PICASSO - lesbauxdeprovence.com · - Sequence « The Blue and Rose periods » – Gnossienne n°1,2,3 of Erik Satie // Cuspide (Acquamarina) of Luca Longobardi - Sequence « The 1960’s

Press kit - Picasso and the spanish masters 1

2 MARCH 2018 - 6 JANUARY 2019

& THE SPANISCH MASTERSA GIANFRANCO IANNUZZI

RENATO GATTO - MASSIMILIANO SICCARDI REALISATION

PICASSO

Exhibition organized with the exceptional

support of

PRESS KIT

Pablo Picasso, Portrait de Dora Maar,1937, huile sur toile, Musée national Picasso-Paris © Succession Picasso 2018; photo : © Bridgeman Images

SOMMAIRE

Page 1

PRESS RELEASE

Page 2

ITINIERARY OF THE IMMERSIVE EXHIBITION

Page 5

SOUNDTRACK OF THE IMMERSIVE EXHIBITION

Page 6

BIOGRAPHY OF THE ARTISTS

Page 12

PICASSO-MÉDITERRANÉE : AN INITIATIVE FROM MUSÉE NATIONAL PICASSO-PARIS

Page 13

CULTURESPACES, PRODUCER OF AMIEX®

Page 14

PRODUCTION TEAM

Page 15

PARTNERS OF THE EXHIBITION

Page 16

A SHORT SHOW : « FLOWER POWER - POP CULTURE »

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THE CARRIÈRES DE LUMIÈRES, AN INSPIRING PLACE

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AMIEX® : PROMOTING CULTURE VIA A NEW CHANNEL

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VISUALS AVAILABLE FOR THE PRESS

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PRACTICAL INFORMATIONS

4 Press kit - Picasso and the spanish masters


The Carrières de Lumières in Les Baux-de-Provence is holding its new digital and immersive exhibition: ‘Picasso et les maîtres espagnols’ (‘Picasso and the Spanish masters’). From 2 March 2018 to 6 January 2019, digitised masterpieces by Picasso, Goya, and Sorolla will create a dialogue to the sound of music on the immense limestone surfaces of the Carrières. A veritable invitation to go on a journey of discovery, this original multimedia show retraces a century of Spanish painting, providing visitors with an intense artistic experience.

The immersive exhibition, which focuses on Spain, brings together works by the great masters of modern Spanish painting. The first part of the show highlights portraits and scenes of daily life painted by Goya, Rusiñol, Zuloaga, and Sorolla. The second part focuses on Picasso, who was unquestionably one of the most influential great masters in twentieth-century art, and provides viewers with a panorama of his incredibly rich and creative oeuvre.

From the royal court to Goya’s rustic scenes, Rusiñol’s enchanting gardens, Zuloaga’s portraits, and Sorolla’s luminous beach scenes, visitors are invited to go on a journey of discovery and then immerse themselves in the rich and captivating pictorial world of Picasso and his masterpiece. The distinctive forms of the Demoiselles d’Avignon (1907), the soothing pink and blue of The Pipes of Pan (1923), the menacing potency of Guernica (1937), and the Mediterranean shores of The Joy of Life (1946) take the viewers into the heart of the artist’s creative genius.

Designed as a journey of discovery of Iberian art in the twentieth century, the digital and immersive exhibition ‘Picasso and the Spanish masters’ presents thousands of moving images of digitised works, which are brought to life via the cutting edge AMIEX® technical equipment. Hence, the white limestone walls are transformed into masterpieces lit up by around a hundred projectors. The visitors are invited to stroll around freely in the monumental spaces of the Carrières in order to discover in their own time the dynamic projections around them. A vibrant selection of music will help enrich the emotional experience of the visitor, who will discover the masterpieces from the unique perspective of a global experience of dematerialised art.

PICASSO& THE SPANISH MASTERS2 MARCH 2018–6 JANUARY 2019

PRODUCED BY CULTURESPACESCREATED BY GIANFRANCO IANNUZZI, RENATO GATTO AND MASSIMILIANO SICCARDI


1 - INTRODUCTION

This show, which focuses on Spain, brings together works by the great masters of modern Spanish painting. The first part of the show highlights portraits and scenes of daily life painted by Goya, Rusiñol, Zuloaga, and Sorolla. The second part focuses on Picasso, who was unquestionably one of the most influential great masters in twentieth-century art, and provides viewers with a panorama of his incredibly rich and creative artwork. The show begins with a film-screening device, highlighting film excerpts showing Picasso’s life. Excerpts from Henri-Georges Clouzot’s film The Picasso Mystery (Le mystère Picasso), dating from 1955, show him painting and drawing—his brush is an almost natural extension of his arm.

2 - SPANISH PAINTERS

The journey of discovery of the works by the great Spanish masters begins with Francisco de Goya’s paintings. His portraits decorate the walls of a former salon in a Spanish palace. The landscapes and popular scenes that the painter liked to depict at the beginning of his artistic career can be seen through the windows. In a clearing in the woods, an Andalusian festival is being held in Rusiñol’s well-ordered and flowered gardens. The space is filled with figures dressed in colourful costumes, inviting the visitors to dance. A dialogue is established between Zuloaga’s portraits, influenced by classical works, and Sorolla’s more modern and ‘Impressionist’ portraits. The part of the show devoted to the Spanish painters ends with the beach scenes by Sorolla—who was known as the painter of light—, depicting fishermen, noble ladies, and children’s games.

3 - THE JOY OF LIFE

Picasso makes his appearance in the show with The Joy of Life (1946) and a series of linocuts. Lightness and fantasy, new inspirations, and a new love affair were all sources of

ITINIERARY OF THE IMMERSIVE EXHIBITION

Pablo Picasso, Deux femmes courant sur la plage (La course), 1922, Gouache sur contre-plaqué, MP78, Musée national Picasso-Paris © Succession Picasso 2018; Photo : © Peter Willi / Bridgeman Images


inspiration for a creative renewal. The evocation of the sacred festival and the pastoral in the classical style continues with the projection of his Bacchanal series. They depict musicians and dancers, and mythological figures, which were prominent in his work, such as the centaur and the faun.

4 - PRIMITIVISM AND CUBISM

There were various stages in the ‘great adventure’ of cubism. In 1907, Picasso acquired two Iberian stone heads through the agency of Guillaume Apollinaire’s secretary, Géry Pieret. He discovered the collections of African art in the Musée du Trocadéro and produced several sculptures in wood inspired by the archaic sculpture. He painted Les Demoiselles D’Avignon, preceded by many preliminary studies: cubism was born. Picasso was twenty-six years old. Cubism derived its name from remarks that were made by the art critic Louis Vauxcelles in the journal Gil Blas about a Braque exhibition in the Galerie Kahnweiler. Picasso and Braque became close friends, which led to the development of Analytical Cubism and Synthetic Cubism. Objects were represented from many different angles, they were broken down into their planar and facetted components, and homogeneous form completely disappeared. The first collages were produced during this period.

5 - MYTHOLOGY AND GUERNICA

Picasso said: ‘If you wanted to put dots on a piece of paper to mark all the places I’ve been, then draw a line connecting them, one might end up with a Minotaur perhaps’. This mythological creature, which played an important part in his work, is projected onto the walls of the Carrières. His experiments, conducted during a period of growing political commitment, led him to execute his famous painting Guernica in 1937. The immense canvas vehemently denounces the barbarity of war.

Pablo Picasso, Les Demoiselles d’Avignon, 1907, Huile sur toile, Museum of Modern Art, New York © Succession Picasso 2018 ; Digital image : © The Museum of Modern Art, New York/Scala, Florence


6 - THE BLUE AND ROSE PERIODS

The Blue Period began in 1901 and derives its name from the dominant cold blue tonalities in Picasso’s work. When he returned to Paris, his canvases — tinged with melancholy after the suicide of his close friend Casagemas — showed images of performers, poor people, and marginalised people. He began signing his paintings with his mother’s surname: PICASSO. The Rose Period began in 1905 : it was characterised by the abandonment of blue and the gradual reintroduction of other colours and, in particular, earth-coloured and ochre tones. It was a pivotal period on the artist’s path to cubism.

7 - THE 1960’S

Picasso and Jacqueline Roque married on 2 March 1961, and Picasso’s eightieth birthday was celebrated throughout the world. Jacqueline’s face dominated all his paintings, engravings, and sculptures. It was the beginning of an intense period of instinctive artistic creation. He tackled many different themes: musketeers, matadors, the family, and motherhood; deconstructed figures were central to his artistic work in the 1960s. Paint and colours exploded on the canvas, and the large eyes in the faces challenged and reflected joy combined with the fear of death.

8 - PORTRAITS OF WOMEN

Picasso was greatly inspired by his encounters — and particularly his relationships — with women. The many portraits of his girlfriends reflect — through their different styles — the diversity of the feelings that the artist had for his muses. For example, he produced numerous portraits of Dora Maar and Marie-Thérèse in 1973, each of whom was represented in a range of colours and using codes of representation that were specific to their personalities. Voluptuous curves contrasted with sharp edges, and bright and contrasting colours complemented the warm and muted colours. All of Picasso’s pictorial periods can be seen in his portraits of women.

Pablo Picasso, La lecture, 1932, Huile sur toile, MP137,Musée national Picasso-Paris© Succession Picasso 2018 Photo : © Bridgeman Images


A series of pieces were chosen to provide a rhythm to the images as they dance from sequence to sequence and to heighten the show’s emotional impact .

- Sequence « Introduction » – Asturia pour piano of Isaac Albéniz

- Sequence « Spanish Painters » – Violin sonata la Primavera of Ludwig van Beethoven // Carmen - Entract de Georges Bizet // Placido Domingo of Malaguena Salarosa // Concert de Aranjuez (Bobby McFerrin) of Joaquin Rodrigo

- Sequence « The Joy of Life » - Chatannoga (Andrews Sister) of Glenn Miller

- Sequence « Primitivism and cubism » – Composition originale of Luca Longobardi // The Köln concert of Keith Jarret

- Sequence « Mythology and Guernica » – Syrinx of Claude Debussy // Quartet n°8 Akllegretto molto of Dmitri Shostakovitch // Quartet n°8 Largo of Dmitri Shostakovitch

- Sequence « The Blue and Rose periods » – Gnossienne n°1,2,3 of Erik Satie // Cuspide (Acquamarina) of Luca Longobardi

- Sequence « The 1960’s » – Respect (version studio) of Otis Redding

- Sequence « Portraits of women » – Norma : Casta Diva of Vincenzo Bellini

- Sequence « Epilogue » – Norma : Casta Diva (piano) of Vincenzo Bellini

With the musical collaboration of Luca Longobardi.

SOUNDTRACK OF THE IMMERSIVE EXHIBITION


PABLO PICASSO (1881 – 1973)

Pablo Ruiz BLASCO was born on 25 October 1881 in Malaga. At the age of eight, Picasso painted his first oil painting The Picador. In 1896, The First Communion was exhibited at the Exhibition of Fine Arts and Artistic Industries in Barcelona. He moved into his first studio in Barcelona and then settled in Madrid, where he attended the San Fernando Academy for a short period.

As of 1899, Picasso shared his studios with the artist Casagemas in Barcelona and then in Paris. He began signing his paintings with his mother’s surname (PICASSO) and met Max Jacob at an exhibition at the Galerie Vollard. His Blue Period began after the death of his friend Casagemas in 1901.

In 1904, Picasso settled in Paris, where he lived and worked in the Bateau-Lavoir at 13 Rue de Ravignan, in Montmartre. He frequented the poets Apollinaire and Salmon, and the art dealer Uhde, at the Lapin Agile (‘Agile Rabbit’) café. He discovered the Medrano Circus and its marginal world, which marked the beginning of the Rose Period.

In 1905, Picasso met the American art collectors Gertrude and Leo Stein, and the Russian merchant Sergey Shchukin. He went to see the exhibition of pre-Roman Iberian sculptures from Osuna and Cerro de los Santos at the Louvre—an artistic revelation; he painted Gertrude Stein’s portrait in 1906, which marked the beginning of cubism. He acquired two Iberian stone heads through the agency of Guillaume Apollinaire’s secretary, Géry Pieret. He discovered the collections of African art in the Musée du Trocadéro and produced several sculptures in wood inspired by the archaic sculpture; Apollinaire introduced Braque to Picasso. Picasso painted Les Demoiselles D’Avignon, preceded by many preliminary studies: cubism was born; Picasso was only twenty-six at the time.

In 1908, his close friendship with Braque led to the development of Analytical Cubism and

BIOGRAPHY OF THE ARTISTS

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Synthetic Cubism. In 1912, Picasso made his first collages and began to experiment with gluing real paper (papier collé) on his canvases. The Thannhaüser Gallery in Munich held his first major retrospective in Germany. In 1917, he met Olga Kokhlova, one of Diaghilev’s Russian ballet dancers, and began a close collaboration with the world of the theatre and ballet. In 1918, he met André Breton and Paul Rosenberg became his art dealer.

In 1925, Picasso participated in the first Surrealist exhibition at the Galerie Pierre in Paris with Arp, De Chirico, Max Ernst, Paul Klee, André Masson, and Joan Miro. The Kiss and The Dance marked a change of style and the end of his neoclassical phase. He began producing works in which women’s bodies—and particularly bathers—were distorted, as if they had suffered a metamorphosis. In 1933, he began working on the theme of the Minotaur.

The Spanish Civil War began in 1936. On 26 April, the Germans bombed the Basque town of Guernica. The event shocked the entire world and it provided Picasso with the theme for the painting commissioned by the Republican government for the Spanish pavilion. Guernica was exhibited in the Spanish pavilion at the World’s Fair in Paris on 12 July 1937. In the same year, Les Demoiselles d’Avignon, which had been acquired by the Museum of Modern Art in New York (MOMA), left France. The Second World War broke out in 1939. The MOMA held a large itinerant retrospective exhibition in the United States, entitled ‘Picasso: Forty Years of His Art’, which brought together 344 works chosen by Picasso from his own collection, including Guernica and its preliminary studies.

He met Françoise Gilot in 1943 and the Château Grimaldi in Antibes became Picasso’s studio. He worked on fibre cement panels and plywood. The new environment inspired him to represent Mediterranean and mythological themes. Fauns, centaurs, and musicians danced in bacchanals: The Joy of Life. In 1949, Picasso’s The Dove became a poster for an International Peace Conference and his sculptures, such as The Goat, showed his ability to create sculptures in a playful way using various materials. In 1955, Henri-Georges Clouzot’s film The Picasso Mystery (Le Mystère Picasso) showed the artist at work.

The year 1959 marked another period of experimentation with linocuts in such works as Portrait of a Young Girl after Cranach the Younger, and also saw the inauguration of the Vallauris Chapel, decorated with the panels of War and Peace; Picasso also collaborated with Cocteau on his film The Testament of Orpheus.

The 1960s was a period of intensive artistic activity, in which the artist produced increasingly colourful works. He celebrated his eighty-fifth birthday in 1966 with a worldwide celebration, and the French government organised a large retrospective of his paintings—and particularly his sculptures—at the Grand and Petit Palais in Paris, which attracted thousands of visitors.

Picasso died at the age of 91 on 8 April 1973 at Mougins, and was buried at the Château de Vauvenargues.


FRANSISCO DE GOYA (1746 – 1828)

A famous Spanish artist, Francisco de Goya was born in 1746 and quickly became known for the quality of the models for tapestries that he produced for the Royal Tapestry Factory of Santa Bárbara. He painted more than sixty cartoons in oils, which were the same size as the tapestries that were to be produced, under the direction of the German artist Anton Raphael Mengs. The latter were destined for the Prado Palace and the royal palace of El Escorial, in order to decorate the rooms used by the royal family. They were primarily decorative, as attested by the themes represented: rural leisure pursuits, hunting, entertainment, and games. These often popular scenes soon attracted admiration from connoisseurs and enabled him to be appointed painter to the king. A frivolous courtier, he renewed the art of portraiture by adopting a personal style inspired by Vélazquez’s work, coupled with remarkable psychological insight. His series also represent gallant and decorative scenes (The Parasol, 1777), and scenes of daily life in Madrid that are sometimes darkly humorous and political, in which the realism and lively style became increasingly exaggerated.

In 1792, Goya was struck with a near-fatal illness that left him permanently deaf — an ordeal that had a profound effect on him. Isolated from others by his deafness, he observed the upheavals of his age and the effects of the French Revolution, and turned towards social satire and satirical observations of mankind, as attested by Los caprichos (1799), a series of eighty etchings and aquatints. When Napoleon invaded Spain in 1808, Goya became the French court painter; he depicted the horrors of the Franco-Spanish War in The Disasters of War (1810–1820). Confined in his country house, the Quinta del Sordo (House of the Deaf Man), the dark side of his work subsequently became more pronounced when he produced a nightmarish series of ‘black paintings’, with which he decorated the walls of his house. At odds with the Spanish political climate, Goya left Spain for France in 1824 and died in Bordeaux in 1828.

Francisco de Goya, Le parasol, 1777, Huile sur toile, Madrid, Museo del Prado © Prado, Madrid, Spain / Bridgeman Images


JOAQUIN SOROLLA (1863 - 1923)

Born in Valencia in 1863, Joaquín Sorolla displayed an early talent for drawing and painting and was admitted to the Academy of San Carlos in Valencia at age fifteen. At the age of 18, he went to Madrid to complete his artistic training by studying the paintings of the Old Masters exhibited in the Prado Museum; he subsequently went to Rome in 1884 in order to study the masterpieces of the Renaissance. From the outset of his career, he painted in the open air and endeavoured to capture the Mediterranean light. His trip to Paris in 1885 played a central part in the development of his career, due in particular to his discovery of the Impressionist movement.

When the artist returned to Madrid, he continued to focus on drawing and composition, but gradually developed a growing interest in rendering the effects of light. The social realism in his early works was gradually replaced by an increasingly intense luminosity in his paintings. The artist lightened his palette and mastered the different tones of white in order to accurately render light and its effects via his favourite themes: gardens and the Spanish coast and its inhabitants. Bolstered by his success, he travelled around Europe and won prizes and major commissions. He was made Chevalier de la Légion d’Honneur in 1906 after holding an exhibition at the gallery of the famous art dealer Georges Petit, and was considered by his contemporaries—and will always remain—the greatest of the Spanish Impressionists. He died on 10 August 1923, in Madrid.

Joaquin Sorolla y Bastida, Just out the sea, 1915, Huile sur toile, Madrid, Museo Sorolla © Museo Sorolla, Madrid, Spain / Index / Bridgeman Images


IGNACIO ZULOAGA (1870 – 1945)

Ignacio Zuloaga was born in 1870 in the Basque Country. He began exhibiting his work in 1887 and copied works by those he considered his masters in the Prado Museum in Madrid: Zurbarán, Ribera, and Goya. He settled in Paris in 1890, exhibited at the Salon, became acquainted with such artists as Toulouse-Lautrec, Gauguin, and Eugène Carrière, and joined the ‘Catalan band’ (Rusiñol, Utrillo, and Casas). His focus on constructing and simplifying forms and the influences of El Greco and Goya ultimately associated him with the anti-Impressionist reaction of 1890.

The artist gradually began specialising in scenes from Spanish folklore and portraiture. His return to Andalusia between 1895 and 1898 enabled him to develop further his study of daylight and led him to use dramatic contrasts of colour in his work. Having settled in Madrid in 1898, he participated in many exhibitions abroad, such as an exhibition in New York City in 1908. During the First World War, he held exhibitions in support of the allies. He subsequently continued his work as a portraitist, which earned him widespread recognition until his death in Madrid in 1945.

Ignacio Zuloaga y Zabaleta, Comtesse de Noailles, 1913, Huile sur toile, Bilbao, Museo de Bellas Artes © Museo de Bellas Artes, Bilbao, Spain / Bridgeman Images


SANTIAGO RUSIÑOL (1861 – 1931)

Santiago Rusiñol was born in 1861 into a prosperous textile family in Barcelona. Despite pressure from his family, he developed an interest in art at an early age—a choice that led him to travel to Paris in 1885. After attending the Académie Gervex and the Académie de la Palette, he settled in Montmartre and frequented the Chat Noir cabaret with his Spanish confrères Casas, Utrillo, and Zuloaga. Influenced by Japonisme and Impressionism, he painted street scenes, portraits, and landscapes. When he returned to Barcelona, he founded the tavern known as the Els Quatre Gats in 1897, which provided a meeting place for the avant-garde artistic circles, where young artists, including Pablo Picasso, met and discussed art. He was in the forefront of Spanish modernism and endeavoured to protect regional particularities. He found his true vocation when he focused on the theme of Spanish gardens, which he ardently explored until the end of his life in 1931.

Santiago Rusiñol i Prats, Glorieta II, Jardin à Aranjuez, Arbre II, 1907, Museo Nacional Centro de Arte Reina Sofia, Madrid © Bridgeman Images


“Picasso-Méditerranée” is an international cultural event which will be held from Spring 2017 through to Spring 2019. Over sixty cultural institutions have come together to conjure up a programme around the work « obstinément méditerranéenne » of Pablo Picasso. Initiated by the Musée national Picasso-Paris, this journey into the creation of the artist and across the places which inspired him, aims at strengthening ties between all the shores.

With the exceptional support of the Musée National Picasso-Paris

PICASSO-MÉDITERRANÉE : AN INITIATIVE FROM MUSÉE NATIONAL PICASSO-PARIS

Pablo Picasso The Pipes of PanAntibes, summer 1923 Oil on canvas (205x174cm)MP79, Dation Pablo Picasso, 1979, Musée national Picasso-Paris © Succession Picasso 2018 ; Photo : © RMN-Grand Palais / Jean-Gilles Berizzi


CULTURESPACES, PRODUCER OF AMIEX®

« Our aim is to help public institutions present their heritage and develop their reputation in cultural circles and among tourists. We also aim to make access to culture more democratic and help our children discover our history and our civilisation in remarkable cultural sites. »

Bruno Monnier, CEO and Founder of Cutlurespaces

Culturespaces produces and manages, with an ethical and professional approach, monuments, museums and prestigious historic sites entrusted to it by public bodies and local authorities.

With 25 years of experience and more than 2,9 millions visitors every year, Culturespaces is the leading private organization managing French monuments and museums, and one of the leading European players in cultural tourism.

Are managed by Culturespaces :

- Atelier des Lumières, Paris (in 2018),- Musée Maillol, Paris (since 2016),- Hôtel de Caumont - Centre d’Art, Aix-en-Provence (since 2015),- Carrières de Lumières (depuis 2012),- Nîmes Amphitheatre, Maison Carrée, Tour Magne (since 2006),- Roman Theatre and Art and History Museum of Orange (since 2002),- Cité de l’Automobile, Mulhouse (since 1999),- Musée Jacquemart-André,Paris (since 1996),- Château des Baux-de-Provence (depuis 1993),- Villa Ephrussi de Rothschild, Saint-Jean-Cap-Ferrat (since 1992).

Aware that our heritage must be preserved for future generations, Culturespaces contributes every year to financing restoration programmes for the monuments and collections it has been entrusted to look after.

More generally, Culturespaces is responsible for upgrading spaces and collections, welcoming the general public, managing staff and all services, organising cultural activities and temporary exhibitions and promoting sites at national and international level, with efficient and responsible management methods certified ISO 9001

To ensure that visits are always a pleasure, the Culturespaces teams place quality of reception and cultural enrichment at the heart of all their services to visitors.


PRODUCTION TEAM

GIANFRANCO IANNUZZIGianfranco Iannuzzi designs both spaces and sound and light shows. He transforms venues, both indoors and outdoors, through his creations. Based on the image, sound and light, which he uses as the vectors of sensory expression, he is the author of a large number of immersive audio-visual performances.

LUCA LONGOBARDILuca Longobardi is a pianist and composer. He is renowned for having incorporated electronic music into a more formal, classical vocabulary or, register. He composes mainly for contemporary dance performances, art performances and multi-media installations.

GINEVRA NAPOLEONIGinevra Napoleoni is an artist who explores video art in her work, which combines painting, video installations and live art performances. She also creates virtual sets for the stage.

MASSIMILIANO SICCARDIMassimiliano Siccardi is a videographer and multimedia artist. His work, both installations and performances, incorporates the use of new technologies. He also explores the animated image and includes it in his artistic and theatrical performances.

RENATO GATTORenato Gatto is a teacher of theatre and assistant director. His approach iscentred on the connection between the voice and the body. He is the director of the Accademia Teatrale Veneta, a professional school of acting in Venice, where he also teaches classes on vocal technique. He is also involved with the educational programme of the La Fenice Theatre in Venice.


PARTNERS OF THE EXHIBITION


A SHORT SHOW : « FLOWER POWER - POP CULTURE »

AN IMMERSIVE JOURNEY IN THE GRAPHIC UNIVERSE OF THE SIXTIES

Between two projections of Picasso and the spanish masters, will be presented a short program dedicated to the quintessence of the Flower Power movement. The Carrières de Lumières are transformed into an imaginary city, around which the viewers are invited to stroll and lose themselves as they follow in the footsteps of the idealistic generation at the end of the 1960s, which changed the world.

Danny Rose has carried out extensive research and design work that provides an overview of the various movements of the sixties: the ‘Flower Power’ slogan of the hippie movement with its colourful artwork, flowers, and ‘peace and love’ slogans; a graphical tribute to the extraordinary world of Sgt. Pepper and ‘Yellow Submarine’; an original portrayal of Pop art that shows viewers the movement’s codes using the imagery of mass culture, everyday objects, a comic strip, and a concluding part that celebrates states of altered perception with Kinetic and Optical art and psychedelic iconography.

All the facets of the cultural revolution that became the period’s ‘popular culture’ are projected onto the walls of the Carrières: the generation’s art, fashion, symbols, and icons take the viewers into the very heart of this incredible explosion of creativity. Colourful hippy-style motifs appear on the walls of the buildings. Giant flowers—symbols of hippy ideology—grow in front of the facades and begin to invade the city. The streets are filled with faces, symbols, and icons of art, taking the viewers into the heart of this period in history.

The streets of this imaginary city are filled with the wonderful music of the sixties, from the Beatles’ legendary album Sgt. Pepper’s Lonely Hearts Club Band to the psychedelic music of Jimmy Hendrix, and music by the Rolling Stones, Simon and Garfunkel, and the Beach Boys—a representative sample of the period’s diversity and creativity.


DANNY ROSE

Danny Rose is an art and design studio that specialises in creating and realising immersive audiovisual artworks in such diverse contexts as architectural projection, interactive 3D mapping installations, multimedia immersive experiences, museography, theatre, music, opera, public space staging…. The Danny Rose studio revolves around a multidisciplinary artists’ collective.

Launched in the 1990’s by Sergio Carrubba, creator and theatre director, and Paola Ciucci, artistic director and “projection designer,” the collective, over time, has grown into an assembly of visual artists, musicians, composers, actors, code artists and 3D designers. Today, the creative nucleus of the collective is composed of Sergio Carrubba and Paola Ciucci, co-founders of Danny Rose, and visual artists Cédric Péri and Lucia Frigola.

The artistic approach of the Danny Rose studio focuses on the creation of synaesthetic and immersive experiences. Using a strong sensorial narrative concept and the latest video projection and sound spatialisation technology, a space is staged and transformed thus plunging the audience into the heart of the artwork.

Danny Rose latest realisations :

- ORGANIC VIBRATIONS – VIVID SYDNEY 2017 Digital Art Installation on the Sydney Museum of Contemporary Art. AEAF GOLD AWARD Winner.

- A DAY IN THE LIGHT – VIVID SYDNEY 2017Immersive installation on urban space, where visitors become part of the artwork. It received a nomination at the AEAF Award in Sydney.

- THE BODY OF THE SEA – i LIGHT MARINA BAY - SINGAPORE A 3D mapping installation at 360° on the Merlion Statue in Singapore. It received a nomination at the AEAF Award in Sydney.

- THE MATTER OF PAINTING – VIVID SYDNEY 2016 Digital Art Installation on the Museum of Contemporary Art in Sydney.

- MECHANISED COLOUR ASSEMBLAGE - VIVID SYDNEY 2015 – Digital Art Installation on the Museum of Contemporary Art in Sydney. AEAF Silver AWARD Winner

- PLAY ME ! - VIVID SYDNEY 2014 A 3D Interactive Mapping on the Customs House Building in Sydney. It won the Judges Choice Award at DIGI Award 2015 in NewYork City, for the innovative use of technology and mass audience engagement. It was also presented at the Guangzhou International Light Festival 2014, Creative Award winning.

- MOVE YOUR BUILDING - VIVID SYDNEY 2013 A 3D interactive mapping on the Customs House Building.


THE CARRIÈRES DE LUMIÈRES, AN INSPIRING PLACE

The ‘Val d’Enfer’ is a mysterious place just a stone’s throw from Les Baux de Provence, in the heart of the Alpilles.

This valley with outstanding solid mineral deposits has long inspired artists. It provides the setting for Dante’s Divine Comedy, and Gounod created his opera Mireille here. Later, Cocteau came to film The Testament of Orpheus in these very quarries.

The Carrières du Val d’Enfer are a classified site.

STONE WORKING

The Carrières du Val d’Enfer quarry were created over the years for extracting the white limestone. Largescale stone production in the Saint-Rémy area forced quarry-workers to change mining techniques using hoists and pits leading to the surface. This is why quarries were opened in this part of the Alpilles. In 1935, economic competition from modern materials led to the closure of the quarries.

THE TRANSFORMATION OF THE CARRIÈRESA place of experimentation and cultural diffusion

The Carrières were given a new life thanks to the visionary genius of Jean Cocteau in the 1960s. He was enchanted by the beauty of the place and its surroundings, and decided to film The Testament of Orpheus here in 1959.

This transformation was continued in 1977 with the creation of a new project inspired by the research of Joseph Svoboda 1, one of the great scenographers of the second half of the twentieth century, and destinated to enhance this area: the huge rock walls are perfect backdrops for a new kind of sound and light show which fully involves the audience.

For over 30 years, the Carrières du Val d’Enfer have hosted these audio visual shows.

In 2011, the town of Les Baux-de-Provence asked Culturespaces to take over management of its famous Carrières under a public service concession agreement. Thus, the Carrières de Lumières are to be discovered since March 2012.

The Carrières de Lumières are now established as a cultural entertainment site, the programming of which brings together major names in the history of art and multimedia, a cultural centre that has become essential for the region.


2017The fantastic and wonderful world ofBosch, Brueghel, Arcimboldo

554 000 visitors

2016Chagall, Midsummer night’s dreams

560 000 visitors

2015 Michel-Ange, Léonard de Vinci, Raphaël. Giants of the Renaissance

513 000 visitors

2014 Klimt and Vienna, A century of gold

483 000 visitors

2013 Monet, Renoir, Chagall Journeys through the Mediterranean

373 000 visitors

2012 Gauguin - Van Gogh,Painters of colour

239 000 visitors

AMIEX® TECHNOLOGY

Since they opened in 2012, the Carrières de Lumières have been a wonderful experimental site for Culturespaces, which has introduced an innovative concept for cultural diffusion: AMIEX® (Art & Music Immersive Experience).

AMIEX® are immersive art exhibitions that are unique, based on thousands of images of works of art that have been digitised, projected in very high resolution, and animated to the rhythm of music, as a highly poetic scenario is projected. AMIEX® exhibitions are perfectly adapted to the venues in which they are held, thanks to the installation of high-tech video projectors and a spatialised sound system.

“This sophisticated system took 2 years of development work in order to get the moving images to seamlessly integrate with the audio and mould perfectly to the venue’s layout,” explains Bruno Monnier, CEO and Founder of Culturespaces .

In 2017, Culturespaces (in partnership with Barco) has equipped the Carrières de Lumières with around one hundred cutting edge laser phosphor video projectors, to ensure an optimal experience. Visitors to the Carrières de Lumières are thereby completely immersed in the image, and embark on a fascinating journey right into the heart of various artistic worlds. Right from the outset, the technology is concealed and the artistic experience heightened, allowing the sensations to take over.

ALREADY NEARLY 3 MILLIONS SPECTATORS AT THE CARRIÈRES DE LUMIÈRES

AMIEX® : PROMOTING CULTURE VIA A NEW CHANNEL


VISUALS AVAILABLE FOR THE PRESS

#1 Pablo Picasso : Les Demoiselles d’Avignon, 1907, huile sur toile, Museum of Modern Art, New York / Bridgeman Images ; Joaquin Sorolla, Promenade en bord de mer, 1909, huile sur toile ; L’enfant au bateau, 1909, huile sur toile © Musée Sorolla, Madrid / Index / Bridgeman Images ; Pablo Picasso, Portrait de Dora Maar, 1937, huile sur toile; Le rêve, 1932, huile sur toile, Musée national Picasso-Paris / Bridgeman Images ; Deux femmes courant sur la plage (La course), 1922, gouache sur contre-plaqué, Musée national Picasso-Paris / AKG Images © Succession Picasso 2018

#2 Pablo Picasso : Garçon à la pipe, 1905, Acrobate et jeune arlequin, 1905, huile sur toile, collection privée © Bridgeman Images ; La famille d’acrobates, 1905, Goteborgs Konstmuseum © Bridgeman Images ; Acrobate à la boule, 1905, Pushkin Museum Moscou © Bridgeman Images ; Famille de Saltimbanques, 1905, National Gallery of Art Washington © Washington, National Gallery of Art © Succession Picasso 2018

#3 Pablo Picasso : Nu et homme à la pipe (la conversation), 1968, huile sur toile, Lausanne, collection privée © AKG Images ; Le baiser, 1969, Homme au chapeau, 1971 huile sur toile, Musée national Picasso-Paris © Peter Willi / Bridgeman Images ; Torero II, 1971, Le peintre et son modèle, 1963, huile sur toile, collection privée © Bridgeman Images © Succession Picasso 2018


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1 |Pablo Picasso, Guernica, 1937, huile sur toile, Museo Nacional Centro de Arte Reina Sofia, Madrid © Succession Picasso 2018; Photo : © BPK, Berlin, Dist. RMN-Grand Palais / Alfredo Dagli Orti

2 | Pablo Picasso, Acrobate à la boule, 1905, Huile sur toile, Musée Pouchkine, Moscou © Succession Picasso 2018 ; Photo : © Bridgeman Images

3 | Pablo Picasso, La lecture, 1932, huile sur toile, MP137, Musée national Picasso-Paris © Succession Picasso 2018 ; Photo : © Bridgeman Images

4 | Pablo Picasso, La joie de vivre, Antipolis, 1946, huile sur toile, Musée national Picasso-Paris, Antibes © Succession Picasso 2018 ; Photo : © Bridgeman Images

5 | Pablo Picasso, Dame à l’éventail, 1909, Huile sur toile, inv. Pouchkine J 3320, Musée Pouchkine, Moscou © Succession Picasso 2018 ; Photo : © Bridgeman Images

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The mention © Succession Picasso 2017 is obligatory for any reproduction of Picasso’s images. It is strictly forbidden to reframe, cut, superimpose, or alter reproductions of Pablo Picasso’s works. If you wish to reproduce an image in a format larger than 1/4 of a page, please contact Picasso Administration : Elodie de Almeida Satan: [email protected]

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6 | Pablo Picasso, Portrait de Dora Maar,1937, huile sur toile, Musée national Picasso-Paris © Succession Picasso 2018; photo : © Bridgeman Images

7 | Pablo Picasso, Deux femmes courant sur la plage (La course), 1922, Gouache sur contre-plaqué, MP78, Musée national Picasso-Paris © Succession Picasso 2018 ; Photo © Peter Willi / Bridgeman Images

8 | Pablo Picasso,Les Baigneuses, 1918, huile sur toile, Musée national Picasso-Paris © Succession Picasso 2018; Photo : © Bridgeman Images

9 |Pablo Picasso, Garçon à la pipe, 1905, huile sur toile, collection particulière © Succession Picasso 2018; Photo : © Private Collection / Bridgeman Images

10 | Pablo Picasso, Les Demoiselles d’Avignon, 1907, huile sur toile, Museum of Modern Art, New York © Succession Picasso 2018 ; Photo : © Bridgeman Images

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11 | Francisco de Goya, Le parasol, 1777, huile sur toile, Madrid, Museo del Prado © Prado, Madrid, Spain / Bridgeman Images

12 | Joaquin Sorolla y Bastida, Maria, the pretty one, 1914, huile sur toile, Madrid, Museo Sorolla © Museo Sorolla, Madrid, Spain / Index / Bridgeman Images

13 | Joaquin Sorolla y Bastida, Just out the sea, 1915, huile sur toile, Madrid, Museo Sorolla © Museo Sorolla, Madrid, Spain / Index / Bridgeman Images

14 | Ignacio Zuloaga y Zabaleta, Comtesse de Noailles, 1913, huile sur toile, Bilbao, Museo de Bellas Artes © Museo de Bellas Artes, Bilbao, Spain / Bridgeman Images

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ADRESSRoute de Maillane 13520 Les Baux-de-Provence

OPENING HOURSJanuary, March, November, December: 10 a.m.-6 p.m.April, May, June, September, October: 9.30 a.m.-7 p.m.July and August: 9.30 a.m.-7.30 p.m.

The book and gift shop is open during the Carrières’ opening hours.

ACCESSCarrières de Lumières are located 800 m from the Château des Baux-de-Provence,15 km north-east of Arles and 30 km south of Avignon.Carrières de Lumières are accessible to visitors in wheelchairs.

PRESS CONTACTChristelle Maureau [email protected] T. +33 (0)1 42 72 60 01

WEBhttp://carrieres-lumieres.com

#LesMaîtresEspagnols

INFORMATIONS PRATIQUES

Carrières de Lumières https://www.facebook.com/CarrieresDeLumieres

@Culturespaces instagram.com/culturespaces

@Culturespaces https://twitter.com/culturespaces


Route de Maillane13520 Les Baux-de-Provence

Tel. +33 (0)4 90 54 47 37

www.carrieres-lumieres.com

PRESS CONTACT

ChRisTeLLe MauReau [email protected]

Tel. +33 (0)1 42 72 60 01www.claudinecolin.com

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Documents

PICASSO - lesbauxdeprovence.com · - Sequence « The Blue and Rose periods » – Gnossienne n°1,2,3 of Erik Satie // Cuspide (Acquamarina) of Luca Longobardi - Sequence « The 1960’s