THE ART NEWSPAPER SECTION 2 Number 284, November 2016 7
Ninth Annual
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The Centre Pompidou has organised an exhibition
of 100 images acquired over the past ten years
for the 20th edition of Paris Photo. The show in
the Grand Palais will present works by 40 artists,
from Richard Avedon to Jef Wall, through Brassaï,
Andreas Gursky, René Magritte, August Sander and
Wolfgang Tillmans. Called The Pencil of Culture,
a reference to William Henry Fox Talbot’s The
Pencil of Nature (184446), the exhibition will be
accompanied by a catalogue on the recent history
of the collection, showing, on the cover, the striking
polarisation Punu mask, test for the ilm Culte
Vaudou (1937), by Maurice Tabard.
The show’s co-curator, Clément Chéroux, is
about to leave Paris to become the San Francis-
co Museum of Modern Art’s senior curator of
photography, having led the Centre Pompidou’s
photography department since 2013. Chéroux says:
“The [Pompidou’s] collection has become one of the
most important in Europe, and one of the richest
in the world on the 1920s and 30s.” Collecting and
showing photography was included in the mission
of the centre from its birth, in 1977, and a speciic
department was created in 1985. It now comprises
more than 40,000 items. Almost 12,000 have
been purchased since 2007. In 2011, the museum
was able to acquire the collection of Christian
Bouqueret: 7,000 vintage prints from the 1930s and
40s. Otherwise, the acquisitions cover the full range
of photography: historical, contemporary and repre-
senting all trends and nationalities. The exhibition
is sponsored by J.P. Morgan, the oicial partner of
Paris Photo. V.N.Jeu de Paume
The Jeu de Paume is a non-collecting institution
specialising in photography, video, ilm and digital art,
which opened in May 2004. It has a programme driven
by the idea that cultural institutions should engage with
“social and political challenges”, and is rooted in the
historical context of the development of photography
and moving images, explains its director, Marta Gili. Its
building, which has around 1,100 sq. m of exhibition
space on three levels, was constructed under Napoleon
III in 1861 as tennis courts, and has been used to show
art since 1909—including as a depot for art looted by
the Nazis during the Second World War. It is approach-
ing gender parity in on-site solo exhibitions held over
the past ive years, with many non-Western photogra-
phers also represented.Fondation Henri Cartier-Bresson
The photographer Henri Cartier-Bresson and his wife,
the fellow documentary and portrait photographer
Martine Franck, opened the foundation in 2003 in an
early 20th-century artists’ studio space in Montparnas-
se. While it conserves the couple’s archives—including
photographs, albums, correspondence and video
footage—and promotes their legacy, it is “neither a
museum nor a mausoleum”, according to its director,
Agnès Sire. The foundation promotes contemporary
photography with the biennial juried HCB Award, and,Paris Photo Month on the move
The biennial photography festival in Paris, Mois de la Photo (Photo Month), is moving its dates from November
to April to avoid competition with Paris Photo. The 19th edition of the festival, which was due to take place this
month, will open in April 2017. Founded in 1980, the event helped establish Paris as a centre of photography and
inspired the launch of Paris Photo in November 1997. But the “magnetic” success of the fair made it “urgent” to
reposition the festival, says François Hébel, the artistic director of Mois de la Photo, who is the former director of
Les Rencontres d'Arles. He has rebranded the event to include venues from greater Paris for the irst time. “The
Mois de la Photo isn’t addressed to the industry but above all to the wider public,” Hébel told our sister newspaper
Le Journal des Arts. H.M.Maurice Tabard’s Punu mask, test for Culte Vaudo
(1937) and Wolfgang Tillmans’s Urgency XVIII
(2006) feature in the Pompidou’s exhibitionPICK OF PARIS’S PHOTOGRAPHY CENTRES
Centre Pompidou surveys
a decade of collecting
for its three annual exhibitions, rotates works from
the collection with shows on other photographers,
as well as painters, sculptors and graphic artists.Maison Européenne de la Photographie
The Maison Européenne de la Photographie focuses
on contemporary photography and has an interna-
tional collection of around 20,000 works from the
1950s to the present. It organises around 20 exhi-
bitions a year—and has 1,200 sq. m of gallery space,
as well as a library with an extensive collection of
ilms on photography. It was opened in 1996 by the
Paris Audiovisuel collective and is subsidised by the
city of Paris.Le Bal
An exhibition platform with a critical bent, Le Bal is
dedicated to “document-images”, launched by the
group the Association les Amis de Magnum Photos,
with support from Magnum photographers. It
opened in September 2010 in a former dance hall,
which the city of Paris purchased for the new insti-
tution, with 300 sq. m of exhibition space on two
levels. Le Bal shows historical and contemporary
photography, video, ilm and new media works, and
runs Bal Lab, a programme of talks, performances
and other events, to explore documentary images.
Victoria Stapley-BrownIt is not a surprise that Paris, which has streets
named after photography pioneers including
Nicéphore Niépce and Louis Daguerre, is home
to numerous institutions dedicated to the
medium besides the Centre Pompidou, including
these four venues.MASK: © CENTRE POMPIDOU. TILLMANS: © CENTRE POMPIDOU/DIST. RMN-GPS. CARTIER-BRESSON: © PANDORE
The
Fondation
Henri
Cartier-Bresson