, 1963 Ballpoint pen on paper 26.8 x 35.9 cm Private Collection, France Untitled, x 26 cm Untitled, x 26.7 cm The Museum of Modern Art, New York Purchased with funds provided by the Rendl Endowment for Slavic Art Untitled, 1963 Monotype and ink on paper 32 x 24 cm Joel Wachs Collection Untitled, c Watercolor and ink on paper 41,7 x 29,8 cm Centre Pompidou, Musée national d art moderne, Paris Donation from the Société des Amis du Musée national d art moderne, 2012 Study for a Sculpture 1, 1963 Ballpoint pen on paper 26.8 x 35.9 cm Sylvie et Stéphane Corréard Collection, Paris Study for a Sculpture 2, x 29.5 cm Nicolas Laugero Lasserre Collection, Paris Study for a Sculpture 4, c Monotype and ink on paper 41.9 x 29.5 cm The Museum of Modern Art, New York Gift of The Judith Rothschild Foundation Study for a Sculpture 5, x 27.9 cm Untitled, c Monotype and ink on paper 42 x 29,6 cm Centre Pompidou, Musée national d art moderne, Paris Donation from the Société des Amis du Musée national d art moderne, 2012

10 10 Untitled, Monotype and India ink on paper 37 x 26.8 cm Private Collection, Switzerland Untitled, c Monotype and ink on paper 49.5 x 32 cm Untitled, c Monotype, ink and graphite pencil on paper 32.1 x 24.5 cm Untitled, c Monotype and ink on paper 23.6 x 31.2 cm Untitled, c Monotype and ink on paper 32 x 25 cm Untitled, c Monotype and ink on paper 50 x 32 cm Centre Pompidou, Musée national d art moderne, Paris Donation from the Société des Amis du Musée national d art moderne, 2012 Study of a Form Placed on a Pillar 1, x 18.5 cm Signed and dated in the bottom left corner Study of a Form Placed on a Pillar 2, x 26.8 cm Study of a Form Placed on a Pillar 3, c x 20 cm Study of a Form Placed on a Pillar 4, c x 26.8 cm Study of a Form Placed on a Pillar 5, c x 20,7 cm Centre Pompidou, Musée national d art moderne, Paris Donation from the Société des Amis du Musée national d art moderne, 2012 Untitled, c Graphite pencil and ballpoint pen on paper 26.8 x 20.5 cm Untitled, x 21 cm Untitled, c x 19.6 cm Private Collection, Brussels Untitled, c x 21 cm Untitled, c x 21 cm Ursula Hauser Collection, Switzerland

11 11 Untitled, c x 21 cm Catherine Thieck Collection, Paris Untitled, c x 27 cm Private Collection, Paris Untitled, c x 26.8 cm Private Collection, Paris Untitled, c ,8 x 26,8 cm Centre Pompidou, Musée national d art moderne, Paris Donation from the Société des Amis du Musée national d art moderne, 2012 Untitled, c x 20.8 cm Private Collection, France Untitled, c x 50 cm Galerie de France Collection, Paris Untitled, c x 48 cm Sabine Knust, Munich Untitled, 1964 Lead Pencil on paper 65 x 50 cm Marin Karmitz Collection Untitled, 1964 Ballpoint pen on paper 36.1 x 26 cm Ursula Hauser Collection, Switzerland Studies for Caprice 1, c x 20.8 cm Studies for Caprice 2, c x 20.8 cm Private Collection, Paris Studies for Caprice 3, c x 20.8 cm Studies for Caprice 4, c x 26.8 cm Studies for Caprice 5, c Ballpoint pen on paper 26.8 x 20.8 cm Untitled, x 49.8 cm Private Collection Untitled, x 18 cm Sketches of Characters with Growths 1, x 20.8 cm Piotr Stanislawski / Galerie Loevenbruck, Paris

12 12 Sketches of Characters with Growths 2, c x 20.8 cm 63 x 48 cm Private Collection, London Sketch of Voyage [Journey] with Growths 1, c Brown felt-tip pen on paper 21 x 17 cm Sketch of Voyage [Journey] with Growths 2, c Brown felt-tip pen on paper 21 x 17 cm Untitled, x 49.8 cm The Museum of Modern Art, New York Purchased with funds provided by the Rendl Endowment for Slavic Art 63 x 48 cm Private Collection, Switzerland Untitled, x 48 cm Ursula Hauser Collection, Switzerland 71.8 x 56.5 cm The Museum of Modern Art, New York Purchased with funds provided by the Rendl Endowment for Slavic Art 63.5 x 48.3 cm The Museum of Modern Art, New York Gift of The Judith Rothschild Foundation 63 x 48 cm Private Collection 63 x 48 cm Private Collection, Switzerland 62.9 x 47.8 cm Private Collection, Switzerland 62.9 x 48 cm Galerie de France Collection, Paris Untitled, x 48 cm 65 x 50 cm Brigitte et Denis Salama Collection, Paris 65 x 50 cm Galerie de France Collection, Paris

13 13 Bust-length Figure of a Woman, Headless 1, c x 26.7 cm Bust-length Figure of a Woman, Headless 2, c x 23.4 cm Private Collection, Paris Male Nude with Growths, c x 23.5 cm Portrait of a Man with Turban, c Ballpoint pen on paper 31.4 x 23.7 cm Untitled, x 24.5 cm Paysage humain III [Human Landscape III], 1971 Ink, watercolor and felt-tip pen on laminated paper 24 x 32 cm Paysage humain [Human Landscape], c Watercolor and felt-tip pen on paper 29.3 x 20.6 cm Paysage humain [Human Landscape], c Watercolor and felt-tip pen on cardboard 50.2 x 65.1 cm The Museum of Modern Art, New York Gift of The Judith Rothschild Foundation Untitled, c Graphite pencil and watercolor on cardboard 65 x 49.8 cm Private Collection Untitled, c Graphite pencil and watercolor on cardboard 65 x 49.8 cm Private Collection Nude Sketch of Piotr, c Watercolor and felt-tip pen on cardboard 30 x 40 cm (unfolded) Untitled, c x 21 cm Untitled, c Ballpoint pen on paper 29.5 x 21 cm Untitled, c Text and drawings (ballpoint pen on paper) 2 pages + 1 double-sided page of drawings 29.7 x 21 cm (3 times) Annette Messager Collection Paysage humain [Human Landscape], c Watercolor and felt-tip pen on paper 64.8 x 49.6 cm Galerie de France Collection, Paris

14 14 SCULPTURES Machine en chair [Flesh-made Machine], Cement, plastic and iron 190 x 100 x 100 cm Fonds national d art contemporain Ołow I [Lead I], 1964 Lead 11 x 10.5 x 9 cm Sein en chiffon vert (Fétiche II) [Breast in a Green Cloth (Fetish II)], Jacket, leather shoe, polyester resin, paint 36 x 50 x 31 cm Centre Pompidou, Musée national d art moderne, Paris La chemise, requiem pour le cul [Fétiche VI] [The Shirt, Requiem for the Ass (Fetish VI)], 1971 Assembly: cast, colored polyester, shirt 57 x 43 x 32 cm Private Collection, Switzerland Ołow II [Lead II], 1964 Lead 9 x 8 x 5 cm Ołow III [Lead III], 1964 Lead 15.5 x 9.5 x 6 cm Ołow V [Lead V], 1964 Lead 13 x 7.5 x 8 cm Self-Portrait II, 1966 Bronze 20.5 x 26 x 11 cm Caprice - Monstre [Caprice - Monster], 1967 Colored polyester resin, light bulb, electrical wiring and metal 194 x 90 x 45 cm

15 15 5. PRESS IMAGES All or some of the works appearing in this press pack are protected by copyrights. The ADAGP s works ( may be published on the following conditions: For media publications that have concluded an agreement with the ADAGP: please refer to the terms of this agreement For other media publications: - exemption of the first two reproductions illustrating an article devoted to a current event and with a maximum format of 1/4 page, - beyond this quantity or format, reproductions will be governed by reproduction/representation rights, - any reproduction on a cover or on a front page must form the subject of an authorisation request to the ADAGP s Press Office, - the copyright to be mentioned on all reproductions will be: the name of the author, the title and date of the work followed by Adagp, Paris 2010, whatever the source of the image or the place where the work is kept. - for on-line media publications, file definition is limited to 400 x 400 pixels and the resolution must not exceed 72 DPI Untitled, circa 1961 Lithograph on paper 64,6 x 48 cm Donation from the Galerie Loevenbruck and Piotr Stanislawski, 2012 Centre Pompidou, MNAM-CCI/ Philippe Migeat / Dist. RMN-GP Adagp, Paris Untitled, circa 1963 Watercolor and ink on paper 41,7 x 29,8 cm Donation from the Société des Amis du Musée national d art moderne, 2012 Centre Pompidou, MNAM-CCI/ Philippe Migeat / Dist. RMN-GP Adagp, Paris

16 16 Untitled, circa Monotype and ink on paper 42 x 29,6 cm Donation from the Société des Amis du Musée national d art moderne, 2012 Centre Pompidou, MNAM-CCI/ Philippe Migeat / Dist. RMN-GP Adagp, Paris Untitled, circa Monotype and ink on paper 50 x 32 cm Donation from the Société des Amis du Musée national d art moderne, 2012 Centre Pompidou, MNAM-CCI/ Philippe Migeat / Dist. RMN-GP Adagp, Paris

17 17 Untitled, circa ,8 x 26,8 cm Donation from the Société des Amis du Musée national d art moderne, 2012 Centre Pompidou, MNAM-CCI/ Philippe Migeat / Dist. RMN-GP Adagp, Paris Untitled, circa ,8 x 26,8 cm Donation from the Société des Amis du Musée national d art moderne, 2012 Centre Pompidou, MNAM-CCI/ Philippe Migeat / Dist. RMN-GP Adagp, Paris Sein en chiffon vert (Fétiche II) [Breast in a Green Cloth (Fetish II)] from the Fétiches [Fetishes] series, Jacket, leather shoe, polyester resin, paint 36 x 50 x 31 cm Acquisition Piotr Stanislawski / Galerie Loevenbruck, Paris Adagp, Paris. Photo Fabrice Gousset

18 18 6. PRATICAL INFORMATIONS PRATICAL INFORMATION AT THE SAME TIME IN THE CENTRE CURATORS Centre Pompidou Paris cedex 04 telephone (0) metro Hôtel de Ville, Rambuteau Admission 11 to 13, depending on the period Discounted admission: 9 to 10 Valid for admission to the Musée national d art moderne and all the exhibitions on the same day DALÍ UNTIL MARCH 25, 2013 Press Officer Anne-Marie Pereira (0) anne-marie.pereira@centrepompidou.fr Jonas Storsve Curator at the Musée national d art moderne Hours Exhibition open every day from 11 am to 9 pm, except on Tuesdays Free admission for members of the Centre Pompidou (annual pass holders) Tickets can be printed at home DE LA LETTRE À L IMAGE UNTIL MARCH 18, 2013 Press Officer Dorothée Mireux (0) dorothee.mireux@centrepompidou.fr EILEEN GRAY FEBRUARY 20 MAY 20, 2013 Press Officer Céline Janvier (0) celine.janvier@centrepompidou.fr LE NOUVEAU FESTIVAL DU CENTRE POMPIDOU FEBRUARY 20 MARCH 11, 2013 Press Officer Thomas Lozinski (0) thomas.lozinski@centrepompidou.fr SOTO DANS LA COLLECTION DU MUSÉE NATIONAL D ART MODERNE FEBRUARY 27 MAY 20, 2013 Press Officer Anne-Marie Pereira (0) anne-marie.pereira@centrepompidou.fr L IMAGE DANS LA SCULPTURE MAY 2 AUGUST 5, 2013 Press Officer Thomas Lozinski (0) thomas.lozinski@centrepompidou.fr