Tatler Hong Kong

Great Minds Think Alike

The Fondation Louis Vuitton brings artworks from New York’s Museum of Modern Art to Paris,

- writes Melissa Twigg

Avast, nautically inspired building reminiscen­t of the Sydney Opera House rises from the Bois de Boulogne, one of the grandest parks in Paris. In the three short years since it opened, the Frank Gehry-designed Fondation Louis Vuitton has developed a reputation not only for its impressive looks, but for bringing some of the world’s most extraordin­ary art to the French capital. Its recent landmark exhibition of works from the renowned Shchukin Collection, staged in conjunctio­n with the State Hermitage Museum in St Petersburg, was deemed by experts to be one of the most important shows in recent history.

This autumn, the Fondation Louis Vuitton continues its tradition of collaborat­ing with foreign galleries, joining forces with New York’s Museum of Modern Art, or MOMA, to bring to Paris 200 remarkable canvases, including works by American artists such as Diane Arbus, Philip Guston and Andy Warhol that have never been shown in France. The exhibition opens this month and runs until March next year.

“I wanted ‘Being Modern: MOMA in Paris’ to fall within the tradition of our previous major exhibition­s such as ‘Keys to a Passion,’ 2015, and ‘Icons of Modern Art: The Shchukin Collection,’ 2016,” says Bernard Arnault, the president of the Fondation Louis Vuitton. “All three have been organised in close collaborat­ion with some of the world’s most prestigiou­s internatio­nal modern art museums. This

exhibition marks, once again, our desire to provide the widest possible audience with the opportunit­y to engage with some of the world’s most remarkable works of art.”

Alongside the great American artists, the Fondation Louis Vuitton and MOMA will be showing work by a number of European artists on home turf for the first time in decades. MOMA’S collection is still dominated by European art, largely due to the fact that when Alfred Barr founded the Manhattan museum in 1929, he was deeply inspired by fauvism and cubism, movements that were partially founded in France. So masterpiec­es by European artists such as Paul Cézanne, Gustav Klimt, Pablo Picasso, Henri Matisse, Giorgio de Chirico and René Magritte will be attracting art-lovers from around the country who have never had the chance to see a number of their pieces in France.

“This exhibition has two objectives: to show in Paris works that represent pivotal moments in the history of modern art, while eliciting the impact that the expanded and renovated MOMA will have on the internatio­nal landscape,” says Suzanne Pagé, the artistic director of the Fondation Louis Vuitton.

Hugely inspired in her personal career by MOMA, Pagé believes that through its 200 artworks, Being Modern: MOMA in Paris will tell a clear, concise story of the great New York institutio­n’s roots and the ideas it was founded on—a story that is understand­ably more difficult to tell in the vast, expanded and renovated MOMA in Manhattan.

“We return to one of the founding principles of the museum: that its interests lie in the various manifestat­ions of a modern aesthetic across multiple discipline­s,” says Glenn Lowry, the director of MOMA. “This is the promise of the idea of a museum of modern art. And while this promise has been contested, revised and reinterpre­ted over time—as it will continue to be in the future—it is fundamenta­l to ensuring that the Museum of Modern Art stands for a generous and broad understand­ing of modern art.”

Particular­ly notable artworks in this exhibition include Picasso’s The Studio, which shows off the vivid palette of synthetic cubism, and Cézanne’s The Bather, in which the traditiona­l subject matter of a young man swimming is set against a barren background with a very modern sense of ambiguity imbuing the canvas.

And while Paris may be home to some of the most venerable art institutio­ns in the world, the combinatio­n of Bernard Arnault’s vision, Frank Gehry’s masterpiec­e and America’s most prestigiou­s modern art museum is one that for a few months may eclipse even the sultry smile of the Mona Lisa. Being Modern: MOMA in Paris can be seen at the Fondation Louis Vuitton from October 11 to March 5.

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 ??  ?? sharing is caring Clockwise from far left: A model of the Welfare Palace Hotel Project, Roosevelt Island, New York (1976), by the Dutch architectu­ral firm OMA; Human/need/desire (1983) by Bruce Nauman; Accumulati­on No. 1 (1962) by Yayoi Kusama; Untitled (2014) by Rirkrit Tiravanija
sharing is caring Clockwise from far left: A model of the Welfare Palace Hotel Project, Roosevelt Island, New York (1976), by the Dutch architectu­ral firm OMA; Human/need/desire (1983) by Bruce Nauman; Accumulati­on No. 1 (1962) by Yayoi Kusama; Untitled (2014) by Rirkrit Tiravanija
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 ??  ?? wealth of art Clockwise from top left: Opus 217: Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M Félix Fénéon in 1890 by Paul Signac; Untitled Film Still #21 (1978) by Cindy Sherman; Bird in Space (1928) by Constantin Brancusi; Colours for a Large Wall (1951) by Elsworth Kelly; Emoji (1998-1999) by Shigetaka Kurita
wealth of art Clockwise from top left: Opus 217: Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M Félix Fénéon in 1890 by Paul Signac; Untitled Film Still #21 (1978) by Cindy Sherman; Bird in Space (1928) by Constantin Brancusi; Colours for a Large Wall (1951) by Elsworth Kelly; Emoji (1998-1999) by Shigetaka Kurita

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