Nice 2017
Logo exposition Ecoles(s) de Nice
Exhibitions 23 June~15 october

Le 109

The Surface of the East Coast.
From Nice to New York

23 June to 15 October 2017


Lead curator :
Marie Maertens

titre-expo3


Address
89, route de Turin
Tél. : +33(0)4 97 12 71 11


Opening times
Tuesday to Satursday (closed Sunday and Mondays) from 1 pm to 6 pm


Access

  • Tramway : Line 1 - Vauban
  • Bus : Line 04, 06, 16, 90, N1 - Pont V.Auriol ; Line 06, 88, N1 - Abattoirs
  • Vélo bleu : Station n° 154, 155
  • Car : Free parking

Tarifs des entrées :

  • Pass Musées de Nice : pass offert à tous les Niçois et habitants des communes de la Métropole Nice Côte d’Azur sur justificatif. *
  • Ticket 24H individuel - 10 € (8 € pour les groupes) : accès à tous les musées et galeries municipaux pendant 24h.
  • Ticket 7 jours individuel - 20 € : accès à tous les musées et galeries municipaux pendant 7 jours.
  • Ticket groupe 24H - 8 € par personne : accès à tous les musées et galeries municipaux pendant 24h (groupe à partir de 10 personnes).
  • Ticket gratuit (sur justificatif) : moins de 18 ans, étudiants, demandeurs d’emplois, bénéficiaires du RSA ou ASS ou ASPA, grand handicapés civils et mutilés de guerre ainsi qu’un accompagnateur par personne, conservateurs, journalistes, enseignants carte Pass Education, guide conférencier. *

* Voir les modalités en détails sur nice.fr

Le 109

La Ville de Nice a initié, depuis 2008, un projet de reconversion des 18 000 m2 de ses anciens abattoirs en un pôle artistique contribuant au rayonnement culturel de la cité.
Répondant à un réel besoin de se doter d’un outil de recherche et de création, cette mutation a commencé par l’installation dans une partie du site d’un collectif d’artistes - La Station, association défendant l’art contemporain par la production et l’exposition. Dans le même temps, la ville a mis en place une mission de réflexion intitulée Chantier Sang Neuf afin d’élargir ce processus de changement à tout le site et toutes les expressions artistiques par la création de la Grande Halle (un espace de 2 000 m2), du Frigo 16, de la Table Ronde ; tous ces espaces pouvant recevoir diverses programmations autour des musiques actuelles, d’expositions, de conférences/débats… Cette forme expérimentale du projet s’est traduite jusqu’en 2015 par diverses actions de productions, de résidences et de manifestations temporaires. Après des travaux significatifs de transformation de ses locaux, le 109 commence une nouvelle vie permettant l’accueil dans les conditions requises d’autres acteurs majeurs de la vie culturelle niçoise. Le projet entre dans une deuxième phase de consolidation de ses objectifs avec l’installation de 29 ateliers municipaux de plasticiens ; du Forum d’Urbanisme et d’Architecture ; de l’Entre-Pont, une fédération d’une quarantaine d’associations de spectacles vivants ; de la compagnie de danse Antipodes ; de Botox(s), réseau d’art contemporain Alpes et Riviera ; du SACA, syndicat des Architectes de la Côte d’Azur.
Dans sa nouvelle configuration, le 109 se positionne comme une interface essentielle à la création contemporaine dans le paysage culturel local, national et international grâce à un travail de coordination des actions menées par les protagonistes du site mais surtout grâce à une programmation riche, diverse et ambitieuse tournée vers différentes typologies des problématiques culturelles, artistiques et sociétales de notre époque. Avec l’énergie produite par ses multiples occurrences, le 109 tend à conforter son rôle d’un authentique vivier de création.

As part of the « Nice 2017. École(S) de Nice » programme organised by the City of Nice, curated by Jean-Jacques Aillagon.
With the support of the Bernard Ceysson, Art Concept, Jean Fournier, Barbara Gladstone, Meessen De Clercq, Almine Rech and Daniel Templon galleries and private donations..


Supports/Surfaces: painting for its own sake

Supports/Surfaces was an artistic movement that emerged in the late 1960s. One of the starting points for the show is an exhibition held in 1969 entitled La peinture en question[Painting in Question] in which artists Claude Viallat, Louis Cane, Daniel Dezeuze, Noël Dolla, Marc Devade, Patrick Saytour and Bernard Pagès, almost all of whom came from the south of France, declared: ‘The subject of a painting is the painting itself and the works on show only relate to one another. In no way do they call upon elsewhere ».

In 1970, the Supports/Surfaces group was officially presented at the ARC, the City of Paris’ museum of modern art. When going out to see the art of their time, these artists noticed an absence of lyricism and deep expressiveness. Wishing to take art back to basics, they focused on the canvas and the frame without representations of any kind. Running counter to the so-called ‘bourgeois’ paintings that hang on the wall, which fits in well with post-68 France, the works integrated the very space they occupied, from floor to ceiling. The group explored the themes of deconstruction and reconstruction as they debated on society. While these plastic artists each took their own individual path quite soon after, their research and the value they took from the experience certainly left an indelible impression on that period and even the very definition of painting.

New York in the 21st century: Back to Basics

It was the turn of visual artists in New York in the noughties—developing within a radically different artistic, geographic, political and economic context— to deconstruct and reconstruct the canvas. At the outset of their research, they wouldn’t necessarily have known about the Supports/Surfaces group, who had not been widely exhibited in the US until then, referring more to historic sources such as Frank Stella, Ad Reinhardt, minimal art and Bauhaus. Yet it is fascinating to note that the works show strong similarities in terms of form. Indeed, we can see exploration of the frame, decomposed or recomposed, and more generally the medium has been given as much thought as the subject within the space. The very materials, often devoid of quality, or re-employed in the studio, are restored to the centre of the work, in some cases accompanied with a touch of craftsmanship. The canvases could be horizontal or made by a loom. The medium was what was called ‘de-hierarchised’ and lumped in with the research that would go as far as integrating the work in the space and its environment. Today, while exhibitions by the Supports/Surfaces group have taken place specifically in New York and other locations in the US, a link has started to be forged and new dialogue established between a number of visual artists.

The exhibition The Surface of the East Coast. From Nice to New York proposes a dialogue between these different generations and geographic locations, showing how they can respond to one another, inspire one another and explore, here and now, new questions of form and avenues of thought.

Why Nice ?

The Supports/Surfaces movement took root in the south of France and some of its former members still live there to this day, such as Noël Dolla in Nice, Claude Viallat in Nîmes, and Daniel Dezeuze in Sète. Niçois by birth, Patrick Saytour now lives in Aubais, Bernard Pagès in Alpes-Maritime, while Louis Cane still works in one of the studios in Beaulieu-sur-Mer. The founding elements of this movement with an officially short life span can also be traced back to the City of Nice. Indeed, one of the first exhibitions of the Supports/Surfaces group, even before it was properly defined as such, was held in December 1967 at Ben Doute de Rien, the artist’s shop on rue Tonduti. Accompanying the title the ‘Hall des remises en questions’, Noël Dolla is exhibiting his first drying racks, Patrick Saytour pieces made from corrugated fibreboard, Louis Cane stamps and Claude Viallat the debut pieces of his prints on frameless canvas. It was also on the initiative of Jean Clair that on June 1971, an act written at the Théâtre National de Nice announced the end of the group, signed by artists Noël Dolla, Tony Grand, Patrick Saytour, André Valensi and Claude Viallat.

Work on display :
Gedi Sibony
Queens Daughters (Ladies in Waiting 1 and 2), 2009
Truc kdoors, 257.2 x 136.5 cm,


Artists shown:

  • Justin ADIAN,
  • André-Pierre ARNAL,
  • Mark BARROW,
  • Anna BETBEZE,
  • Joe BRADLEY,
  • Sarah BRAMAN,
  • Pierre BURAGLIO,
  • Louis CANE,
  • Marc DEVADE,
  • Daniel DEZEUZE,
  • Noël DOLLA,
  • Tony GRAND,
  • Simon HANTAÏ,
  • Adam HENRY,
  • Jacob KASSAY,
  • Lucas KNIPSCHER,
  • Erik LINDMAN,
  • Landon METZ,
  • Sam MOYER,
  • Bernard PAGÈS,
  • Jean-Pierre PINCEMIN,
  • Jean-Michel SANNEJOUAN,
  • Patrick SAYTOUR,
  • Gedi SIBONY,
  • Blair THURMAN,
  • André VALENSI,
  • Claude VIALLAT.