Free admission and good deals
Narrative Figuration
Exhibitions
From 16 April to 13 July 2008
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Do you know what the « Figuration narrative » is ? For those who still look inquisitive, the « Figuration narrative » was an artistic movement led by Bearnard Rancillac, Hervé Télémaque or Eduardo Arroyo, who opposed in 1964 the avant-garde new realism of César, Nikki de Saint Phalle and Yves Klein...
Right during the Pop Art reign, the French new realism counterpart in the Venise biennal, an exhibition hosted by the Musée d’Art Modern de la Ville de Paris attracted all the world’s attention : « Day-to-day mythologies ». Artists exhibited works centred on contemporay society images, among which comics, photography and other day-to-day life images.
This 60’s event unique in the history of art is staged in the Grand Palais. This six sections exhibition (The Origins of Narrative Figuration (1960-1964), Day-to-day Mythologies (1964), Narrative Figuration and Comics, Painting Transformation, Narrative Figuration and Detective Novels, Narrative Figuration and Politics) shows more than 100 paintings, objects and films that give a testimony of the intense creativeness of this time.
Don’t miss it !
FHR.
photo D.R.
Practical information
Narrative Figuration
Paris, 1960 - 1972
GALERIES NATIONALES DU GRAND PALAIS
3, avenue du Général Eisenhower
75008
PARIS
Metro :
Champs Elysées Clemenceau
Bus :
28, 32, 42, 49, 72, 73, 80, 83, 93
Description :
Bringing together some 120 paintings, objects and films, this exhibition has been conceived as an exploration into the sources of the figurative renewal which left its mark on the Parisian art scene in the 1960s.
Narrative figuration has never been a proclaimed movement as such. It is born from the effect of the art critic Gérald Gassiot-Talabot and the painters Bernard Rancillac and Hervé Télémaque who, in July 1964, at the Musée d’Art moderne de la Ville de Paris together organised the exhibition “Mythologies quotidiennes”. At the same time when Pop Art was triumphing at the Biennale de Venise (the Grand Prix of painting was attributed in June 1964 to Robert Rauschenberg) and making its way into Europe, the exhibition “Mythologies quotidiennes” reunited the artists who, just like their American counterparts, placed contemporary society and its images at the heart of their works. Among them are recognised Arroyo, Bertholo, Bertini, Fahlström, Klasen, Monory, Rancillac, Recalcati, Saul, Télémaque, Voss
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