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Seismographic Fabrics --- Connaroe, Scott --- Groot, De, Kaleb --- Duque, Juan --- Fujiwara, Simon --- Klap, Roosje --- Nicolodi, Renato --- Philips, Karl --- Pitoiset, Emilie --- Vermeir, Katleen --- Wauman, Wim --- Brouckaert, Hedwig --- Heiremans, Ronny

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Conarroe, Scott --- Nicolodi, Renato --- de Groot, Kaleb --- Klap, Roosje --- Wauman, Wim --- Duque, Juan --- Brouckaert, Hedwit --- Philips, Karl --- Pitoiset, Emilie --- Heiremans, Ronny --- Vermeir, Katleen --- Fujiwara, Simon

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Depuis une dizaine d'années, la technique du moulage a trouvé une nouvelle actualité. Elle appartient depuis longtemps déjà au monde industriel, mais elle s'est développée à la faveur de procédés numériques d'enregistrement et de duplication des modèles. Des moulages de toutes sortes prolifèrent dans nos vies quotidiennes et cette présence familière trouve son écho dans les productions des artistes. Ils incarnent à bien des égards une qualité essentielle de la sculpture : le fait qu’elle soit plus souvent sérielle qu’unique. Le moulage est le moyen par lequel cette pluralité advient.

Le commissariat est assuré par Penelope Curtis (directrice du Calouste Gulbenkian Museum), Rita Fabiana (curatrice au Calouste Gulbenkian Museum), Thierry Leviez (responsable des expositions aux Beaux-Arts de Paris) et Armelle Pradalier (responsable des publics aux Beaux-Arts de Paris).

Michael Dean, Jumana Manna, Charlotte Moth, Jean-Luc Moulène ou Francisco Tropa sont quelques-uns des artistes inspirés des effets de réplication, de variation, de transformation ou de changement d'échelle propres au moulage. Leurs œuvres ont été réunies autour des collections historiques de moulages constituées au 19e siècle par les Beaux-Arts de Paris et la Faculdade de Belas Artes de Lisbonne. Les deux groupes se mêlent dans un jeu de répétitions infinies qui voit passer les modèles classiques des figures antiques aux sculptures contemporaines.

Sculptures Infinies est le fruit d'une collaboration entre les BeauxArts de Paris et le Calouste Gulbenkian Museum de Lisbonne, en partenariat avec la gypsothèque du Louvre à Versailles, les ateliers d'Art, Moulage & Chalcographie de la Réunion des musées nationaux - Grand Palais et la Faculdade de Belas Artes à Lisbonne.

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Over the past decade there has been a renewed interest in the practice of
casting, which once again brings together the artistic and industrial worlds.
Casting in plaster has never gone away, but the repertoire has now been
enlarged. Casts of all kinds proliferate in our daily lives, and artists avail
themselves of newly available digital techniques and artificial materials.
Casts embody the special but unseen quality of almost all sculpture: that it is
more often serial than unique. Sculpture is inherently plural and casting
makes it so.
The artists in this show have been chosen because they are fascinated by
casting, and what it allows them to do. For some it is a way of capturing
transient life stages; for others a way of immortalising historical events. While
some use plaster for its historical associations, others use 3D scans to speak
of cloning, surrogacy, and virtual multiplication. Casting has always been
linked to documentation, and still today it gives form to what might not
otherwise be known. Artists explore the moulds as much as the images,
looking quite literally inside the sculpture itself.
Contemporary works have been placed alongside the historic cast
collections of the Fine Art schools of Paris and Lisbon to highlight these
continuities. Generations of students have grown up alongside these
collections, as interesting for their disordered repetitions as for their original
teaching purpose. This exhibition goes beyond iconography to look instead
at the infinite possibilities of a technique that has become part of our lives.
Infinite Sculpture is the result of a collaboration between the Beaux-Arts de
Paris and the Calouste Gulbenkian Museum. It draws on the historic
collections of the Louvre, the Réunion des musées nationaux and Faculdade
de Belas Artes in Lisbon. The contemporary works are all on loan.

Sculpture --- sculpture [visual works] --- casting [process] --- molding [forming] --- 3-D printing --- Zobernig, Heimo --- Moulène, Jean-Luc --- Gröting, Asta --- Claydon, Steven --- Dean, Michael --- Fujiwara, Simon --- Laric, Oliver --- Manna, Jumana --- Tropa, Francisco --- Wright, Daphne --- Moth, Charlotte --- Domanović, Aleksandra --- Guarch Bestué, David --- Verboom, Marion --- Veilhan, Xavier --- Borland, Christine

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Iconography --- archaeology --- Spoerri, Daniel --- Martin, Kris --- Meese, Jonathan --- Appelt, Karl Heinz --- Bronstein, Pablo --- Fujiwara, Simon --- Gabellone, Giuseppe --- Gartentor, Heinrich --- Gysin, Béatrice --- Häusermann, Pascal --- Smithson, Robert --- Külling, Hannah --- Lennard, Elizabeth --- Lippert, Beat --- Rondepierre, Eric --- Schwyn, Ruedy --- Steiner, Julia --- Long, Richard --- Volkart, Peter --- Weber, Claudius --- Wermers, Nicole --- Young-hee Hong --- Fabre, Jan --- Dion, Mark --- Calle, Sophie --- Gross, Sabine --- Herold, Jörg --- Gordon, Douglas --- Richter, Daniel --- Ai Weiwei --- Poirier, Patrick --- Poirier, Anne --- anno 2000-2099

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We live in a moment in which institutions, including those central to the art world, are facing a surge of public scrutiny. Propelled by social media, profound questions about how institutions operate - whether structurally, politically, or financially - have become an increasingly prominent part of public life and discourse in recent years. In this context, The Art of Critique revisits the artistic practice of institutional critique to ask what it means today, and to consider its ability to respond to the urgent social, political, and economic issues of our time. Taking works by Tracey Emin, Andrea Fraser, and Sarah Lucas in the collection of the Frans Hals Museum as a departure point, The Art of Critique uses a feminist approach to broaden and challenge traditional art historical definitions of institutional critique. These expanded forms of critique function as precursors to the practices of the contemporary artists presented as part of this project. Collectively, the contemporary works shed a new light on the legacy of institutional critique while addressing structural issues as wide-ranging as labor practices in the creative industry, city development, gender inequality, and the intertwined histories of capitalism and colonialism.

Art, Modern --- Artists --- kunstinstellingen --- musea --- kunsttheorie --- 7.039 --- 7.01 --- feminisme --- kunst --- conceptuele kunst --- kunst en maatschappij --- institutionele kritiek --- videokunst --- kunst en politiek --- twintigste eeuw --- eenentwintigste eeuw --- schilderkunst --- tekenkunst --- performances --- Angeletti Marie --- Buhlungu Simnikiwe --- Fujiwara Simon --- Lollia Hilaire Clémence --- Van Lieshout Erik --- Lloyd Corporation --- Mul Marlie --- Becket WMN --- Nogle D'Ette --- Okon Ima-Abasi --- Olayemi Ilupeju Monilola --- Schlingelhoff Bea --- Uribe Juan --- Öğüt Ahmet --- Frans Halsmuseum --- Frans Hals Museum --- Frans Hals Municipal Picture Gallery, Haarlem --- Frans Hals-Museum der Gemeente Haarlem --- Haarlem. --- Musée de la ville de Harlem --- Musée communal de Haarlem --- Art --- museology --- colonization --- social stratification --- capitalism --- feminism --- museums [buildings] --- art criticism --- dekolonisatie --- futurologie --- gender