MUSEE D’ART NAIF ANATOLE JAKOVSKY
MONDES PARALLELES, NICE, UNTIL 31/3/2026
Gaston Chaissac, Collage, 1963
Jusqu’31 mars 2026, les collections du musée d’art naïf Anatole Jakovsky entrent en dialogue avec celles du MAMAC autour des définitions et classifications de l’art. Qu’est-ce qui caractérise l’art naïf, l’art brut, l’art singulier et l’art contemporain ? Où situer l’art populaire ? Est-ce toujours une approche théorique, conceptuelle et référencée ? Une histoire de rencontres artistiques ?
Through to 31st March 2026, the collections belonging to Anatole Jakovsky Museum of Naïve Art will be dialoguing with those at MAMAC (Museum of Modern and Contemporary Art) to examine the definitions and classifications of art. What characterises naïve art, art brut, and contemporary art? Where does folk art fit in? Should this always be seen as a theoretical, conceptual and referenced issue or should it be viewed as a story of artistic encounters?
Fino al 31 marzo 2026, le
collezioni del Museo d'Arte Naïf Anatole Jakovsky dialogano con quelle del
MAMAC (Museo d'Arte Moderna e Contemporanea) attorno alle definizioni e alle
classificazioni dell'arte. Cosa caratterizza l'arte naïf, l’art brut, e l'arte
contemporanea? Dove si colloca l'arte popolare? Si tratta sempre di un
approccio teorico, concettuale e referenziato? O è una storia di incontri
artistici?
Niki de Saint Phalle, Vache et
homme lisant son journal, 1930
La rencontre avec les œuvres révèle cependant que la porosité et l’influence des genres et des pratiques nourrissent la plupart des démarches artistiques. Les interactions, les influences, les emprunts sont à l’origine de toute création.Karel Appel, Christian Boltanski, Gaston Chaissac, Serge Dorigny, Ivan Generalić, Dorothy Iannone, Lars Fredrikson, Karen, Eva Lallement, Simone Le Carré-Galimard, Greta Pĕcnik, Marilena Pelosi, Zofia Rostad, Niki de Saint Phalle, Dorothée Selz et Antoni Miralda, Séraphine de Senlis, au total, 18 artistes internationaux, confidentiels, marginaux, méconnus ou anonymes qui sont exposés, autour de 26 œuvres entre peintures, photographies, sculptures et collages, qui interrogent notre rapport à l’art.
A careful study of miscellaneous artworks reveals, significantly, that interaction and mutual influence between different genres and practices fuel most approaches to art. Interactions, influences, and affinities are at the very heart of everything created. Karel Appel, Christian Boltanski, Gaston Chaissac, Serge Dorigny, Ivan Generalić, Dorothy Iannone, Lars Fredrikson, Karen, Eva Lallement, Simone Le Carré-Galimard, Greta Pĕcnik, Marilena Pelosi, Zofia Rostad, Niki de Saint Phalle, Dorothée Selz e Antoni Miralda, and Séraphine de Senlis. A total of 18 artists are featured - some of international stature, others little-known, marginal or anonymous - along with 26 artworks including paintings, photographs, sculptures, and collages, which challenge our relationship to art.
L'incontro con le opere d'arte rivela, tuttavia, che la permeabilità e l'influenza di generi e pratiche alimentano la maggior parte degli approcci artistici. Interazioni, influenze e attinenze sono all'origine di ogni creazione. Karel Appel, Christian Boltanski, Gaston Chaissac, Serge Dorigny, Ivan Generalić, Dorothy Iannone, Lars Fredrikson, Karen, Eva Lallement, Simone Le Carré-Galimard, Greta Pĕcnik, Marilena Pelosi, Zofia Rostad, Niki de Saint Phalle, Dorothée Selz e Antoni Miralda, Séraphine de Senlis, in totale sono esposti 18 artisti tra internazionali, poco conosciuti, marginali o anonimi, e 26 opere tra dipinti, fotografie, sculture e collage, che mettono in discussione il nostro rapporto con l'arte.
Karen, Sans titre, 1988