PRESS KIT

coMfOrT zOnEs

Design collection of Centre national des arts plastiques 1/3

galerie Poirel

3 rue Victor Poirel

54000 Nancy

+33 (0)3 83 32 31 25

www.poirel.nancy.fr

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sumMary

3 Comfort Zones

4 Layout and designers

8 L’Écouteur

by Laurent Massaloux and Jean-Yves Leloup. A work commissioned by the Centre national des arts plastiques

10 Fresh perspectives   Interview with Juliette Pollet, Curator in charge of the Cnap design and decorative arts collection and Studio GGSV (Gaëlle Gabillet & Stéphane Villard), Co-curators and Scenographers | Interview by Marion Vignal

14 Studio GGSV

15 Le Centre national des arts plastiques (Cnap)

16 La Galerie Poirel

17 Sponsor Formes & Couleurs Design

18 Practical information

19 Production & contacts

20 Visuals for press

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coMfOrT zOnEs

The Comfort Zones exhibition invites you to explore a curious place, the home of a col-lector every bit as compulsive and eclectic as the Centre national des arts plastiques (Cnap) itself.

The exhibition suggests different ways to experience ‘comfort’, a concept that has beco-me so omnipresent in design practice and theory that it has almost grown impercep-tible. Where does this “state of convenience and well-being akin to pleasure to which all men naturally aspire”1 come from? What forms does it take?

Objects spread throughout the exhibition take their place on a grand stage where they simultaneously serve as the set, the actors and the props. The entire exhibition is a play in four acts with one intermission.

In the Office, functional objects project an image of ‘modern comfort’. These material possessions are designed to improve consumers’ daily life by relieving them of labo-rious tasks. The Reception area presents as a vast living room, adorned with furniture designed to give the weary a place to rest. The Play Area brings together objects that trade in pure functionalism for fun and triviality. Lastly, the Antechamber turns our un-derstanding of well-being on its head by raising certain contemporary quandaries.

Halfway through the exhibit, visitors have the chance to test out different pieces of fur-niture at a break area on the mezzanine level. Here, they can also experience L’Écouteur, a modern-day interpretation of music rooms created by Laurent Massaloux and Jean-Yves Leloup.

The majority of the objects displayed were designed to satisfy our minds and bodies. They reveal the nature of our domestic activities and concerns. While projecting a sense of familiarity, the exhibition invites visitors to reconsider the shapes and uses of the objects that make up the environment around us. Comfort Zones places mass-manufac-tured products, comfort produced in standardised forms, alongside works that upset the standard models. In doing so, the exhibition reflects two contemporary movements in design: the search for solutions and the formulation of critiques.

Comfort Zones is the product of a partnership between the city of Nancy, Galerie Poirel and the Cnap. It is the first in a series of three exhibitions that will offer different pers-pectives on the Cnap’s design collection.

Juliette Pollet, Curator in charge of the Cnap design and decorative arts collectionand Studio GGSV (Gaëlle Gabillet & Stéphane Villard)Exhibition curators

Design collection of Centre national des arts plastiques 1/3

21/11 2015 — 17/04 2016

1 Paraphrase of quotation by Charles Nodier, Examen critique des dictionnaires de langue française,Paris, Delangle, 1828

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LAyOUT aND DEsIGNErs

The Office

The Office introduces the concept of ‘modern comfort’. Here, material possessions reign and household appliances do the heavy domestic lifting for us. These agents of productivity have multiplied over time, taking on every last little daily chore. Do these revolutionary, innovative objects and tech gadgets free up our time or do they secretly eat it up? Who ordered that we conform to this mechanised comfort?

Sebastian Bergne (GB)

François Brument (FR)

Dimos (FR)

James Dyson (GB)

Charles & Ray Eames (US)

EDF R&D Design

Eliumstudio (FR)

Naoto Fukasawa (JP)

Ineke Hans (NL)

Enzo Mari (IT)

Jasper Morrison (GB)

Marc Newson (AU)

Gaetano Pesce (IT)

Seb (FR)

Stiletto Studios (DE)

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1 Sebastian BergnePronto hoover, 2004FNAC 05-1994 (1 to 8)Centre national des arts plastiques© Sebastian Bergne / Cnap / photo: Yves Chenot

2Gaetano PesceTWBA Chiat / Day office, 1994FNAC 2015-0314Centre national des arts plastiques© Gaetano Pesce / Cnap / photo: Yves Chenot

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The Reception Area

Both formal and relaxing, the reception area is a place for people to rest. The seats and sofas that adorn the room are designed to meet our need for physical comfort and socialisation. Some of them are meant to update the standard models. In examining the variety of positions made possible by this furniture, we see how notions of proper posture and appearances have changed over time.

Eero Aarnio (FI)

Francesco Binfaré (IT)

Erwan et Ronan Bouroullec (FR)

Giorgio Ceretti (IT)

Pietro Derossi (IT)

Nanna Ditzel (DK)

Michel Ducaroy (FR)

Aurélien Froment (FR)

Piero Gatti (IT)

Vico Magistretti (IT)

Philippe Nigro (FR)

Cesare Paolini (IT)

Riccardo Rosso (IT)

Jean Royère (FR)

Franco Teodoro (IT)

Maarten Van Severen (BE)

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1Francesco BinfaréSfatto sofa, 2011FNAC 2012-036Centre national des arts plastiques © Francesco Binfaré / Cnap / photo: Yves Chenot

2Nanna DitzelWinkel og Magnussen, 1952 / 2003FNAC 03-1105 (1 to 21)Centre national des arts plastiques © Nanna Dietzel / Cnap / photo: Yves Chenot

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The Play Area

The objects found here create new functions through play and storytelling. Comfort also means having your senses dazzled and your mind entertained. It means feeling soothed. Here you’ll find a group of approachable objects that don’t tell you how to use them. In fact, they break codes to offer new possibilities. After all, doesn’t comfort also mean having the freedom to manipulate the objects around you?

Pascal Bauer (FR)

Vincent Beaurin (FR)

Bless : Ines Kaag (DE), Desiree Heiss (AU), Mark Brusse (NL)

Fernando et Humberto Campana (IT)

Florence Doléac (FR)

Piero Gilardi (IT)

Konstantin Grcic (DE)

Richard Hutten (NL)

Ross Lovegrove (GB)

Nils Holger Moormann (DE)

Gaetano Pesce (IT)

Radi Designers: Claudio Colucci (CZ), Florence Doleac (FR), Laurent Massaloux (FR), Olivier Sidet (FR), Robert Stadler (AU)

Tejo Remy (NL)

Charles Semser (US)

Ettore Sottsass (IT)

Robert Stadler (AU)

Philippe Starck (FR)

Studio 65 (IT)

Roger Tallon (FR)

Tim Thom (FR): Matali Crasset, Laurent Massaloux, Olivier Sidet, Philippe Starck

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1BlessMulti-functional furniture Mobile # 1, 2004 / 2012FNAC 2011-0525 (1 to 8)Centre national des arts plastiques© All rights reserved / Cnap / photo: Yves Chenot

2Tim Thom, Philippe StarckRadio Boa, 1995FNAC 980713Centre national des arts plastiques© All rights reserved © Philippe Starck / Cnap / photo: Yves Chenot

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The Antechamber

The Antechamber reflects our ambivalence toward the modern-day search for well-being. Contemporary comfort seems to be the fruit of efforts to control a potentially hostile environment. These objects feel strange, upsetting even. They are the reflection of a vulnerable society that is tormented by the prospect of disaster.

5.5 Designers (FR): Vincent Baranger, Jean-Sébastien Blanc, Anthony Le Bosse, Claire Renard

François Azambourg (FR)

Jurgen Bey (NL)

Erwan et Ronan Bouroullec (FR)

Pierre Charrié (FR)

Pucci De Rossi (IT)

David Dubois (FR)

James Dyson (GB)

Ruth Francken (US, FR)

Mathieu Lehanneur (FR)

Laurent Massaloux (FR)

Alberto Meda (IT)

Olivier Peyricot (FR)

Sanks: Gero Asmuth (DE), François Dumas (FR), Erasmus Scherjon (NL), Clémence Seilles (FR)

Sony Design Intégré (JP)

Robert Stadler (AU)

Philippe Starck (FR)

Studio Formafantasma (IT)

Superstudio (IT)

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15.5 DesignersFloor lamp Eyes Cloning, 2008FNAC 10-929 (1 to 3)Centre national des arts plastiques © 5.5 Designers / Cnap / image courtesy of the artist

2Pucci De RossiRug Peau d’ours, 1983FNAC 94471Centre national des arts plastiques© ADAGP, Paris / Cnap / photo: Galerie Neotu

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L’écoutEUrA work commissioned by the Centre nationaldes arts plastiques

by Laurent Massaloux and Jean-Yves Leloup

L’Écouteur (2015) is designed to be a space of collective listening, where groups of people can listen to audio and music programmes together. This Cnap-commissioned work, designed by Laurent Massaloux and Jean-Yves Leloup, addresses the need for spaces that reflect the growing presence of sound elements in contemporary art.

The work’s design gives physical shape to the act of listening. Visitors are invited to take a moment to stop and pause here during their visit.

L’Écouteur offers its own collective, convivial response to the new forms of music ‘consumption’ such as MP3 players and playlists.

This piece reinterprets traditional music rooms. It takes formal inspiration from studios and anechoic chambers by evoking their calm, neutral environment. The pared-down furniture uses the language of prisms, polyhedrons and other pyramidal shapes. These shapes are traditionally used to break down reflections and reverberations in acoustically designed spaces.

L’Écouteur, overhead view,model, FNAC 2014-0263 © Laurent Massaloux

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For Laurent Massaloux, the adjective ‘matte’ is an accurate description of the project’s aesthetics. Here, he uses the word to conjure up both, “a sense of comfort and calm and a relaxing atmosphere.”

The furniture has been designed and placed in such a way as to break with the norms of domestic listening and concert-going practices that have listeners sit facing the music. In doing so, the space offers listeners a greater range of potential positions and activi-ties.

Whether listeners come here to spend contemplative time alone or, more likely, to be part of a friendly group environment, there are many ways to listen, thanks to the space’s configuration. The aesthetic that characterises the work can be viewed as frag-mented, composite or both. This aesthetic reflects the work’s diverse programming and the mixture of various audio works and patterns.

L’Écouteur creates a dual stereo effect thanks to four speakers located in the corners of the room. It is physically impossible for there to be one single sound experience in this space.

Just like at the cinema, listeners are free to choose their own place and position, with none being better than any other. This design provides for an immersive, spatial listening experience that actively involves the visitors.

During the Comfort Zones exhibition, L’Écouteur will offer a sampling of the Cnap col-lection’s recent works by artists including Biosphère, Stéphane Thidet, Rodolphe Burger, Philipe Katerine, Radiomentale, Chloé Thevenin, Ramuntcho Matta, Laurence Weiner, Melik Ohanian, Rainier Lericolais, Lee Ranaldo and Leah Singer.

Curation: Jean-Yves Leloup, artist, composer, radio producer, journalist and DJ

Design: Laurent Massaloux, designer

Sound design: Guillaume Pellerin — Parisson

Production: David Topani — Ufacto

Comfort Zones exhibition programme: Sébastien Faucon, Curator in charge of the Cnap visual arts collection and Jean-Yves Leloup.

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frESHPErSPEcTIVESInterview with Juliette Pollet, Curator in charge of the Cnap design and decorative arts collection and Studio GGSV (Gaëlle Gabillet & Stéphane Villard), Co-curators and Scenographers | Interview by Marion Vignal

Comfort is an issue that looms large in the history of design theory and discourse. Why did you choose to look at comfort?

Juliette Pollet: Comfort is a physical experience that we all can relate to. It’s also the most immediate and commonplace criteria that we use to assess everyday objects. So it’s a theme that you can examine from different angles and use to raise public awareness regarding the different facets of design. Also, Comfort Zones marks the start of a new five-year-long partnership between the Cnap and the city of Nancy, which will produce three exhibitions to be held at the Galerie Poirel. It only seemed natural to me to start things off with a theme that everyone can relate to.

Comfort is also a very complex and subjective notion that is hard to pin down. That much is suggested by the exhibition title, Comfort Zones...

Juliette Pollet: The whole exhibition speaks to the impossibility of defining the term. As you walk around, comfort becomes something that is equal parts ordinary and elusive. The title of the exhibition evokes this ambiguity. It was the idea of Jean-Yves Leloup, one of the creators of the collective listening space L’Écouteur, which was publi-cly commissioned by the Cnap and it is making its debut in this exhibition. Entering and leaving your comfort zone: that’s the kind of experience we are offering the public. We invite them to turn a critical gaze on objects that run the gamut from the familiar to the unusual and even the perverse and the upsetting. These works encourage us to examine the way we inhabit our homes and the larger world. In an effort to explore and define this notion even further, we are compiling an anthology on comfort* which will bring together the writing of different designers as well as sociologists, philosophers and other experts. Visitors will also be able to consult the exhibition guide created by graphic designer Lionel Catelan at the exhibition.

* L’anthologie, by Tony Côme, design historian, and Juliette Pollet, is a joint publication of the Cnap and Éditions B42 that is scheduled for publication in April 2016.

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Gaëlle Gabillet and Stéphane Villard, how did you manage your dual role as curators and scenographers?

Studio GGSV: By constantly working on both the content and the design of the exhibition, we were able to create the look and the story at the same time, while optimizing resources. First, we turned to the Cnap collection, which is truly unique. It contains design icons as well as prototypes and odd or little-known pieces. It’s an amazing sampling of past and present design production, with a few gaps and surprise guests. The uniqueness of the collection quickly became a creative constraint.

Juliette Pollet: It’s true that the Cnap collection, while vast, is not exhaustive. We adop-ted a systematic way of building the collection at the start of the 1980s. Every three years, we put together an acquisition committee made up of outside experts including directors, curators, designers, critics, journalists and academics. They each select the works that they feel are important to the history of the discipline. The result of these different perspectives is therefore a very heterogeneous selection. This fragmented, mo-bile collection is meant to be broken up and sent to museums and exhibitions in France and throughout the world. In Nancy, 101 objects from our collection are on display, which gives you an idea of the conservation work that has been done over the last three decades.

How did you go about choosing these one hundred or so pieces?

Studio GGSV: We put the works together as though we were creating a painting. We staged something like the unconventional home of an imaginary collector. In the first room, ‘the office’, you find the majority of the household appliances. Next, you move into ‘the reception area’, then ‘the play area’ and lastly, ‘the antechamber’, a room that looks out onto the future. These four rooms are four representations of comfort.

Your first so-called painting highlights industrial design...

Studio GGSV: It’s a collection composed of pressure cookers, irons, coffee makers and electric kettles. Hidden among them are a few oddities like Consumer’s Rest, the chair in the shape of a shopping trolley created by Stiletto Studios in 1983, which symbolises hyperconsumption. These objects raise questions. Some of them increased domestic productivity when they first came out but what is new about them today? How relevant are they? We give visitors the chance to observe them from a distance, as though they belonged to another society. They’re positioned in a large circle around a clock that displays their hourly energy consumption. None of these products would make any sense without the development of the distribution infrastructure for water, gas, electricity and waves. We often forget but in 1968, nearly 50% of French households didn’t have hot water. Comfort has made unprecedented leaps over the last 40 years.

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What is unique about the reception area?

Juliette Pollet: In this room, the pieces are like matrices. Some of them are voluptuous and majestic, like this oak and fur throne-shaped armchair by Jean Royère from 1948. There are also pieces from the 1960s like Sacco (1968) by Piero Gatti, Cesare Paolini and Franco Teodoro that really challenged bourgeois customs. Seeing them again in 2015, you realise that they are definitely still radical.

Studio GGSV: The accumulation of objects gives the impression of an immense car park where the sofas are waiting for their owners. The shapes are left there on their own. You are encouraged to see them as they are, not just as decorative objects.

Will visitors be invited to sit down?

Juliette Pollet: Yes, on the mezzanine level there will be places where the visitors can try out certain design pieces.

Studio GGSV: The Galerie Poirel’s mezzanine level represents the halfway point of the exhibition. Visitors will be able to test out Laurent Massaloux and Jean-Yves Leloup’s L’Écouteur there too. It’s a modern take on music rooms where visitors can listen to audio works. The exhibition is designed around an immense black ‘riser’, a piece of equipment employed in theatres. We’ve design this large printed carpet that will be part of a worshop at the école des Beaux-Arts de Nancy after the closure of the exhibition. The carpet will bring the exhibition together and create a galactic ambiance for the visitors, awakening their senses.

Please describe the play area.

Studio GGSV: The objects displayed in this space are not strictly functional. Many of them were created in the 1990s when we were students in design school. Looking back, we realise that that was a happier, freer era than today. That’s when the Radi designers were trying to bring conceptual design into the industry itself using a bit of humour. Tim Thom, the Thomson design team, was creating playful, innovative objects. As part of this movement, Starck made a stereo using a pile of rocks that he called Rock n’ Rock (1995). These are toys for adults, imbued with a certain naiveté and light-heartedness but they also made an important conceptual break with industrial design.

Juliette Pollet: In contrast, the last room in the exhibition, ‘the antechamber’, delves into the paradoxes in the shifting concept of well-being. Here, you find different instruments to help you manage and control your environment, objects that protect you from external threats. They include Aérobie (2013), the CO2 detector by Pierre Charrié and Andrea (2009), the air purifier by Mathieu Lehanneur. Mr. Bugatti (2006), the armchair in wrinkled metal by François Azambourg, is an anxiety-provoking illustration of the contemporary aesthetic of the accidental. The anxiety of our day and age is hidden in its folds.

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Gaëlle Gabillet and Stéphane Villard, how do you view your work? You are designers, scenographers, exhibition curators and teachers all at the same time.

Studio GGSV: Though we navigate different fields, our approach remains the same. We tell stories and examine the issues that are important to us. Our goal is to serve as a communication vehicle. We also try to work with the situation at hand. Exhibitions bring together these two sides of our work: the constraints and the storytelling. Our research project, ‘(Objet) Trou noir’[(Object) Black Hole] , which we completed through a Valorisation de l’Innovation dans l’Ameublement (VIA) Carte Blanche grant in 2011, studies one of our number one topics, ecology and the aesthetics of ecology. We created a series of objects made from porcelainised waste in order to point up the massive production of industrial waste and the wealth of materials that could be extracted from that waste. Even though our creations stayed at the prototype stage, they allowed us to raise the question. That is also our job as designers.

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sTUdIOGGsV

FFI© GGSV

GGSV Studio was founded in 2010 by Gaëlle Gabillet and Stéphane Villard. They won a VIA Carte Blanche grant in 2011 with their project ‘(Objet) Trou noir’ [(Object) Black Hole]. Together, they have an atypical set of skills that covers everything from curation to research design. “Our work ranges from concrete projects to manifestos. We look for forms that lend themselves to multiple interpretations. The materials themselves are at the heart of our concerns.”

They have been published by Made In Design, Petite Friture and la Galerie Cat-Berro. Their work is exhibited on a regular basis (MUDAC, Pavillon de l’Arsenal, FRAC, Museum für Angewandte Kunst – Frankfurt, Biennale Design Saint-Étienne, Muséum, Centre for Contemporary Art Castle of Rivara – Turin, Milan Furniture Show).

Recently, they created the exhibit Form Follows Information for the Biennale Design Saint-Étienne and did the interior design for the theatre La Commune, the national centre for dramatic arts of Aubervilliers. They also won the Paris Shop & Design prize in 2014.

They give frequent talks on their work (Centre Pompidou Paris, Université Paris 8, PAD, Musée des Arts Décoratifs, Maison & Objet, OECD). Additionally, Stéphane Villard directs the INFORME workshop project at the École Nationale Supérieure de Création Industrielle – Les Ateliers.

www.ggsv.fr

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LE cEnTrE nAtIoNal DEs artS PlaStIquES (cNap)Le Centre national des arts plastiques (the National Centre for Visual Arts, Cnap) is a public institution under the Ministry of Culture and Communications. It fosters and supports artistic creation in France in all areas of the visual arts and notably: painting, performance art, sculpture, photography, installation art, video, multimedia, graphic arts, design and graphic design.

As part of its mission, the Cnap shines a light on innovation and emerging contemporary artistic creation by supporting the most daring projects.

The Cnap supports artistic research by awarding research grants to artists who are engaged in experimental approaches and provides financial support for the projects of contemporary art professionals (galleries, publishers, restorers, art critics and others). Additionally, the Cnap offers information to artists and institutions.

Lastly, the Cnap manages a national collection, known as the Fonds national d’art contemporain, which it expands, conserves and promotes in France and throughout the world, thanks to artwork loans. Currently it holds over 97,000 works acquired from living artists over the last 220 years. The collection reflects the contemporary art scene in all its diversity.

The Fonds national d’art contemporain is a collection without walls, which serves to enrich the work of other museums and contribute to exhibitions the world over. Examples of such design exhibitions include Design en stock at the Palais de la Porte Dorée in Paris in 2004, Design à la cour at the Château de Fontainebleau in 2009, Liberty, Equality, Fraternity at Wolfsonian Museum – Florida International University in Miami in 2011 and Design Oracles at the Gaîté lyrique in Paris in 2015. The collection is also accessible online at our site at www.cnap.fr and on the portal for French public design collections at www.lescollectionsdesign.fr.

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The Poirel Gallery is located in the centre of Nancy, opposite the main railway station and directly next to the Centre Prouvé convention centre and the famous Place Sta-nislas. The influence of this vast 1,000 m2 exhibition space is based on the quality of its programming, combining contemporary art and design.

In 2013, the city of Nancy commissioned the designer Robert Stadler to create a perma-nent installation. The work, Traits d’union was produced as part of a national public pro-curement procedure, supported by the Ministry of Culture and Communication. This ar-tistic proposal establishes a dialogue between contemporary art, design and heritage. It is visible on the façade, on the square and inside the exhibition gallery (backlit disks and seating sculptures). Traits d’union projects the architectural setting into the present, through a dynamic re-writing of existing elements, expressing the idea of movement and speed in the urban environment.

LA GALErIE POIrEl

Presentation and programming : www.poirel.nancy.fr | www.nancy.fr

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spoNsOrFormes & Couleurs Design

A little history

Founded in 1969 in Nancy, by Felix and Jacqueline Engel, Formes & Couleurs is at first a design office which purpose is the reorganization of spaces. Felix, interior designer and decorator, wishes to give its amenities a very contemporary, timeless and sophisticated character. He is soon faced with the lack of furniture available. He thus decides to provide author’s furniture from United States, Italy and Scandinavia which will respond to his aesthetic purpose for its customers. Thanks to the success of this furniture created by major designers, he becomes a specialist in international contemporary furniture.

In 1997, Richard Engel, son of the founder, joins Xavier Martin, architect, to take over the buissness. Both, design lovers, will continue and expand the business in the areas of housing and communities. In 2003, they open a second showroom in Metz and entrust the refurbishment to the French-Israeli designer Arik Levy.

Independent coach free of its choices, Formes & Couleurs Design shows great care in the selection of its product ranges. True to its philosophy for almost 50 years, Formes & Couleurs continues its quest for new products guaranteeing quality, continuity, originality and authors offering furniture that have an history. As part of a cultural approach, sale points become exhibitions spaces and introduction to design.

The heart of the activity: layout and decor

An important place is given to furniture private areas in both showrooms. However, since 1969, Formes & Couleurs signed many achievements in the services industry (banks, hospitals, laboratories, clinics, medical offices, local authorities throughout the territory of the Eastern France, large companies). The company achieves all movable equipment of some cultural sites, such as the Opéra National de Lorraine, the Théâtre de la Manufacture but also exceptional venues such as the Centre Pompidou in Metz or the Centre des Congrès Prouvé in Nancy.

At Formes & Couleurs melting signatures is ambitious because nothing is sadder than presenting catalog pages. With a long experience in «collage» Formes & Couleurs Design is proud to offer each customer a personal development. Formes & Couleurs Design works currently with architecture and decoration offices to provide expertise on the choice of products and materials. In the showrooms, it is more than 100 years of creations that meet. In Nancy as in Metz you’ll come across the creations of the Campana’s brothers, the Bouroullec’s brothers, Ron Arad, Piero Lissoni, Vico Magistretti, Antonio Citterio, Patricia Urquiola, Marcel Wanders, Jean Nouvel, Arik Levy, Enzo Catellani, Philippe Starck, but also pioneers of contemporary furniture as Mies Van Der Rohe, Le Corbusier, Marcel Breuer, Eilen Gray, Charlotte Perriand, Bertoïa Harry, Charles and Ray Eames, Eero Saarinen, Arne Jacobsen and of course the regional designer Jean Prouvé, whom Formes & Couleurs was honored to have as customer.

Today, more than ever, the integration of environmental and social requirements is at the heart of the selections. The creations presented by Formes & Couleurs Design are all original or authorized editions by the artists or their descendants. They always offer quality, authenticity and share this consuming passion: the design.

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PractIcALINfOrMaTIOn

The Poirel Gallery is based in the centre of Nancy, immediately next to the railway station, the Centre Prouvé convention centre and 5 minutes from the famous Place Stanislas.

Nancy is 300 km from Paris, 200 km from Dijon, 350 km from Brussels, 400 km from Lyon, 150 km from Luxembourg, 120 km from Strasbourg, 50 km from Metz...

From Paris | TGV Est (1h30)

From Strasbourg | TGV & TER (1h20), by road (1h40)

From Luxembourg | TER Lorraine, by autoroute (1h30)

From Metz | TER Lorraine, by autoroute (40 minutes)

AIRPORTSwww.metz-nancy-lorraine.aeroport.fr www.lux-airport.luwww.strasbourg.aeroport.fr

PRESS TOURfriday 20/11 2015 | 11.45am

PRIVATE VIEWfriday 20/11 2015 | 6.00pm

OPENING TIMES21/11 2015 – 17/04 2016tuesday to friday | 1.00pm – 6.00pmsaturday, sunday | 2.00pm – 6.00pmclosed | every monday; 25/12 and 1st/01

SPECIAL OPENING TIMESschool holidays | 2.00pm – 6.00pmtuesday to sunday

GUIDED TOURevery saturday | 4.00pm – 5.00pm without reservation

galerie Poirel

3 rue Victor Poirel

54000 Nancy

+33 (0)3 83 32 31 25

poirel@nancy.fr

www.poirel.nancy.fr

Poirelfanpage

@Poirel_Nancy

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ProdUctIoN& cOnTactS

GENERAL COMMISSIONERCharles Villeneuve de Janti, Director of the musée des Beaux-Arts de Nancy

SCIENTIFIC COMMISSIONERJuliette Pollet, Curator in charge of the Cnap design and decorative arts collectionStudio GGSV (Gaëlle Gabillet & Stéphane Villard)

SCENOGRAPHYStudio GGSVproduced by the workshops of the Centre technique municipal de Nancy

COPRODUCTIONCentre national des arts plastiques | www.cnap.frGalerie Poirel | www.poirel.nancy.frMusée des Beaux-Arts de Nancy | www.mbanancy.fr City of Nancy | www.nancy.fr

SPONSORSHIP Formes et Couleurs Design

REGIONAL COMMUNICATIONS AND PRESS RELATIONSCity of Nancy — galerie Poirel | Michèle Thisse | +33 (0)3 83 32 91 11 | mthisse@mairie-nancy.frCity of Nancy — press relations | Claude Dupuis-Remond | claude.dupuis-remand@mairie-nancy.fr | +33 (0)3 83 85 56 20

NATIONAL AND INTERNATIONAL PRESS RELATIONS FOR THE CNAPBrunswick Arts | Leslie Compan | +33 (0)6 29 18 48 12 | CNAP@brunswickgroup.com

PUBLIC CONTACT+33 (0)3 83 17 86 77 | servicedespublics-musee@mairie-nancy.fr

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vIsualsfOr PrESs

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The Office1Stiletto StudiosArmchair Short Rest, 1983 / 1990 FNAC 01-541Centre national des arts plastiques© All rights reserved / Cnap / photo: Yves Chenot

2Sebastian BergnePronto hoover, 2004FNAC 05-1994 (1 to 8)Centre national des arts plastiques © Sebastian Bergne / Cnap / photo: Yves Chenot

3Ineke HansTea-pot Black Gold, 2002FNAC 06-192 (1 et 2)Centre national des arts plastiques © ADAGP, Paris / Cnap / photo: Yves Chenot

4Gaetano PesceCoffee maker Vesuvio, 1988 / 1989FNAC 95593 (1 to 5)Centre national des arts plastiques © Gaetano Pesce / Cnap / photo: Bruno Scotti

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The Reception1Francesco BinfaréSfatto Sofa, 2011FNAC 2012-036Centre national des arts plastiques © Francesco Binfaré / Cnap / photo: Yves Chenot

2Nanna DitzelWinkel og Magnussen, 1952 / 2003FNAC 03-1105 (1 to 21)Centre national des arts plastiques © Nanna Dietzel / Cnap / photo: Yves Chenot

3Jean RoyèreArmchair (sans titre), 1948FNAC 91693Centre national des arts plastiques © All rights reserved / Cnap / photo: Yves Chenot

4Vico MagistrettiArmchair Veranda, 1983FNAC 03-571, Centre natio-nal des arts plastiques© Vico Magistretti / Cnap / photo: Yves Chenot

5Maarten Van SeverenChaise longue MVS, 2000FNAC 05-816 (1 & 2)Centre national des arts plastiques © Maarten Van Serveren / Cnap / photo: Yves Chenot

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The Play Area1Gaetano PesceTWBA Chiat/Day office, 1994FNAC 2015-0314Centre national des arts plastiques © Gaetano Pesce / Cnap / photo: Yves Chenot

2Studio 65Game Baby-Lonia, 1986FNAC 93193Centre national des arts plastiques © Studio 65 / Cnap / photo: Yves Chenot

3Tim Thom, Philippe StarckRadio Boa, 1995FNAC 980713Centre national des arts plastiques © All rights reserved © Philippe Starck / Cnap / photo: Yves Chenot

4Nils Holger MoormannArmchair Bookinist, 2007FNAC 08-669 (1 à 11)Centre national des arts plastiques © All rights reserved / Cnap / photo: FR 66

5BlessMulti-fonctional furniture Mobile #1, 2004 / 2012FNAC 2011-0525 (1 to 8)Centre national des arts plastiques © All rights reserved / Cnap / photo: Yves Chenot

6Florence DoléacNaufragés sur lit de moquette, 2008FNAC 09-2009 (1 to 48)Centre national des arts plastiques © ADAGP, Paris / Cnap / photo: Marc Domage

7Radi DesignersWhippet Bench, 1998FNAC 980751© Radi Designers / Cnap / photo: Les Arts Décoratifs, Paris, Jean Tholance

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The An-techamber15.5 DesignersFloor lamp Eyes Cloning, 2008FNAC 10-929 (1 to 3)Centre national des arts plastiques © 5.5 Designers / Cnap / image courtesy of the artist

2Pierre CharriéAérobie, détecteur de CO2 FNAC 2015-0397Centre national des arts plastiques © Pierre Charrié / Cnap / photo: Dieter Amantlaz

3Pucci De RossiRug Peau d’ours, 1983FNAC 94471Centre national des arts plastiques © ADAGP, Paris / Cnap / photo: Galerie Neotu

4Studio FormafantasmaBone Jar, 2012FNAC 2015-0057Centre national des arts plastiques © All rights reserved / Cnap / visuel de Studio Formafantasma

5Erwan & Ronan BouroullecArmchair Workbay, 2007FNAC 08-714Centre national des arts plastiques © Erwan & Ronan Bouroullec / Cnap / photo: Yves Chenot

6Philippe StarckStool W.W., 1991FNAC 07-489Centre national des arts plastiques© Philippe Starck