Norman Foster designed this transparent cuboid building. It takes its name from being close by La Maison Carree, one of the old town’s jewels.

© David Huguenin

Norman Foster designed this transparent cuboid building. It takes its name from being close by La Maison Carree, one of the old town’s jewels.

Programme

- Image extraite des films. © Jocelyn Cottencin/ADAGP Paris 2021
- Image extraite des films. © Jocelyn Cottencin/ADAGP Paris 2021
Image extraite des films. © Jocelyn Cottencin/ADAGP Paris 2021
Image extraite des films. © Jocelyn Cottencin/ADAGP Paris 2021
Vue de l’installation à Passerelle, centre d’art, Brest. Photographie © Aurélien Mole. © Jocelyn Cottencin/ADAGP Paris 2021
Vue de l’installation à Passerelle, centre d’art, Brest. Photographie © Aurélien Mole. © Jocelyn Cottencin/ADAGP Paris 2021
Vue de l’installation au LIFE, centre d’art le Grand Café, Saint Nazaire, 2020. Photographie © Marc Domage. © Jocelyn Cottencin/ADAGP Paris 2021
Vue de l’installation au LIFE, centre d’art le Grand Café, Saint Nazaire, 2020. Photographie © Marc Domage. © Jocelyn Cottencin/ADAGP Paris 2021

De vertical, devenir horizontal, étale

In 2014, Emmanuelle Huynh and Jocelyn Cottencin began researching urban landscapes through gesture and movement, history and its inhabitants.

The first chapter in this series of city portraits concerns New York, and is entitled A Taxi Driver, an Architect and the High Line (2016). The second is on Saint Nazaire: Nous Venons de Trop Loin pour Oublier Qui Nous Sommes (“We Have Come too Far to Forget Who We Are”), 2019. Their process is to encounter the inhabitants and experience the energies present around them, collecting their words and extending their gestures, gathering memories, and, from them, generating actions and experiences.

Huynh and Cottencin come from different milieus: Huynh has a background in dance and performance art, while Cottencin is a practitioner of visual arts, graphic design and film. The duo came together over recurrent questions they shared in their respective disciplines, and the result is a collaboration that has created a space for expansion and experimentation.

The anxiety of incompleteness, détail, 2019, vidéo HD, 6’. Courtesy de l’artiste
The anxiety of incompleteness, détail, 2019, vidéo HD, 6’. Courtesy de l’artiste
Neshoba County Fair, 2012, installation vidéo (6’39’’) et 27 dessins au crayon sur papier par Horace Taylor (1942-1956), 29,2 x 20,3 cm chacun. Courtesy de l’artiste & Vielmetter Los Angeles. Edité par Fil Rüting.
Neshoba County Fair, 2012, installation vidéo (6’39’’) et 27 dessins au crayon sur papier par Horace Taylor (1942-1956), 29,2 x 20,3 cm chacun. Courtesy de l’artiste & Vielmetter Los Angeles. Edité par Fil Rüting.
Our House -1 (Time), détail, 2015-2016, vidéo, 59’. Courtesy de l’artiste & Crèvecoeur, Paris
Our House -1 (Time), détail, 2015-2016, vidéo, 59’. Courtesy de l’artiste & Crèvecoeur, Paris
Squarefoot, détail, 2020, installation vidéo. Courtesy de l’artiste
Squarefoot, détail, 2020, installation vidéo. Courtesy de l’artiste

Post-performance vidéo, Prospective 1 : Los Angeles

The four artists chosen for this Project Room live in Los Angeles or were trained in this city. Post Performance is a concept invented by Marie de Brugerolle, curator of the exhibition, to qualify the legacy and impact of performativity on the visual arts after the 1970s. The exhibition is a choice of exemplary works of this, without labeling them. The link that connects them is a special relationship to the object and to the drawing, as a script, accessory, decoration or counterpoint to the projected image. It is a question of proposing installations or staging of the polymorphous movement-image. The works are all unseen in France, and for the most part produced for the exhibition (Anna Wittenberg, Coleman Collins).

Artists : Coleman Collins, Rodney Mc Millian, Nathaniel Mellors, Anna Wittenberg

Sans titre, 2013, peinture sur toile, 35 x 45 cm. Collection Carré d’Art-Musée d’art contemporain, Nîmes. © Etel Adnan
Sans titre, 2013, peinture sur toile, 35 x 45 cm. Collection Carré d’Art-Musée d’art contemporain, Nîmes. © Etel Adnan
Côté Couleurs, Côté Douleurs, 1969, deux plaques d’acier, peinture verte, 120 x 200 x 12 cm. Collection Carré d’Art-Musée d’art contemporain, Nîmes. Photo Courtesy de l’artiste & Galerie Micheline Szwajcer. © Lili Duj
Côté Couleurs, Côté Douleurs, 1969, deux plaques d’acier, peinture verte, 120 x 200 x 12 cm. Collection Carré d’Art-Musée d’art contemporain, Nîmes. Photo Courtesy de l’artiste & Galerie Micheline Szwajcer. © Lili Duj
Stone cathedral, 2019, huile sur toile, 275,6 x 222,6 cm. Courtesy de l’artiste et David Zwirner. © Suzan Frecon/ADAGP, Paris 2021
Stone cathedral, 2019, huile sur toile, 275,6 x 222,6 cm. Courtesy de l’artiste et David Zwirner. © Suzan Frecon/ADAGP, Paris 2021
Reliefs serie C, 1967-2020, aluminium peint, 125 x 40 x 40 cm. Collection Carré d’Art-Musée d’art contemporain, Nîmes. © Charlotte Posenenske. Photo Jan Windszus, Berlin/ Galerie Mehdi Chouakri
Reliefs serie C, 1967-2020, aluminium peint, 125 x 40 x 40 cm. Collection Carré d’Art-Musée d’art contemporain, Nîmes. © Charlotte Posenenske. Photo Jan Windszus, Berlin/ Galerie Mehdi Chouakri

Suspension / Stillness

This exhibition presents the work of five artists from different generations who invite us to suspend time, and encourage us to take a pause for contemplation by creating a suspended moment. For the most part, these artists have had limited exposure in France, despite being wellknown internationally.

Born in 1925 in Beirut, Lebanon, Etel Adnan’s poetic and colorful landscapes complement the large works by American artist Susan Frecon (b. 1941, Pennsylvania, USA). The sculptures of Charlotte Posenenske (b. 1930, Wiesbaden, Germany) create a fascinating dialogue with the sensitive offerings of Lili Dujourie (b. 1941, Roulers, Belgium) within the context of an approach informed by the feminism of the 1960s. Trisha Donnelly (b. 1974, San Francisco, USA) confronts us with a fixed image that provokes many physical and visual sensations.

Artists : Etel Adnan, Trisha Donnely, Lili Dujourie, Suzan Frecon, Charlotte Posenenske

Access

Every day except on Monday : 10am - 6pm

Place de la Maison-Carrée
30000 Nîmes

  • 33 (0)4 66 76 35 70/35

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CULTURE & HERITAGE

La Maison Carrée (Nîmes)
Les Arènes (Nîmes)
Le Musée de la Romanité (Nîmes)

Cultural venues within 60 km :

Collection Lambert (Avignon)
Le Grenier à Sel (Avignon)
Luma (Arles)
Fondation Vincent van Gogh (Arles)
Musée Reattu (Arles)

PLACES TO STAY

Royal Hôtel *** : a former 19th-century cloister in the heart of the city. (Nîmes)
Appart'hôtel Odalys Le Cheval Blanc : exceptional location facing the Roman amphitheater, 5-minute walk from the train station. (Nîmes)

PLACES TO EAT

Ciel de Nîmes : on the last floor of Carré d’art. (Nîmes)
Émile et Simone : cheese, cold meat, vegetables plates, wine bar. (Nîmes)