of Roberto Burle Marx, known for his design of Copacabana beach promenade in 1970.

BEATRIZ MILHAZES April 4 June 21, 2009 The Fondation Cartier pour l art contemporain is pleased to present an exhibition of the work of Beatriz Milhazes, one of the most celebrated Brazilian visual artists today. Offering an overview of her work of the past decade, the exhibition will include a selection of large-format acrylic paintings as well as a monumental collage created especially for the show. The Fondation Cartier has also commissioned two installations from the artist for the building s glass façades. Using motifs made of translucent or opaque adhesive vinyl, these striking installations play with natural light to create a powerful visual dialogue with the architecture of Jean Nouvel and the surrounding garden. Brazilian Heritage The work of Beatriz Milhazes occupies a unique position between Latin American and Western traditions. It is thus not surprising that she showed an early interest in the work of Brazilian writer and poet, Oswald de Andrade (1890 1954) and that of his wellknown companion, the painter Tarsila do Amaral (1886 1973). Andrade s Manifesto Antropofago (1928) called upon Brazilian artists to develop their own unique culture by devouring European styles and melding them with elements derived from local culture. Tarsila do Amaral s painting expressed this philosophy, combining the bright colors and tropical imagery of Brazil with the surrealism she discovered in Europe. Inspired by her predecessors, Beatriz Milhazes embraces a dizzying kaleidoscope of influences, following an approach that she describes as culture eating culture. Her canvases have an undeniably Brazilian flavor, filled with an abundance of brightly colored, highly decorative motifs. Much of the artist s inspiration comes from the high and low art present in her native country, including sources as varied as ceramics, lacework, jewelry design, carnival decoration, and Colonial baroque architecture. The delicate arabesques of tropical flowers and leaves have also found their way into her painting, revealing the artist s fascination for luxurious vegetation. Other references for these works, which revisit the traditional genres of landscape and still-life, range from the contemplative works of Albert Eckhout a 17th century Dutch painter who recorded the plants and animals of Brazil to the modernist landscape designs of Roberto Burle Marx, known for his design of Copacabana beach promenade in 1970. European Modernism The paintings of Beatriz Milhazes express many of the formal preoccupations inherent in the history of abstract painting, from the vibrant color of Matisse to the rigorous structural composition of Mondrian. The underlying square fields of color that serve as the background for many of her works and the overlaying motifs, call to mind the work of early modernist abstract artists such as Kupka, Klee, and Léger. The artist has stated: I am seeking geometrical structures, but with freedom of form and imagery taken from different worlds. 1 Classical music, particularly the opera, as well as popular music such as bossa nova or tropicalia, motivate the choreographed spontaneity of the artist s compositions. Stripes, rays, lines and circular forms evoke a synchronized rhythm while the dynamics of color articulate harmony and dissonance. This clearly relates Milhazes compositions to those of other 20th century masters who have explored the relationship between music and art, such as Kandinsky and Delaunay. The use of intensely vibrant colors, such as fuchsia, gold or orange, endows her canvases with an explosive energy that many have compared to the breathtaking rhythm of fireworks. Artistic Technique To create this elaborate network of forms, Beatriz Milhazes has developed what she calls painting transfer, a technique that is closely related to monotype and collage. The artist first paints the motifs and drawings of her work on translucent plastic sheets. She then glues them to the canvas and when they are dry, she peels the plastic off, superimposing images and colors in a variety of combinations. During the transfer process, part of the motif sometimes tears, leaving portions of itself behind. These accidents create interesting surfaces marred by subtle imperfections. The slow and laborious process leads to rich palimpsests of overlaid images, some fully present, some masked, some only ghostly silhouettes. Beatriz Milhazes also uses the technique of collage, illustrated in the exhibition by the work Milk Mel. To produce her collages, the artist glues on paper candy and chocolate wrappers that she has collected over time as well as different kinds of paper including glossy colorful paper, paper with optical effects, hand-made marbled paper, silk-screened paper and, more recently, colored paper ordered specifically by the artist. Beatriz Milhazes makes use of the adhesive vinyl cut out for the two installations on the glass façades of the building. To create these large-scale installations, she first makes a small-scale drawing then transfers it to a computer in order to blow it up to actual size. The adhesive colored vinyl, opaque or translucent, is then cut out by a large machine and applied directly to the glass. During the past several years, the artistic production of Beatriz Milhazes has continued to expand, recently branching out into arenas such as theatre sets, site-specific installations, and design work, including fabric and tapestry. She has also created two artist s books, one in conjunction with the Museum of Modern Art and one with the Thomas Dane Gallery, London, which explore the techniques of printmaking and collage. Through her diversity of practice and multiplicity of sources, Beatriz Milhazes erases all distinctions between the high and the low, the national and the international, the classical and the contemporary, leaving her free to explore the entire realm of visual expression. 1 Paolo Herkenhoff, Beatriz Milhazes, Color and Volupté, Francisco Alves Editora, Rio de Janeiro, 2007. BIOGRAPHY Beatriz Milhazes was born in 1960 in Rio de Janeiro. From 1978 to 1982 she studied at the Curso de Comunicação Social (FACHA) and the Escola de Artes Visuais in Parque Lage, Brazil. She emerged on the Brazilian art scene in the midst of what was known as the return to painting of the Geraçao Oitenta (the 1980s Generation), which followed the more austere conceptualist art that dominated the country in the 1970s. Exhibited in many galleries and several international biennials, her work is represented in the collections of some of the world s greatest museums: in New York, for example, she is one of the few artists of her generation to have major paintings in the collections of the Museum of Modern Art, the Guggenheim and the Metropolitan. SELECTED SOLO EXHIBITIONS (SINCE 1999) 2008 : - Beatriz Milhazes: Pintura, Colagem, Estação Pinacoteca, São Paulo - Beatriz Milhazes, James Cohan Gallery, 2007 : - Beatriz Milhazes, New Prints, James Cohan Gallery, - Beatriz Milhazes, Galeria Fortes Vilaça, São Paulo 2006 : - Beatriz Milhazes, Galerie Max Hetzler, Berlin

2005 : - Joá, Stephen Friedman Gallery, London - Lagoa, Museu de Arte da Pampulha, Belo Horizonte, Brazil 2004 : - Meu Prazer, Galeria Fortes Vilaça, São Paulo - Summertime, James Cohan Gallery, 2003 : - Beatriz Milhazes, Domaine de Kerguéhennec, centre d art contemporain, Bignan, France - Beatriz Milhazes, Galerie Max Hetzler, Berlin 2002 : - Stephen Friedman Gallery, London - Mares do Sul, Centro Cultural Banco do Brasil, Rio de Janeiro - Coisa Linda, Artist s Book Project, The Museum of Modern Art, 2001 : - Ikon Gallery, Birmingham, United Kingdom - Birmingham Museum of Art, Birmingham, AL - Galeria Pedro Cera, Lisbon - Galeria Elba Benítez, Madrid 2000 : - Galeria Camargo Vilaça, São Paulo - Edward Thorp Gallery, 1999 : - Screenprints, Durham Press, Durham, NC - Beatriz Milhazes, Stephen Friedman Gallery, London SET DESIGNS Set designs for Marcia Milhazes Dança Contemporânea Company 2008 : Meu Prazer 2004 : Tempo De Verão 2000 : Os Pássaros; Joaquim Maria 1998-1999 : A Rosa E O Caju 1995-1996 : Santa Cruz 1994 : Poème de l Enfant et sa Mère OTHER PROJECTS 2008 : - Bailinho, installation on ten windows, Estação Pinacoteca, São Paulo - Meu Bem, arstist s book, Ridinghouse Publisher (Thomas Dane Gallery), London - Maracolouco, installation on the façade of the Museum of Contemporary Art (MOT), Tokyo - Carioca, carpet pattern, The Rug Company, London - Gamboa, installation, Biennial of international contemporary art, Louisiana State Museum, New Orleans, LA - Pierrot, cushion, Bordando Arte, ACTC, Estação Pinacoteca, São Paulo 2007 : - O Sonho, mural, Taschen Store, 2005-2006 : - Guanabara, mural, Tate Modern Restaurant, London - Peace and Love, mural, Platform for Art, Gloucester Road Station, London Underground, London 2004 : - Gávea, for Brazil 40, mural, Selfridges & Co (Department store), Manchester - Maracanã, official art poster, FIFA World Cup Germany 2006, Berlin 2002 : - Coisa Linda, artist s book, The Museum of Modern Art, MAIN PUBLIC AND PRIVATE COLLECTIONS - 21st Century Museum of Contemporary Art, Kanazawa, Japan - Acervo Banco Itaú S.A., São Paulo - Birmingham Museum of Art, Birmingham, AL - Carnegie Museum of Art, Pittsburgh, PA - Coleção Berardo, Lisbon - Metropolitan Museum of Art, - Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires - Museo de Bellas Artes, Caracas - Museo Nacional Centro de Arte Reina Sophia, Madrid - Museu de Arte Contemporânea de Niterói, Niterói, Brazil - Museu de Arte Moderna, Rio de Janeiro - Museu de Arte Moderna de São Paulo, São Paulo - Museu Oscar Niemeyer, Curitiba, Brazil - Museu Nacional de Belas Artes, Rio de Janeiro - Sacem, Neuilly-sur-Seine, France - Solomon R. Guggenheim Museum, - San Francisco Museum of Modern Art, San Francisco, CA - Thyssen-Bornemisza Art Contemporary (T-B A21), Vienna - The Bohen Foundation, - The Museum of Modern Art, - Worcester Art Museum, Worcester, MA MONOGRAPHS AND SOLO EXHIBITION CATALOGS Beatriz Milhazes: Pinturas, Subdistrito Comercial de Arte, São Paulo, 1991. Beatriz Milhazes, Galeria Ramis F. Barquet, Monterrey, Mexico, 1994. Beatriz Milhazes, XXIV Bienal Internacional de São Paulo, Fundação Bienal de São Paulo, São Paulo / Galeria Fortes Vilaça, São Paulo, 1998. Beatriz Milhazes, Ikon Gallery, Birmingham, United Kingdom / Birmingham Museum of Art, Birmingham, AL, 2001. Beatriz Milhazes, Mares do Sul, Centro Cultural Banco do Brasil, Rio de Janeiro, 2002. Beatriz Milhazes, Avenida Brasil, Domaine de Kerguéhennec, centre d art contemporain, Bignan, France, 2004. Beatriz Milhazes. Color and Volupté, by Paulo Herkenhoff. Francisco Alves, Rio de Janeiro, 2007. Beatriz Milhazes: Pinturas, Colagem, Estação Pinacoteca, São Paulo, 2008. Beatriz Milhazes, Fondation Cartier pour l art contemporain, Paris, 2009. EXHIBITED WORKS O Beijo, 1995 Acrylic on canvas, 192 x 300 cm Private collection Os Três Músicos, 1998 Acrylic on canvas, 220 x 190 cm Marcos Coimbra collection Jarro com Limões, Laranjas e Rosas, 2000 Acrylic on canvas, 271.5 x 149.5 cm Frances Reynolds collection O Buda, 2000 Acrylic on canvas, 191 x 256.5 cm Rose and Alfredo Setubal collection Coisa Linda I, 2001 Acrylic on canvas, 300 x 191 cm Thyssen-Bornemisza Art Contemporary Meu Miúdo, 2001 Acrylic on canvas, 199 x 129 cm João Mourato collection Ovo de Páscoa, 2003 Acrylic on canvas, 299 x 185,5 cm Eileen Harris Norton collection Beleza Pura, 2006 Acrylic on canvas, 199.5 x 400.5 cm Private collection Dancing, 2007 Acrylic on canvas, 247 x 350 cm Private collection Sinfonia Nordestina, 2008 Acrylic on canvas, 246 x 368 cm Courtesy of James Cohan Gallery, New York, and Tovar Collection Coisa Linda, 2002 Artist s book. Edition of 175. 30.5 x 30.5 cm Edited by MoMA, New York Private collection (A/P 15/25) Luiz Ferreira Collection (A/P 7/25)

Meu Bem, 2008 Artist s book and collage. Edition of 50 copies signed and numbered by the artist, including 10 artists proofs and 2 printer proofs. Book: 35 x 30 cm; collage: 35 x 30 cm Edited by Ridinghouse, London Thomas Dane Gallery, London (A/P 1 and Éd. 19/38) Milk Mel, 2008-2009 Collage, 500 x 400 cm Private collection Samambaia, 2009 Translucent adhesive vinyl cutouts, 735 x 1280 cm Installation for the façade of the Fondation Cartier pour l art contemporain Casa de Baile, 2009 Opaque adhesive vinyl cutouts, 735 x 1930 cm Installation for the façade of the Fondation Cartier pour l art contemporain INTERVIEW WITH BEATRIZ MILHAZES Excerpts from the interview directed by Leanne Sacramone, Curator at the Fondation Cartier, published in the exhibition catalog Leanne Sacramone: Your show at the Fondation Cartier presents a tight selection of your works. How did you make this choice? Beatriz Milhazes: To work within the actual building of the Fondation Cartier is to create a show that is necessarily sitespecific. There is a kind of intensity unique to this space. Originally, Hervé Chandès, the director of the Fondation Cartier, and I wanted to show a number of paintings that were representative of my work, but we quickly realized that we should concentrate instead on a small selection. We tried to choose a group of works that interact and contrast with each other to create a strong visual experience. You have also created two site-specific installations for the glass walls of the gallery space as well as a monumental collage for the show. To what extent did the building determine the contents and design of the exhibition? This exhibition provided me with the opportunity to use the vast transparent surfaces of Jean Nouvel s glass building to create site-specific works. The glass box spaces of the Fondation Cartier blur our perception of the boundaries between inside and outside and thus can be a bit disturbing. I like to create a similar kind of disturbance in my work. For this reason, I wanted the surrounding garden and natural light entering the building to somehow participate in the exhibition. Because of the nature of the building, I also wanted to keep an open feeling to the exhibition, one that allows the visitor to simultaneously experience the paintings, the window installations and the world outside. The work created for the front windows of the larger gallery space is made entirely with opaque sheets of vinyl in different shades of gold. The shapes of the work are cut from the vinyl and applied directly to the façade. Since the material used is opaque, the work partially blocks the view to the garden. At the same time there are some openings that allow the viewer to glimpse outside. For the glass windows of the smaller gallery space, I have used a different kind of translucent vinyl to create a colorful composition of organic plant-like shapes. Because this work is mostly transparent, you can see the garden just behind it. When the light passes through the vinyl, the shapes and colors of the work cast a reflection on the walls and floor of the gallery. In the same room, I present a monumental paper collage that works very differently from the installation on the glass windows. For me, the two works in that room work on two different levels. The colors and shapes applied to the façade have a more immediate relationship to the building and the garden, thus creating a translucent dialog with the surrounding environment and a magical, immaterial effect. On the contrary, the paper collage is solid and physical, quite material in its presence. The biggest challenge was allowing each work to keep its own identity, while presented within the same gallery space. I wanted them to live together organically without losing their specificity. You are widely known for the unique transfer technique you use to make your paintings. Could you explain this technique and how you discovered it? Since the very beginning of my career, I have used collage within my paintings. By the end of the 1980s, I was cutting paper, fabrics, and also printing patterns on canvases which I would cut out and glue to other canvases. These processes became very limited to me because I could not create my own images, so I stopped and started experimenting with the monotype print process. This way of printing led me to the painting transfer process I use today. With this new transfer process, my imagination found a sort of a freedom unknown to me before. My first paintings using this technique were made in 1989. By 1990, my motifs and shapes were freed from the technical limitations imposed upon them by more traditional ways of making collage. The transfer technique consists of drawing a motif on one side of a sheet of plastic, and then painting on the reverse side of the sheet. When the motif is finished, I glue it onto the canvas, paint-side down. It works as a transfer because the image on the plastic is smooth and even. This technique allows me to glue paint as I would any other material. This discovery opened a big door for me as a painter. I was able to use a technique related to collage while employing my own motifs instead of mechanically reproduced images. The possibilities are infinite. I can play around with the images on the canvas before gluing them. The plastic does not absorb any part of the pigment and the intensity of the color remains intact. After the transfer, you can see the paint on the canvas but if you touch it, you do not feel the many layers. I like the resulting smooth texture, the way in which the painting seems frozen in time. I love painting, but I do not want the texture of the brushstrokes, or the hand of the painter to be visible on my canvases. You have made an important collage specifically for the Fondation Cartier exhibition. When did you begin making collages, and what are the different kinds of materials with which you enjoy working? I made my first group of collages in 2003 in France at a cultural center called Domaine de Kerguéhennec. I had been collecting chocolate and candy wrappers for a long time, and realized that I really wanted to make a work on paper using these materials. Although the technique I use in my paintings is related to collage, working with existing papers allows me to explore other kinds of questions. I use many different kinds of paper: paper that is bright and colorful, paper with optical effects, hand-made marbled paper, and more recently silk-screened paper. The idea of using the latter was based on the limited colors available in readymade paper. The limitations of working with paper from readymade sources raise important questions. For example, when you have a chocolate paper wrapper, the information printed on it is automatically included in the collage. My first collages were made uniquely of the different kinds of paper wrappers that I could collect. Then, I introduced other types of found paper, mostly marbled or with optical effects, which have their own interesting qualities. Last, I introduced solid-colored mat paper. Initially, I just bought the available colors,

but more recently I needed to order specific colors for my own selection. Flat solid shapes of color are thus now present in my collages. With collage, the fact that every single shape or form is based on cutting out existing paper, and the fact that you don t want to fake the process, creates very strong limitations. But all of these limitations create a challenge that in turn stimulates my interest in making collages. How did you make the impressive collage you have created for the exhibition? What is the meaning of its title Milk Mel? I have never made a collage this large. The materials are the same as those I described above, but the format is 5 x 4 meters. For the most part, it is made with a selection of chocolate and candy wrappers, paper with optical effects, fluorescent paper, shiny paper, vellum paper, and colorful silk-screened paper. I only wanted to use those with intense patterns and colors that attract the eye. I feel that the quality of this selection I have made has allowed me to move beyond the limitations of using found materials. The composition of this collage is meant to dialog with the vinyl work applied to the glass windows, which will be visible from the same room. The design for the façade was inspired by the shapes of plants. It has an organic composition whose rhythm could be compared to swinging. In contrast, the collage has a mechanical rhythm based on sequences of squares. The titles of my works are usually words or sentences that I collect and then place on my canvases or prints. The titles sometimes come from music and literature, but not always. They have no objective relationship to the works themselves. In contrast, the titles of my collages usually come from the materials I use in the work and, in the case of Milk Mel, the title comes from a candy wrapper used in the collage. PUBLICATION Beatriz Milhazes Artist s book realized in collaboration with Beatriz Milhazes. Fondation Cartier pour l art contemporain, Paris Hardback, 24 x 33 cm, 96 pages, 50 color reproductions Price: 35 Publication date: beginning of May 2009 EXHIBITION Chief Curator Hervé Chandès Curators Leanne Sacramone and Grazia Quaroni Intern Floréal Roig Registrar Alanna Minta Jordan Installation Gilles Gioan Light Design Nicolas Tauveron CAPTIONS AND COPYRIGHTS For all works Beatriz Milhazes Cover Beatriz Milhazes, Beleza Pura, 2006. Photo: Isabella Matheus PRESS INFORMATION Linda Chenit assisted by Anne-Sophie Gola Tel +33 (0)1 42 18 56 77/65 Fax +33 (0)1 42 18 56 52 linda.chenit@fondation.cartier.com Images on line: fondation.cartier.com Pages 2-3 Beatriz Milhazes, Dancing, 2007. Photo: Isabella Matheus Page 4 Beatriz Milhazes, Coisa Linda 1, 2001. Photo: Stephen White / Courtesy Stephen Friedman Gallery, London The exhibition Beatriz Milhazes is organized with support from the Fondation Cartier pour l art contemporain, under the aegis of the Fondation de France, and with the sponsorship of Cartier.

Fondation Cartier pour l art contemporain, Paris Hardback, 24 x 33 cm, 96 pages, 50 color reproductions Price: 35 / Publication date: beginning of May 2009

NOMADIC NIGHTS April June 2009 As part of the exhibitions William Eggleston and Beatriz Milhazes, the Nomadic Nights propose an exceptional series of events and concerts. From Tuesday, April 14 to Sunday, April 19 at 8:30 p.m. Le Petit Théâtre Baraque (Nigloo and Branlo), Augustes (show) * Once again, Le Petit Théâtre Baraque pitches its minuscule tent in the garden of the Fondation Cartier. Apparences, snippets of music, and half-finished speeches: Augustes is a show that shakes up our relationship to time. It tells the story of two roving clowns, universal figures of our common solitudes. Thursday, May 14 at 9 p.m. Alva Noto, Anne-James Chaton and Andy Moor, Décade (poetry-music) Anne-James Chaton s litanic writing meets the minimalist electronica of Alva Noto (Carsten Nicolai) and the experimental rock of Andy Moor (The Ex). Décade is a dense and structured sound piece where words, rhythms and melodic loops inexorably intertwine. Wednesday, May 20 at 9 p.m. Tim Hecker (concert) Canadian musician and sound artist, Tim Hecker, explores the points of friction between noise, dissonance and melody, developing a form of musical writing that is both physical and emotional. Thursday, May 28 at 9 p.m. François Cusset, Daniel Foucard, Hugues Jallon, Lionel Ruffel, Je est un flic Nous sont des terroristes (reading, in French) This event is made up of four voices: the writers, Daniel Foucard and Hugues Jallon, read excerpts from their respective works, Civil and Zone de combat, while being disturbed by the untimely interventions of theorists, François Cusset and Lionel Ruffel. This political and literary set-up offers a representation of contemporary social obsessions: order, panic, security, and terror. Thursday, June 4 at 9 p.m. Joris Lacoste, Parlement (performance) With Emmanuelle Lafon. Collaboration: Grégory Castéra and Frédéric Danos A solo piece for an actress, Parlement uses a score where types of discourse as varied as pleading, poetic bombast, answering machine messages, or even commercials, follow one another. It shows discourse in its permanent transformation, penetrated by the diversity of human speech. Thursday, June 11 at 9 p.m. White/Lichens (concert) During long stretches of musical improvisation, the spiritual universe of vocalist Rob Lowe (Lichens) superimposes itself onto the drones and feedback of Matt Clark s and Jeremy Lemos s (White/Light) sonic experimentation. This intense and hypnotic musical encounter takes the auditor into unexplored realms of sound. Tuesday, June 16 and Wednesday, June 17 from 11 a.m. to 8 p.m. and Thursday, June 18 at 9 p.m. united sorry (Frans Poelstra et Robert Steijn), The Intensifiers/s-s-s-sink in (installation-performance and performance) Musical collaboration: Martin Siewert Created for the exhibition Beatriz Milhazes, the installation-performance s-s-s-sink in is one part of the project The Intensifiers, created by the dancer, Frans Poelstra, and the playwright, Robert Steijn, accompanied by the musician, Martin Siewert. At every performance, they immerse themselves in their environment, allow themselves to be hypnotized by a place, and translate what they feel by short actions, dancing movements, songs and texts. Directly inside the Fondation Cartier s exhibition space, s-s-s-sink in will take place in two parts: a rehearsal that is open to the public for two days, followed by a performance during a Nomadic Night event. Thursday 16 April at 8:30 p.m. Inauguration of the Nomadic Nights Minibar In the Minibar s menu, Gilles Stassart and his team from the Transversal restaurant propose delicious and refreshing mini-creations. Like all things nomadic, depending on the evening, the Minibar will travel from the front entrance to the basement, from the mezzanine to the garden. Programing Isabelle Gaudefroy assisted by Camille Chenet Practical Information Information and reservation (essential) every day except Monday, from 12 p.m. to 8 p.m. Tel. +33 (0)1 42 18 56 72 Admission: 6.50, reduced rate **: 4.50 * For Augustes, obligatory reservation and advance sale from Monday to Friday, 9:00 a.m. to 6:00 p.m., contact: Vania Merhar, tel. +33 (0)1 42 18 56 67 ** Students, under 25, carte Senior holders, Amis des Musées, unemployed, ICOM members ACTIVITIES FOR CHILDREN April June 2009 In relation to the exhibitions William Eggleston and Beatriz Milhazes, the Fondation Cartier pour l art contemporain invites younger visitors to discover today s art in an original new way. Workshops and exhibition tours with stories are offered on Wednesday and Saturday afternoons. Full program details on: fondation.cartier.com/activitiesforchildren Practical Information Workshops Wednesday and Saturday at 3 p.m. Admission: 5.50 Visits and discovery tours (duration 1:00) Admission free with exhibition entrance ticket Advance booking essential Contact: Vania Merhar Tel. +33 (0)1 42 18 56 67 vania.merhar@fondation.cartier.com NEW

UPCOMING EXHIBITION Graffiti July December 2009 The exhibition Graffiti strives to reveal the vitality of a movement that has become a world-wide phenomenon. Presenting a large selection of photographs, videos, sketchbooks, drawings, and paintings, the exhibition explores the birth and development of graffiti in the New York of the 1970s and early 1980s. It also showcases some of the major figures of the contemporary graffiti and street art scenes today through a series of site-specific works. DAVID LYNCH IN MOSCOW David Lynch, The Air is on Fire Ekaterina Foundation, Moscow April 10 July 12, 2009 Originally exhibited at the Fondation Cartier pour l art contemporain in Paris in 2007, David Lynch, The Air is on Fire is presented at the Ekaterina Foundation in Moscow from April 10 to July 12, 2009. The largest exhibition devoted to David Lynch as a visual artist, it explores the multiple facets of his work, bringing together paintings, photographs, drawings, lithographs, experimental films, and sound created since 1960. This exhibition offers an exceptional occasion to discover and to revisit his universe and marks the first time that a Fondation Cartier exhibition is on view in Russia. The Fondation Cartier has organized the most complete exhibition of his work to date, and a look behind the scenes at David Lynch s artistic expression, revealing this essential though little-known aspect of his creativity. The show was born in 2006 from David Lynch s studio full of paintings, cupboards of black archival boxes, and shelves of labeled binders containing countless drawings. This well conserved collection of his own art dates back to the artist s high school days and has primarily remained out of sight. Many of the works united here are now part of the Fondation Cartier s collection; they are accompanied here by pervading sounds conceived by the artist himself, creating a highly personal show that offers the viewer a unique opportunity to interact with a new side of Lynch s vision in an environment that remains all his own. An artist through and through, David Lynch has personally collaborated with the Fondation Cartier throughout the preparation of the exhibition at the Ekaterina Foundation, rendering it a total work of art that embraces not only the many faces of his visual art production but also his passion for sound. It offers a unique insight into his creative process and invites viewers to delve deep into a fascinating and dizzying creative universe. PRACTICAL INFORMATION The exhibition is open to the public every day except Monday from 11 a.m. to 8 p.m. Open Tuesday evenings until 10 p.m. Admission: 6.50 Reduced rate *: 4.50 Admission free ** Free entry for visitors under 18 on Wednesday from 2 p.m. to 6 p.m. Ticket sales in advance at Fnac stores and on fnac.com * Students, under 25, carte Senior holders, Amis des Musées, unemployed ** Laissez-passer, Circle of Friends, children under 10, and ICOM members. Group visits Guided tours, Tuesday to Friday, from 11 a.m. to 6 p.m. (min. 10 people). Adults: 7 per person. Students and Carte Senior holders: 5 per person. Free admission for group leaders. Self-guided tours, Tuesday to Sunday, from 11 a.m. to 6 p.m. (min. 10 people). Adults: 6 per person. Students and Carte Senior holders: 4 per person. Free admission for group leaders. Advance booking essential. Contact: Vania Merhar Tel. +33 (0)1 42 18 56 67 vania.merhar@fondation.cartier.com Laissez-passer The Laissez-passer offers unlimited free priority access to the Fondation Cartier and invitations for Nomadic Nights (limited number), a 5% discount at the bookshop. It also offers privileges at other cultural institutions (museums, theatres, etc.) Annual pass: 38 Reduced rate annual pass: 25 (students and carte Senior holders) Contact: Vania Merhar Tel. +33 (0)1 42 18 56 67 vania.merhar@fondation.cartier.com Access 261, boulevard Raspail 75014 Paris Tel. +33 (0)1 42 18 56 50 Fax +33 (0)1 42 18 56 52 fondation.cartier.com Metro Raspail or Denfert-Rochereau (lines 4 & 6) Bus 38, 68, 88, 91 RER Denfert-Rochereau (line B) Vélib 2, rue Victor Schoelcher Disabled parking at 2, rue Victor Schoelcher PRESS INFORMATION Linda Chenit assisted by Anne-Sophie Gola Tel +33 (0)1 42 18 56 77/65 Fax +33 (0)1 42 18 56 52 linda.chenit@fondation.cartier.com Images on line: fondation.cartier.com