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Tag: Centre Pompidou

  • For Artist JR, Carrying the Paris Olympic Flame into the Louvre Was an Emotional Experience

    For Artist JR, Carrying the Paris Olympic Flame into the Louvre Was an Emotional Experience

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    JR, the French photographer and street artist, and Sandra Laoura, a French skier, hold the Olympic Flame on July 14. Photo by Maja Hitij/Getty Images

    The Paris Olympics don’t kick off until July 26, but the iconic Olympic Torch is already in town. The Flame arrived in Paris on Bastille Day (July 14), borne by 2016 gold medalist Col. Thibaut Vallette, and was integrated into France’s National Day celebrations. The torch, carried by a motley assortment of bearers that included World Cup winner Thierry Henry, K-Pop icon Jin and garbage collector and environmentalist Ludovic Franceschet, made its way through iconic locations in Paris, including some of the city’s most important cultural spots, including the Louvre. Notably, the torchbearer who carried the Flame into the museum was the French artist JR, known for his large-scale public installations that engage communities with some of the most pressing social issues through a powerful blend of photography, street art and social activism.

    We reached out to the artist to ask what he was feeling in that special moment. “I have a lot of memories with the Louvre, a lot of special ones,” JR told Observer. “I had the chance to exhibit there twice… This is also where I learned of the death of Agnes Varda in 2019 while I was pasting the giant collage on the square. We had filmed part of our film inside the Louvre with Agnes. Going back there and carrying this torch, taking it from the pyramid to the inside, was a very special memory for me, with a lot of emotion behind it.”

    JR holding the Olympic torch at the LouvreJR holding the Olympic torch at the Louvre
    JR says his return to the Louvre was an emotional one. Photo by Maja Hitij/Getty Images

    The artist’s relationship with the Louvre runs deep, stemming from his memorable, monumental intervention of 2016, in which he covered the Pritzker Prize-winning architect I. M. Pei’s glass pyramid with a gigantic black-and-white photographic collage that made it appear to disappear. Then, in 2019, to celebrate the 30th anniversary of the Louvre Pyramid, JR created another massive optical illusion, The Secret of the Great Pyramid, making the same pyramid emerge from inside a deep crater apparently excavated in the surrounding ground. True to JR’s style, the artwork was created with the help of collective action by thousands of local volunteers and was ephemeral and temporary: visitors were invited to walk over the collage, gradually destroying it, symbolizing the impermanence of art. By the end of the weekend, the piece was almost entirely worn away and then removed, leaving just great pictures as its memory.

    SEE ALSO: Paris Olympics Winners Will Take Home a Piece of the Eiffel Tower

    JR is also no stranger to working with the Olympic Games, having installed another of his large-scale projects for the 2016 Olympics in Rio De Janeiro. There, with The Chronicles of Rio, the French artist embarked on one of his most ambitious projects of community recording and awareness, collecting a series of portraits of Rio’s inhabitants to shed light on the everyday lives and stories of people from various neighborhoods, particularly those from underrepresented areas. These portraits were then transformed into enormous posters and displayed in locations around the city.

    Image of the art installation JR made on the pyramid of the Louvre covering it with a collage and optic illusion of a crater. Image of the art installation JR made on the pyramid of the Louvre covering it with a collage and optic illusion of a crater.
    JR, The Secret of the Great Pyramid (2019). Courtesy the artist

    The history of the Olympic Flame

    The tradition of the Olympic Torch is rooted in customs established in Ancient Greece: at the ancient Olympic Games, a sacred flame burned at the altar of Hestia, the goddess of the hearth, in Olympia, as a symbol of purity, the endeavor for perfection and the struggle for victory. The tradition was restored in modern times at the 1936 Berlin Olympics, with the Flame lit in Olympia and carried to Berlin through a relay of runners, symbolizing the link between the ancient and modern Games. Since then, torchbearers have carried the Flame at every Olympic Games on a journey from Greece to the host city, with thousands of participants from diverse backgrounds traversing countries and continents in an action symbolizing peace and unity.

    For Artist JR, Carrying the Paris Olympic Flame into the Louvre Was an Emotional Experience

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    Elisa Carollo

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  • Looking Ahead, the Centre Pompidou in Paris Announces Closure Plans

    Looking Ahead, the Centre Pompidou in Paris Announces Closure Plans

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    Laurent Le Bon, president of the Centre Pompidou, at the recent press conference discussing the museum’s planned closure. (c) Didier Plowy

    The President of the Centre Pompidou, Laurent Le Bon, hosted a press conference yesterday (Feb. 6) to announce how the museum would function during its forthcoming five-year closure (2025-2030). The iconic building, conceived of in 1977 by Renzo Piano and Richard Rogers, will undergo a 260 million euro renovation, mostly funded by the French state. “We are lucky to be in a country where there is public support,” Le Bon said.

    The decision to close the institution was made in 2020 as part of a plan to optimize energy efficiency, make the museum more accessible and remove asbestos.

    Le Bon opened the conference by addressing the in-house museum worker strikes that ended on January 29, speaking about what had been resolved and what hadn’t. He then pivoted to the focus of the conference—how the museum’s collections will function during its gradual closure, confirming that the new construction would officially begin in 2026 in anticipation of opening in 2030

    J’espère,” he conceded (“I hope”).

    In his remarks, Le Bon made a distinction between the physicality of the Centre Pompidou building and “l’esprit”—the spirit—of the Centre Pompidou, which he felt could be easily re-established outside its walls. The press conference was titled “Constellation,” and this idea was a nod to the way the museum’s collection might be enjoyed even outside its distinguished home.

    Exterior of Centre Pompidou (Photo: © Jean-Pierre Dalbéra | CC BY 2.0)Exterior of Centre Pompidou (Photo: © Jean-Pierre Dalbéra | CC BY 2.0)
    The exterior of the Centre Pompidou.

    The largest portion of the museum’s holdings will go to a new 30,000-square-meter art center and storage facility in Massy, a banlieue south of Paris that will open in the summer of 2026 when the Centre Pompidou construction begins with the unwieldy name Centre Pompidou Francilien—Fabrique de l’art/Musée national Picasso-Paris.

    There will also be exhibitions pulling from the Centre Pompidou’s collections at the to-be-reopened Grand Palais, beginning in June of 2025 with “Niki de Saint Phalle, Jean Tinguely, Pontus Hultén”—highlighting the artist couple and the first museum director of the Centre Pompidou, the latter having collected their work extensively—in a 2,000-square-meter space. In tandem, an art brut ensemble from the collection Decharme consisting of more than 900 works will be shown in a separately demarcated 800-square-meter space. These shows will be followed by the March 2026 “Henri Matisse 1941-1954 – Color Without Limit,” which will feature pieces from the years the artist worked with gouache découpée. About 170 Matisse works from the Centre Pompidou’s collection will be displayed in the exhibition.

    Two man stand in a clear-walled tubeTwo man stand in a clear-walled tube
    President of the Centre Pompidou Laurent le Bon (L) and President of the Grand Palais Didier Fusillier (R). (c) Didier Plowy, 2024

    The Musée du Louvre will open a show on the objet d’art in October of 2026, in what Le Bon called an “histoire d’amour,” or more than a partnership. Objects dating from the Middle Ages to the Second Empire in the Louvre will stand in contrast to works by Ettore Sottsass, Sheila Hicks, Joan Miró and Eileen Grey. The Philharmonie de Paris, in the 19th arrondissement, will host a show on Kandinsky and music in 2025. And the Musée du Quai Branly and the Musée de l’Orangerie will also host Centre Pompidou collection-focused exhibitions, with programming to be announced.

    Outside of Paris, the Pompidou will share works and provide exhibition material to cultural venues in Lille, Lyon, Toulon, Auxerre and of course, its satellite location in Metz. And outside of France, the Centre Pompidous in Málaga and Shanghai will maintain normal operations, supporting the museum’s decentralized approach to the temporary closure. The Kanal space in Belgium is expected to open at the end of 2025; the Centre Pompidou Hanwha-Seoul will open at about the same time in an existing building set to be renovated at some future date. In the U.S., the Centre Pompidou x New Jersey, which will be located in Jersey City, is expected to open in 2027.

    While the Centre Pompidou workers involved in the three-month strike referenced “perpetually increasing” damage to artwork “caused by incessant loans” in their November letter to France’s Ministry of Culture, pieces from the museum’s collection are often on the move without incident. Some 6,000 works are lent out by the institution nationally and internationally every year for independent exhibitions.

    Looking Ahead, the Centre Pompidou in Paris Announces Closure Plans



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    Sarah Moroz

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