Centro Pompidou-Metz,Sol LeWitt. by SOFIA

SOL LEWITT WALL DRAWINGS FROM 1968 TO 2007 PRESS PACK

07.03.12 > 29.07.13 centrepompidou-metz.fr

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

CONTENTS 1. PRESENTATION OF THE PROJECT

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2. EXHIBITION SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

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THE PRACTICE OF WALL DRAWING ............................................................................................................................................................................ 03 THE CHOICE OF BLACK AND WHITE ........................................................................................................................................................................... 03 AN EXHIBITION ORGANIZED IN CLOSE COLLABORATION WITH THE LEWITT COLLECTION .................................................. 03 AN EXHIBITION DESIGN IN ACCORDANCE WITH THE ARTIST'S PRINCIPLES ................................................................................ 04 THE PREPARATION OF THE WALLS ............................................................................................................................................................................. 04 ..........................................................

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AN EXHIBITION IN PARTNERSHIP WITH ART SCHOOLS IN NORTH-EASTERN FRANCE SELECTED WORKS

TEXTS ON WALL DRAWING BY SOL LEWITT ......................................................................................................................................................... 10

3. THE WORK AND CAREER OF SOL LEWITT ............................................................................ 11 4. PUBLICATION ............................................................................................................................... ............. 12 5. RELATED EVENTS ................................................................................................................................... 13 YOUTH WORKSHOPS ............................................................................................................................................................................................................ 13 EVENTS IN THE AUDITORIUM WENDEL AND STUDIO ..................................................................................................................................... 13 SOL LEWITT. COLORS, JUNE 21 â&#x20AC;&#x201C; OCTOBER 14, 2012 AT M-MUSEUM LEUVEN (BELGIUM)

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SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007, AN EXHIBITION AS PART OF MONO, A CROSS-BORDER EVENT ................................................................................................................................................................................................ 15

6. LENDERS ............................................................................................................................... ....................... 16 7. PARTNERS ................................................................................................................................................... 17 8. CREDITS ............................................................................................................................... ......................... 19 9. VISITOR INFORMATION ...................................................................................................................... 22 10. PRESS VISUALS

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SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

1. PRESENTATION OF THE PROJECT

2. THE EXHIBITION

OPENING MARCH 7, 2012 A MAJOR RETROSPECTIVE, UNPRECEDENTED IN EUROPE In 2013, Centre Pompidou-Metz will feature Sol LeWitt's personal collection. This second exhibition will reflect LeWitt's extraordinary career not only as a prolific artist but also as an insatiable collector.

Centre Pompidou-Metz presents a major project around the American conceptual artist Sol LeWitt (1928-2007). In the 13,000 square feet of Galerie 2, Centre Pompidou-Metz is hosting a retrospective of Sol LeWitt's wall drawings on a scale never seen before in Europe. The selected thirtythree wall drawings, the largest group ever exhibited in Europe, span the artist's career from its beginnings to his final works.

The LeWitt Collection (Chester, Connecticut), assembled largely through trades and gifts rather than purchases, contains, alongside a selection of LeWitt's own works, over 4000 works by other artists. With over 250 works, the presentation at the Centre Pompidou-Metz will be the first major showing of the LeWitt Collection in Europe.

Chosen from the 1200 wall drawings which LeWitt created between 1968 and 2007, the selected wall drawings reflect both the extraordinary consistency of the artist’s systematic explorations - with logical sets and combinations of geometric elements - and the remarkable diversity of his practice, both in the evolution of the forms (from simple geometric figures to what the artist called "complex" or "continuous" forms), and of the materials used by LeWitt (from pencil and crayon to India ink, acrylic paint and graphite). Through a remarkable partnership with local schools of art and architecture, the execution of the wall drawings at Centre Pompidou-Metz fully conveys the principle of collaboration advocated by the artist. In partnership with Centre Pompidou-Metz, and as a chromatic counterpart to its retrospective of wall drawings in black and white, M-Museum Leuven (Belgium) will show from June 21 to October 14, 2012, twenty wall drawings in color.

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

THE PRACTICE OF WALL DRAWING

THE CHOICE OF BLACK AND WHITE

Reminiscent of the fresco tradition, Sol LeWitt's wall drawings marked from the late 1960s on, a decisive development in the history of contemporary drawing in particular, and of art in general. Expressing thought processes which the artist conceived beforehand, the wall drawings are then executed directly onto the walls on the scale of the exhibition venue. The wall drawings, produced on-site, exist for the duration of the exhibition; they are then destroyed, giving the work in its physical form an ephemeral quality. Its content (or concept) however remains identical from one exhibition to the next.

Centre Pompidou-Metz has chosen to present thirty-three wall drawings by Sol LeWitt exclusively in black and white. "Black and white is at the heart of the conception of Sol LeWitt's wall drawings, even for the most colorful works," explains the exhibition's curator, Béatrice Gross."The preparatory drawings are always done in pencil. Colors, where they exist, are indicated only by their initial letter (R for red, Y for yellow, B for blue). In addition, the use of black and white frames the artist's work: LeWitt made his first wall drawings in black pencil, and the last ones in graphite, both on white walls."

LeWitt conceived the drawings to be executed mainly by people other than himself. Professional assistants trained by the LeWitt studio, and drafters new to the process, are brought in to precisely follow LeWitt's instructions and diagrams. As the artist stated back in 1967, “In conceptual art, the idea or concept is the most important aspect of the work (…) and the execution is a perfunctory affair. The idea becomes the machine that makes the art.” (“Paragraphs on Conceptual Art,” in Artforum, vol. 5, no. 10, New York, June 1967, pp. 79-83). Like musicians performing a musical score, the drafters interpret, each time slightly differently and in their own way, the geometric formulae set out by LeWitt.

This decision to show only black and white wall drawings also underlines the striking visual impact of LeWitt’s work. Depending on the materials and techniques used, the powerful contrast between black and white, or the more subtle contrast of various shades of gray, stresses the structure and the optical effects that bring the works to life, from the subtle vibration of pencil lines to the sustained cadence of flat areas of black and white in acrylic, through soft variations of ink washes.

AN EXHIBITION ORGANIZED IN CLOSE COLLABORATION WITH THE LEWITT COLLECTION

LeWitt's wall drawings are based on: — a basic visual vocabulary of elementary geometric forms - straight, not straight, and broken lines, squares, arcs, circles, grids, etc. - which expanded towards more irregular, complex forms such as isometric figures, curves, and loops; — a range of diverse techniques using pencil, crayon, India ink, acrylic paint and graphite.

Sol LeWitt. Wall Drawings from 1968 to 2007 in Galerie 2 of Centre Pompidou-Metz has been conceived and developed in close collaboration with the LeWitt Collection (Chester, Connecticut). The format of the exhibition, the selection of the works, and their execution result from an ongoing dialogue with the artist's estate. The preparation of the exhibition’s related publication benefits from a unique opportunity to research the LeWitt archives.

The artist never ceased to explore every possible combination of closed systems - the notion of the infinite was never part of his work - in which the repetition of forms and modules is conceived as a narrative in its own right.

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

AN EXHIBITION DESIGN IN ACCORDANCE WITH THE ARTIST'S PRINCIPLES

AN EXHIBITION IN PARTNERSHIP WITH ART SCHOOLS IN NORTH-EASTERN FRANCE

The exhibition design, by Cécile Degos, respects LeWitt's strict working principles.

The execution of the wall drawings at Centre PompidouMetz is an exceptional opportunity for young artists and students in North-Eastern France to work alongside professional drafters from the LeWitt studio.

The lay-out of the exhibition space is organized based on: — a logical grid system - consisting of precisely noting the dimensions and arrangements of elements – applied throughout Galerie 2; — the definition of the general format of the walls based on the nature of the drawings (most of which fit inside a square and cover the entire surface of the wall); in return, the general dimensions of the drawings, with rare exceptions, are determined by the height of the walls; — a close attention to proportions and their perception in space; — a flowing circulation throughout the gallery, governed by the succession of regular open spaces on the south side, and more varied and enclosed environments on the north side.

The execution of the wall drawings, which required eight weeks of intensive work, has involved: — some 60 students from four schools: l’École supérieure d’art de Lorraine, Metz-Épinal, l'ENSarchitecture de Nancy, l’École nationale supérieure d’art de Nancy, l'ESAD de Reims/École supérieure d’Art et de Design ; — 13 young artists; — 7 professional assistants.

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

SELECTED WORKS

Wall Drawing #340A LeWitt's initial vocabulary of straight lines in four directions expanded to include simple geometric forms, which the artist classified as "primary" shapes (square, circle and triangle), and "secondary" shapes (rectangle, trapezoid and parallelogram), as shown by the two rows of striped figures in Wall Drawing #340A (1993).

A specificity of the captions and wall labels to Sol LeWitt's works is that they include the names of the first people who drew them and the location of their first installation. This is also how the works are dated (as opposed to by the date of their conception). Hence, while the idea takes precedence over the execution, the execution is part of the idea: it would run counter to the concept of the work not to produce it.

For each wall drawing, a team is appointed around a professional assistant who supports and guides those new to the process. The professional supervises each team throughout the execution of the drawing and, where the degree of difficulty of the piece allows, endeavors to let them work autonomously. The students have two types of responsibility: the preparation of the tools and the actual execution of the drawings to the artist's instructions.

THE PREPARATION OF THE WALLS

In addition to their work in the galleries, Centre PompidouMetz has devised a program of encounters and exchanges for the students and young artists in Metz and in Leuven (Belgium), in February and in May 2012.

Sol LeWitt's wall drawings are produced directly on the walls. As the very suport of the artworks, they must be prepared in accordance with the artist's instructions. Prior to the execution of the drawings, several coats of primer and paint are applied to the walls. For optimal results, the preparation is adapted to the technique of each wall drawing (pencil, crayon, ink wash, acrylic paint, and graphite).

This initiative is a unique opportunity for both students and young artists to be involved in the creative process of one of the greatest contemporary American artists. Part of Galerie 2 has been set aside to show a "making-of" documentary by Patric Chiha which records this one-of-a-kind process.

As an example, at Centre Pompidou-Metz, the walls for the pencil drawings were given a thin coat of plaster, sanded, then wiped clean. Two coats of primer were followed by three coats of white paint applied in a specific manner using a roller. The walls were then sanded again to produce a perfectly smooth surface.

Wall Drawing #340A Six-part drawing. The wall is divided horizontally and vertically into six equal squares, bordered and separated by 6-inch (15 cm) white bands. Within each square a geometric figure outside of which are black horizontal parallel lines, and within which are black vertical parallel lines. All lines are 1 inch (2.5 cm) apart. The horizontal lines do not enter the figures. Wall Drawing #879 Loopy Doopy (black and white) (detail) Acrylic paint First drawn by: Elizabeth Alderman, Sachiko Cho, Edy Ferguson, Anders Felix, Paux Hedberg, Choichi Nishikawa, Jim Prez, Emily Ripley, Mio Takashima First installation: PaceWildenstein, New York September 1998 LeWitt Collection, Chester, Connecticut © Adagp, Paris 2012 © Photo: Centre Pompidou-Metz / Rémi Villaggi View of the installation at Centre Pompidou-Metz, February 2012

Black crayon First drawn by: Brian Coleman, Shawn Perry First installation: Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts April 1993 LeWitt Collection, Chester, Connecticut © Adagp, Paris 2012 © Photo: Centre Pompidou-Metz / Rémi Villaggi View of the installation at Centre Pompidou-Metz, February 2012

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

Wall Drawing #2 Drawing Series II (A) (24 drawings)

Wall Drawing #414 Drawing Series IV (A) with India ink washes (24 Drawings)

Organized within a grid, Wall Drawing #2, Drawing Series II (A) (24 drawings) (1968), presents one of the four sections of a closed system of permutations. Twenty-four combinations of sixteen squares organized according to the “Mirror” method, show the possible permutations of a straight line positioned in the four basic geometric directions: vertical, horizontal, 45° diagonal left to right, and 45° diagonal right to left.

Wall Drawing #414, Drawing Series IV (A) with India ink washes (24 Drawings) (1984) returns to another of the four sections of the system of permutations presented earlier in the exhibition with Wall Drawing #2 (1968). Here, LeWitt uses the "Cross Reverse" method to arrange his permutations. The sequences of sixteen squares are executed in India ink wash, applied with a soft rag. Each shade of gray corresponds to one of the four directions of a straight line.

Wall Drawing #2 Drawing Series II (A) (24 drawings) (detail)

Wall Drawing #414 Drawing Series IV (A) with India ink washes (24 Drawings) (detail)

Black pencil

India ink wash

First drawn by: Tony Day, Guy Dill, Jim Ganzer, Michael Maglich, Jerry Kamitaki, Sol LeWitt First installation: Ace Gallery, Los Angeles November 1968

First drawn by: David Higginbotham, Jo Watanabe First installation: Moderna Museet, Stockholm March 1984

CAPC musée d’art contemporain de Bordeaux © Adagp, Paris 2012 © Photo: Centre Pompidou-Metz / Rémi Villaggi View of the installation at Centre Pompidou-Metz, February 2012

LeWitt Collection, Chester, Connecticut © Adagp, Paris 2012 © Photo: Centre Pompidou-Metz / Rémi Villaggi View of the installation at Centre Pompidou-Metz, February 2012

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

Wall Drawing #879 Loopy Doopy (black and white)

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

Wall Drawing #1171

Wall Drawing #879 (1998) is part of a series of works with undulating patterns, titled Loopy Doopy, which marks a turning-point in LeWitt's practice as it breaks with the systematic and modular approach that characterizes the artist’s early works. Exceptionally, these irregular curves cannot be drawn by following instructions or diagrams. Instead, a copy of LeWitt's original drawing on paper is printed on a transparency and projected onto the alloted wall. The drafters can then precisely trace the meanders of this surprising, organic work.

Wall Drawing #1171 (2005) is part of LeWitt's final series of works. Titled Scribbles and executed between 2005 and 2007, these wall drawings return to a technique of scribbling with colored pencil, explored in the early 1970s, using graphite. The seemingly random but yet highly methodical application produces precise degrees of density. Five or six shades of gray (depending on the drawing) are meticulously applied inside squares or isometric cubes. The scribbling technique produces paradoxical works in combining one of drawing's most primitive forms with carefully controlled conceptual seriality.

Wall Drawing #879 Loopy Doopy (black and white)

Wall Drawing #1171 Five degrees of scribbles: A cube without a cube; a cube without a corner

Acrylic paint

Graphite

First drawn by: Elizabeth Alderman, Sachiko Cho, Edy Ferguson, Anders Felix, Paux Hedberg, Choichi Nishikawa, Jim Prez, Emily Ripley, Mio Takashima First installation: PaceWildenstein, New York September 1998

First drawn by: Roland Lusk, Anthony Sansotta First installation: domicile des Glimcher, East Hampton, New York August 2005 Collection Arne and Milly Glimcher, New York © Adagp, Paris 2012 © Photo: Centre Pompidou-Metz / Rémi Villaggi View of the installation at Centre Pompidou-Metz, February 2012

LeWitt Collection, Chester, Connecticut © Adagp, Paris 2012 © Photo: Centre Pompidou-Metz / Rémi Villaggi View of the installation at Centre Pompidou-Metz, February 2012

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

TEXTS ON WALL DRAWING BY SOL LEWITT “WALL DRAWINGS,” 1970

“DOING WALL DRAWINGS,” 1971

I wanted to do a work of art that was as two-dimensional as possible. It seems more natural to work directly on walls than to make a construction, to work on that, and then put the construction on the wall. The physical properties of the wall, height, length, color, material, architectural conditions and intrusions, are a necessary part of the wall drawings. Different kinds of walls make for different kinds of drawings. Imperfections of the wall surface are occasionally apparent after the drawing is completed. These should be considered a part of the wall drawing. The best surface to draw on is plaster, the worst is brick, but both have been used. Most walls have holes, cracks, bumps, grease marks, are not level or square and have various architectural eccentricities. The handicap in using walls is that the artist is at the mercy of the architect. The drawing is done rather lightly, using hard graphite so that the lines become, as much as possible, a part of the wall surface, visually. Either the entire wall or a portion is used, but he dimensions of the wall and its surface have a considerable effect on the outcome. When large walls are used the viewer would see the drawings in sections sequentially, and not the wall as a whole. Different draftsmen produce lines darker or lighter and closer or farther apart. As long as they are consistent there is no preference. Various combinations of black lines produce different tonalities; combinations of colored lines produce different colors. The four basic kinds of straight lines used are vertical, horizontal, 45° diagonal left to right and 45° diagonal right to left. When color drawings are done, a flat white wall is preferable. The colors used are yellow, red, blue and black; the colors used in printing. When a drawing is done using only black lines, the same tonality should be maintained throughout the plane in order to maintain the integrity of the wall surface. An ink drawing on paper accompanies the wall drawing. It is rendered by the artist while the wall drawing is rendered by assistants. The ink drawing is a plan for but not a reproduction of the wall drawing; the wall drawing is not a reproduction of the ink drawing. Each is equally important. It is possible to think of the sides of simple threedimensional objects as walls and draw on them. The wall drawing is a permanent installation, until destroyed.

The artists conceives and plans the wall drawing. It is realized by draftsmen, (the artist can act as his own draftsman.) The plan (written, spoken or a drawing) is interpreted by the draftsman. There are decisions which the draftsman makes, within the plan, as part of the plan. Each individual being unique, given the same instructions would carry them out differently. He would understand them differently. The artist must allow various interpretations of his plan. The draftsman perceives the artist’s plan, then reorders it to his own experience and understanding. The draftsman’s contributions are unforeseen by the artist, even if he, the artist, is the draftsman. Even if the same draftsman followed the same plan twice, there would be two different works of art. No one can do the same thing twice. The artist and the draftsman become collaborators in making the art. Each person draws a line differently and each person understands words differently. Neither lines nor words are ideas, they are the means by which ideas are conveyed. The wall drawing is the artists’s art, as long as the plan is not violated. If it is, then the draftsman becomes the artist and the drawing would be his work of art. But art that is a parody of the original concept. The draftsman may make errors in following the plan without compromising the plan. All wall drawings contain errors, they are part of the work. The plan exists as an idea but needs to be put into its optimum form. Ideas of wall drawings alone are contradictions of the idea of wall drawings. The explicit plan should accompany the finished wall drawing. They are of equal importance. First published in Art Now, vol. 3, no. 2, New York, June 1971, n. p.

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

3. THE WORK AND CAREER OF SOL LEWITT Sol LeWitt (1928-2007) was born in Hartford, Connecticut (United States). He studied fine arts at Syracuse University (New York State), then at the Cartoonists and Illustrators School (now School of Visual Arts) in New York City. He worked as a graphic designer at the architectural practice of I.M. Pei, and as a night receptionist at the Museum of Modern Art, where his co-workers included artists Robert Ryman, Dan Flavin and Robert Mangold, and the critic Lucy R. Lippard. LeWitt was first associated with American Minimal art from which he would soon distance himself. LeWitt defined the principles of his practice in his influential “Paragraphs on Conceptual Art,” published in 1967 in Artforum, along with another seminal text “Sentences on Conceptual Art,” published in 1969 in 0 To 9.

1989: Wall Drawings 1984-1989, Kunsthalle Bern 1992-1995: Sol LeWitt: Drawings 1958–1992, Haags Gemeentemuseum, The Hague [traveling to the Centre Pompidou, Musée national d’art moderne, Paris, and the Musée de Picardie, Amiens, France, among other venues] 2000-2001: Sol LeWitt: A Retrospective, San Francisco Museum of Modern Art. [traveling to the Museum of Contemporary Art, Chicago; Whitney Museum of American Art, New York] 2006-present: Sol LeWitt Drawing Series, Dia: Beacon, New York 2008-2033: Sol LeWitt: A Wall Drawing Retrospective, Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, Massachusetts

While the wall drawings, which he started in 1968 at the age of 40, constitute LeWitt’s most emblematic practice, his oeuvre also includes three-dimensional works (which he referred to as "structures"), innumerable drawings on paper, photographic series, prints, and artist's books. The different media which the artist explored are equally used as tools to work out similar or closely-related thought processes. An instance of this fluid correspondence between these different practices can be found in LeWitt’s contribution to Seth Siegelaub’s Xerox Book, a collaborative project in bookform from 1968, for which LeWitt proposed a system of twenty-four drawings combining straight lines in four directions. The same year, sections of this system were executed directly on the wall at Paula Cooper Gallery, including Wall Drawing #2, Drawing Series II (A) (24 drawings) which shows one of these four sections, and which has been realized anew at Centre Pompidou-Metz.

[SELECTED GROUP EXHIBITIONS] 1968: Documenta, Kassel (also in 1972, 1977 and 1982) 1971: Guggenheim International Exhibition, New York 1976: Venice Biennale (also in 1980, 1988 and 1997) 1979: Whitney Bienniale (also in 1987) 1981: Mise en pièces, mise en place, mise au point, Chalon-sur-Saône, Maison de la culture / Dijon, Le Coin du miroir, France 1982: Murs, Centre Pompidou, Musée national d’art moderne, Paris 1995: 1965–1975: Reconsidering the Object of Art, The Museum of Contemporary Art, Los Angeles

LeWitt’s first solo show was held at John Daniels Gallery in New York City in 1965. He would go on to show his work in numerous galleries, museums, and at art events worldwide, including:

1999-2000: Global Conceptualism: Points of Origin, 1950s-1980s, The Queens Museum of Art, Queens; MIT List Visual Arts Center, Cambridge, Massachusetts 2004: Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Solomon R. Guggenheim Museum, New York

[SELECTED ONE-PERSON EXHIBTIONS] 1970: Sol LeWitt, Gemeentemuseum, The Hague

2007: Le Mouvement des images, Centre Pompidou, Musée national d’art moderne, Paris

1975: Prints, Stedelijk Museum, Amsterdam 1978-1979: Sol LeWitt, The Museum of Modern Art, New York (traveling to the Museum of Contemporary Art, Montreal; Krannert Museum of Art, University of Illinois, Champaign; Museum of Contemporary Art, Chicago; La Jolla Museum of Contemporary Art, California)

2009: In & Out of Amsterdam, The Museum of Modern Art, New York 2011: On Line: Drawing Through the Twentieth Century, The Museum of Modern Art, New York

First published in Gregory Battock (dir.), “Documentation on Conceptual Art,” Arts Magazine, vol. 44, no. 6, New York, April 1970, p. 45.

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

4. PUBLICATION

5. RELATED EVENTS

In conjunction with the exhibition, Centre Pompidou-Metz is publishing a 480-page catalog, with editions in French and in English. This ambitious publication aims to become a new reference work on Sol LeWitt, as most monographic books about the artist are now out-of-print. The catalog will be divided in three parts: — Part one looks at the work of Sol LeWitt, with an emphasis on his wall drawings; — Part two compiles all of LeWitt's writings, published for the first time in French, in addition to a selection of projects, instructions and interviews; — Part three examines the breadth of the LeWitt Collection. Through an exceptional selection of more than 430 illustrations, including installation views of wall drawings at Centre Pompidou-Metz and M-Museum Leuven, and a number of previously unpublished documents, and texts by acclaimed international authors including Lucy R. Lippard, Rosalind Krauss and Anne Rorimer, this monograph presents every aspect of the work of this major artist of the second half of the twentieth century. The catalog, published in patnership with M-Museum Leuven (Belgium), will be launched in September 2012. Sol LeWitt Catalog directed by Béatrice Gross Published by Centre Pompidou-Metz In partnership with M-Museum Leuven (Belgium) Published in September 2012 480 pages, bound, €49.90

YOUTH WORKSHOPS

EVENTS IN THE AUDITORIUM WENDEL AND STUDIO

Through March 19, 2012, visitors aged 11 to 18 can take part in "On the Walls Again" and execute Sol LeWitt's Wall Drawings #84 (1971), #869c (1998), #960 (2001) and #1054 (2002) directly on the walls in the workshop spaces.

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

They are guided by team leaders from the youth staff who have been trained by professional drafters from the LeWitt studio.

The 2012-2013 season will begin with events that echo the work of Sol LeWitt. Entitled “Sol LeWitt hier et aujourd’hui” (Sol LeWitt Yesterday and Today), the program will highlight LeWitt's interaction with serial and minimal music of the 1960s and 1970s, as well as dance and live performance. The program will also feature events that highlight LeWitt's ongoing influence on younger generations of artists.

USEFUL INFORMATION Up to 15 participants (from schools or youthclubs) can partake in the workshops on weekdays and 12 individuals on weekends. Weekdays 9am to 11am (for schools and youthclubs, admission free after booking on Centre Pompidou-Metz website).

The program for March-June 2012 is online on Centre Pompidou-Metz website.

Saturday and Sunday 11am to 12.30pm, 2pm to 3.30pm, 4pm to 5.30pm. Admission €3. Sign up at Centre Pompidou-Metz. Limited number of participants.

LENGTH: 90 minutes LOCATION: Ateliers Jeunes Publics (Youth Workshops), 1st floor

These youth workshops have the support of the Caisse d'Épargne Lorraine Champagne-Ardenne.

French: ISBN 978-2-35983-017-0 English: ISBN 978-2-35983-018-7

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

SOL LEWITT. COLORS, JUNE 21 - OCTOBER 14, 2012 M-MUSEUM LEUVEN (BELGIUM)

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007, AN EXHIBITION AS PART OF MONO, A CROSS-BORDER EVENT

In collaboration with Centre Pompidou-Metz, M-Museum Leuven (Belgium) presents a chromatic counterpart to the black and white retrospective. A selection of over twenty wall drawings, this time in color, span LeWitt’s entire career, from the earliest drawings in fine pencil to his late works in acrylic paint. This exhibition will constitute the largest ensemble of LeWitt’s wall drawings ever on view in Belgium.

The fourth gallery, with an extraordinary ceiling height of 7 meters (23 feet), is set aside for a single work which runs over two walls. Wall Drawing # 867 (1998), combines new variables in the artist’s systems: saturated colors in acrylic paint, wavy lines, and glossy varnish, as the instructions read: "A wall divided vertically into six equal parts, yellow; purple; blue; orange; red; and green. The wall is divided horizontally in two parts by a wavy line. The top is flat; the bottom is glossy."

The wall drawings shown at the M will be executed to the artist’s precise instructions by trained drafters from the LeWitt studio, assisted by young artists and students from the following Belgian art schools: Hogeschool Sint-Lukas, Brussels; La Cambre / École Nationale Supérieure des Arts Visuels, Brussels; Koninklijke Academie voor Schone Kunsten | KASK, Gent; Sint-Lucas Beeldende Kunst Gent; Koninklijke Academie voor Schone Kunsten, Antwerp; and Sint Lucas, Antwerp.

Curators of Sol LeWitt. Colors Eva Wittocx (Chief-Curator, M-Museum Leuven) and Béatrice Gross (Independent curator, New York).

VISITOR INFORMATION M - Museum Leuven L. Vanderkelenstraat 28 3000 Leuven Tel. +32 16 27 29 29 bezoekm@leuven.be www.mleuven.be

The exhibition will take place in four large consecutive galleries, each focusing on one of the four media adopted by LeWitt for his works in color: pencil, crayon, India ink, and acrylic paint. Similarly to the techniques and forms that LeWitt explored, colors are used conceptually, as another variable in the artist’s geometric systems.

OPENING TIMES Monday, Tuesday, Friday thru Sunday 11am to 6pm, Thursday until 10pm, closed Wednesday.

The first gallery will feature wall drawings in colored pencil from the late 1960s to the early 1970s. Fine lines in primary colors are repeated separately, or gradually superimposed, leading to secondary colors. While several works fit inside vast squares, other drawings cover the entire surface of the wall evenly.

ADMISSION Individuals: €9 Concessions: €7 Under 26: €5 13-18 years: €3 Under 13: free Families: €22

The second gallery will show wall drawings in crayon from the 1970s to the early 1980s. LeWitt’s formal vocabulary evolves to include large painted areas of color (always based on the three primary colors of yellow, red, and blue) incorporating simple geometric shapes. In other crayon works, the artist’s principle of collaboration extends to allow his drafters to determine the position of given elements.

The exhibitions:

Beginning June 1, 2012, cultural venues in Lorraine, Saarland and Luxembourg are joining forces for MONO, a major cross-border event:

Wesley Meuris - Casino Luxembourg – Forum d’art contemporain, Luxembourg Erick Beltrán - Centre d’art contemporain - Synagogue de Delme, Delme Raphaël Dallaporta - Centre national de l’audiovisuel, Dudelange, Luxembourg Sol LeWitt - Centre Pompidou-Metz, Metz Ben Vautier - Château de Malbrouck, Manderen John Giorno - Faux Mouvement, Metz Doug Wheeler - 49 Nord 6 Est – Frac Lorraine, Metz Carine et Elisabeth Krecké – Centre d’art Nei Licht, Dudelange Sanja Ivekovic, Emily Bates, Filipa César, Sarah Sze Mudam Luxembourg - Musée d’Art Moderne GrandDuc Jean, Luxembourg Roland Fisher - Saarlandmuseum, Sarrebruck Nicolas Dhervillers - Weltkulturerbe Völklinger Hütte, Völklingen Gregor Hildebrandt – Saarländisches Künstlerhaus, Sarrebruck August Sander - Museum Schloss Fellenberg, Merzig Otto Steinert - Galerie der Hochschule der Bildenden Künste Saar, Sarrebruck Peter Schlör - Städtische Galerie Neunkirchen

18 solo shows of modern and contemporary art 19 artists 15 venues 3 countries 3 opening days 3 months MONO carries on from earlier cross-border events between cultural venues within the Greater Region of Lorraine, Luxembourg, Saarland, Rhineland-Palatinate and Wallonia. When in 2007 the project for Luxembourg European Capital of Culture was extended to the entire Greater Region, exchanges between cultural institutions moved to a new stage. MONO elicits an original and different format, as cultural institutions in France, Germany and Luxembourg combine their energies and expertise in a program of exhibitions, each with the same premise: solo shows of contemporary artists. Each venue will address the specific question of the solo show in its own way. Through these different approaches, MONO sets out to reveal the particular but also complementary light that can be shed on a given form of exhibition.

PRESS RELATIONS Ilke Christiaens Press Relations M - Museum Leuven Tel. +32 16 27 29 38 Ilke.christiaens@leuven.be

The third gallery will present two works executed in ink washes. Using this technique, reminiscent of Renaissance frescos, LeWitt creates complex hues through repeated applications of yellow, red, blue, and gray inks (primary colors are superimposed directly on the wall rather than mixed beforehand).

PRESS VISUALS Download from: ftp://ftp1.leuven.be/ (ouvrir en Windows Explorer) Login: persm Password: museum

ARTS FLANDERS, PARTNER TO MONO In 2012, Belgium is hosting five major exhibitions of contemporary art in its Flemish provinces. Visual Arts Flanders 2012 presents Beaufort04 (Belgian coast), TRACK (Ghent), Middelheim (Antwerp), Manifesta 9 (Genk) and Newtopia (Mechelen). The geographic proximity of these five locations and the common focus on contemporary art gives rise to an international platform that brings these attractive events together into a single hub. www.visualartsflanders.be

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

6. LENDERS

7. PARTNERS

SPAIN

FRANCE

PARTNERS TO THE CENTRE POMPIDOU-METZ

MADRID

BORDEAUX

Private Collection. Courtesy Fundación Almine y Bernard Ruiz-Picasso para el Arte

CAPC musée d'Art Contemporain de Bordeaux

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

LYON Musée d’Art Contemporain de Lyon

UNITED STATES

PARIS

CHESTER, CONNECTICUT

Centre Pompidou, Musée national d’art moderne Collection M. et Mme. Buren Collection MJS

LeWitt Collection

Centre Pompidou-Metz is an Établissement Public de Coopération Culturelle (public establishment for cultural cooperation) whose founding members are the French State, Centre Pompidou, the Lorraine Region, Communauté d'Agglomération de Metz Métropole and the City of Metz. The Centre Pompidou-Metz would like to thank all its partners for their essential contribution to the staging of its exhibitions.

CHICAGO The Art Institute of Chicago

CAIMAN ISLANDS AND ISRAEL

LOS ANGELES

Art Partners

Los Angeles County Museum of Art

NEW ZEALAND

NEW HAVEN, CONNECTICUT

Alan Gibbs Collection

Yale University Art Gallery

NEW YORK

SWITZERLAND

Collection Arne and Milly Glimcher The Museum of Modern Art Whitney Museum of American Art

LUGANO Panza Collection

SAN FRANCISCO San Francisco Museum of Modern Art

THE EXHIBITION'S PARTNERS LeWitt Collection, Chester, Connecticut (USA) M – Museum Leuven (Belgium)

FOR THE EXECUTION OF THE WALL DRAWINGS École supérieure d’art de Lorraine, Metz - Épinal ENSarchitecture de Nancy École nationale supérieure d’art de Nancy ESAD de Reims/École Supérieure d’Art et de Design

WITH THE SUPPORT OF French Embassy in Belgium American Embassy in Belgium

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

8. CREDITS

Founding Sponsor

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 IS A CENTRE POMPIDOU-METZ PRODUCTION. IT WAS CONCEIVED AND REALIZED IN COLLABORATION WITH THE LEWITT COLLECTION, CHESTER, CONNECTICUT, USA.

Wendel - Founding Sponsor of the Centre Pompidou-Metz "A Founding Sponsor since 2010, Wendel is extremely proud to pledge its fiveyear commitment to the Centre Pompidou-Metz, an initiative which will enable the company to support a flagship project for the Lorraine region, birthplace of the Group and its founding families. We wanted this partnership to adhere to our corporate values of long-term investing, which is a synonym for loyalty and solidarity in our commitments, innovation, which we believe is key to creating not only economic value but also human and artistic activities, and the ambition to step up our international influence in a French region located in the heart of Europe," highlighted Frédéric Lemoine, Chairman of Wendel’s Executive Board, and Ernest-Antoine Seillière, Chairman of the Friends of the Wendel Foundation and a benefactor of the Centre Pompidou-Metz. Wendel is one of the leading investment companies in Europe, acting as an investor and professional shareholder, promoting the long-term development of companies which are leaders in their sectors: Bureau Veritas, Legrand, SaintGobain, Materis, Deutsch, Stahl and Mecatherm. Founded in 1704 in Lorraine, Wendel Group was committed to the development of the steel industry in France before diversifying its businesses in the late 1970s. The Group is supported by its reference family shareholder, made up of more than one thousand individual Wendel family shareholders, who are united in the family company Wendel-Participations, which owns 35% of Wendel. Press Relations: Christèle Lion - + 33 (0) 1 42 85 91 27 c.lion@wendelgroup.com Website: www.wendelgroup.com

THE EXHIBITION TEAM Curator Béatrice Gross Drafters Nicolai Angelov Takeshi Arita Manon Auroux-Daix Nadège Avril Guillaume Barborini Thomas Bellot Salomé Bernhard Hélène Bleys Caroline Bluche Julian David Bolivar Cuellar Charles Bontout Sébastien Bour Alma Bucciali Hajaratou Camara Léa Candat Estelle Chrétien Andrew Colbert Aude Couvercelle Arthur Debert Christelle Debono Aurore Derolez Charlotte Doireau Sofia Espinosa Marine Fechtig Elise Franck Julie Freichel Matthieu Frenot Shqipe Gashi Damien Gete Romain Goetz Elodie-Rose Gouet Maëlle Greffier Geoffrey Grimal Jing-Fang Hao Guilaine Harnist Caroline Hatte John Hogan Pierre-Alexandre Hugron Gabriel Hurier François Hussenot Princia Chinese Itoua Dickelet Sarah Knobloch Benjamin Lallement Ludovic Landolt Min-Woo Lee Brann Le Garrec Maximilian Le Roux Cyrielle Lévêque Lucie Linder Roland Lusk Loïc Lusnia Sarra Narimane Mami Amandine Mantrant Valérie Martens Baptiste Mathieu

Alice Mescolini Laura Monpeurt Tiphaine Moreau Aliénor Morvan Laura Murias Pauline Nicoli Hee-Jung Noh Paul Oudin Emil Polette Ilaria Positano Antoine Py Lou Reichling Hélène Ricou Agathe Rosnet Vivien Roussel Emilien Sarot Matthieu Schmidlin Margaux Simonetti Baptiste Sorin Wim Starkenburg Yee-Hsien Tan Simon Thiebaut Angéline Thivant Jo-Ana Tracjceski Alessandra Venner Agathe Vial Sara Viviani Marion Wolff

Signage Coordinator Claire Bonnevie

Project Manager Charline Becker

Inerns Yaëlle Audureau, Morgan Labar and Éliane de Larminat

Manufacturing and Installation of Signage Boscher and Expocom Light Design Thomas Klug and Guy Pilet Joinery and Construction Volume International: Christophe Des Dorides, Yves Lafarie, Patrick Fossey, Guy Haueter and their team Paint Duval et Mauler: Julien Facon, Stéphane Delesges and their team Lighting MPM Equipement: Michel Mazzarini, Laurent Capron and their team Technical Inspection Bureau Veritas: Michel Lecuyer and Lug Soulier Insurance of the Works Blackwall Green: Robert Graham and Camilla Stephens Centre Pompidou-Metz Visual Identity Donuts Press Relations Claudine Colin Communication: Claudine Colin, Valentine Dolla and Léa Levkovetz

Exhibition Design Cécile Degos Research Officer Anais Lellouche

CATALOG

Schools Relations Officer Anne Oster

Director Béatrice Gross

Youth Workshops Officer Anne-Marine Guiberteau

Editor Claire Bonnevie

Works Registrar Irene Pomar

Graphic Design Pierre Peronnet et Wijntje van Rooijen

Technical Registrar Alexandre Chevalier

Manufacturing Dominique Oukkal

Site Operations and Coordination Stéphane Leroy Audiovisual and Lighting Jean-Philippe Currivant Documentary Film Patric Chiha and his team

SPECIAL THANKS TO LeWitt Collection, Chester, Connecticut Carol LeWitt, Sofia LeWitt, Anthony Sansotta, Janet Passehl, and John Lavertu

Photo Editing Studio Rémi Villaggi and Citizen Films

Sol LeWitt Catalogue Raisonné Artifex, New York Susanna Singer and Veronica Roberts

Graphic Design for Signage, Invitations and Posters Pierre Peronnet and Wijntje van Rooijen

The Pace Gallery, New York Marc Glimcher Cay Rose

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

CENTRE POMPIDOU-METZ Board of Administrators

Management

Department of Administration and Finance

President Alain Seban, President, Centre Pompidou

Laurent Le Bon Director Claire Garnier Personal Assistant and Project Coordinator

Jean-Eudes Bour Head of Department - Accountant Jérémy Fleur Accounts Assistant Audrey Jeanront Human Resources Management Assistant Frédéric Lewandowski Accouting Assistant Ludivine Morat Administrative Coordinator Alexandra Morizet Public Contracts Coordinator Véronique Muller Accouting Assistant

Honorary President Jean-Marie Rausch Vice-President Jean-Luc Bohl, President of Metz Métropole Representing the Centre Pompidou Alain Seban, President, Agnès Saal, General Director, Jean-Marc Auvray, Director of Legal and Financial Affairs, Bernard Blistène, Director of Cultural Development, Frank Madlener, Director of IRCAM (Institut de Recherche et Coordination Acoustique / Musique), Alfred Pacquement, Director of the Musée national d'art moderne Representing Metz Métropole

General Secretariat Emmanuel Martinez Secretary General Pascal Keller Assistant Secretary General Julie Béret Administrative Coordinator Hélène de Bisschop Legal Advisor Émilie Engler Secretarial Assistant

Representing the Conseil Régional de Lorraine Jean-Pierre Masseret, President, Nathalie Colin-Oesterle, Regional Councilor, Josiane Madelaine, Vice-President, Roger Tirlicien, Regional Councilor, Thibaut Villemin, VicePresident Representing the State Christian Galliard de Lavernée, Prefect of the Lorraine Region, Prefect of the Moselle and the East France Defense and Security Zone, or his representative Representing the City of Metz Dominique Gros, Mayor of Metz, Thierry Jean, Deputy Mayor Ex-Officio

Annabelle Türkis Head of Department Erika Ferrand Cooper Communications and Events Officer Marie-Christine Haas Multimedia Communications Officer Louise Moreau Communications and Press Relations Officer Marine Van Schoonbeek Communications and Public Relations Officer Amélie Watiez Communications and Events Officer Pauline Fournier Public Relations Assistant (cooperative education programme)

Department of Building Maintenance and Operation Philippe Hubert Technical Director Christian Bertaux Head of Building Maintenance Sébastien Bertaux Chief Electrician Vivien Cassar Technical Coordinator Jean-Pierre Del Vecchio Systems and Networks Administrator Pierre Hequet Building technician Christian Heschung Head of Information Systems Stéphane Leroy Site Operations and Coordination André Martinez Head of Security Jonathan Moro IT Manager Jean-David Puttini Painter

Jean-Luc Bohl, President, Antoine Fonte, Vice-President, Pierre Gandar, Community Councilor, Patrick Grivel, Community Councilor, Henri Hasser, Vice-President, Thierry Hory, Vice-President, William Schuman, Community Councilor

Department of Communications and Development

Department of Programming

FRIENDS OF CENTRE POMPIDOU-METZ

Hélène Guenin Head of Department Camille Aguignier Editing Assistant Claire Bonnevie Editor Géraldine Celli Studio and Wendel Auditorium Programming Officer Anaïs Lellouche Research Officer and Assistant to the Director Alexandra Müller Research and Exhibitions Officer Dominique Oukkal Manufacturing Coordinator Élodie Stroecken Coordination Assistant

Friends of Centre Pompidou-Metz is a nonprofit organisation whose purpose is to accompany the Centre in its cultural projects, and to enlist the support of the business world and private individuals who wish to make their contribution.

Department of Production Anne-Sophie Royer Head of Department Charline Becker Project Manager Alexandre Chevalier Galleries Registrar Jean-Philippe Currivant Technical Registrar Olivia Davidson Works Registrar Jennifer Gies Project Manager Thibault Leblanc Performing Arts Registrar Éléonore Mialonier Works Registrar Fanny Moinel Project Manager Irène Pomar Project Manager Jeanne Simoni Intern

Department of Visitor Relations Aurélie Dablanc Head of Department Fedoua Bayoudh Visitor Relations and Tourism Officer Djamila Clary Assistant to the Department Jules Coly Visitor Relations, Information and Accessibility Officer Anne-Marine Guiberteau Youth Programming and Educational Activities Officer Benjamin Milazzo Visitor Relations and Membership Officer Anne Oster Schools Relations Officer

Centre Pompidou-Metz thanks all its service providers and their staff: Clean Alliance, Cofely, Flammarion bookshop, Phone Régie, La Voile Blanche and SGP.

Frédéric Lemoine, Chairman of the Wendel Group Executive Board Patrick Weiten, President of the Conseil Général de la Moselle, or his representative Representing the Staff of Centre Pompidou-Metz Philippe Hubert, Technical Director Benjamin Milazzo, Visitor Relations and Membership Officer

Jean-Jacques Aillagon Former Minister of Culture President Ernest-Antoine Seillière Chairmanof the Wendel Supervisory Board Vice-President Lotus Mahé Art Historian Secretary General Philippe Bard President of Demathieu & Bard Treasurer Charline Guille Assistantto the Secretary General

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

9. VISITOR INFORMATION

10. PRESS VISUALS

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 Exhibition open to the public March 7, 2012 – July 29, 2013.

OPENING HOURS OPENING TIMES UNTIL APRIL 30, 2012 Monday .................... 11am-6pm Tuesday ................... closed Wednesday ............. 11am-6pm Thursday ................. 11am-8pm Friday ...................... 11am-8pm Saturday .................. 10am-8pm Sunday..................... 10am-6pm FROM MAY 1, 2012 Monday .................... 11am-6pm Tuesday ................... closed Wednesday ............. 11am-6pm Thursday ................. 11am-6pm Friday ...................... 11am-6pm Saturday .................. 10am-8pm Sunday..................... 10am-6pm Last ticket sales 45 minutes before closing time.

ADMISSION General admission: €7 A ticket gives admission to all the exhibitions showing on the day of your visit. Free admission (on presentation of an official document) for: — under 26s, — teachers with a Pass Education, — disabled visitors and a companion, — job-seekers who are registered in France (proof of status must be less than 6 months old), — beneficiaries of income support (proof of status must be less than 6 months old), — beneficiaries of a basic State pension, — registered tour guides, — holders of an Icom, Icomos or Aica card, — journalists with a press card, — artists registered with the Maison des Artistes.

Audioguides : €3 Multimedia audioguides can be rented at the ticket desk. Languages: French, English, German. Adapted for hearing-impaired visitors (AFIL). For more information go to: centrepompidou-metz.fr

Visuals of the exhibition can be downloaded at

HOW TO GET TO CENTRE POMPIDOU-METZ

centrepompidou-metz.fr/phototheque

On foot: a 2-minute walk from the high-speed TGV Metz Ville station; 10 minutes from the historical town centre.

By car: A4 (Paris / Strasbourg) and A31 (Luxembourg / Lyon) motorways, exit Metz Centre. 700-space underground car park on Avenue François Mitterrand, open 24/7.

GROUPS Visit with a Centre Pompidou-Metz guide Price: €170 Languages: French, English, German The price includes admission, a 90-minute guided tour and group booking fees. Groups are strictly limited to 20 people. Self-led group visit or with a guide from outside Centre Pompidou-Metz Price: €7 per person + €20 booking fee for priority access. Groups are strictly limited to 20 people.

WHERE TO BUY TICKETS On site From the ticket desks or the ticket machines

By coach: A4 (Paris / Strasbourg) and A31 (Luxembourg / Lyon) motorways, exit Metz Centre. Group drop-off zone on Avenue François Mitterrand; reserved coach parking on Avenue Louis Débonnaire. By train: high-speed TGV Metz Ville station with direct trains from Paris (1hr 20 min) and Luxembourg City (40 min). Lorraine TGV station (29 km from Metz, shuttle service) with direct trains from Lille Europe (2 hrs), Rennes (4 hrs), Bordeaux (5 hrs), and Frankfurt (2 hrs 40 min). By plane: Metz-Nancy Lorraine Airport (33 km / 20 min), Luxembourg Airport (69 km / 45 min), Sarrebruck Airport (79 km / 1h), Zweibrücken Airport (110 km / 1 hr 20 min).

Online From our website: www.centrepompidou-metz.fr From our partners: Digitick, Fnac, France Billet and TicketNet

Centre Pompidou-Metz 1, parvis des Droits de L’Homme CS 90490 F-57020 Metz Cedex 1 +33 (0) 3 87 15 39 39 contact@centrepompidou-metz.fr

The priority line is for: — holders of Centre Pompidou-Metz "Pass" membership card — disabled visitors and a companion — persons with reservations or pre-paid admission — holders of Icom, Icomos or Aica card, — journalists with a press card.

centrepompidou-metz.fr

Work on cover: Wall Drawing #542 On two walls, lines from the bottom corner to the midpoints of the top and sides of the walls. The areas between the lines are filled in with India ink wash. (Detail) Ink wash First drawn by: David Higginbotham, Caterine Pasteur First installation: Musée Saint-Pierre, Lyon September 1987 Musée d’art contemporain de Lyon

Centre Pompidou-Metz is on Facebook and Twitter

SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

NOTES

SOL LEWITT, DESSINS MURAUX DE 1968 Ă&#x20AC; 2007

Press contacts EPCC Centre Pompidou-Metz Louise Moreau +33 (0)3 87 15 39 63 louise.moreau@centrepompidou-metz.fr Claudine Colin Communication Valentine Dolla +33 (0)1 42 72 60 01 centrepompidoumetz@claudinecolin.com