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FOLKLORE

CONTENTS 1. INTRODUCTION...................................................................................5 2. THE EXHIBITION LAYOUT.....................................................................7 3. THE PRESENTED ARTISTS ................................................................23 4. THE EXHIBITION CATALOGUE............................................................24 5. ASSOCIATED PROGRAMMING...........................................................25 6. YOUNG PUBLIC.................................................................................28 7. THE PARTNERS.................................................................................29 8. IMAGES AVAILABLE FOR THE PRESS................................................33

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Paul Sérusier, La guirlande de roses, 1898 Huile sur toile, 194 × 175 cm. Genève, Association des Amis du Petit Palais. © akg-images

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1. INTRODUCTION FOLKLORE From March 21, 2020 to September 21, 2020 GALLERY 2

Were you aware that Wassily Kandinsky began his career as an ethnographer in Russia? That Constantin Brâncuşi’s great-grandfather was a builder of traditional wooden churches in Romania? That Natalia Goncharova developed an abstract painting inspired by Spanish costumes? Joseph Beuys declared that he saw in folklore a tool for understanding the future, or that the Museum of Modern Art, in the Départment des Aigles, directed by Marcel Broodthaers, had a "folklore section"?

term, created in England in the middle of the 19th century, and meaning literally "he knowledge of the people", whipped up intense quarrels at the heart of intellectual and scientific circles, because of ideological recuperation or of the amateurism of self-proclaimed specialists-to such a point that we sometimes have considered the folklorist as an artist and vice versa. The exhibition opens on the fantasy of a search for origins, the appeal of an "internal exoticism", or of supposed archaic legacies which guided Paul Gauguin, Paul Sérusier and the Nabis in Brittany at the end of the 19th century, Wassily Kandinsky and Gabriele Münter when they established themselves in Bavaria or indeed Constantin Brâncuşi, suggesting the craft traditions of his native country. The paradoxes rapidly come to the surface from a domain frequently associated with nationalistic claims, or instrumentalised by a political discourse - tensions at the heart of the initiatives of artists such as Jimmie Durham, Valentin Carron, Melanie Manchot or Amy O’Neill.

Equated with tradition, and therefore in appearance in opposition to the notion of the avant-garde, the world of folklore, which is subject to multiple controversies, infiltrates in different ways large areas of modernity and of contemporary creation. Far from the clichés of being backward-looking and artificial, artists have been able to find in it a source of inspiration, a regenerative power; as well as an object of critical analysis or of contention. From the early stages of modern art to the most current art, this exhibition, conceived by the Centre Pompidou-Metz, in collaboration with the Mucem (Museum of European and Mediterranean Civilisations), recounts the relationships, sometimes ambiguous, that artists nurture with folklore, from the formal borrowing to the imitation of a method, from fascination, to critical irony. Concentrating essentially on one definition and a European history of the term, the Folklore exhibition also offers an encounter between the history of art and the history of human sciences, because it unveils simultaneously the invention and the progressive institutionalisation of a discipline, notably thanks to the resources of the Mucem, the heir to the National Museum of Popular Arts and Traditions. The definition of folklore generated and still generates today important controversies: the

The exhibition continues with the folklore which also constitutes for artists a pool of forms and an inexhaustible repertoire of motives and techniques, having contributed to the renewal of the vocabulary of the visual arts, as the work from the Bauhaus workshops and of Sophie TaeuberArp are there to illustrate, or the paintings of Natalia Gontcharova amongst others. However, this formal reappropriation should not allow us to forget that the motives and symbols contain from time to time a subjacent language: in this way, the works of Július Koller or of Endri Dani also take on, in the same way as certain folkloric expressions, a subversive aspect.

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Curators : Jean-Marie Gallais and Marie-Charlotte Calafat.

The term "folklore" is fundamentally tied to the immaterial and to the oral tradition: dialects, proverbs, music, dances, rituals, beliefs, superstitions and fantastic creatures. It is this content which is more conceptual than material in folklore which interests numerous post-war artists amongst whom, Joseph Beuys or Constant, or more recently Michel Aubry or Susan Hiller, and who are also present at the heart of the exhibition.

Jean-Marie Gallais, art historian and curator of the exhibition is head of the programming department of the Centre Pompidou-Metz since 2016. He has curated there the exhibitions Painting the Night in 2018 and Lee Ufan. Inhabiting Time in 2019. Since his studies, he has been particularly interested in the links between art and folklore, a subject he has explored in several articles and lecture series.

Even though during the course of the 1970's the anthropological dimension of art came to the fore on the international scene, artists borrowed from ethnographers their research and data collection methods, followed by classification and reconstitution, and would notably be fascinated by this new everyday museography, as Marcel Broodthaers, Raymond Hains and Claudio Costabare testify, just as more recent generations, Jeremy Deller and Alan Kane, Pierre Fischer and Justin Meekel, will enable us here to provide a clear picture of "the artist as a folklorist".

Marie-Charlotte Calafat is Heritage Curator, Assistant to the Head of the Department of Collections and Documentary Resources and Head of the Mucem's History Department. She is the co-curator of the following exhibitions : Bilingual document, Photo- Novel in 2017 and Georges Henri Rivière. Seeing is understanding in 2018. .

Finally, the era of globalisation which accompanies a tendency towards uniformisation, in which are perpetuated, newly created folklores for the tourist industry, the exhibition will explore the paradoxical "new geographical areas of folklore" which like populations, continue to move around with them and never cease to be reinvented by artists: Bertille Bak, Corentin Grossmann, Pierre Huyghe, Johanna Kandl… Presented at first in Metz and then in Mucem in Marseille, from 2020, 10th anniversary year for the Centre Pompidou-Metz, to 2021, the Folklore Exhibition will be punctuated with associated events (concerts, projections, shows), which will be spread out over the four seasons as an echo to the natural rhythms celebrated in numerous folklores.

Meret Oppenheim (coussin d’assise : Lilly Keller), Läbchuechegluschti [Le monstre du pain d’épices], 1967 Velours, bois, laine, 92,8 x 44 x 38,7cm Berne, Kunstmuseum Bern © Adagp, Paris 2020 ; photo Kunstmuseum Bern

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2. THE EXHIBITION LAYOUT

The exhibition scenography, designed by Pascal Rodriguez (Modern Couples, Painting the Night at Centre Pompidou-Metz, Prehistory at Centre Pompidou,...), is based on the pattern of the cross and crossroads. In each of the sections, one or more crossbars are used to juxtapose and confront several universes.

From outside the gallery, visitors are greeted by a series of Ed Hall banners. An architect by training, he has been hand crafting since the 1980s banners for various unions and associations. Intended to be raised in protest or demand in the streets, they are since 2005 integrated into the Folk Archive of artists Jeremy Deller and Alan Kane. The latter inventoried contemporary popular forms of expression on British territory, updating potential new definitions of folklore. A visible sign of living and current folklore, these spectacular banners invite the visitors to enter the exhibition.

Immersed in a rather dark atmosphere, the exhibition brings together groups, around an artist or a subject, sometimes in a deliberately dense manner. Some picture rails evoke the walls of artists' studios, notably that of Kandinsky and Münter, charged with references to folklore and popular art. In addition, installations or videos required specific arrangements and created a rhythm in the progression from section to section.

COLLABORATION WITH ESAL The first room, like an introductory airlock, is devoted to the thorny question of definitions, to which the term "folklore" always seems to evade. The editorial design of this room, based on works on folklore preserved in the former library of the Musée national des Arts et Traditions populaires, was created by Camille Bauer, a fourth-year student of the École supérieure d'art de Lorraine -

Metz, as part of the EXTRA-TEXT program, within a research group composed of students Camille Bauer, Alice Cirendini, Mathilde Godard and Nesma Saïdoune, under the supervision of teachers Elamine Maecha, Christina Poth and Claire Tenu.

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SECTION 1: A SEARCH FOR ORIGINS?

As early as the 19th century, many artists searching for traces of the past looked for folkloric expressions, in their native regions – which they had often left – or in lands they explored during their travels. From Paul Gauguin, Paul Sérusier and the Nabis in the quest for mysticism in Brittany, Wassily Kandinsky investigating in the Russian province of Vologda, collecting folk art then exploring the Bavarian traditions, with Gabriele Münter and the Blaue Reiter (Blue Rider) group, or even Constantin Brâncuşi, Mihai Olos and Mircea Cantor working with wood and the Romanian myths of Oltenia. Folklore appears to play a role as an antidote against academism in the same way as "primitivism" and becomes a source of rich inspiration for the renewal of modern art. This gave artists the illusion of touching a deep past which would neither be spoiled by industrialisation nor by social conventions and cultural norms. This vision of folklore as a relic of an archaic and natural state is deeply rooted in the history of the discipline.

The Nabi in wooden clogs Paul Sérusier and Brittany Paul Sérusier discovered Brittany in 1888, during a stay at Pont-Aven, already a famous artistic community, where he met Paul Gauguin. The following year, the two artists retreated to a less touristic village, Le Pouldu. Sérusier also explored the legendary Huelgoat forest then settled in Châteauneuf-du-Faou. With his friends of the Nabi movement (prophet in Hebrew), they sought the myth of a land of traditions and superstitions in the Breton landscapes as much as in faces, costumes and customs, whose original character formed a breeding ground for the revival of art. Folklore, assimilated to the primitive, was a recurring element–Sérusier went as far as to invent rituals by combining several cultural references in his painting, which took a more spiritual turn at the end of the century.

Paul Sérusier, Le Feu dehors ou les Mammau ou Mammen, 1893 Huile sur toile, 73 x 92,4 cm Collection particulière | Dépôt au musée de Pont-Aven © photo Bernard Galéron

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To the popular origins of abstraction Wassily Kandinsky and Gabriele Münter, from Russia to Bavaria

Russian toys

In 1889, Wassily Kandinsky, a young law and economics student, took part in an ethnographical expedition to the province of Vologda, in the north-western region of the Russian empire. The discovery of the popular forms of expression of the Zyrians, or Komis, left a deep impression on him. He continuously tried to rediscover these sensations through his art, from his first figurative works to abstraction. When the painter and his wife, Gabriele Münter, moved to Murnau, Bavaria, in 1908, their taste for popular objects, subjects and techniques was reflected in their home, where sculptures and toys, paintings under glass, prints and icons lived side-by-side… This interest in folk art and folklore, seen as models of inspiration and spontaneity, was shared by other artists of the Blaue Reiter [The Blue Rider] group. In the early 1900s, while living in Germany, Wassily Kandinsky was inspired by Russian folk art prints (loubki) to create a series of woodcuts entitled Poetry without words. Blending aesthetic idealisation of the past with fairy tales, pagan and orthodox ornamentation, these engravings are inhabited by characters in traditional headdresses and costumes, sometimes dancing to the sound of ancient instruments. They often feature elements of the order of the fabulous, such as knights or dragons.

Jouet (femme), Dymkovo, Kirov (ancienne Viatka), Russie, 2e moitié du XXe siècle Argile modelée et peinte, 10 x 5,3 x 5,3 cm Marseille, Mucem, collection d’ethnologie d’Europe, dépôt du Muséum national d’histoire naturelle photo © Mucem / Yves Inchierman

Egor Pokrovskij’s collection has fostered the interest of scholars and artists in Russian toys. A paediatrician at St. Sophia Children's Hospital in Moscow, he collected objects related to childhood in Russia and presented them at the Anthropology Exhibition in Moscow in 1879 in a section entitled "Collection on children's primary education among different peoples", and then at the Universal Exhibition in Paris in 1889. He donated one hundred and twenty-nine objects to the Trocadero Museum of Ethnography. Another collection was exhibited at the same time in Paris, that of Nathalie Ehrenbourg, who was close to the artistic world and organised the exhibition "Russian folk art in pictures, toys and gingerbread" at the 1913 Autumn Salon.

Vassily Kandinsky, Lied [Chanson], 1906 Tempera sur carton glacé, 49 x 66 cm Paris, Centre Pompidou, Musée national d’art moderne © Centre Pompidou, MNAM-CCI / Georges Meguerditchian / dist. RMN-GP

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Pasarea Maiastra

The Carpathian peasant? Constantin Brancusi and Romania

The motif of Pasărea Măiastră, mythical bird of old tales (comparable in some respects to The Firebird, made famous in 1910 by Igor Stravinsky), was a central motif for Brâncuşi, who declined and refined the subject over and over again. The sculpture exhibited here belonged to the photographer Edward Steichen, a great friend and supporter of the sculptor, who bought it at the Autumn Salon of 1911 and erected it at the top of a high pillar in his garden in Voulangis (where he later installed the Endless Column), reminiscent of the representations of the souls of the deceased on some Romanian funerary pillars.

Born in Oltenia, Constantin Brâncuşi can be seen as the heir to the ancestral woodworking tradition of his native region, which is expressed from the little spoons to the monumental farm gates. Nevertheless, the simplification of forms that the sculptor uses is a synthesis of Romanian and non-Western influences, as well as archaeological ones. In 1937, Brâncuşi gave the column and the porch a monumental symbolic expression throughout Târgu Jiu. In homage to the victims of the Great War, the artist deploys a cosmic cycle with the Endless Column, linking earth and sky, the Gate of the Kiss and the Table of Silence, creating bridges between ancestral beliefs and the forms of modernity. The influence of Romanian folklore in the work of Brâncuşi can also be found in the recurring motif of the mythical bird Măiastră.

Mihai Olos Painter, sculptor, then a performer close to Joseph Beuys, Mihai Olos worked from shapes found in wooden constructions from the region of Maramureş, in the north of Romania, including knots and joints. His sculptures, heirs to the art of Brâncuşi, were conceived as objects to be turned on. In 1974, he began the project O statuie umblă prin Europa [A statue haunts Europe], photographing one of his sculptures in dialogue with natural or cultural sites across Europe.

Endless Column of Constantin Brâncuşi is exhibited on level 1, in the exhibition Constructed Worlds.

Constantin Brâncuși, Projets pour une Porte du baiser et la Măiastră, v. 1930-1936 Encre violette sur papier collé sur carton,53,5 x 38 cm Paris, Centre Pompidou, musée national d’Art moderne © Succession Brâncuşi - All rights reserved (Adagp, Paris, 2020) photo © Centre Pompidou, MNAMCCI, dist. RMN-Grand Palais / Jean-Claude Planchet Mihai Olos, Untitled [Sans titre], 1988 Bois, 97 x 57 x 57 cm Courtesy Olos Estate et Galeria Plan B, Cluj – Berlin © Courtesy Olos Estate and Plan B / Cluj, Berlin ; photo Nicu Ilfoveanu

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SECTION 2: AMBIGUITIES AND PARADOXES Folklore is regarded as reflecting the popular tradition of a region or a country, transmitted from generation to generation, whether it is the language, costume, rituals and customs, knowhow or lifestyles. However, folklorists’ studies and testimonials demonstrate that it was heavily stereotyped and oriented, even entirely concocted at the time of the emergence of national identities in Europe in the 19th century. Thus, it became an ideological and nationalist, then economic lever, with the development of tourism. What remains truly authentic in folklore ? Does it consist of invented traditions, of fictions ? Is it frozen in time or can it be updated depending on changing conditions in society ? Since the 19th century, it is frequently associated with nationalistic claims and is often instrumentalised by rhetoric from both ends of the political spectrum. The questions of identity and of authenticity are at the heart of many critical approaches among contemporary artists, who question the ambiguities and paradoxes of folklore.

Farandolers in New York City The "Barbentane Mission" at the 1939 International Exhibition

Guy Pison, Femmes en costumes lors de la parade d’inauguration de l’Exposition internationale, New York, États-Unis, 1939 Marseille, Mucem © Mucem / Guy Pison

In 1939, the theme of the New York International Exhibition was "the world of tomorrow". France chose to honour art, luxury, gastronomy, but also folklore in order to emphasise the attractiveness of the country and its villages. On the initiative of the director of the National Museum of Popular Arts and Traditions, Georges Henri Rivière, the French pavilion became a farmer’s museum. A real counterpoint to the idea of an industrialised and standardised future, the village of Barbentane in Provence was chosen to constitute this rustic museum in the heart of New York, next to Arlesian, Alsatian, Breton and Savoyard interiors. The farandole, a traditional Provençal dance, makes this Provençal village famous.

The recovery of folklore by the Vichy regime The testimony of the collections Folklore cannot be understood outside its historical and geopolitical context. In France, the links between folklore and the Popular Front were more quickly established and studied than those maintained by the Vichy regime. It was not until the work of historians at the very end of the 1980s that it was possible to show how folklore was hijacked in the service of Marshal Pétain's propaganda, based on regionalism, the return to the land, the figure of the peasant and popular festivities. The republican motto "Liberty, Equality, Fraternity" is replaced by the slogan "Work, Family, Homeland". The francisca becomes the symbol of the Head of State and the regime. Popular imagery and production take up these formulas, parables or emblems and bear witness to the cult of the person as much as to the promotion of traditional lifestyles.

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Between the authentic and the fake Switzerland, a folklore factory

A folk artist in troubled waters : René-Yves Creston René-Yves Creston (1898-1964) was one of those folklorists whose career was shaped by the political antagonisms of France in the first half of the 20th century. Painter, ceramist and furniture designer, in 1923 he founded the Seiz Breur group - the Seven Brothers, in Breton. His wrestling drawings present a robust and energetic line and give a new vigour to "modern graphic art in Brittany". An activist and supporter of the Breton autonomists, Creston became involved during the war in the Resistance's actions within the network of the Museum of Mankind; he was imprisoned in 1941. Freed through nationalist friends, Creston became a columnist and occasional illustrator for the proNazi or Pétainist press, while at the same time joining the French Communist Party.

Melanie Manchot, Perfect Mountain [La montagne parfaite], 2011 Épreuves photographiques et vidéo, 9 min 36 sec Courtesy de l’artiste, Parafin London, UK et Galerie m, Bochum, Allemagne © Adagp, Paris, 2020 / © Courtesy Melanie Manchot, Parafin London, UK et Galerie m, Bochum, Allemagne

Switzerland's mountainous massifs have helped to preserve local particularities, while the development of the railways from the mid-19th century onwards fostered a real folklore industry for tourists. Contemporary artists are perplexed by identity aspirations that oscillate between the authentic and the fake. The construction as early as the period of the Universal Exhibitions of a national identity based on traditions, the atmosphere of strangeness, between the idyllic and the kitsch, of landscapes and in particular of Swiss chalets, the proliferation of imagery intended for mass tourism, the stereotypes of an idealised land that has become decor, are questioned in many works, whether the artists themselves are Swiss or foreign.

Endri Dani The Albanian artist Endri Dani has erased the traditional clothes painted on clay statuettes found in his country. An emblematic souvenir for tourists, but also a sign of identity for the Albanians, these figurines show only their material, terracotta, after the artist has removed all cultural signs of questionable authenticity.

Endri Dani, Souvenir of my HomeLAND [Souvenir de ma patrie], Tirana, Albanie, 2012 Installation, céramique, dimensions variables, vidéo (4’40’’) Marseille, Mucem © Endri Dani

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The Swiss village

Valentin Carron Valentin Carron's works probe the "pseudoauthenticity" of Swiss culture, particularly that of the canton of Valais, where he lives. The artist appropriates and reproduces vernacular elements in ostensibly synthetic materials, such as this bear that seems to be carved out of a tree trunk. He also asked a craftsman, who specialises in the names of wrought-iron chalets, to shape the word Authentik, without giving him any stylistic indication. The modified spelling of the word echoes both a false-sounding authenticity and urban culture.

À l’arrière-plan Maquette de chalet du canton de Valais ou des Grisons, Suisse, v. 1900 À gauche Maquette de grenier du canton de Valais, Suisse, v. 1900 Au premier plan Maquette de chalet du canton de Berne, Suisse, v. 1900 Marseille, Mucem, collection d’ethnologie d’Europe, dépôt du Muséum national d’histoire naturelle photos © Mucem / Yves Inchierman

Models of the Swiss village at the National Exhibition in Geneva (1896) were donated by its director, Charles Henneberg, to the Trocadero Museum of Ethnography on the occasion of a new presentation at the Paris Universal Exhibition in 1900. Sometimes felt as an expression of authenticity, sometimes as the manifestation of a counterfeit, the chalet became the architectural emblem of a folklore on which, like other European countries, the modern Swiss identity was based at the time of the "invention of nations". Valentin Carron, Blind Bear [Ours aveugle], 2000 Polypropylène expansé, fibre de verre, résine acrylique, 330 x 90 x 90 cm Genève, musée d’Art moderne et contemporain © Valentin Carron ; photo Ilmar Kalkkiken © MAMCO, Genève

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SECTION 3: A POOL OF FORMS For artists, folklore constitutes an inexhaustible repertoire of techniques, forms and motives, symbols of an abstract and codified vision of the world. For the folklorist, the concept of "motif" is not limited to the visual arts and their applications, such as furniture or costumes, it is also found in music and the spoken word. Besides, it reaches further than aesthetic quality, since it is described, analysed, interpreted and is subjected to comparisons in order to capture its permanence and its specificity within a given group. Apart from the question of its study, there is the question of its collection and safeguard. The aesthetic dimension of design appears to prevail among modern artists, particularly in the studios that sought to bring together the visual and decorative arts and handicrafts in the early 20th century. These artists, driven by an appropriation approach, also contribute to its preservation by building repertoires on which to draw in order to regenerate art.

Natalia Gontcharova

Natalia Gontcharova, Espagnole, 1916-1919 Gouache au pochoir sur papier vélin, 42,4 x 26,2 cm Strasbourg, musée d’Art moderne et contemporain, Cabinet d’Art Graphique © Adagp, Paris, 2020 © Photo Musées de Strasbourg, M. Bertola

A pioneer of Russian neo-primitivism, Natalia Gontcharova brought together the European avant-garde and the folk art of her native Russia at the beginning of the 20th century, before joining the Ballets Russes troupe on tour in Spain in 1915. She was impressed by the abundance of geometric patterns in Iberian costumes. She then began a series of works on Spanish women, which she continued long afterwards, in which the abstraction of traditional dress and accessories worn by women was pushed to the limit, sometimes absorbing the painted bodies in their intermingling.

Échantillons de broderie, Bulgarie, Finlande, République tchèque, Slovaquie photos © Mucem / Yves Inchierman

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Július Koller

Janek Simon

The village of Čičmany, in Slovakia, is famous for its traditional wooden houses with walls covered with repetitive geometric patterns. Július Koller decorated one of them with the question mark symbol, characteristic of his works, which he called "anti-images". An indefinite question rather than an affirmation, this sign encourages awareness of the framework in which it is expressed. As a means of circumventing censorship, the question mark questions the present, past and future politics of socialist Czechoslovakia.

Július Koller, Univerzálny Folkloristický Obyčaj (U.F.O.) – Čičmany [Coutume folklorique universelle (U.F.O.) – Čičmany], 1978 Épreuve photographique Bratislava, Slovenská národná galéria Peinture latex sur bois, 15,5 x 95 x 2,5 cm Vienne, courtesy de la galerie Martin Janda © Julius Koller / Slovak National Gallery

Janek Simon, Synthetic Folklore v0.1.2, 2019 Résine synthétique (impression 3D), 140 x 100 cm © Courtesy de l’artiste © Janek Simon ; Courtesy of Raster Gallery

The Polish artist Janek Simon experiments with synthetic folklore through technology. In 2018, the artist created an algorithm that he regularly incites to mix and combine different folk motifs: from weaves from all over the world to aesthetics borrowed from video games, for example. A 3D printer can then be used to produce artificial paintings, solid and momentary images of this constantly evolving synthetic folklore.

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SECTION 4: EXPLORING THE IMMATERIAL Folklore differs from folk art by its fundamentally immaterial dimension. Etymologically defined as "the knowledge of the people", it brings together elements such as dialects and languages, tales and proverbs, music and dances, customs and beliefs… Rituals dedicated to nature, pagan ceremonies or even superstitions attracted the attention of artists of the post-war era because of their conceptual and social character. The Surrealists saw folklore as the expression of the natural tendency of people for the irrational or, according to Benjamin Péret, the reflection of a "poetic awareness of the world". If oral transmission seems to be the common denominator of these elements, peddling also played an early role in the flow of ideas and customs, amongst others, through the popular images of almanacs or shepherds’ calendars. From the ancient Pausanias to the famous Brothers Grimm, folklorists see in the storytellers the precursors of their discipline.

Lionel Bonnemère A lawyer at the court of Paris during the Second Empire, Lionel Bonnemère (1843-1905) was also a poet, musician, playwright and sculptor. He collected about three thousand objects related to finery, ritual and magic, half of which were collected in France. The origins, mixed with sometimes comical anecdotes, were transcribed in his notebooks and were shared at the Mother Goose dinners, monthly meetings of folklorists in Paris. Lionel Bonnemère donated this important collection to the Trocadero Museum of Ethnography.

Lionel Bonnemère (aut.), Carnet, Cabinet de Lionel Bonnemère, v. 1900 Encre sur papier, 23 x 18 x 2 cm Marseille, Mucem, fonds Lionel Bonnemère photo © Mucem / Yves Inchierman

Amulette pour la divination amoureuse, flacon contenant des noyaux de cerise Bretagne, 2e moitié du XIXe siècle Verre, noyau, 3,4 x 1,7 cm Marseille, Mucem photo © Mucem / Yves Inchierman

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Music and dance Borrowing, imitation, creation

Orality and invention The peddler and the collector

Folklorists and artists are part of a craze for popular music and dance. It allows, for some, to give a place to arts considered as minor and, for others, to emancipate themselves from the hegemony of an academic system, in order to develop new means of communication. The reconstruction part is assumed and claimed by some, while others castigate cosmopolitanism, denying exchanges and circulation in order to promote intangible heritage as the legitimate holder of the identity of a group or territory. For many musicians and choreographers who develop an imagined and synthetic folklore, syncretism is such that it is very difficult to disentangle the sources, to know whether the turns are borrowed or imitated. Contemporary dance frequently plays with these references, drawing inspiration from collective gestures and movements or offering a critical interpretation.

Oral literature is a fundamentally shifting form despite the fixity of its themes. The peddler, this itinerant salesman who travels the roads and moves his goods from town to village, is an essential player in oral tradition and transmission. He ensures the dissemination of popular imagery, from prints to almanacs, through objects and tales, which are transformed along the way. The figures of the storyteller, like that of the peddler, have for several centuries been the subjects of a rich iconography, both in the popular field (imagery, postcards) and in that of the fine arts. Those who pass on oral literature are not always studied and represented in an ethnographic or realistic way, and most of the time they are the subject of invention.

Tales Paul Delarue (1889-1956), a specialist in oral literature, compiled a survey of tales which reflect a rigorous and shared methodology. He brought together researchers within the French Society of Ethnology and the National Museum of Popular Arts and Traditions, encouraged them in their investigations and collected their work in his collection of French folk tales. Following the AarneThompson classification model (international indexation of folk tales based on common narrative patterns, or "standard tales"), they perform a balancing act between fixation and consideration of the changing nature of the field, by seeking to define motifs, themes and their variants..

Paul Delarue, Ensemble de fiches de collecte de contes, France Encre sur papier, 22 x 15 cm Marseille, Mucem photo ÂŠ Mucem / Yves Inchierman

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Creatures, myths and rituals related to nature From neo-primitivism to shamanic art

Neo-primitivism In Russia, the Donkey's Tail group, founded in 1912 by Mikhail Larionov and Natalia Gontcharova, believed that the avant-garde was too subservient to Western art and should draw more inspiration from national folk art. In 1912, Mikhail Larionov painted the cycle of seasons, considered as the pictorial manifesto of Russian neo-primitivism. Borrowing a grotesque and naive style mixing drawing and text from popular imagery and pottery decorations, the artist depicted for the four seasons the deities and the cycle of work in the fields. He reinforced the orality of the message by writing a poem with childish writing and mistakes on his canvases.

Rituals to nature and references to supernatural forces, perceived as archaic pagan survivals, are at the heart of early folklorist studies. In June 1938, the newly created Office of Folklore Documentation, then part of the National Museum of Folk Arts and Traditions, published an appeal entitled "Let us rekindle the fires of St. John's Day" to revive local customs. Among the objects collected, torches, firebrands and call trumpets designed to chase away evil spirits bear witness to this quest, linked to the summer solstice, for renewal, fertility and collective festivities - all signs of a regeneration in osmosis with nature that inspired many artists, particularly in the post-war period.

Jouets, Ille‑et‑Vilaine Bois, 8,5 x 2,3/8,7 x 1,8/7,3 x 6/2,33 x 2,45/8 x 9/9 x 2,5/20 x 1,6/6,8 x 6/5,7 x 8,8/6,2 x 9,7 Marseille, Mucem | Don de Paul Sébillot photo © Mucem / Yves Inchierman

Mikhail Larionov, L'automne, 1912 Huile sur toile, 136 x 115 cm Paris, Centre Pompidou, Musée national d’art moderne © Adagp, Paris 2020 photo © Centre Pompidou, MNAMCCI, Dist. RMN-Grand Palais / Philippe Migeat

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Joseph Beuys

CoBrA In the post-war period, the CoBrA group placed the notion of popularity at the heart of its concerns and campaigned for experimental art, both aesthetic and political. Some of its artists revived a fascination with paganism and fantastic forces, sometimes combined with the world of childhood. With The Sorcerer's Animal (1949), Constant, who was passionate about popular traditions and studied Scandinavian amulets in particular, evoked bestiality and the return to nature. In his series of "Modifications", Asger Jorn intervened on a classical landscape by adding Dovre Gubben [The Lord of the Mountain Trolls], a creature from the Nordic pantheon surrounded by spirits, whom the artist had the power to bring out of the landscape.

After the Second World War, Joseph Beuys set out to find a new relationship between man, nature and the cosmos. In his graphic works of the late 1940s and early 1950s, the artist achieved a synthesis between elements from paganism (mountain spirits, divinities linked to nature...) and Christ-like figures such as the deer, which appeared in scenes of sacrifice or metamorphosis. He also drew druids, shamans, and other figures of orality and healing, such as the shepherd (Beuys exhibited in a stable in 1953 and 1963). The artist's ambition was to shift the artistic act to the side of myth, drawing from the Celtic and Eurasian sources of Germanic culture.

Constant, L'animal sorcier, 1949 Huile sur toile, 110 x 85 cm Paris, Centre Pompidou - Musée national d'art moderne © Fondation Constant / Adagp, Paris 2020 © Service de la documentation photographique du MNAM, Centre Pompidou, MNAM-CCI / dist. RMN-GP

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SECTION 5: INVESTIGATE, COLLECT, CATEGORISE In the "breeding" section of the National Museum of Popular Arts and Traditions (conceived in 1937 and inaugurated in 1972) was exhibited a saddled guardian from the collections donated by Émile Marignan to the Trocadero Museum of Ethnography in 1901. The guardian's costume, like that of the Arlésienne, was formally created and fixed in the 1900s by folklorists. This showcase bears witness to the museography of the director of the National Museum of Popular Arts and Traditions (MNATP), Georges Henri Rivière. In a showcase on a black background, the use of nylon thread allows the rider's costume and his horse's accessories to be hung in a realistic position without the use of mannequins, which were considered distracting and anecdotal.

Folklore and prehistory

Un gardian en selle, Camargue, fin du XIXe siècle, photographie d’une vitrine de la galerie culturelle du musée national des Arts et Traditions populaires, 19752005 Marseille, Mucem © Mucem / Hervé Jézéquel

How can the arts and popular traditions, in part immaterial, be studied, safeguarded and presented? Folklorists have been preoccupied with this question since the creation of the discipline, and museums would appear to be the saving grace for vanishing heritages. As the field becomes progressively institutionalised, the methods of survey-collection, classification and analysis of data and objects are being developed. Museums of folklore and ethnology followed by those of society or of civilisation, stand out and fascinate artists through their staging of everyday life. Furthermore, folklorists’ methods provide a model for artistic creation. From the 1970s, contemporary art has integrated an anthropological dimension: field surveys, collection of objects, exhibition of situations, as can be seen by the works of Marcel Broodthaers, Raymond Hains or Claudio Costa, and the next generations, Jeremy Deller and Alan Kane, Florian Fouché, Pierre Fisher and Justin Meekel, drawing a portrait of "the artist as folklorist".

De gauche à droite et de haut en bas Manche de canne, Camargue, Corne, 15,5 x 6,9 x 2,3 cm - Outil, Camargue, Os perforé, 7,7 x 7 x 3,2 cm - Piège, Camargue, v. 1860, Bois, fer, corde, 11,5 x 13,5 x 2 cm - Marseille, Mucem photo © Mucem / Yves Inchierman

The approach to the folk object in the 19th century bears witness to fruitful crossovers with a constituted discipline: archaeology. Émile Marignan, who took part in the creation of the French rooms of the Trocadero museum, close to Frédéric Mistral (1830-1914), poet and creator of the Museon Arlaten, an Arlesian museum created in 1896, was a doctor who devoted himself to the study of prehistory and folklore, both nationally and regionally. According to him, "Ethnography is the auxiliary of Prehistory from which it is inseparable."

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A prolific author of articles published in the journals of learned societies, he crossed archaeological findings with ethnographic studies, seeking to highlight a continuum of practices and customs.

Claudio Costa Museum of Active Anthropology

Marcel Broodthaers The Folklore Section/Cabinet of Curiosities Marcel Broodthaers was a poet and artist who reflected very early on the relationship between the work of art, the museum and the public. Between 1968 and 1972, he introduced himself as the director of the Museum of Modern Art, Department of Eagles, of which he orchestrated several sections. The Folklore Section/Cabinet of Curiosities was designed in 1970 at the Zeeuws Museum in Middelburg (Netherlands), around cabinets containing objects from the heterogeneous collection of the Royal Zeeland Science Society, which is related to natural history, archaeology, folk arts or crafts. Photographs taken by Maria Gilissen document the exchanges with the museum's director, Piet van Daalen. Broodthaers donated a small canvas embroidered by his daughter to the museum with the inscription "Museum - Museum of Eagles". Claudio Costa, Ensemble de photographies documentant le projet Monteghirfo, Museo di Antropologia Attiva, 1975 Diaporama © Courtesy Archive Claudio Costa © Adagp, Paris, 2020 ; Archivio Claudio Costa, photo Claudio Grimaldi

In September 1975, in Monteghirfo, a remote village in the Genoese hinterland, Claudio Costa inaugurated the "Museum of Active Anthropology". The experience began with the discovery of an abandoned house whose interior had remained intact. Like an ethnographer, Costa dusted off, shed a light on and catalogued in the local dialect all the objects he found there. The term "active anthropology" (or "active museum") is claimed to mean that the visitor comes to meet the object of study on the spot, in its context. In his sculptures, Costa evokes ancient myths and allows rust to act irremediably. He also conducts performances that take the form of collective rituals inspired by local superstitions.

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TOWARDS PLANETARY FOLKLORE? If, by definition, folklore is linked to a defined territory or group, it now circulates openly on a planetary scale, between industry and tourism. With poetry or irony, artists are the observers and the actors of a new geography. Intended as feedback, oral transmission, in the absence of technology, and like a place of syncretism, a common ground for mankind, far from the first closed definitions of the term, folklore constitutes a material that artists seize by virtue of its capability to reenchant the world and to evolve over time. As Joseph Beuys said, folklore has the power to take us on a journey between the past, present and future, and paradoxically, to open universal horizons.

Com & Com BLOCH Project

Slavs and Tatars Mollah Nasreddine, the Antimodern Com & Com, Bloch au Chili (2019) © Thomas Rickenmann

In 2011, Marcus Gossolt and Johannes M. Hedinger (Com&Com) won at auction the Bloch carnival of the villages of Urnäsch and Herisau: according to custom, the last trunk cut during the winter is sold to the highest bidder, who usually uses it to make a piece of furniture. The Swiss duo decided to take it all over the world. Each stage was an opportunity for encounters and collaborations between different cultures, changing its appearance or giving rise to the creation of new folklores. The Bloch project has already travelled through Europe, Asia, North America, Africa and South America, where it is currently based.

Slavs and Tatars, Molla Nasreddin the Antimodern [Mollah Nasreddine l’antimoderne], 2012 Acier, fibre de verre, résine, laque, 180 x 180 x 80 cm Berlin, Kraupa-Tuskany Zeidler et Varsovie, Raster © Courtesy of Raster Gallery © Slavs and Tatars

Mollah Nasreddine is a mythical medieval figure who can be found under different names throughout the Muslim world, from the Balkans to Mongolia and the Maghreb. This religious philosopher, half scholar, half buffoon, collected traditions and distributed his moral through humour or absurdity – he gave his name to a satirical journal at the beginning of the 20th century. Often portrayed as "anti-modern", riding a donkey back to front, trotting towards the future but looking back, this folk figure is here transformed by the Slavs and Tatars collective into a playground superhero, inviting children to join him in his adventures.

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3. THE PRESENTED ARTISTS Michel Aubry

Asger Jorn

Bertille Bak

Wassily Kandinsky

Émile Bernard

Johanna Kandl

Joseph Beuys

Clément Kieffer

Henri Blackburn et Randolph Caldecott

Frederick Kiesler

Constantin Brâncuşi

Július Koller

André Breton

Georges Lacombe

Marcel Broodthaers

François Hippolyte Lalaisse

Mircea Cantor

Mikhail Larionov

Valentin Carron

Pierre Leguillon

Auguste Cazalis

Le Creurer

Com&Com (Marcus Gossolt et Johannes M. Hedinger)

Melanie Manchot Gabrielle Münter

Constant

Emil Nolde

Claudio Costa

Mihai Olos

René-Yves Creston

Amy O’Neill

Endri Dani

Meret Oppenheim

Jeremy Deller et Alan Kane

Man Ray

Marcel Duchamp

Rúrí

Jimmie Durham

Yves Saint Laurent

Peter Fischli et Hilar Stadler

Slavs and Tatars

Pierre Fisher et Justin Meekel

Paul Sérusier

Florian Fouché

Janek Simon

Eugène Grasset

Andreas Slominski

Paul Gauguin

Maria Tănase

Natalia Gontcharova

Sophie Henriette Taueber-Arp

Corentin Grossmann

Victor Vasarely

Raymond Hains Ed Hall

Choreographic pieces extracts:

Susan Hiller

Dominique Brun, François Chaignaud et Nino Laisné, Mickaël Phelippeau, Christian Rizzo, Alessandro Sciarroni

Pierre Huyghe Johannes Itten

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4. THE EXHIBITION CATALOGUE The catalogue of the exhibition Folklore offers a novel encounter between art history and the humanities.

FOLKLORE EXHIBITION CATALOGUE PROJECT MANAGEMENT: JEAN-MARIE GALLAIS, HEAD OF THE PROGRAMMING DEPARTMENT OF THE CENTRE POMPIDOUMETZ, AND MARIE-CHARLOTTE CALAFAT, HEAD OF THE HISTORY OF THE MUCEM. PUBLISHER: COEDITION LA DÉCOUVERTE, CENTRE POMPIDOU-METZ, MUCEM PAPERBACK, 224 PAGES DATE OF PUBLICATION: 12 MARCH 2020 PRICE: 35 €.

Illustrated by nearly two hundred and fifty reproductions of works, objects and documents, it retraces, by following the exhibition's path, a crossed story between artists and folklorists in Europe, from the end of the 19th century to the present day. In addition to the exhibition curators, historians, sociologists and art historians (including Anne-Marie-Thiesse, winner of the Prix Femina Essai, and Manuel Charpy, researcher at the CNRS) contributed to it. They enrich the work with historical perspectives and open the debate that this exhibition aroused.

La Découverte CONTACT: Carole LOZANO Press relations 01 44 08 84 22 carole.lozano@editionsladecouverte.com

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5. ASSOCIATED PROGRAMMING MER. 08.04 Florian Fouché

native culture-Tyrolean vocals, schuhplattler, a trunk that becomes a bench, a whip chasing evil spirits-he exposes them, plays them, and strips them bare in the literal sense, since he dances this solo, naked.

6 PM | Meeting | ESAL's Auditorium | 60' | Free access within the limit of available seating

At one and the same time a virtuoso dancer, a musician transforming his body like props into instruments, a clever and moving choreographer, Simon Mayer brilliantly brings into dialogue differing worlds often considered irreconcilable: evocations of nature and urban codes, the tradition and the contemporary, constraint and liberty.

Meeting with Florian Fouché, one of the artists of the Folklore exhibition, about his work around the Romanian Peasant Museum in Bucharest. In partnership with the École Supérieure d'Art de Lorraine (ESAL).

Laure Dautzenberg. In partnership with the Festival Perspectives

SUMMER SOLSTICE

SAT. 20.06 URBAN PIPES Erwan Keravec (2017)

FROM FRI. 19.06 TO SAT. 20.06.20 FRI. 19.06 SUNBENGSITTING Simon Mayer (2014)

7 PM | Forum and Studio | Concert | 60’ Free access within the limit of available seating

8 PM | Studio | Concert | 75’

Erwan Keravec is a Scottish bagpiper, composer and improviser. By developing research on ways of playing and listening to his instrument, far removed from his original culture, he explores improvised music, from free jazz to noise, and is constituting a repertoire of contemporary music for solo bagpipes, trio with voice and chorus. Curious about movement, relationships and situations suitable for reinvention, he also collaborates with choreographers such as Boris Charmatz or Emmanuelle Huynh.

€15 / €10 (PASS-M and young PASS-M members benefit from the reduced rate)

Since 2007, he has been refining his research with the projects Urban Pipes I (2007) and Urban Pipes II (2011) for which he has composed and improvised as a soloist, with his brother Guénolé Keravec playing the bombard or with the Basque singer Beñat Achiary. He presents his version of what it means to be a folk musician today: both respectful of his heritage and in search of new music.

In Upper Austrian dialect, sunbeng means the bench in the sun in front of the farms. Simon Mayer, himself born in the Austrian countryside, revisits in his own manner the traditions from which he comes. Using elements from the folklore of his

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AUTOMN EQUINOX

SAT. 20.06 WEDDING NIGHT La Nòvia / Yann Gourdon

SUN. 20.09.20

SUN. 20.09 STREAMSIDE DAY (2010) AND THE HOST AND THE CLOUD (2011) Pierre Huygue

8 PM | South Garden (Studio in case of rain) | Concert / Traditional Folk Ball | €5

2 PM | Wendel Auditorium | Screenings | 150' | Free access subject to availability For Pierre Huyghe, folklore allows "to accentuate the coefficient of fiction contained in reality". With Streamside Day, the artist creates a community celebration for the new inhabitants of a suburban American city that has emerged from the earth in the middle of a natural site. With The Host and the Cloud, he takes over the former National Museum of Popular Arts and Traditions in Paris, to orchestrate situations, strange rituals where imagination, collective history, legends and science-fiction mingle.

La Nòvia is a collective based in Haute-Loire which brings together musicians residing in a large area: Auvergne, Rhône-Alpes, Béarn, Limousin, Cévennes, Franche-Comté. This collective is a place for reflection and experimentation around traditional and/or experimental music. The plurality of its actors - musicians, a graphic designer, art school or music school teachers - creates a strong dynamic and aesthetic coherence.

Certain scenes are likely to offend the sensitivity of some viewers. From the age of 16.

Invited for the second time to the Centre Pompidou - Metz, they return for the Folklore exhibition to present 9 new concerts that invite both listening and dancing. After the concerts, let's go have a ball!

An all-nighter with Occitan accents will transform the garden into a traditional dance-floor... In partnership with the association Fragment. With the support of DRAC Auvergne Rhône-Alpes and ADAMI.

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“OFF-SITE”

FOLKLORE: FROM THE LEARNED TO THE POPULAR

IN THE FOOTSTEPS OF FOLKLORE

As a complement to the Folklore exhibition, the Cité Musicale-Metz is organising special events around the heritage of popular arts and traditions in contemporary music and dance :

Guided tours in partnership with the Metz Tourist Office. WED. 15.04.20 Dress for the occasion family visit | 2.30 PM 90’ - €4

TUE. 05.05.20 | 6.30 PM FOLK MUSIC under the microscope of modernity Corinne Schneider Conference | Free admission

SAT. 30.05.20 The Graoully of Metz Franco-German visit | 2.30 PM 75' - Free upon registration

TUE. 05.05.20 | 8 PM JORDI SAVALL - BAL•KAN : Honey and Blood, the Cycles of Life Hesperion XXI Baroque concert | from €8 to €43

SAT. 27.06.20 Tales & Legends of Gorze visit for night owls | 9.30 PM 90’ - €8

THU. 07.05.20 | 8 PM SUPER PARQUET + SOURDURURANT Folk music concert : from €13 to €18 (reduced tariff for PASS-M holders)

WED. 08.07.20 The influence of the Graoully in the history of Metz Guided tour | 2.30 PM 90’ - €8

WED. 13.05.20 | 8 PM ALL ABOUT LEARNED AND POPULAR MUSIC Raphaël Jouan, Bruno Maurice Chamber music concert | from €8 to €26 THU. 14.05.20 | 8 PM BEWITCHED LOVE Aïcha M'Barek & Hafiz Dhaou, Jean-Marie Machado Dance | from €8 to €26 (reduced tariff for PASS-M holders)

SAT. 14.07 + 05.09.20 Tales and legends of Lorraine Guided tour | 2.30 PM 90’ - €8

FRI. 15.05.20 | 8. PM HUNGARIAN DANCES Orchestre national de Metz Symphonic concert | from €8 to €34

WED.29.07 CAFÉ KLATSCH

SAT 16.05.20 | 8.30 PM HEILUNG Folk concert | from €26 to €32

Meeting | Tourism Office Metz | 90' | Drink and delicacy included

In partnership with the Cité musicale-Metz More information on citemusicale-metz.fr Folklore PASS : - 30 % for 3 concerts chosen from among these special events.

If the expressions "ça getz", "avoir du schpeck", "spritzer les carreaux", "manger un schneck entre midi" or "enfiler ses schlapps" puzzles you, then come and knock at the door of the Tourist Office and learn to speak Lorraine by having a chat over a gourmet coffee! Registration is compulsory, subject to availability: 03 87 39 00 00 / tourisme@inspire-metz.com

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6. YOUNG PUBLIC The childrens' programme conceived around the Folklore exhibition will enable children to discover traditions in which both young and old alike can learn about regional legends and revisit them in the light of their own imagination!

THE WORKSHOPS 11.07 → 07.10 MIX & MATCH Camille Audibert Workshops 5-12 years old SAT. + SUN. + PUBLIC HOLIDAYS (except May 1st) 5-7 years old: 11 AM 8-12 years old: 3 PM Online and on-site registration (subject to availability) Additional hours during school holidays in Zone B: 5-7 years old: WED | 3 PM 8-12 years old: MON. + THU. + FRI. | 3 PM On the occasion of the Folklore exhibition, the Mix & Match workshop is proposing to revisit the most famous legends of the Lorraine region, but not just that ! Using pre-cut and padded fabric shapes to mix and match, children will be able to bring back to life the folk monsters from their storybook. This summer, it is certain, we are shaking up traditions, dusting off the old dragons, the Graoully has just got to behave ! The children's workshops are supported by the UEM Group and its subsidiary efluid :

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7. THE PARTNERS Le Centre Pompidou-Metz constitutes the first example of decentralisation of a great national cultural institution, the Centre Pompidou, in partnership with the regional authorities. An autonomous institution, the Centre Pompidou-Metz benefits from the experience, skills and international renown of the Centre Pompidou. It shares with its elder the values of innovation, generosity pluridisciplinarity and openness to all audiences. The Centre Pompidou-Metz produces temporary exhibitions based on loans from the collection of the Centre Pompidou, Musée national d’art moderne, which is, with more than 120 000 works, the most important collection of modern and contemporary art in Europe and the second in the world. It also develops partnerships with museum institutions over the whole world. As an extension to its exhibitions, the Centre Pompidou-Metz also proposes dance performances, concerts, cinema and conferences. It benefits from the support of Wendel, the founding sponsor.

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With the support of

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G R A N D M E C E N E D E L A C U LT U R E

WENDEL, FOUNDING SPONSOR OF THE CENTRE POMPIDOU-METZ Wendel has been involved with Centre Pompidou-Metz since its opening in 2010. Trough this patronage, Wendel has wanted to support an emblematic institution with a broad cultural influence. In acknowledgement of its long-standing commitment to cultural development, Wendel was awarded the title of "Grand Sponsor of Culture" in 2012. Wendel is one of Europeâ&#x20AC;&#x2122;s leading listed investment companies. It operates as a long-term investor and requires a commitment from shareholder which fosters trust, constant attention to innovation, sustainable development and promising diversification opportunities. Wendel excels in the selection of leading companies, such as those in which it currently owns a stake: Bureau Veritas, Allied Universal, Constantia Flexibles, Crisis Prevention Institute, Cromology, IHS, Stahl or Tsebo. Founded in 1704 in the Lorraine region, the Wendel Group expanded for 270 years in various activities, in particular in the steel industry, before becoming a long-term investor in the late 1970s. The Group is supported by its core family shareholder group, which is composed of more than one thousand shareholders of the Wendel family, combined to form the family company Wendel-Participations, which owns 37.7% of the Wendel groupâ&#x20AC;&#x2122;s share capital. CONTACTS: Christine Anglade Pirzadeh + 33 (0) 1 42 85 63 24 c.angladepirzadeh@wendelgroup.com Caroline Decaux + 33 (0) 1 42 85 91 27 c.decaux@wendelgroup.com

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THE SANEF GROUP, COMMITTED PARTNER FOR CULTURE IN REGION The Sanef group, which manages 2,000 km of motorways in France, is committed to promoting economic, cultural and touristic dynamism all across the areas it extends over, including the Grand Est region with the A4 motorway (Paris-Strasburg). For many years, the group has pursued an active policy of sponsorship in the regions, helping to promote regional cultural events and attract new audiences. The Sanef group has also chosen to commit itself to vocational integration in the regions in order to help people in great difficulty to return to work. It has created bridges between its cultural sponsorship and its social cooperation commitments, convinced that culture creates links and helps reintegration. It is in this context that the Sanef group has decided, for the first time, to support the Centre PompidouMetz and to contribute to the promotion of the two flagship exhibitions of its 10th anniversary: Folklore from 21 March to 21 September 2020 and Chagall, the Light Passer from 17 October 2020 to 15 February 2021. THE SANEF GROUP The Sanef group operates 2,071 km of motorways, mainly in Normandy, northern and eastern France. The group employs around 2,500 people and had a turnover of â&#x201A;Ź1.806 billion in 2019. Its investment programme is over â&#x201A;Ź1 billion. Main subsidiaries: Sapn and Bip&Go. CONTACTS: Sanef Institutional Relations and CSR Department Sandrine Lombard Head of patronage and cultural partnerships sandrine.lombard@sanef.com

WWW.SANEFGROUPE.COM

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FOLKLORE EXHIBITION AT THE MUCEM IN MARSEILLE FROM OCTOBER 21ST, 2020 TO FEBRUARY 22ND, 2021

The exhibition Folklore was conceived and organized by Centre Pompidou-Metz in partnership with the Mucem, Musée des Civilisations de l’Europe et de la Méditerranée. It will be presented in the institution in Marseille from October 21st, 2020 to February 22nd, 2021. The Museum of the Civilisations of Europe and the Mediterranean (Mucem) is a national public institution, under the supervision of the Ministry of Culture. Opened in Marseille in June 2013, it is one of the Top 5 most visited museums in France. In 2019, it confirmed its attractiveness with 1,207,000 visitors. The Mucem is establishing itself as the great museum dedicated to the Mediterranean. Its unique feature is to retrace, analyse and illuminate, in the same spirit and in the same place, the ancient foundations of this basin of civilisation and the tensions that run through it up to the present day. It is a place of exchange on Mediterranean issues. In its exhibitions as in its cultural programme, it offers a multidisciplinary vision combining anthropology, history, archaeology, art history and contemporary art, in order to show the public the various facets of the Mediterranean world and its permanent dialogue with Europe. Among the 360 works and objects presented in the exhibition, 190 come from the Mucem collections, direct heirs to those of the Musée d'ethnographie du Palais de Trocadéro in Paris (1878-1936) and its successor museums from 1936 onwards, the Musée de l'Homme and the Musée national des arts et traditions populaires (MnATP). Alongside the Folklore exhibition presented at Mucem J4, an exhibited artist will be invited by the curators, in the form of a carte blanche, to take over the exhibition room of the Mucem's Conservation and Resource Centre for a rereading of pieces from collections from September 18th 2020 to January 8th 2021.

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8. IMAGES AVAILABLE FOR THE PRESS The pictures of artworks, among which the pictures listed hereafter, can be downloaded at the following url: centrepompidou-metz.fr/phototheque Username: presse Password: Pomp1d57

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Paul Sérusier, La guirlande de roses, 1898 Huile sur toile, 194 × 175 cm. Genève, Association des Amis du Petit Palais. © akg-images

Mihai Olos, Untitled [Sans titre], 1988 Bois, 97 x 57 x 57 cm © Courtesy Olos Estate et Galeria Plan B, Cluj, Berlin © photo Nicu Ilfoveanu

Meret Oppenheim, (coussin d’assise : Lilly Keller), Läbchuechegluschti [Le monstre du pain d’épices], 1967 Velours, bois, laine, 92,8 x 44 x 38,7cm Berne, Kunstmuseum Bern © Adagp, Paris 2020 ; photo Kunstmuseum Bern

Paul Sérusier, Le Feu dehors ou les Mammau ou Mammen, 1893 Huile sur toile, 73 x 92,4 cm Collection particulière | Dépôt au musée de Pont-Aven © photo Bernard Galéron

Josif Kestler, maquette de maison, Olténie du Nord, Roumanie, v. 1930 Bois, pierre, écorce, paille, 16 x 43,5 x 24,5 cm Marseille, Mucem, collection d’ethnologie d’Europe, dépôt du Muséum national d’histoire naturelle photo © Mucem / Yves Inchierman

Endri Dani, Souvenir of my HomeLAND [Souvenir de ma patrie], Tirana, Albanie, 2012 Installation, céramique, dimensions variables, vidéo (4’40’’) Marseille, Mucem © Endri Dani

Guy Pison, Femmes en costumes lors de la parade d’inauguration de l’Exposition internationale, New York, États-Unis, 1939 Marseille, Mucem © Mucem / Guy Pison

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Melanie Manchot, Perfect Mountain [La montagne parfaite], 2011 Épreuves photographiques et vidéo, 9 min 36 sec © Courtesy de l’artiste, Parafin London, UK et Galerie m, Bochum, Allemagne © Adagp, Paris, 2020 / © Courtoisie Melanie Manchot, Parafin London, UK et Galerie m, Bochum, Allemagne

Július Koller, Univerzálny Folkloristický Obyčaj (U.F.O.) – Čičmany [Coutume folklorique universelle (U.F.O.) – Čičmany], 1978 - Épreuve photographique Bratislava, Slovenská národná galéria Peinture latex sur bois, 15,5 x 95 x 2,5 cm, Vienne © Courtesy de la galerie Martin Janda © Julius Koller / Slovak National Gallery

Janek Simon, Synthetic Folklore v0.1.2, 2019 Résine synthétique (impression 3D), 140 x 100 cm © Courtesy de l’artiste © Janek Simon ; Courtesy of Raster Gallery

Valentin Carron, Blind Bear [Ours aveugle], 2000 Polypropylène expansé, fibre de verre, résine acrylique, 330 x 90 x 90 cm Genève, musée d’Art moderne et contemporain © Valentin Carron ; photo Ilmar Kalkkiken © MAMCO, Genève

Tablier de femme dit delantal appartenant à un costume de fête dit charra, Salamanque, Espagne, XXe siècle Drap de laine, soie damassé, velours, toile de coton imprimé, perles brodées, 73,5 x 56,5 cm Marseille, Mucem, collection d’ethnologie d’Europe, dépôt du Muséum national d’histoire naturelle photos © Mucem / Yves Inchierman

Amulette pour la divination amoureuse, flacon contenant des noyaux de cerise Bretagne, 2e moitié du XIXe siècle Verre, noyau, 3,4 x 1,7 cm Marseille, Mucem photo © Mucem / Yves Inchierman

FOLKLORE

Emil Nolde, Bergriesen [Les géants de la montagne], 1895/96 Huile sur toile, 93,5 x 151,5 cm Neukirchen, Stiftung Seebüll Ada und Emil Nolde © Nolde Stiftung Seebüll Photo : Fotowerkstatt Elke Waldord, Hamburg, und Dirk Dunkelberg, Berlin

Lionel Bonnemère (aut.), Carnet, Cabinet de Lionel Bonnemère, v. 1900 Encre sur papier, 23 x 18 x 2 cm Marseille, Mucem, fonds Lionel Bonnemère photo © Mucem / Yves Inchierman

Paul Delarue, Ensemble de fiches de collecte de contes, France Encre sur papier, 22 x 15 cm Marseille, Mucem photo © Mucem / Yves Inchierman

Jouets, Ille‑et‑Vilaine Bois, 8,5 x 2,3/8,7 x 1,8/7,3 x 6/2,33 x 2,45/8 x 9/9 x 2,5/20 x 1,6/6,8 x 6/5,7 x 8,8/6,2 x 9,7 Marseille, Mucem | Don de Paul Sébillot photo © Mucem / Yves Inchierman

Mikhail Larionov, L'Automne, 1912 Huile sur toile, 136 x 115 cm Paris, Centre Pompidou, Musée national d’art moderne © Adagp, Paris 2020 photo © Centre Pompidou, MNAMCCI, Dist. RMNGrand Palais / Philippe Migeat

Constant, L'Animal sorcier, 1949 Huile sur toile, 110 x 85 cm Paris, Centre Pompidou - Musée national d'art moderne © Fondation Constant / Adagp, Paris 2020 © Service de la documentation photographique du MNAM - Centre Pompidou, MNAM-CCI / dist. RMN-GP

De gauche à droite et de haut en bas Manche de canne, Camargue, Corne, 15,5 x 6,9 x 2,3 cm Outil, Camargue, Os perforé, 7,7 x 7 x 3,2 cm Piège, Camargue, v. 1860 Bois, fer, corde, 11,5 x 13,5 x 2 cm Marseille, Mucem, photos © Mucem / Yves Inchierman

Claudio Costa, Ensemble de photographies documentant le projet Monteghirfo, Museo di Antropologia Attiva, 1975 Diaporama © Courtesy Archive Claudio Costa © Adagp, Paris, 2020 ; Archivio Claudio Costa, photo Claudio Grimaldi

Un gardian en selle, Camargue, fin du XIX siècle, photographie d’une vitrine de la galerie culturelle du musée national des Arts et Traditions populaires, 19752005 Marseille, Mucem © Mucem / Hervé Jézéquel e

FOLKLORE

Com & Com, Bloch au Chili (2019) © Thomas Rickenmann Slavs and Tatars, Molla Nasreddin the Antimodern [Mollah Nasreddine l’antimoderne], 2012 Acier, fibre de verre, résine, laque, 180 x 180 x 80 cm Berlin, Kraupa-Tuskany Zeidler et Varsovie, Raster © Courtesy of Raster Gallery © Slavs and Tatars

FOLKLORE

NOTES

THE CENTRE POMPIDOU-METZ 1, parvis des Droits-de-l’Homme 57000 Metz +33 (0)3 87 15 39 39 contact@centrepompidou-metz.fr centrepompidou-metz.fr Centre Pompidou-Metz PompidouMetz centrepompidoumetz_

OPENING HOURS Every day except Tuesday and 1st May 01.11 > 31.03 MON. | WED. |THU. | FRI. | SAT. | SUN.: 10 A.M. – 6 P.M. 01.04 > 31.10 MON. | WED. | THU.: 10 A.M. – 6 P.M. FRI. | SAT. | SUN.: 10 A.M. – 7 P.M.

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EXHIBITION PRICES Individual fare: €7 / €10 / €12 according to the number of exhibition spaces open Group fare (starting from 20 persons): €5,50, €8, €10 according to the number of exhibition spaces open Profit from the numerous advantages of the Centre Pompidou-Metz’s partners with the following offers: C.G.O.S. ticket combined offer Centre Pompidou-Metz/SNCF TER Grand Est, combined offer voyage + entrance of the CFL (Chemins de Fer Luxembourgeois- Luxemburg Railways), Pass Lorraine, Museums Pass Musées, City Pass. Beneficiaries of free entrance to the exhibitions are: active French teachers (on presentation of their professional card or their education pass duly filled out and currently valid) persons under the age of 26, students, unemployed persons registered in France and those drawing RSA or social benefit (on presentation of documentary proof less than six months old), artists members of the Maison des artistes, handicapped persons and one accompanying person, Holders of the Elderly persons minimum compensatory allowance, interpreter -guides and national lecturers, holders of Icom, Icomos, Aica and Paris Première cards, holders of a press card.

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