Isabelle Cornaro (b. 1974, lives and works in Paris) has been invited to create an installation for one of the spaces of the Palais de Tokyo, the Païpe. Following on from interventions by Ulla von Brandenburg and Sheila Hicks, Isabelle Cornaro will devise an in situ installation for a space which lies between stage theatre and immersive diorama. This invitation seems all the more pertinent given the presence of both mentally and physically constructed landscapes within her work, which are situated between mimesis and abstraction. Landscapes are an important element within Isabelle Cornaro’s body of work, appearing in the photographs entitled Savane autour de Bangui et le fleuve Utubangui (2003-2007) where the Savannah is depicted using jewellery, or again in Paysage avec poussin et témoins oculaires (2008-), a series of installations inspired by the pastoral paintings of Nicolas Poussin (1594-1665) which evoke an idealized, bucolic world.

Isabelle Cornaro has chosen to create an installation of wall paintings for the Palais de Tokyo. These in situ works, made using spray paint, are reproductions of stills from the 16mm film Floues et colorées [Hazy and Colorful] (2010) that stages landscapes, geometric abstractions and monochromes. Isabelle Cornaro originally showed a selection of landscapes and geometric abstractions from this series at the Fondation d’Entreprise Ricard, Paris in 2010 and at Magasin, Grenoble in 2012. For the Palais de Tokyo installation, the artist has chosen to simultaneously show monochromes (Reproductions #1, Reproductions #4) and landscapes (Reproductions #7). Both the size of the paintings (identical to that of a cinema projection) and their textured spray paint finish emphasize their relation to a visual experience. The artist readily admits to the (albeit outdated) reference to Claude Monet’s Meules [Haystacks], completed near Giverny between 1890 and 1891. This series was not only of great importance to the pioneer of abstraction, Kandinsky, but is also particularly representative of a complex system–which oscillates between naturalism and idealism– elaborated by Monet through his plein-air series, the construction of his Giverny garden and the realization of the Nymphéas installation for the Musée de l’Orangerie.

The Païpe becomes an ambulatory, a space for wandering, where one observes projected paintings and vibratory freeze frames. It is a unique physical and mental experience, an unending exchange between two systems of production and perception of images which are often opposed.

Curator : Julien Fronsacq

April 2015, marks the Swarovski Foundation support of the “Païpe” at the heart of Palais de Tokyo. The Swarovski Foundation was incorporated in 2013 to pursue charitable goals to honor the philanthropic spirit of Daniel Swarovski, who founded the crystal business in 1895. Since then, five generations of the Swarovski family have reinforced the company’s commitment to philanthropy and charitable giving. The Foundation’s mission is to build on this heritage by supporting charitable initiatives and organizations working in three areas. Fostering Creativity and Culture by promoting the arts, advancing education, supporting cultural institutions and innovative projects with cutting edge talent; Promoting Wellbeing, supporting initiatives on women’s empowerment, access to health and education and assisting the advancement and development of young people and communities; and Conserving Natural Resources through water sustainability and environmental projects to promote the conservation, protection and improvement of the physical and natural environment. The Swarovski Foundation’s trustees are Nadja Swarovski (Chairperson), Anthony Julius, Paul van Zyl, Helen Jenkins and Emma Soames. www.swarovskifoundation.org