VOYAGES IMAGINAIRESPA R T E N A I R E S M É D I A S

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CONFÉRENCES

Salle le Miroir, Centre de la Vieille-Charité Entrée libre dans la limite des places disponibles.

Vendredi 16 février à 17hPrésentation de l’exposition par les commissaires suivie de PICASSO EN HÉRITAGE, MODERNITÉ EN PARTAGE ? Réception critique de Picasso en territoire imaginé par Émilie Goudal, (post-doctorante LabexMed/Fondation Gerda Henkel, Centre Norbert Elias).

Vendredi 23 février à 19hPIERRE REVERDY/PABLO PICASSORencontre autour de la revue Cahier Critique de Poésie n° 34, consacrée à Pierre Reverdy, à l’occasion de la réédition en collection Poésie/Gallimard de son livre avec Pablo Picasso « Le Chant des morts ». Lectures et débat avec Jean Daive, Michèle Cohen-Halimi, Lola Créïs. Centre de la Vieille Charité – cipM – Centre international de poésie MarseilleT. 04 91 91 26 45 – www.cipmarseille.fr 

Mercredi 21 marsFRONTIÈRES ET IMAGINAIRES MIGRATOIRESCoordination par le Collège post-doctoral de LabexMed – A. Fillod Chabaud, E. Goudal, F. Souiah, E. Hellio, J. Moreno Nieto, E. Olmedo.Intervenants : Jean-Yves Abecassis (SOS Mediterranée), un représentant du réseau Migreurope – observatoire des frontières, Ahmed Jlassi (réalisateur) et Patrick Chamoiseau. 

Lundi 26 et mardi 27 mars au MucemMODERNISMES EN MÉDITERRANÉE : PARCOURS ARTISTIQUES ET CRITIQUES 1890-1950Colloque international organisé par Rossella Froissart (AMU-TELEMME), Yves Chevrefils- Desbiolles (IMEC), Jérémie Cerman (Sorbonne Paris IV – Centre Chastel). Partenaires : AMU-Telemme, LabexMed, IMEC, Sorbonne Paris IV – Centre Chastel, MuCEM, Musées de Marseille

Mardi 27 mars à 18h30REGARDER PICASSO par Danièle Giraudy, Conservateur général honoraire du Patrimoine.

Dimanche 22 avril de 14h à 17hRencontres sur le thème de PICASSO ET LA CUISINE. Intervenants : Androula Michael, et Claustra Rafart co-commissaires de l’exposition  La cuisine de Picasso, Jessica Jacques, traductrice en espagnol et en catalan du Désir attrapé par la queue de Picasso, Emmanuelle Luciani, Commissaire d’exposition, art contem-porain, Emmanuel Perrodin, chef nomade, auteur des visites dégustées et des Repas nocturnes au musée. 

1er – 3 juin 2018 – Salle Le MiroirEN QUÊTE ! Fête de l’anthropologie à la Vieille-Charité, organisée par le MAAOA, le Centre Norbert Elias et la CREDO.

RENCONTRES

UN ÉCRIVAIN AU MUSÉEavec l’association La Marelle

Samedi 24 mars 2018 à 14h30Carte blanche à Magali Brénon et Nicolas Tourre. Droit d’entrée dans l’exposition.

Samedi 16 juin 2018 à 14h30Carte blanche à Emmanuel Ruben.Droit d’entrée dans l’exposition.

DANSE

VOYAGE IMAGINAIRE CHORÉGRAPHIQUE POUR QUATRE MUSES ET UN MINOTAUREavec la Cie Sun of shade.

Jeudi 8 mars – ChapelleDans le cadre de la Journée internationale des droits des femmes, 3 séquences de 20’Droit d’entrée dans l’exposition.

Samedi 19 mai à 21h – cour de la Vieille CharitéDans le cadre de la Nuit des Musées.Durée 1h. Entrée libre.

HORS LES MURSÀ L’ALCAZAR (SUITE)

CONFÉRENCES LES MERCREDIS DE 17H À 19H

4 avrilPICASSO, VOYAGES IMAGINAIRES par les commissaires de l’exposition.Entrée libre dans la limite des places disponibles.

PROJECTIONS

Salle le Miroir, Centre de la Vieille-Charité Entrée libre dans la limite des places disponibles.

DANS LE CADRE DE LA FÊTE DU COURT-MÉTRAGE

Du mercredi 14 au mardi 20 mars, une journée dédiée aux musées avec Des courts l’après-midi

Dimanche 18 mars à 11hSI LA COULEUR M’ÉTAIT CONTÉE…Durée 38’ - Séance jeune public à partir de 3 ans.LOOKS, LE PETIT LYNX GRIS Susann Hoffmann, 2014, 3’14autoproduction – Allemagne MAILLESVaiana Gauthier, 2012 , 4’04 – Emca, FrancePICCOLO CONCERTOCeylan Beyoglu, 2016, 6’ – Storykid Studio, AllemagneLA FILLE QUI PARLAIT CHATDotty Kultys, 2015 – 5’40autoproduction, Royaume-UniLA COMPTINE DE GRAND-PÈREYoshiko Misumi, 2010, 8’23 – Tokyo University of the Arts, JaponLE PETIT CRAYON ROUGEDace Riduze, 2013, 8’36 – Animacijas Brigade, Lettonie

Dimanche 18 mars à 14h PICASSO, VOYAGES IMAGINAIRES Durée 86’ - Séance tout public

LE REGARD PICASSONelly Kaplan, 1966, 52’ – Cythère Films, France Lion d’or, Festival de Venise 1967GUERNICAAlain Resnais et Robert Hessens, 1949, 13’10Les films du Panthéon – France, Prix du Meilleur Film d’Art au festival de Punta del Este en 1952

LES SAMEDIS CINÉMA Avec l’association Tilt

Samedi 21 avril 2018 à 17hSéance présentée et animée par Michel CimentLA GAROUPEMan Ray, France, 1935, 9’LE MYSTÈRE PICASSOHenri-Georges Clouzot, France, 1956, 78’Prix spécial du jury à Cannes 1956

Samedi 26 mai à 17hKUJIRA (LA BALEINE)Noburo Ofuji, 1952, Japon, 8’Animation de cellophane colorée acclamée par la critique au Festival de Cannes de 1953. Picasso, présent à Cannes cette année là, fut enthousiasmé par le travail de Ofuji…LE MARIAGE DU HIBOUUne légende eskimo de Caroline Leaf, Canada, 1974, 8’PINOCCHIOde Gianluigi Toccafondo, France, Italie, 1999, 6’HAMMAMde Florence Miailhe, France, 1991, 9’LE BAL DU MINOTAUREde Lorenzo Recio, France, 1997, 10’SHÉHÉRAZADEde Florence Miailhe, France, 1995, 16’ Samedi 9 juinPARADE, CAPTATION Maison de la danse, 2008Chorégraphie originale de Léonide Massine (1917), remontée par Susanna Della Pietra, supervisée par Lorca Massine, interprétation Europa Danse, argument Jean Cocteau, musique Erik Satie, décor peint par Didier Courel.JEAN COCTEAU, AUTOPORTRAIT D’UN INCONNUEdgardo Cozarinsky, 1985, 66’

INFORMATIONS

HorairesCentre de la Vieille-Charité, du mardi au dimanche de 10h à 18h.

Musée d’Archéologie Méditerranéenne (1er étage)Musée d’Arts Africains, Océaniens, Amérindiens (2e étage)

Fermeture les lundis et 1er mai, sauf lundis de Pâques et Pentecôte.Mucem, du mercredi au lundi de 11h à 18h (février/avril)

et 11h à 19h (mai/juin)

TarifsEntrée exposition : 12 €/8 € (les musées sont gratuits le 1er dimanche du mois

Billet couplé (le billet donne accès aux deux musées : Vieille-Charité & Mucem) : 15 €Audio-guide : 3 € (français, anglais, allemand, italien, espagnol et audiodescription)

Visite commentée et visite en LSF : 3 € Enfant de - 12 ans : gratuit/enfant de 12 à 18 ans : 1,50 €

Visite commentée en famille, Visite-atelier en famille, Visite contée, théâtre d’ombreEnfants de moins de 5 ans : gratuit

Enfants de 5 à 18 ans : 4 € (tarif réduit : 1,50 €*) - sans droit d’entréeAdultes : activité gratuite + droit d’entrée exposition

La présence d’un parent est obligatoire.

Renseignements : 04 91 14 58 56 – musees@marseille.frRéservations scolaires, centres sociaux, instituts médicalisés :

04 91 14 58 52/23Réservations groupes payants :

Office de Tourisme de Marseille 04 91 13 89 06/03 et groupes@marseille-tourisme.com

Retrouvez la programmation détaillée sur musees.marseille.fr

Picasso en Minotaure vivant avec un masque en osier de taureau destiné à l’origine à l’entraînement des toreros. Villa La Californie, Cannes 1959, Photo Edward Quinn © edwardquinn.com

© Succession Picasso 2018

Programme sous réserve de modifications.

IMAGINARY JOURNEYSFrom the shores of the Mediterranean to the depths of Africa, Pablo Picasso’s work provides a doorway to another world, a borderless map where artistic styles blend together to form a prevailing visual poe-try. Although he was not a travelling artist per se, his visual journey draws out a mythological pathway that invites the viewer to follow along.His passport documents journeys between Spain and France, as well as trips to Holland, Italy, England, and Poland, but this was the farthest Picasso would ever travel from his native country. He preferred trains to planes or boats, and the railways would invariably lead him back to the beaches of Southern France.However, Picasso did receive postcards from his friends and acquaintances – globetrotters, artists, poets and intellectuals – as they traveled the world. Collected in their hundreds and studied here for the fi rst time, these images formed an exceptional source of inspiration for his work.Unveiling the visual depth of this epistolary rela-tionship, the “Picasso: Imaginary Journeys” exhibi-tion truly refl ects the extent of his curiosity, honed by an insatiable desire to discover cultures other than his own.

With a hundred paintings, sculptures, assemblages, drawings, and two hundred archival documents set alongside masterpieces from the Museum of Mar-seille and the Mucem, this exhibition follows fi ve paths: Blue Bohemian, Ghost Africa, Ancient Love, Black Sun, and Dream Orient; each one a venture into the labyrinth of Picasso’s artistic genius.

BLUE BOHEMIANFollowing the construction of new railway lines connecting France and Spain after the creation of the TBF (Tarragona-Barcelona-France) company, Picasso made his fi rst trip to Paris in October 1900, representing his home country at the Exposition Universelle with the painting Last Moments.During the trip he took the opportunity to visit the Louvre, the Musée du Luxembourg, and art galleries bringing him face to face with the works of Van Gogh, Gauguin, and Cézanne. But the festive atmosphere enveloping Montmartre was quickly darkened by the suicide of his friend, the artist Casagemas – who was madly in love with a model named Germaine – in a café. Bony, melancholic fi gures, subjects of a suf-fering, sad, pitiful humanity; or acrobats wandering deserted Spanish landscapes, abruptly tinged with celestial blue.After several trips between Barcelona and Paris, he moved to the Bateau-Lavoir on Place Ravi-gnan in 1904, a meeting place where poetry would triumph over hunger. With 20 francs in his pocket given to him by Max Jacob, he went to Holland to visit the poet Thomas Schilperoort. For an Andalu-sian, the change of scenery was absolute. His travel diary refl ects his Nordic impressions, abandoning the Harlequin theme for the faces of Dutch women, sketched without aff ectation and already tinted pink.

GHOST AFRICA At the beginning of 1906, Picasso went to an exhibition of Iberian art at the Louvre, which presented recent excavations from the Osuna and Cerro de los Santos sites in Andalusia. These archaic sculptures would be decisive in his return to Spanish sources.During the summer he went to Gósol, a remote village in Upper Catalonia, with Fernande Olivier. Fascinated by the polychrome Romanesque wooden Virgin Mary belonging to the church, he began a series of carved

wooden pieces, reproducing the harshness of Gau-guin’s works.Little by little, Spanish archaism was paired with an interest in African art. Hanging on a wall of André Derain’s studio, he discovered a Fang mask from Ga-bon, had his interest piqued by a Vili Fetish from the Congo acquired by Henri Matisse, and bought a set of “ethnographic” postcards released by Edmond Fortier. During a visit to the Musée d’Ethnographie du Trocadéro (Ethnographic Museum of the Trocadéro), he experienced something of a shock:“I understood it to be very important: something was happening to me, wasn’t it ? I understood why I’m a painter.All alone in this ghastly museum, with masks, red-skinned dolls, and dusty mannequins.”The combination of fascination and repulsion that these non-Western art pieces provoked in him, in addition to the underlying context of political anar-chism and the ongoing syphilis epidemic in Paris, triggered Picasso to conduct an inner search, almost a sort of spiritual “exorcism”. Fiercely determined to revolutionize the painting of his time, he released an extraordinary series of hundreds of études, paintings, drawings; strongly hatched fi gures with faces covered by African masks, scratched and ghost-like. Despite his friends’ incomprehension of what they saw in his studio, Les Demoiselles d’Avignon would not cease to haunt Picasso.

SORGUES MARSEILLEDuring the summer of 1909, Picasso and Fernande went to relax in Horta de Ebro, a Catalan village fi lled with cubic, medieval-looking buildings, and he began to photograph the simplistic forms and shapes that defi ned this local architecture. Via this return to basics, Picasso was able to “admire the austerity of the lands-capes, with the Moorish properties it has preserved and the vestiges of occupations from Antiquity”. Much like Cézanne, he sought the geometric shapes that make up nature itself: the sphere, the cone, and the cube, which formed a foundation for his discussions and thoughts with his companion Georges Braque.In 1912, after starting a secret relationship with Eva Gouel, he decided “to abandon everything, Mont-martre, the boulevard de Clichy, Paris... in search of an earthly paradise to escape the bedlam.” They ended up in Sorgues, “a very pretty place”, not far from Avignon, where they settled at the Les Clochettes villa in June, soon to be joined by Braque. The two artists then began a highly prolific period of experimen-tation. They stuck stenciled industrial lettering to

their canvases, glued scraps of paper or tapestry, and purified their compositions until they were reduced to simple, bare lines that compelled viewers to imagine and form the motif themselves. One could read “My Pretty”, or “Pernod Fils” on their canvasses; pipes and guitars were favoured motifs, and Picasso even painted a loving ode to his pretty kimono-clad muse on the walls of the villa. From Sorgues, the two men went to Marseille to stay for two days and buy some curiosities (“nègres”, as they were called at the time), including the famous Krou mask from the Côte d’Ivoire with its cylindrical eyes that would inspire a series of cubist sculptures.

ANCIENT LOVEOn 17th February 1917, Picasso and Cocteau em-barked on a train from Austerlitz station in Paris to join Serge Diaghilev and his Russian ballet troupe in Rome, in order to work on sets and costumes for Parade. On the road, his creative rhythm would abate. He immersed himself in new things; he visited the museums, painted a little, sketched some drawings, and visited Naples. He described his pleasant Italian journey to Gertrude Stein: “I have sixty dancers. I go to bed very late. I know all the Roman women. I’ve experienced a lot of the Pompeian fantasies, which are a little risqué. I’ve made caricatures of Diaghilev, of the dancer Massine, and the other dancers. They gave me Chinese gifts bought in San Francisco.” Amongst these dancers, Picasso’s eye was caught by the classic charm of one who had just landed her starring role: Olga Khokhlova. “Be careful,” Diaghilev warned him, “if you want a Russian woman, you’ll have to marry her.”Despite the maternal warning from María Picasso, who warned her that her son “would only ever be married to painting”, and when the German bom-bardment of Paris was just beginning, Picasso and Olga were married on 12th July 1918, and would settle into the bourgeois comfort of a studio/workshop apartment at 23, rue La Boétie. Breaking with cubism, he painted immense women, dressed in impo-sing Greco-Roman drapes: “Cow-eyed Junos,” as Cocteau would call them. Memories of his Italian trip or maternal symbols after the birth of his son Paulo, these giants announce a “return to order” for European painting during the interwar period. In 1928, the theme of the Minotaur would appear for the fi rst time. This mythological vein was a sign of the desire to fl ee a now mundane life, a life that would brighten upon meeting the young Marie-Thérèse.

BLACK SUN“It was so dark at noon that we could see the stars”, says a poem addressed to Dora Maar.Being in contact with the surrealists and Christian Zervos, publisher of the Cahiers d’Art magazine, Picasso would broaden his “imaginary museum” with new Egyptian, Neolithic, Amerindian, Oceanian, and African sources. Without having to actually go to these distant places, he received swathes of care-fully-chosen postcards from admirers of his work.Africa, which he pretends not to know, haunted him, and primitivism again works its way into his research.He visited the Musée d’Ethnographie du Trocadéro (Ethnographic Museum of the Trocadéro) to view a collection of objects brought back from a mission in Dakar-Djibouti, which was documented by Michel Leiris in his book, L’Afrique fantôme. A Nimba Baga mask from Guinea then took pride of place in his sculpture workshop in the château Boisgeloup, the majestic curves of which interac-ted with the corporal and facial metamorphoses of his young companion, Marie-Thérèse. Olga, however, disappeared,reduced to geometric signs in primitive fetishes.After their separation, Picasso continued his love aff air with Henriette Théodora Markovitch, aka Dora Maar, the fi ne art photographer who made a strong impression on him during their first meeting by planting a knife between his fi ngers as his hand lay fl at on a table in the Deux Magots. A Scorpio with a Croatian father, she appeared to him as more than a simple model, but as his indomitable surrealist alter ego, with whom he would endure a passionate and destructive relationship. His wild, hybrid, cruel pain-tings cried out in suff ering over the bombing of the Basque city of Guernica, as tragic refl ections of a Spain he would never see again, where the imaginary is silenced in the darkness.

DREAM ORIENTWhen Matisse died in 1954, Picasso lost both a dear friend and a guide who was pivotal in guiding his African infl uences. As a tribute to the master of Niçois odalisques and to testify once more to shifts in history, Picasso abandoned his aversion to exoticism by taking on a series of fi fteen canvases as the fi rst confrontations of the Algerian war broke out, preceded by preparatory studies of Delacroix’s Women of Algiers.

Unlike the father of French romanticism, Picasso reversed the Western gaze, and rather than projec-ting a fantasy vision of an Algerian harem, he fully involves himself in the imagery. What remains are Arabesques and frenetic rhythm, gestural calligra-phy and erotic composition. Women are represented in a stylized manner, found in suggestive or even allegorical poses given that they are contempo-raneous to women’s liberation.Picasso drew on his Andalusian origins, the Azulejos in the Alhambra, and the richly embellished fabrics that Jacqueline wore as a model. The latter appears monumental, nude from the front, a prehistoric fi gure with an Egyptian face with an Eye of Horus, a turban and a Turkish hat or Spanish mantilla.With Picasso turning to the East after the war, it was undoubtedly to start a fi nal journey to his Arab-An-dalusian roots, an imaginary journey through the roots of an imprisoned Spain, once Umayyad, tole-rant, and enlightened.

THE BATHERSThe Bathers is the only sculpted group in Picasso’s œuvre. Roughly assembled during August and September 1956, these slender fi gures are made from wooden planks taken from Garoupe beach. One can fi nd parts of crates, footboards, broomsticks, and even picture frames on which he painted and engraved anatomical indications. As early as November of the same year, the original group, made of wood, is executed in bronze by the Valsuan smelter.Once positioned, each character seems to be part of a piece of choreography which obeying some general staging. The disposition of the characters obeys a real staging, to which Picasso reflects in a series of drawings devoted to Bathers.One can see the Diver, the Man with Joined Hands, and the Woman with Outstretched Arms, or even the Man-Fountain. As evidenced by a preparatory drawing, the bronze version of the sculpted ensemble The Bathers was intended to function as a fountain in the garden of collector Daniel-Henry Kahnweiler. The recent restorations carried out for the exhibition revealed that Picasso conducted trials to activate the «pisser», also called christened by «Kahnweiler Manneken-Pis adult».The exceptional presentation of Les Baigneurs was carried out as part of an ambitious restoration program conducted by the Picasso-Paris National Museum and Museums of the City of Marseille.

CHAPELLE

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BOHÈME BLEUE1

AFRIQUE FANTÔME2SORGUES/MARSEILLE3AMOUR ANTIQUE4

SOLEIL NOIR5

ORIENT RÊVÉ6LES BAIGNEURS7

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ÉVENEMENTS

Week-end d’ouverture MP2018 17 et 18 février 2018À l’occasion du week-end d’ouverture de l’exposition mais également du week-end d’ouverture de l’événement MP2018, l’exposition ouvrira en nocturne le 17 février de 18h à 22h.

CARPE NOCTEM19 avril 2018 de 19h à minuitNocturne exceptionnelle dédiée aux jeunes. Médiations des étudiants de l’association Courant d’art, animations musicales… Entrée libre.

NUIT DES MUSÉESSamedi 19 mai 2018 de 19h à minuit, points parole des médiateurs culturels. Entrée libre.

VISITES

Visites individuelles commentéesDu mardi au vendredi à 15h30 et les samedis et dimanches à 11h et 15h30.

Visites en familleLes mercredis, samedis et dimanches à 14h et pendant les vacances scolaires du mardi au dimanche à 14h.

Visites - ateliers en famille Visite de l’exposition à 14h suivie d’un atelier avec l’association Picabraq les 10 mars et 5 mai.

Visites adultes en LSF17 mars et 5 juin 2018 à 14h30.

Visites contées par MCE Productions Conteuses Stéfanie James et Paule Latorre.Les mercredis 28 février, 7 mars, 25 avril, 2 mai à 14h.

Théâtre d’ombres et de papier par Des Bleus et des versLes samedis 3 mars, 28 avril à 14h : création autour des Baigneurs dans la chapelle, pendant les vacances scolaires.

Visites à déguster avec le chef Emmanuel Perrodin, les vendredis 9 mars et 27 avril à 11h30 et les mercredis 2 mai, 16 mai et 6 juin à 11h30, dans le cadre de la thématique Art et cuisine autour de l’exposition Picasso, Voyages imaginaires.

Dîners dégustations avec le chef Emmanuel Perrodin, les 27 et28 mars, 24 et 25 avril, 29 et 30 mai à partir de 19h, dans le cadre de la thématique Art et cuisine autour de l’exposition Picasso, voyages imaginaires.

OEUVRE EN MUSIQUES

18 mars à 11hMUSÉIQUE #4 AU TEMPS BOHÈME Nicolas Bourdoncle interprète au piano Satie, Poulenc, avec Marseille Concerts.Droit d’entrée dans l’exposition.

27 mai à 17hMarc Filograsso (voix), Laurent Barbaz (piano) Le récital abordera des artistes (poètes et musiciens) de l’entourage de Picasso avec Satie, Poulenc, Cocteau Apollinaire... puis proposera des compositeurs français un peu antérieurs, ayant évoqué le thème du voyage et de l’imaginaire. La mélodie italienne de Francesco Paolo Tosti, E morto Pulcinella, sera également proposée. Le récital se terminera sur une évocation de l’Espagne, indissociablement liée à la personnalité de Picasso. Droit d’entrée dans l’exposition.

HORS LES MURSÀ L’ALCAZAR

PROJECTIONS LES VENDREDIS À 16H

6 avril« LE MYSTÈRE PICASSO », Henri-Georges Clouzot, 1956, 75’

18 mai« LES STATUES MEURENT AUSSI », Alain Resnais et Chris Marker, 1953, 30’03 « GUERNICA », 1950, 13’10