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Kapwani Kiwanga
PRESS
KIT
Pistol. East Africa collection, Ethnologisches Museum, Berlin. Photo : Kapwani Kiwanga
MAJI-MAJI
03 June – 21 september 2014
Satellite Programme 7
1, PLACE DE LA CONCORDE · PARIS 8 E · M° CONCORDE
WWW.JEUDEPAUME.ORG
This summer, the Jeu de Paume, which is celebrating 10 years devoted to the image, will be
inviting the public to discover:
Oscar Muñoz (born in 1951), Colombia’s most emblematic artist, who has been producing
a body of work for nearly forty years that centres on the capacity of images to preserve memory,
and Kati Horna (1912–2000), an avant-garde, humanist photographer, who was born in
Hungary and exiled in Mexico, where she documented the local art scene.
As part of the 7th Satellite programme, Kapwani Kiwanga (born in 1978) will also be
presenting a new work, created especially for the occasion.
The Jeu de Paume, as it has for the past ten years, showcases the work of established and
emerging artists, exploring artistic practice both historic and contemporary.
To mark this anniversary, admission to the exhibitions will be free to all on Saturday 7th and
Sunday 8th June 2014, from 11am to 7pm. There will be numerous surprises to discover and
share in throughout the weekend.
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Kapwani
Kiwanga
MAJI-MAJI
03 June – 21 september 2014
Satellite Programme 7
❙ Curator
Nataša Petrešin-Bachelez
❙ Partners
La Fondation Nationale des Arts Graphiques et Plastiques contributes to the production
of the works in the Satellite programme.
The Jeu de Paume is a member of Tram and d.c.a, association française de développement
des centres d’art.
The exhibition is realized in partnership with the Centre culturel canadien.
The Jeu de Paume receives a subsidy from the Ministry of Culture and Communication.
It gratefully acknowledges support from Neuflize Vie, its global partner.
❙ media Partners
art press, paris-art.com, souvenirs from earth TV and Radio Nova.
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Historia Nganoga cassette. Private collection. Photo : Kapwani Kiwanga
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Jeu de Paume
Satellite programmE
Each year the Satellite programme of free exhibitions is entrusted to a different curator,
who is in charge of organising three shows at the Jeu de Paume, together with an
exhibition at the Maison d’Art Bernard Anthonioz (Nogent-sur-Marne). Invited artists
occupy the non-gallery spaces of the Jeu de Paume (mezzanine, foyer), which each
become a place of experimentation, questioning and exchange. For the seventh Satellite
programme, the Jeu de Paume has invited the Slovenian art critic and independent curator
Nataša Petrešin-Bachelez.
Nataša Petrešin-Bachelez’s proposal, titled “Tales of Empathy”, is the latest project in
the Satellite programme that, since 2007, has been exploring new forms of exhibition.
Past projects in the series have been curated successively by Fabienne Fulchéri, María
Inés Rodríguez, Elena Filipovic, Raimundas Malašauskas, Filipa Oliveira and Mathieu
Copeland. This year, “Tales of Empathy” invites four female artists – Nika Autor, Natascha
Sadr Haghighian, Kapwani Kiwanga and Eszter Salamon.
The third exhibition in this series, which is titled “Maji-Maji” and runs from 3 June to 21
September 2014, is devoted to Kapwani Kiwanga, who is presenting a project at the Jeu
de Paume that centres on one of the first wars of decolonisation in Tanzania in the early
20th century. A video installation and a private archive form the basis for an exploration
of the absence of the object and the presence of speech, and their capacity for evoking
a moment in history that revolved around magic, namely the struggle for freedom
remembered as the Maji-Maji War. By resorting to a conversational style, the artist leads
the viewer to experience the work’s material and cultural context.
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Stadium of the MAJI-MAJI Football Club, Songea, Tanzania. Photo : Kapwani Kiwanga
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The EXhIbiTION
MAJI-MAJI
Research in anthropology, literature and archives lies at the heart of Kapwani Kiwanga’s work, which
is informed by Afrofuturism, the anti-colonial struggle and its memory, belief systems, and vernacular
and popular culture, as well as different cultural ways of approaching the invisible, intangible aspects
of the magical and the supernatural. In her films, installations and performances, which revolve
around notions of belief and its relationship to “knowledge”, Kapwani Kiwanga employs documentary
modes of representation, various material sources, and testimonies of a subjective as well as a quasiscientific kind. She is also interested in different approaches to embodiment in art, most notably in
her Afrogalactica trilogy project (2011–ongoing), for which she has invented the character of an
anthropologist from the future, a protagonist who ranges across vast fields of knowledge relating to
Afrofuturism as a historical movement, hybrid genders and African astronomy.
Kapwani Kiwanga’s exhibition “Maji-Maji” draws on the historical account of the Maji-Maji War,
which took place between 1905 and 1907 and was one of the largest uprisings on the African
continent at the beginning of the twentieth century. The revolt against German rule was initiated by a
spiritual medium named Kinjiketile, also known by the name Bokero. After being possessed by the spirit
Hongo, he attracted a large following, and distributed sacred water, or maji, that was to protect them
by transforming German bullets into water. Maji-Maji fighters’ belief in the supernatural was a means
to galvanise the insurrection, which was fundamentally a belief in the possibility of creating another
social order. However, the maji did not safeguard them and many African lives were lost.
In her exhibition, Kapwani Kiwanga focuses on the voids present in the living memory of
the Maji-Maji War and its material traces, as well as the supernatural imagination that encompasses
and contextualises it. As she says, voids are felt often because the presence of other things marks their
absence. As in the question of void and presence, the supernatural also has a dual capacity to protect
or assault. Kapwani adopts an empathic approach to the subject, making the spectators feel and
imagine these ungraspable, inaccessible, vanished voids. The absence is thus made into a constituent
element of a story being retold, through evoking the power of the oral, of the broken and fragmented.
Historical and contemporary ways of studying something frequently imply dissecting, placing into
boxes and labelling. In so doing, one creates categories and meaning, filing and storing them in an
ordered system. Another approach is to narrate it through myth and anecdotes, recollection and
hearsay. By conceiving the exhibition as a subjective archive through which the artist queries the act
of compiling, organising and categorising, she mixes a narrative, and subjective ordering that rejects
the illusion of totality or exhaustiveness. The shelving system in the exhibition space thus leaves empty
space for the presence of the immaterial and the phantoms of absent pieces, while proposing found
objects and videos as traces of the artist’s research.
Nataša Petrešin-Bachelez
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Stuffed lion. Collection of the National Museum of House and Culture, Dar es-Salaam, Tanzania.
Photo : Kapwani Kiwanga
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TALES OF EMPATHY
BY Nataša Petrešin-Bachelez
satellite programmE 7
“Tales of Empathy” embraces the particularity of reflexive artistic research by four
women artists and their roles as educators, researchers and activists. The four artists
are responding to an invitation to create a new work, situation or exhibition for a
specific location – in this case, the Jeu de Paume – revealing through their work the
balance of power between the artist, institution and audience.
❙ WHAT REFLEXIVITY DOES, WHAT IT EXPOSES, WHAT IT REVEALS
In recent decades, anthropology and the social sciences in general have been arguing for
reflexivity, or what is known as the reflexive turn.
The reflexive turn involves a capacity to reflect on the personal perspective of the person
undertaking the study, with the result that researchers (the people who are generating the
data) now systematically disclose their methodology and their own subjective viewpoints.
The reflexive turn has sometimes led to erroneous interpretations in researchers’ accounts
due to the confusing of reflexivity with self-awareness and even autobiographical
narratives. In the light of this, how does reflexivity work and what does it reveal? What does
it legitimate? It all depends on who uses it and the way in which it is used.
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❙ POLITICS OF EMPATHY
Promisingly, in recent years this self-referential method has found a meaningful
companionship in the politics of empathy, employed as an attempt by the researcher to
be appreciative and supportive of the actions and motivations of those under study. The
conversational style of writing that mixes narrations of lived experience with first-person
testimonies alongside other observations is thus used by anthropologists who feel that an
empathic approach is necessary for the audience to understand the material and cultural
context. Empathy is a human quality that is highly appreciated in any kind of human
interaction – be it spiritual, political or scientific – wherein a feeling of responsibility towards
others improves their mutual understanding.
In this series of exhibitions, the approaches adopted by the artists vary as much as the
effects of empathy on people. Nika Autor emphasises the need for a knowledge that
is linked to the place where she comes from and where she subverts official history.
Natascha Sadr Haghighian explores how empathy enhances the human capacity to
produce and perceive resemblances. By looking into the issue of how we can obtain
accounts from people who have witnessed war and how they can be passed on, Kapwani
Kiwanga questions the morphology of memory and testimony through the necessity of
their embodiment. By reconstructing a life and the narrative elements that provide us with
information about the specificity of memory and the past they evoke, Eszter Salamon
suggests the possibility that empathy can be an exchange value between visitors and the
work performed.
Nataša Petrešin-Bachelez
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Utete, Rufiji, Tanzania. Photo : Kapwani Kiwanga
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THE artist
❙ Kapwani Kiwanga
Born in 1978 in Hamilton, Canada. Lives and works in Paris.
Kapwani Kiwanga studied anthropology and comparative religions, and works primarily with
video, sound, and performance. In her films and performance lecture series Afrogalactica, she
speaks of “transcendent powers, beings, and realms,” which she invented in a scientific way
by playing the role of an anthropologist from the twenty-second century.
Her performance is accompanied by a talk that situates her artistic practice within wider
debates around astroculture, Afrofuturism, and the cultural theory of magic and space.
For her exhibition at the Jeu de Paume, she took as her starting point one of the first anticolonial
struggles in Tanzania. In it, Kapwani Kiwanga revives the memory of the elders and oral accounts.
❙ Education / Residencies
2002 Joint Bachelor of Arts - Anthropology / Comparative Religions
(1st-class honours), McGill University, Montréal, Canada.
2009 Pépinières Européennes for young Artists and MU, Eindhoven, Netherlands.
2007–2009 Le Fresnoy – Studio national des arts contemporains, Tourcoing, France.
2005–2007 La Seine, Ecole Nationale Supérieure des Beaux Arts de Paris, France.
Post-graduate research programme.
❙ Awards/Grants
2012 Louis Lumière Creative film Development Grant, Institute Français.
2011 Documentary film Writing Grant, CNC (National Centre for Cinema-France).
2007 Media Arts Production Grant, Canada Council for the Arts.
2006 Production Grant, Ville de Paris, L’Art dans la Ville.
2005 Best Documentary for “Bon Voyage”, Filmets International Film Festival,
Badalona Spain.
2004 Professional Development Grant, Scottish Arts Council. 2 Nominations for: Best new work & Best new director for “Rooted”, BAFTA (British Academy of Film and Television Arts).
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❙ Solo Exhibitions
2012 Afrogalactica: A brief history of the future, Contrechamps, Nantes.
2011 Afrogalactica: A brief history of the future, Paris Photo 2011.
❙ Group Exhibitions
2012 « Synchronicity II », Tiwani Contemporary, London, United-Kingdom.
2011 « Synchronicity », Photoquai and Baudoin Lebon Gallery, Paris, France.
« Kaleidoscope Arena », 4e Road to Contemporary Art, Roma, Italy.
Carte Blanche « AfricAmerica », Anis Gras, Arcueil, France.
« 100 tekeningen tegen de Vietnam oorlog », Komplot, Brussels, Belgium.
« 100 dessins contre la guerre du Vietnam », Le Commissariat, Paris, France.
2010 « Filmer la musique », Point éphémère, Paris, France.
2009 « 1 69 A 2 », Paris, France.
« Panorama 11 », Le Fresnoy – Studio national des arts contemporains, Tourcoing, France.
2008 « Alt-W: New Directions in Scottish Digital Culture », Glasgow Centre of Contemporary Art, Glasgow, Royaume-Uni.
« Panorama 9-10 », Le Fresnoy – Studio national des arts contemporains, Tourcoing, France.
2007 « Double Take », Korean National University of the Arts, Seoul, South Korea.
2006 « In the Centre Pompidou », Centre Pompidou, Paris, France. « DepART », Starhill Gallery, Kuala Lumpur, Malaysia.
« Kuala Lumpur Tour et Retour », École nationale supérieure des beaux-arts, Paris, France.
« Bienal Internacional de Arte Contemporáneo », Almería, Spain.
2005 « Ricochet », Stills Gallery, Edinburgh, United-Kingdom.
❙ Selected Festival Screenings
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2011 International Short Film Festival Winterthur, Winterthur, Switzerland.
Musique pointdoc, Gaîté lyrique, Paris, France.
Illegal_cinema, Laboratoires d’Aubervilliers, France.
Musée national d’Histoire naturelle, Paris, France.
2010 Cité nationale de l’histoire de l’immigration, Paris, France.
Edinburgh African Film Festival, Edinburgh, United-Kingdom.
2009 25e Vues d’Afrique Montreal, Canada.
17e Festival CinéRail, Paris, France.
2008 Kassel Documentary Film Festival, Kassel, Germany.
10e BFM International Film Festival, London, United-Kingdom.
2007 Women’s International Film Festival, Seoul, South Korea.
2006 Interfilm Berlin, Berlin, Germany.
São Paulo International Short Film Festival, São Paulo, Brasil.
Flickerfest International Film Festival, Sydney, Australia.
Zanzibar International Film Festival, Stone Town, Tanzania.
Urban Film Festival, Teheran, Iran.
2005 British Film Institute’s Mama Africa Programme, Filmhouse, Edinburgh, United-Kingdom.
XIIe Festival de Jóvenes Realizadores, Granada, Spain.
Festival Internacional de Cine de Monterrey, Monterrey, Mexico.
Filmets International Film Festival, Badalona, Spain.
Parlement européen, Brussels, Belgium.
Off Cours, Trouville, France.
❙ PUBLICATIONS
2009 2008 Kiosk N°8, artist’s web publication, http://www.kiosk.clementineroy.com/KIOSKO8.htmlx.
Panorama 11, Exhibition Catalogue.
Panorama 9 -10, Exhibition Catalogue.
Africalia (Belgium), DVD.
2007 Double Take, La Seine en Corée, La Corée en Scène, Exhibition Catalogue.
2005 Channel 4 Ideasfactory : Output (United-Kingdom), DVD.
2004 Scottish Screen Best of 2004 (United-Kingdom), DVD.
2006 Kuala Lumpur, tour et retour, Exhibition Catalogue.
In the Centre Pompidou, Centre Pompidou, Exhibition Catalogue.
Albiac: Bienal Internacional de Arte Contemporáneo, Exhibition Catalogue.
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Lindi monument, Tanzania Photo : Kapwani Kiwanga
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THE CURATOR
❙ Nataša Petrešin-Bachelez
Nataša Petrešin-Bachelez, curator of the Jeu de Paume’s Satellite programme 7, was born
in Ljubljana, Slovenia in 1976. She is an art critic and independent curator living in Paris,
France.
Between 2010 and 2013, Petresin-Bachelez was appointed co-director of the Laboratoires
d’Aubervilliers. Since 2006 she has been co-organising the seminar on artistic and
curatorial practices “Something You Should Know” at the EHESS / School for Advanced
Studies in Social Sciences, Paris, with Patricia Falguieres and Elisabeth Lebovici. In 2012 and
2013, the seminar was invited by the FIAC art fair in Paris.
In 2010 Petresin-Bachelez was the associate curator of the exhibition “The Promises of the
Past. A Discontinous History of Art in the former Eastern Europe“, at the Centre Pompidou,
Paris, where she worked with the curators Christine Macel and Joanna Mytkowska. That
same year she was guest curator at the art fair Paris Photo, in charge of the “Statement“
sections featuring galleries from Central Europe. Other curatorial projects include “Yona
Friedman. Around the concept of ville spatiale,“ Project space of the Museum of Modern
Art, Ljubljana (2010); “Conspire,“ festival transmediale.08, Haus der Kulturen der Welt,
Berlin, Germany (2008); “Distorted Fabric,“ De Appel, Amsterdam (2007); “Participation:
Nuisance or Necessity?“, lASPIS, Stockholm, Sweden (2005); “Our House is a House that
Moves,“ Galerija kuc, Ljubljana, Living Art Museum, Reykjavik, Iceland (2003/06); “Radical
Closure“ at the Oberhausen Film Festival (2006), where she assisted the curator and the
artist Akram Zaatari; “In the Gorges of the Balkans,“ Kunsthalle Fridericianum, Kassel,
Germany (2003), curated by Rene Block. She was the co-curator of the project Société
Anonyme, Le Plateau and Kadist Art Foundation, Paris (2007/08), with Thomas Boutoux
and Francois Piron. In 2013 she is the curator of U3, the Triennial for contemporary art
in Slovenia (Museum of Contemporary Art, Ljubljana), one of the invited curators for the
Biennale Online (head curator Jan Hoet), and a member of the juries for several public art
commissions in Paris and Bordeaux.
She has also contributed to such magazines as e-flux journal, Bidoun, Springerin, ARTMargins,
Parkett, NU: The Nordic Art Review and Sarai Reader. Since 2011 she has been the chief
editor of the journal Manifesta Journal, Around Curatorial Practices.
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Related Events AND
PUBLICATIONS
❙ Catalogue
Published by the Jeu de Paume
Bilingual French/English
64 pages, 15 x 21 cm, paperback, €14
Available in a digital version for €6.99 on the online bookshop Art, Book, Magazine:
www.artbookmagazine.com
❙ Tours and Cultural Activities
Every last Tuesday of the month, 11am to 9pm
Mardi jeunes: Free admission for students and visitors under 26 and guided tours of the exhibitions
Wednesdays and Saturdays, 12:30pm
Rendez-vous du Jeu de Paume: Tour of the exhibition by a Jeu de Paume lecturer, free on
presentation of an admission ticket
Tuesday 24 June, 6pm
Mardi jeunes: Guided tour of the exhibition by Nataša Petrešin-Bachelez, curator
Tuesdays 29 July and 26 August, 6pm
Mardi jeunes: guided tours of the exhibitions
❙ PERFORMANCe
Tuesday 16 September, 7pm
« Histoire d’une conservatrice » : performance by Kapwani Kiwanga
❙ Family Activities
Every Saturday at 3:30pm
Family Tours: Every Saturday at 3:30pm Jeu de Paume lecturers take children (7 to 11 years old)
and their parents or accompanying adults on an exploration of images. Several tours are on offer
throughout the year, covering images on display in the galleries of the Jeu de Paume, screened
images, published images and networked images available in the educational area. Young visitors
can also consult books, images and websites in the educational area.
Free on presentation of an admission ticket and for the under-11s (duration: 1 hour)
Reservations: 01 47 03 12 41 / [email protected]
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SCHEDULE
TALES OF EMPATHY
BY Nataša Petrešin-Bachelez
Satellite PROGRAMME 7
❙ « Nika Autor. Newsreel – The News Is Ours »
February 11 – May 18, 2014, Jeu de Paume
Born in 1982 in Maribor, Slovenia; lives and works in Ljubljana. Nika Autor is interested in the production of
images (including montage, inspired by leftist agitprop films, short experimental documentaries and newsreel
formats), their status, and the direct and indirect power that they exert upon their surroundings and history.
In her previous works, she critically deconstructed the dominant discourse of the asylum and immigration
policy, highlighting the principles of exclusion and the disciplining practices that regulate the social situation of
asylum-seekers. In November 2013 she received the France Brenk Award for her work Newsreel 55.
❙ « Natascha Sadr Haghighian. SIMILAR »
March 20 – May 18, 2014, Jeu de Paume Extra-mural / Maison d’Art Bernard Anthonioz (Nogent-surMarne)
The artist systematically refers any questions regarding her biography to www.bioswop.net, an online
platform for exchange which she created as part of her critique of institutionalised systems of production.
Haghighian rejects what she sees as the totalitarian concept of CVs, personal profiles and biographies and
stipulates that the only printed biographies used to accompany her work are sourced from the bioswop
project. She is interested in bringing forth the contradictions of contemporary society and its representations,
and destablizing the art’s role in producing cultural consensus and value. In her work she consciously confronts
and questions the contexts, conditions and effects of art production including labour relations and the status
of the artist.
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❙ Kapwani Kiwanga. MAJI-MAJI
June 03 – September 21, 2014, Jeu de Paume
❙ Eszter Salamon
October 10, 2014 – November 9, 2015, Jeu de Paume
Eszter Salamon (born in 1970 in Hungary; lives in Berlin and Paris) is a choreographer, dancer, and
performer. She uses sound as a key choreographic element to create a relationship with the participant
or the public, often drawing on the legacy of John Cage or working closely with the sound artist Terre
Thaemlitz. Three years ago, she created a “documentary performance” in which she staged the life of
a woman who lives in a Hungarian village and bears the same name and surname as her. In her most
recent theatrical work, she explored the futuristic question of how one gets out of one’s body in a world
without human bodies.
1. Natascha Sadr Haghighian interviewée par Solvej Helweg Ovesen.
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press ImageS
❙ Conditions For Use
The reproduction and representation of the images in the selection below is only authorized and free of
royalty fees for the purposes of promoting the exhibition at the Jeu de Paume and only for its duration.
KK 01
Stuffed lion. Collection of the National Museum
of House and Culture, Dar es-Salaam, Tanzania
Photo : Kapwani Kiwanga
KK 02
Ngarambe, Tanzania
Photo : Kapwani Kiwanga
KK 03
Lindi monument, Tanzania
Photo : Kapwani Kiwanga
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KK 04
Stadium of the Maji-Maji Football Club, Songea, Tanzania
Photo : Kapwani Kiwanga
KK 05
Utete, Rufiji, Tanzania
Photo : Kapwani Kiwanga
KK 06
Historia Nganoga cassette. Private collection.
Photo : Kapwani Kiwanga
KK 07
View of the collections of the National Museum of House and Culture, Dar es-Salaam,
Tanzania
Photo : Kapwani Kiwanga
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KK 08
Pistol. East Africa collection, Ethnologisches
Museum, Berlin
Photo : Kapwani Kiwanga
KK 09
Bullets. East Africa collection, Ethnologisches
Museum, Berlin
Photo : Kapwani Kiwanga
KK 10
Ammunition. East Africa collection,
Ethnologisches Museum, Berlin
Photo : Kapwani Kiwanga
KK 11
Calendar. East Africa collection, Ethnologisches
Museum, Berlin
Photo : Kapwani Kiwanga
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KK 12
Kapwani Kiwanga in the storerooms of the
Museum für Natürkunde, Berlin
Photo : Kapwani Kiwanga
KK 13
Kapwani Kiwanga at the Archives of the
Deutsches Historisches Museum, Berlin
Photo : Kapwani Kiwanga
KK 14
Kapwani Kiwanga
Document of research, project Maji-Maji, 2014
Photo : Kapwani Kiwanga and Sybil Coovi
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Jeu de Paume
The Jeu de Paume is an arts center with a strong reputation for exhibiting and promoting all forms of
images from the XXth and XXIst centuries (photography, cinema, video, installation, web art, etc.). As well
as organizing or co-organizing exhibitions, it hosts film programs, symposia, seminars and educational
activities, and also publishes a range of material. With its high-profile exhibitions of established, little-known
and emerging artists (notably in the Satellite program), the Jeu de Paume ties together different narrative
strands, mixing the historic and the contemporary, oscillating between resonance and dissonance, attracting
broad and diverse audiences.
Beyond its flagship building on Place de la Concorde, Paris, the Jeu de Paume has, since 2010, developed a
partnership with the city of Tours for the presentation of exhibitions with a more historic resonance at the Château de
Tours. These events showcase donations made to the state and archives conserved by public and private institutions
both in France and abroad in a program designed to attract new categories of visitor from the region. As well as
being shown at these two venues, exhibitions organized by the Jeu de Paume are seen around the world thanks
to collaboration, interaction and cooperation with other national or international institutions on the basis of mutual
affinities.
Since 2007 the Jeu de Paume has been working to expand its online activities, developing a dedicated “virtual space”
with an innovative program of special web-based projects and thematic shows entrusted to curators specializing in the
digital arts. Film programs are devised to accompany many of the exhibitions, or to pay tribute to major figures of the
independent filmmaking scene in France and abroad. Specializing in documentary, essay and autobiography, with an
emphasis on previously unscreened work, the programming helps bring filmmakers together with artists. All activities at
the Jeu de Paume are driven by a deep concern for interdisciplinarity in the study of visual culture and images and by
a quest for new meaning in all fields of thought. Talks, seminars and symposia explore the questions and themes raised
by the exhibitions, helping to open up new spaces for critical interaction.
The Jeu de Paume’s modular space enables it to adapt to the varying demands imposed by its activities and confirms
its ambition to provide all its users with an active hub and resource center for education in photographic imagery and
the history of representation and the visual arts. Tours and courses, initiatives for students and teachers, and activities
for families and young visitors, are the focal points of its didactic program. The emphasis here is on participation rather
than contemplation, exchange rather than the “colonization of knowledge,” and sharing rather than the monopolization
of ideas. The Jeu de Paume programme at the Château de Tours also helps extend the dynamic of these educational
activities regionally.
Le magazine, an online publication launched in 2010, draws on a range of resources (video, photo gallery, audio and
text files) to extend the debate to the use of images in the digital era. Le magazine is a unique platform for artistic
content, in-depth articles, virtual tours and portfolios. It is a web-based forum for dialogue between historians,
philosophers, artists, curators, filmmakers, poets and art lovers. Finally, the Jeu de Paume is home to a high-quality
bookshop dedicated to offering an ambitiously comprehensive selection of books and publications to further
knowledge of the artists, photographers and filmmakers showcased by the institution. It holds a permanent stock of
some ten thousand titles on aesthetics, art history and theory, cinema, photography and the new technologies.
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View of the Jeu de Paume, Paris © Photo Romain Darnaud, Jeu de Paume
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PRACTICAL
information
❙ jeu de paume
Address
1 Place de la Concorde, 75008 Paris
+33 (0)1 47 03 12 50
www.jeudepaume.org
Opening hours
Tuesday (late-night): 11am–9pm
Wednesday to Sunday: 11am–7pm
Closed Monday
Admission
General admission €10 / Reduced rate €7.50
Free admission: Satellite programme; Young Visitor’s Tuesday (the last Tuesday of the month, 5 pm
to 9 pm for students and under-26s); children under-12s Tickets can be booked online via the Jeu de Paume website, with the Fnac, Digitick and Ticketnet Members and cultural partners
Free, unlimited admission to exhibitions and all the Jeu de Paume’s cultural activities Annual membership: full rate €30 / reduced rate €25 / youth rate €20
❙ press VISUALS
Copyright-free visuals can be downloaded from the website www.jeudepaume.org
Section: Professionnels / User name: presskit / Password: photos
❙ contact INFORMATION
Press officer: Annabelle Floriant
+33 (0)1 47 03 13 22 / +33 (0)6 42 53 04 07 / [email protected]
Communications: Anne Racine
+33 (0)1 47 03 13 29 / [email protected]
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discover the jeu de paume’s online magazine
www.jeudepaume.org/lemagazine

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