Collaborating

DRAF as a production unit is a forum where discussions take place, a context for an extended community.

01 The Labs

The Labs are invitations for research-based projects. We offer a space/office in which to work, with the possibility of testing new ideas. Each participant is independent: the outcome of the research does not have to be presented at DRAF in as much as DRAF is not responsible for the research. The aim of the Labs is to open DRAF to different sensibilities, cultures, methodologies and dialogues, so that the Foundation always remains in contact with different realities. We host:

  • FormContent. Now directed by Francesco Pedraglio and Pieternel Vermoortel, with the contribution of Anca Rujoiu, FormContent is a non-profit organisation that has been developing a fertile programme of performances, events, publications and commissions. www.formcontent.org
  • The Centre for Hedonism is a temporary, alternative research space, founded by Matthew Smith. Its central aim is to engage in both planned and spontaneous activities that seek to understand and promote pleasure as an intrinsic good, and to find innovative ways to reveal the research material that it accumulates along the way.  Simultaneously, it seeks to question and examine the expectations placed on creativity and practice. The Centre for Hedonism is a communication tool, a meeting ground, and an experimental platform that will run from June 2014, with an emphasis on collaboration, celebration and making noise.

02 Collecting Matters. Nomas Foundation Rome, London and Kadist Art Foundation, Paris

The Kadist Art Foundation (Paris), Nomas Foundation (Rome) and David Roberts Art Foundation (London), wish to offer their collections as a research tool, to develop an exchange on notions of collection/collecting through an interdisciplinary curatorial fellowship.

The newly formed partnership between the three Foundations marks a collective commitment to encouraging new ways of thinking, sharing and producing knowledge about collections. Acknowledging that the structure and fundamental philosophy behind collecting contemporary art is constantly evolving, the focus of this fellowship will be placed on research as an elastic and flexible practice akin to the process of collecting.

The ‘Collection Matters, an exchange’ Fellowship is characterised by the quality of the produced project but also on the richness of partnership between the three foundations and the following postgraduate programs: Curating the Contemporary, London Metropolitan University & Whitechapel Gallery, London, UK, Fine Arts Sandberg Institut, Amsterdam NL, Design and Production of Visual Arts IUAV Venezia, IT http://collecting-matters.tumblr.com/

03 The Hepworth Wakefield

27 October 2012 – 3 February 2013

For the first time, highlights of the David Roberts Collection are exhibited outside DRAF’s central London headquarters.

Work by Huma Bhabha, Louise Bourgeois, Tony Cragg, Lucian Freud, Damien Hirst, Thomas Houseago, Mark Manders, Eduardo Paolozzi, Marc Quinn, Man Ray, John Stezaker, Andy Warhol and Rebecca Warren are among over 30 outstanding works selected by The Hepworth Wakefield.

This exhibition examines ways in which modern and contemporary artists represent the human body in various media to explore psychological and emotional life. The human head is a particular motif of the exhibition, which has resonance with The Hepworth Wakefield’s current collection display Post-War British Sculpture and Painting.

The exhibition takes as its starting point the work of 19th century sculptor Jules Dalou, an apparent anomaly within the David Roberts collection. Born in 1838, Dalou was famed for his sculptural impressionism and ability to communicate subtly perceptive representations of his subjects rather than simply following a realist ideal.

The title of the exhibition To Hope, To Tremble, To Live is an extract from a quote by Dalou’s extraordinary contemporary, Auguste Rodin, in which he famously exhorts an absolute faith in nature and his endeavour to capture this within sculpture of the human body: “The main thing is to be moved, to love, to hope, to tremble, to live”.

As The Hepworth Wakefield’s first large-scale exhibition in collaboration with a private art collection, it provides an opportunity to examine the significance of collecting and collections for public art galleries, as well as their current and historical context.

Gemma Millward, curator explains: “This new exhibition is part of a year-long programme of exhibitions and displays at The Hepworth Wakefield that will explore various aspects of collecting and collections.  Our own collection is a superb and highly popular resource that is now growing once again through generous philanthropy.  Our work with the David Roberts Collection is a wonderful opportunity to bring an inspirational group of works to Yorkshire to reach a wide new audience in a public context.’

04 Fondation Hippocrène, Paris

3 October – 20 December 2014

DRAF is invited by the Fondation Hippocrène, Paris to present a new exhibition for the 13th edition of Propos d’Europe. The invitation is within the framework of a programme of partnerships with European foundations, initiated in 2013. From 3 October to 20 December Le musée d’une nuit (script for leaving traces), curated by Vincent Honoré (Director, DRAF), brings together some thirty works from the two thousand comprising the David Roberts Collection as well as a number of special commissions, for DRAF’s first exhibition outside the United Kingdom.

Paintings, drawings, photographs, sculptures, installations and films by modern artists such as Man Ray or Tamara de Lempicka, and contemporary figures including Nina Beier and Marie Lund, Yto Barrada, Martin Boyce, Enrico David, Michael Dean, Ayan Farah, Bethan Huws, Pierre Huyghe, Sergej Jensen, Renaud Jerez, Sarah Lucas, Benoît Maire, Marlie Mul and Rosemarie Trockel take over the former architectural practice, built in 1927 by Robert Mallet-Stevens and now the headquarters of the Fondation Hippocrène.

Every building created by Robert Mallet-Stevens looks like one of his film sets, and the people in it are like actors. Like film sets, Mallet-Stevens’ buildings proceed by indications (base, window, chimney, etc., defined simply, just enough to be recognisable) and act by suggestion, putting the onus on the beholder to recreate the totality using the fragments with which they are provided. Architectural historian Fernando Montes.

The practice – or studio – of Mallet-Stevens (1886-1945), founder of the Union des Artistes Modernes (1929), was built during the golden age of modernist architecture by one of the major architects of the day, on a par with Le Corbusier. However, Mallet-Stevens’ body of work began to fade soon after his death. Almost none of his constructions have survived: only traces remain. Most of his villas were left incomplete or were altered. The larger buildings were destroyed or denatured. It was only in 2005, with a retrospective exhibition at the Pompidou Centre, that his work began to enjoy greater public recognition.

This exhibition is articulated in relation to its context, and to the twofold figures of the architect and collector. To present a collection is implicitly to paint a portrait of the person who created it. This makes us think of a collection not in terms of a process of accumulation but as a fundamental dynamics of loss. To exhibit works in a Mallet-Stevens building is to inhabit a memory of architecture and the sets of silent films (Mallet-Stevens started his career building sets, notably for the filmmaker Marcel L’Herbier).

In addition to works from the David Roberts Collection, the exhibition will include special commissions from artists with a long relationship with DRAF. Benoît Maire has made a work inspired by Man Ray’s 1929 film Les Mystères du Château du Dé, shown in one of the Fondation’s spaces, while Nina Beier and Marie Lund are reactivating a performance previously given at DRAF in 2008. Renaud Jerez will present a new intervention in the space.

Le musée d’une nuit (script for leaving traces) is an exhibition which proposes an experience of loss. Notions of trace, conservation and ruin sustain a fiction in which artworks from the 1930s to the present play on a certain formal fragility, orchestrating an exhibition that reveals itself to its own remnant, staged within a space that itself exists as an echo of what it once was.

This exhibition is part of the Parcours Privé section of FIAC 2014. In collaboration with the Fondation Hippocrène. With thanks to Slash-Paris and cura magazine.

Notes

Created in 1992 by Jean and Mona Guyot, the Fondation Hippocrène is an independent family-run foundation recognised as promoting the public interest. Its main role is to bring together European youth, to “make Europe a living reality” by providing financial support for cultural, educational, humanitarian and social projects. Since 2001, the Fondation has been headquartered in the former studio of architect Mallet-Stevens and, since 2002, it has hosted art exhibitions under the general title Propos d’Europe, each designed to spotlight the art scene of a given country, and so promoting Europe’s cultural richness.

Fondation Hippocrène, 12, rue Mallet-Stevens 75016 Paris – France

Metros: Ranelagh – Jasmin Bus: 22

Tel.: +33 (0)1 45 20 95 94

www.fondationhippocrene.eu

Exhibition: 3 October-20 December 2014

Tuesday to Saturday, 2pm-7pm. Admission free