Symposium Icons of Modern Art. The Shchukin Collection

Accueil du public par Nada Ghandour, Assistante de l'exposition et Secrétaire scientifique du symposium.

Accueil des contributeurs par Anne Baldassari, Commissaire général de l’exposition et responsable scientifique du symposium, et Suzanne ­Pagé, Directeur artistique de la Fondation Louis Vuitton.

Ouverture des débats à l'auditorium.

Visite libre de l’exposition « Icônes de l’art moderne. La collection Chtchoukine » dont les galeries sont exclusivement ouvertes au public du symposium. Interventions ponctuelles par les médiateurs de la ­Fondation.

Introduction aux objectifs du symposium et présentation des contributeurs par Anne Baldassari.

"De l'exposition"

Anne Baldassari reviews the key scientific and historical principles and the scenographic and museographic choices made in the design of the exhibition and the catalogue. She also talks about the project’s development in the architectural context of the Frank Gehry building and Daniel Buren’s in situ work. Lastly, she provides greater context for the objectives of the multimedia, dance and music programming associated with the exhibition and explores how exhibitions have become new platforms for living, ephemeral and performing arts combining architecture, visual arts, cinema, music and dance.

The art of Frank Gehry, a dialogue. Frank Gehry - Irving Lavin

Video (40 minutes)

Irving Lavin, Professor Emeritus, Art History Chair at the Institute for Advanced Study of Princeton, New Jersey, presents a video of his conversation with Frank Gehry, architect of the Fondation Louis Vuitton building. Through a discussion of Gehry’s work and its place in the history of modern architecture, he examines the spatial dialogue between the building’s architecture and the museography of the exhibition.

Different in situ works

Daniel Buren, the artist whose monumental in situ work, L’Observatoire de la lumière, graces the sails of the Fondation and is one of the keys to understanding the exhibition’s deeper themes, offers an interpretation of his work in another context: the artistic revolutions among the 20th century’s French and Russian avant-gardes.

The painting. The space and the light.

Erik Boulatov, an artist belonging to the Muscovite “non-conformist” and “conceptualist” movements, offers his interpretation of the exhibition by analysing the works of the Russian avant-garde and their role in contemporary creation in Russia since the 1970s. He also positions his work in this historical context.

Break (free exhibition viewing time)

Nijinsky in his biggest roles

Christian Comte, sculptor and filmmaker, presents his film Nijinski and the Ballets Russes[u1]. This film, an assemblage of several thousand original photographs transformed into moving images, brings new life to the dancer’s world of sensitivity and subtle sophistication.

The Faun and I "An afternoon..."

Danced-conference (1h)

Nicolas Le Riche, Director of the Paris Opera Ballet until 2014, Director of the LAAC - Atelier d’Art Chorégraphique, presents the “ballet-lecture” developed around Nijinsky’s Afternoon of a Faun (1912). This performance is followed by a discussion between the dancers, musicians, actors and the audience.

Painting into cinema into painting into cinema into painting into cinema ...

Peter Greenaway, filmmaker and director, present the principles of the multimedia work created for the exhibition, on the relationship between Sergei Shchukin and Henri Matisse with respect to the commission for La Danse and La Musique (1909-1910). His presentation provides a broader perspective on creating a “visual language” combining cinema, video installation and performance and, by disrupting our perceptual framework, generates new horizons of understanding

Discussion with symposium audience

Reception of the public by Nada Ghandour.

Anne Baldassari and Suzanne Pagé welcome the participants

Start of round tables

Anne Baldassari provides an introduction and presents the day’s overall intention and the scheduled speakers

A tour in Paris, rue Laffitte: art dealers and lovers around 1900

Anne Distel, Heritage Curator, discusses the Parisian art scene at the turn of the century, focusing on the relationship between art dealer Paul Durand-Ruel and Sergei Shchukin by presenting previously unpublished correspondence.

The unknown of the Troubeskoï palace

André-Marc Delocque-Fourcaud, biographer of Sergei Shchukin and grandson of the collector, presents the Shchukin siblings: Ivan, Piotr, Dimitri and Sergei.

Art and the formation of taste: from tradition to modernity

Anna Poznanskaya, Curator of 19th-Century European Painting at the Pushkin State Museum of Fine Arts in Moscow, looks back on the first collection of modern works assembled by Sergei Shchukin.

Collectors Sergueï Shchukin and Mikhaïl Morozov in competition (1898-1903)

Natalia Semenova, art historian and biographer of Sergei Shchukin, examines the relationship and emulative rivalry between collectors Sergei Shchukin and Michel Morosov.

Pavel and Sergueï Tretiakov, Dimitri Botkin: Sergueï Shchukin predecessors

Tatiana Yudenkova, Doctor of Arts, Director of the Department of Paintings from the Second Half of the 19th-Early 20th Century at Moscow’s State Tretyakov Gallery, provides the history and circumstances of the 1907 bequest of Sergei Shchukin’s collection to the State Tretyakov Gallery.

La Danse and La Musique by Henri Matisse, creative evolution at its very peak during the first decade of 20th century. A revisited history of the decorative panels of the Truobeskoï palace.

Albert Kostenevitch, Curator of the Department of French Painting Collections from the Late 19th-Early 20th Century at the State Hermitage Museum in Saint Petersburg, addresses Shchukin’s commission to Matisse for La Danse and La Musique (1909-1910) and reviews research on this important moment in the history of the Shchukin Collection.

Discussion with symposium audience

Break (free exhibition viewing time)

New era, new issues. The works of the Shchukin collection at the Museum of New Western Paintings, the National Museum of WesternModern Art, and the Pushkin State Museum of Fine Art.

Alexis Petoukhov, Curator of the Collections of Modern French Paintings at the Pushkin State Museum of Fine Arts, Moscow, reconstructs exhibitions of the Shchukin Collection paintings between 1919 and 1930 at the Trubetskoy Palace (after being nationalised in 1918), then at the Morosov mansion when the collections were merged in 1928.

Formation of the French modern painting collection of the Hermitage Museum (1930-1950).

Michaïl Dedinkin, Curator of the Department of Western and European Art at the State Hermitage Museum, Saint Petersburg, presents the history of the Shchukin Collection from 1930 to the late 1950s. This period of warmer relations marked a significant revival in institutional and public interest in Western art collections.

Reception of the Shchukin collection by Russian Empire innovators at the beginning of the 20th century. The Malevitchian prism.

Jean-Claude Marcadé, Doctor of Arts, Research Director Emeritus at France’s Centre National de la Recherche Scientifique, specialist in the Russian avant-garde, discusses how the Shchukin Collection was received by Russian avant-garde artists, especially Kazimir Malevich, starting in 1908.

Picasso and the Russian avant-garde: pro and cons

Gérard Conio, Professor Emeritus at the Université de Nancy 2, specialist in the Russian avant-garde, analyses the unique place held by Picasso’s work in the Shchukin Collection through the writings of Aksyonov, Tarabukin and Eisenstein.

Marginal or pioneer? The case of the Costakis collection.

Maria Tsantsanoglou, Director of the Thessaloniki State Museum of Contemporary Art - Costaki Collection, offers a comparative presentation of the Sergei Shchukin and George Costakis collections.

French origins of the Russian avant-garde. Tribute to French painting.

Andreï Sarabianov, Doctor of Art History, specialist in the Russian avant-garde, and Irina Pravkina, Director of the Encyclopédie des Avant-Gardes Russes, present the research objectives and philosophy of the major collective scientific project, L’Encyclopédie des avant-gardes russes, that is being published.

How western modern and contemporary art might have influenced Russian contemporary art?

Igor Sokologorski, Associate Professor of Philosophy and art historian, concludes this one-day conference with a review of the contemporary creative scene in Russia and key chapters in the evolution of “unofficial Russian art, from the thaw to present day”.

Symposium conclusion and discussion with symposium audience