I try to visit as many exhibitions as well as artists’ studios possible to view photography and other forms of art. Art fairs, biennials and festivals are an efficient way to experience art. In recent years I’ve been fortunate enough to take a number of grant-funded research trips to countries such as South Africa, Hong Kong and Germany in order to explore the art scenes there and meet with artists which has been a very rewarding experience.
Most recently I worked on Etre modern: Le MoMA à Paris at the Fondation Louis Vuitton in Paris – the largest and most cross-disciplinary exhibition MoMA has organised off-site, occupying the complete Frank Gehry-designed building of the Fondation, around 40,0000 square feet. The show brings together paintings, sculptures, drawings, prints, photographs, films, media works, performances, and architecture and design objects from MoMA’s collection. From iconic works by Cézanne, Picasso and Brancusi to contemporary works by Shigetaka Kurita who designed the first set of emoji, Etre modern exemplifies how MoMA’s collection has shaped the public’s definition of modern art and continues to challenge our interpretation of it.
The driving question behind the exhibition is: what did it mean to be a museum of modern art in 1929, when the museum first opened, but also what does it mean today? What did MoMA collect in the 1930s, 40s, and 50s and what does it collect in 2017? In other words, what does being modern entail? MoMA Chief Curator of Photography Quentin Bajac, Curator of the Fondation Louis Vuitton Olivier Michelon and I worked for over a year on the checklist and the presentation of the works.