La Force de l’Art 02
Grand Palais, Paris
24/Avril - 1/Juin, 2009

Manifestation triennale, organisée à l’initiative du Ministère de la Culture et de la Communication, LA FORCE DE L’ART a pour ambition d’offrir une scène à la création contemporaine en France et aux artistes qui l’animent, dans la diversité de leurs origines et de leurs choix esthétiques. Deuxième édition de cette manifestation, LA FORCE DE L’ART 02 se déploiera à partir de la nef du Grand Palais à Paris, du 24 avril au 1er juin 2009.
LA FORCE DE L’ART 02 propose un programme unique de rencontre de tous les publics avec la création de notre temps. En déployant autant d'événements et en investissant de nouveaux sites, cette nouvelle édition de LA FORCE DE L’ART invente un nouveau mode d'accès, plus large et plus ouvert, aux manifestations de l'art d’aujourd'hui en France.

Trois commissaires, un architecte et plusieurs espaces-temps

Trois personnalités de renom sont chargées du commissariat de LA FORCE DE L’ART 02: Jean-Louis Froment , Jean-Yves Jouannais et Didier Ottinger . Ils ont associé à leur projet l’architecte Philippe Rahm , choisi pour le rapport original et créatif qu’il entretient avec l’espace, et qui construira un lieu à la mesure de l’ambition du projet.

LA FORCE DE L’ART 02 est l'éclatement de l'art en plusieurs Espaces–Temps. Des lieux, des scènes et des parcours multiples, offrant aux visiteurs des expériences artistiques originales, variées et intenses. Autant de manifestations et d'univers singuliers, qui se répondent et se croisent. Autant d’œuvres, choisies pour leur puissance expressive, qui témoignent chacune de l'itinéraire prospectif d'un artiste contemporain, de ses engagements et de ses choix esthétiques.

Le Réseau national

Enfin, LA FORCE DE L’ART 02 existera sur l'ensemble de la scène nationale , grâce à l’intervention d'initiatives privées et publiques, incluant des Centres d'art, des FRAC (Fonds régionaux d’art contemporain), des musées, des fondations, qui enrichiront cette deuxième triennale de leurs propositions.

L'art contemporain pour tous

L'ambition de LA FORCE DE L’ART 02 est de permettre à tous les publics, y compris les plus jeunes, de percevoir les enjeux de l'art contemporain, en offrant d’aborder les sujets et les débats les plus variés de la société actuelle, au travers d’une expérience artistique forte, enracinée profondément dans la richesse de son originalité et de sa diversité.

www.laforcedelart.fr
La bande-annonce de La Force de l'Art 02





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Government’s big push for French art with Force de l’Art 02
But curators dislike notion of national scene
By Rosie Spencer
Posted online: 29.4.09/ The Art Newspaper

PARIS. The second edition of La Force de l’Art, the Paris-based triennial of contemporary art, has an unmistakably French air. Commissioned by the Ministry of Culture, the project is a strong promotional push from the government for recognition of French art. But when questioned on what the exhibition has to say about France or the country’s art scene, the curators are reticent. “We didn’t want to deal with these kinds of considerations,” Didier Ottinger, deputy director of the Centre Pompidou and one of the show’s three curators, told The Art Newspaper. “There’s always some question about the national scene, what it is. Nobody cares,” said Jean-Yves Jouannais, a critic and also one of the show’s curators along with Jean-Louis Froment, an independent curator who founded Bordeaux’s CAPC contemporary art museum. Both Mr Ottinger and Mr Jouannais said, however, that the importance of literature was an inescapable tenet of French art—and it is clear that this is what permeates the 13,500 sq. m nave of the Grand Palais.

Véronique Aubouy’s Proust lu [Proust Read], 1993-2009, is perhaps the most archetypal of these literary-inspired works. A huge undertaking, the work involves hundreds of hours of filmed footage of people from all walks of life reading extracts from Proust texts over several years. Julien Prévieux has created a library of obsolete books, and Wang Du’s International Kebab, 2008, looks like a giant literary donor kebab—a structure made up of thousands of pages of printed documents piled high that can be shaved off with knives by the image-hungry visitor. The largest in scope is Jean-Baptiste Ganne’s work in the dome at the centre of the Grand Palais—a morse code rendition of Cervantes’s Don Quixote to be transmitted across Paris in red lights for 40 nights.

Mr Ottinger also argued that confrontational art is not dead in France. Philippe Mayaux’s Les Agitateurs, 2008, presents a series of disembodied hands hydraulically brandishing signs of political protest, and duo Sylvain Grout and Yann Mazéas are showing a Gordon Matta-Clark-style installation in which a house has been violently sawn in half.

In contrast to this year’s show, the 2006 edition of La Force de l’Art had 15 curators who each presented their own separate exhibitions in the Grand Palais. When asked why La Force de l’Art 02 had three curators, Mr Ottinger responded: “It was a strange decision, which was not part of our own decision. It was in fact a political decision…I received a call from someone who asked me: ‘Do you want to be the curator of the next Force de l’Art?’ and I said: ‘I don’t think it’s something to do for a single person.’” Subsequently three other curators were added to the team, one of whom dropped out. “Perhaps it would have been easier for us to do one show each, but we decided to make only one show in total,” Mr Jouannais told TAN. “That was exciting and difficult because we didn’t know each other very well. We’re not the same age, and we don’t have the same history in the field of art.”

Mr Ottinger said that the show was not untouched by the economic crisis. “Of course we had to adjust the dream to the reality,” he told TAN. “We were expecting many funds coming from private means, and of course with the crisis we had to readjust as the budget was no longer the same. It was quite a difference... but it was not painful. It’s rather easier than other institutions I have known, such as the Pompidou or elsewhere. It was very smooth. Two hundred and fifty people were working at the same time without any trouble.”

As well as the main focus at the Grand Palais, with an emphasis on up-and-coming artists who could benefit from a wider exposure, across the city six established names have made site-specific works. Radical performance artist Orlan is showing at Musée Grévin, the Madame Tussauds-style waxworks, Annette Messager has an installation of inflatable planets at the Palais de la Découverte, and Pierre et Gilles are showing a Madonna and child photograph at the Eglise Saint-Eustache. Other artists include Bertrand Lavier, Gérard Collin-Thiébaut and Daniel Buren.


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