press release - Galerie des Galeries

EXHIBITION
FROM JANUARY 27th
TO MARCH 19th 2011
AT GALERIE
DES GALERIES
ALEX KATZ
CLAUDE CLOSKY
GENERAL IDEA
HANS-PETER FELDMANN
HSIA-FEI CHANG
JOSÉPHINE MECKSEPER
JUAN FRANCISCO CASAS
MARLO PASCUAL
MARTHA ROSLER
MICHEL JOURNIAC
REBECCA BOURNIGAULT
GALERIES LAFAYETTE
40 BD HAUSSMANN
75009 PARIS
Michel JOURNIAC, « 24 heures de la vie d’une femme ordinaire, les fantasmes, la strip-teaseuse » (novembre 1974). FRAC Limousin. © Adagp, Paris 2010
FASHION PHOTOGRAPHY AS MIRRORED
IN CONTEMPORARY ART,
FROM THE 1960’S TO THE PRESENT.
AN EXHIBITION CURATED BY JONATHAN CHAUVEAU
OPENING ON WEDNESDAY JANUARY 26th 2011
For over fifty years fashion photography has redefined
the canons of female beauty again and again. One of
the most widely shared visual cultures in the world, the province
of advertising and fashion magazines, this particular art
of the portrait has always had an impact to one degree or
another on contemporary art.
Scheduled to open during Fashion Week, COVER GIRL
the art show features ten pieces each of which offers a quirky,
offbeat view of the “beautiful woman” aesthetics that is normally
conveyed by the world of fashion.
The artworks selected for the show can be broken down into
three different categories: those that are directly inspired
by fashion photography (Alex Katz, Juan Francisco Casas) ;
those that reappropriate its specific language in order
to elaborate a critical discourse of a social or political nature
(Joséphine Meckseper, Martha Rosler, General Idea,
Michel Journiac, Claude Closky); and lastly those that use
it as if it were an immense repertory of poetic forms
(Hans-Peter Feldmann, Marlo Pascual, Rebecca Bournigault).
COVER GIRL also includes an arresting selection of magazine
covers published by Galeries Lafayette between 1906 and 1968.
Born in 1978, Jonathan Chauveau is an exhibition curator and journalist.
La Galerie des Galerie
ART - MODE - DESIGN
1 st floor
Galeries Lafayette
40, boulevard Haussmann
75009, Paris
From Tuesday to Saturday 11 am to 7 pm
Free admission
Tel : + 33 (0)1 42 82 81 98
galeriedesgaleries@galerieslafayette.com
Contacts Presse :
Galerie des Galeries
Elsa Janssen / Laurène Blottière
Tel : + 33 (0) 1 42 82 30 90 / 35 76
ejanssen@galerieslafayette.com
lblottiere@galerieslafayette.com
2nd Bureau
Tel: + 33 (0) 1 42 33 93 18
Caroline Comte
c.comte@2e-bureau.com
Marie-Laure Girardon
m.girardon@2e-bureau.com
Visuals to download from :
www.galeriedesgaleries.com
” Walking ”, 2010. Oil on canvas / Courtesy Galerie Thaddaeus Ropac
Alex Katz
Solo shows (selection)
Group shows (selection)
Born in 1927 in Brooklyn, New-York
Lives and works in New-York
2009: “Alex Katz: An American
Way of Seeing”, Musée de
Grenoble, France.
2010: “Wings”, Galerie Thaddaeus
Ropac, Salzburg, Austria.
The quiet charm given off by the
young woman depicted in “ Walking ”
(2010) is typical of Alex Katz’s style.
The American heir of Edouard
Manet, this great New York painter
has been creating portraits of
modern life for half a century,
mostly of his wife, family and close
friends. The pose of the model, the
graceful look, the extreme attention
paid to the elegance of the
clothing, the direction of the gaze,
the style of the hair: Everything
in the way Katz represents the
people he loves is inspired by a
certain aesthetic, one that is sober,
chic and refined, just the thing for
fashion photography.
2004: “Alex Katz: Cartoons
and Paintings”, Albertina Museum,
Vienna.
2002 : “Cher Peintre... Peintures
Figuratives Depuis L’ultime Picabia“,
the Georges Pompidou Center,
Paris.
1995: “Alex Katz: American
Landscape“, Staatliche Kunsthalle,
Baden-Baden, Germany.
1993 : “Autoportraits
Contemporains“, Espace Lyonnais
d’Art Contemporain, Lyon.
1988: “Alex Katz: a Print
Retrospective”, Brooklyn Museum
of Art, Brooklyn, New York.
1964: “Recent Landscapes by Eight
Americans”, MoMA, New York.
1986: “Alex Katz”, Whitney Museum
of American Art, New York.
1974: “Alex Katz Prints”, Whitney
Museum of American Art, New York.
1954: First exhibition, Roko Gallery,
New York.
1960: “Young America 1960:
Thirty American Painters Under
Thirty-Six”, Whitney Museum
of American Art, New York.
Cover of the CMNAM catalogue no. 74 winter 2000 / 2001
“A noël ma mère se déguise en Père Noël “ Collage and roller ball pen on paper
Claude Closky
Born in Paris in 1963
Lives and works in Paris
Claude Closky reappropriates
automatic reflexes, visual and
linguistic ones like slogans and
advertising images, which he
repeats to the point where they
become nonsense. He likes to
amass irrefutable, though useless,
classifications and tautological
demonstrations. Whether in his
drawings, photographs, video
installations or Internet sites, Closky
behaves like a contemporary clown
looking to deride the rationality
of commercial language, celebrity
culture or the artistic pretentions
of the mass media by desperately
thumbing his nose at them. His
“Mother Christmas” or “Mrs. Claus”
cover, which he did for the Cahiers
du MNAM (Pompidou Center, winter
2000 / 2001), shows his interest
in spaces for artistic expression
that differ from what galleries and
museums usually propose. The
cover girl here was lifted from the
cover of a “Christmas special”
sales catalogue put out by a major
department store in Paris.
Solo shows (selection)
2010: “Laloli”, Galerie Laurent
Godin, Paris.
“Yazı mı Tura mı”, Akbank Art
Center, Istanbul.
2008 : “Rétrospective 8002-9891”,
Mac/Val, Vitry-sur-Seine, France.
2004: “U”, Fondation Miro,
Barcelona.
2003: “Television”, Location 1,
New-York.
1999: “Weekend”, The Deep
Gallery, Tokyo.
1993: “Point de mire”, the Georges
Pompidou Center, Paris.
Group shows (selection)
2006: “Eye on Europe: Prints,
Books & Multiples / 1960 to Now”,
MoMA, New-York.
2002: “Le diaphane & l’Obscur“,
Maison Européenne
de la Photographie, Paris.
2001: “Extra Art: a Survey of Artists’
Ephemera 1960-1999“,
CCAC Institute, San Francisco.
“Un art populaire“, Fondation
Cartier, Paris.
“Manipulating the Self Issue“ in FILE Megazine.
“Punk ‘Til you Puke! Issue“ in FILE Megazine
Vol. 1, no. 2 & 3, May / June 1972 / Courtesy Galerie Frédéric Giroux
Vol. 3, no. 4, Fall 1977 / Courtesy Galerie Frédéric Giroux
General Idea
Artists collective (Felix Partz,
Jorge Zontal and AA Bronson),
active from 1967 to 1994.
General Idea developed a multifaceted, subversive, humor-filled
art that worked like an antidote to
the dominant visual productions
at the time, which they viewed as
viruses. Between 1972 and 1984,
General Idea published the major
counterculture magazine for North
America, the review FILE, a sarcastic punk reappropriation of LIFE
magazine. A selection of issues
of the magazine featuring a range
of “anti-cover girls” on the cover
will be made available to the public
during the COVER GIRL show.
Solo shows (selection)
Group shows (selection)
2007: “General Idea: Ediciones
1967-1995”, Centro Andaluz
de Arte Contemporáneo, Seville.
2006: “Into Me/Out of Me”,
P.S.1, New-York.
2001: “Negative Thoughts”, Museum
of Contemporary Art, Chicago.
1998: “General Idea”,
Camden Arts Centre, London.
1996: “One Day of AZT / One
Year of AZT”, MoMA, New-York.
1993: “Fin de siècle”, San Francisco
Museum of Modern Art,
San Francisco.
1987: “The Armory of the 1984
Miss General Idea Pavillion”,
Setagaya Art Museum, Tokyo.
2002: “Extra Art”, Institute
of Contemporary Arts, London.
2001: “Let’s Entertain”, the Georges
Pompidou Center, Paris.
1999: “Word”, Museum of
Contemporary Art, Sydney.
1997: “Disrupture: Postmodern
Media”, San Francisco Museum of
Modern Art, San Francisco.
1992: “Three or More—Multiplied
Art from Duchamp to the Present”,
Wacoal Art Center, Tokyo.
1973: “Canada Trajectoires ‘73“,
Musée d’Art moderne de la Ville
de Paris.
“Legs“, 2008. 31 photographs / Courtesy Simon Lee Gallery © ADAGP, Paris 2010
Hans-Peter
Feldmann
Born in 1941 in Düsseldorf
Lives and works in Düsseldorf
In the visual desert of postwar
Germany, Hans-Peter Feldmann
survived thanks to the cheap
trashy images that he managed
to dig up, including stamps, found
snapshots, magazine cuttings, old
postcards and so on. Later he
became an artist by turning those
worthless bits and pieces that no
one even thought of associating
with aesthetic value into works of
art. Feldmann is a methodical—
some will say obsessional—collector
of our visual “rubbish”; his artistic
personality stands out because
of his steadfast refusal to use the
least word to either explain or even
title his works, a way for him to
assert that the system of popular
images—even if the images in
question are trivial, devoid of artistic
intention and commercial in origin—
possesses its very own language
and poetic logic.
la photographie, Paris.
“Legs,” which the artist created
from images clipped out of fashion
magazines, features a visual study,
both scientific and poetic, of the
range of positions that the legs of
a woman (dressed in a skirt) can
adopt.
1972: “Billeder af Feldmann
(Bilder von Feldmann)“,
Daner Galleriet, Copenhagen.
Solo shows (selection)
2003: Venice Biennale
2011: Retrospective, Hugo Boss
Prize 2010, Guggenheim Museum,
New-York.
1977: dokumenta 6, Kassel,
Germany.
2010: “An Art Exhibition”, Museo
Nacional Centro de Arte Reina
Sofía, Madrid.
2002: “Hans-Peter Feldmann“,
Centre national de
1990: “Hans-Peter Feldmann,
das Museum im Kopf“, Portikus,
Frankfurt.
Group shows (selection)
2009: Venice Biennale
1972: dokumenta 5, Kassel,
Germany.
“Pin up“, 2001. Color photography / Courtesy Galerie Laurent Godin, Paris
Hsia-Fei
Chang
Born in 1973 in Taipei, Taiwan
Lives and works in Paris
Hsia-Fei Chang is a young
Taiwanese-born French artist.
A photographer as well as a visual
and performance artist, Chang
often plays with her own image in
order to question in an offbeat,
ironic and occasionally trashy way
the status of women, what they
want, but also what society expects
of them.
Solo shows (selection)
Group shows (selection)
2009: Galerie Laurent Godin,
Paris.
2008: “Art for Art’s Shake”,
Bologna, Italy.
2007: Frac Languedoc-Roussillon,
duo with Christian Robert-Tissot,
Montpellier.
2007: “Global Feminism”, Elizabeth
A. Sackler Center, Brooklyn
Museum, New-York.
2004: “Piñata Forever”, La Box,
Bourges, France.
2006: “Notre Histoire“,
Palais de Tokyo, Paris.
2003: “Miss China Beauty Room
01”, Miss China Beauty, Paris.
2004: “Live“, Palais de Tokyo,
Paris.
2002: “Hsia-Fei sings....”,
Paris Project Room, Paris.
2001: “Traversée“, Musée d’Art
moderne de la Ville de Paris.
“Blow Up (Tamara, Michelli, Laura)”, 2007. Courtesy Galerie Reinhard Hauff © ADAGP, Paris 2010
Joséphine
Meckseper
Born in 1964 in Lilienthal, Germany
Lives and works in New-York
The work of Joséphine Meckseper
makes use of the aestheticizing
language of the luxury goods
industry to deliver a socially and
politically committed message.
Yet her discourse partakes of a
certain ambiguity due to the fact
that the counterculture no longer
seems able to express itself
other than through the seductive
methods that are the province
of consumer society.
The photograph “Blow Up,
Tamara, Michelli, Laura” (2007) is
exemplary of her approach in
this sense. The piece, which might
equally be called “the models
are tired,” seems to have captured
the attitude of these professionals
during a pause between two
exhausting photo shoots.
During this moment of repose,
the pull of gravity, impatience and
weariness appear to have once
again laid claim to bodies that are
supposed to offer an image of
lightness, sensuality and feigned joy.
Seine“, Galerie Reinhard Hauff,
Stuttgart, Germany.
Solo shows (selection)
2008: “Prospect.1”, New Orleans
Biennial, New Orleans.
2011: The FLAG Art Foundation,
New-York.
2008: “New Photography 2008:
Josephine Meckseper and Mikhael
Subotzky”, MoMA, New-York.
2006: “International Project Room”,
with Galerie Reinhard Hauff, ARCO,
Madrid.
2005: “%“, Elizabeth Dee Gallery,
New-York.
2001:“Shine—oder Jedem das
Group shows (selection)
2010: “2010 Whitney Biennial”,
Whitney Museum of American Art,
New-York.
2005: “Experiencing Duration”,
Biennale d’art contemporain
of Lyon.
1998: “Super Freaks: Post Pop and
the New Generation. Part 1: Trash”,
Greene Naftali, New-York.
1992: “Tattoo Collection,” Andrea
Rosen Gallery, New York; Daniel
Buchholz Gallery, Cologne; Jennifer
Flay Gallery, Paris.
“What lies beneath”, 2010. Series of three oil paintings on canvas / Courtesy Galerie Fernando Pradilla
Juan
Francisco
Casas
Born in 1976 in La Carolina, Spain
Lives and works in Paris
The joyful and lascivious
insouciance of “What lies beneath”
(2010) runs throughout most of
Juan Francisco Casas oil paintings.
This young and talented painter
from Madrid paints his canvases
after candid photos of his female
friends. Casas’s work displays the
influence of the style of deceptively
improvised photo shoots that are
common in so-called realist fashion
photography and notably in the
work of Terry Richardson.
Casas is currently a painter in
residence in Paris.
Solo shows (selection)
2009: “Foreignaffairs”, Galería
Fernando Pradilla, Madrid.
2007: “Mis(s)behave(again)”,
Sala Manolo Alés, La Línea, Cadix,
Spain.
2006: “Sacrebleu!», Galería
Sandunga, Grenada, Spain.
2005: “Saturdaynighthbathroom”,
Galería Fernando Pradilla, Madrid.
1998: “Haikús“, Casa de Jaén,
Grenada, Spain.
Group shows (selection)
2009: “Diez +: Arte contemporáneo
español en los premios ABC”,
Instituto Cervantes, Moscow.
2008: “The Joy of Sex”, White
Square Gallery, Las Vegas.
2007: “4 Pintores Contemporáneos
Españoles”, Galería El Museo,
Bogotá, Colombia.
2005: 2nd Prague Biennial,
Expanded Painting / Acción
Directa. Karlin Hall, Prague.
1997: “Jóvenes Pintores
Jiennenses”, Casa de Jaén,
Grenada, Spain.
“Untitled”, 2010. Digital C-print / Courtesy of the artist and Casey Kaplan, New York / Photo: Cary Whittier
Marlo Pascual
Born in 1972 in Nashville,
Tennessee
Lives and works in Brooklyn,
New-York
Still relatively unknown in France,
this young American artist
transforms old black-and-white
portraits of American movie
actresses into surprising “photosculptures.” The charm of her works
lies in the discrepancy one sees
between the vintage Hollywood
look of the photos she recycles
and the poetry she achieves in her
treatment of them. Marlo Pascual
adopts a perfectly mastered
procedure involving surreal
associations. For example, she
has impaled the life-size image of
a movie star on an old coat rack,
highlighted the smoldering look of
a woman with the flames of a real
candelabra, and applied to the
photo of face spread on the floor
a giant seashell that closely mirrors
its shape.
Solo shows (selection)
2010: Aspen Art Museum, Aspen,
Colorado.
Casey Kaplan Gallery, New York.
2009: Studio 495, Swiss Institute,
New-York.
Group shows (selection)
2010: “Being there”, Meet Factory,
Prague. Les rencontres d’Arles,
Discovery Award, Arles, France.
2009: “In Practice”, Sculpture
Center, New York.
2008: “Tales of the Grotesque”,
Karma international, Zurich,
Switzerland.
“Transparent Box, or Vanity Fair”, from the series “Body Beautiful, or Beauty Knows No Pain”, (1966-1972) / Courtesy of the artist and Galerie Christian Nagel
Martha Rosler
Born in 1943 in Brooklyn
Lives and works in United States
Active in the antiwar and feminist
movements from the late 1960s
on, Martha Rosler has developed
an art practice that springs from
a critical reflection on American
society, even in its most recent
events. Excerpted from the
series “Beauty Knows No Pain”
(1966 –1972), the featured
photomontage, “Transparent
Box, or Vanity Fair,” is a perfect
example of the visual “stripping
away” that Rosler performs on the
various representations of women
that are promoted by fashion
magazines.
Solo shows (selection)
Group shows (selection)
2010: “Martha Rosler”, Galerie
Christian Nagel, Antwerp, Belgium.
2009: “1969”, P.S.1 Contemporary
Art Center - MoMA, New-York.
2003: “Oleanna Space/Ship/
Station”, Utopia Station, 50th
Venice Biennale.
2007: “Body politicx”,
documenta 12, Kassel, Germany.
1995: «Public Information: Desire,
Disaster, Document”, San Francisco
Museum of Modern Art,
San Francisco.
1982: “Watchwords of the Eighties”,
documenta 7, Kassel, Germany.
1975: The Kitchen, New-York.
2002: “Personal and Political:
The Women’s Art Movement
1969-75”, Guild Hall, New-York.
1995: “25 Years of Video Art”,
MoMA, New-York.
1978: “Out of the House”,
Whitney Museum Downtown Gallery,
New-York.
”24 heures de la vie d’une femme ordinaire, les fantasmes, la strip-teaseuse” (November 1974). Black-and-white photography / Collection FRAC Limousin © ADAGP, Paris 2010
Michel
Journiac
Born in 1935 and died in 1995
in Paris
An adherent of Body Art, Michel
Journiac shows how society comes
to mold bodies in its image. In his
famous photographed performance
“24h dans la vie d’une femme
ordinaire” (24 Hours in the Life of
an Ordinary Woman), Journiac,
in drag, chronicles in the first
part of his presentation called “Le
quotidien” (The Day-to-Day) all
the daily social obligations a woman
had to conform to in the 1970s,
from the careful touch-ups applied
to her make-up to the dinner she
had to prepare for her husband. In
a later episode — “Les fantasmes”
(Fantasies) — viewers are led to
expect that this same woman will
slip the collar of her condition by
putting her imagination to work.
But the very opposite occurs: the
fantasies of an ordinary woman
(The Bride, the Whore, the Cover
Girl, the Kidnap Victim, and so on)
are shown to be just as codified as
her real life is.
Solo shows (selection)
2004: ”Michel Journiac”, Musée
d’art moderne et contemporain
of Strasbourg.
1994: ”Rituel de transmutation:
12ème étape, l’icône d’alliance”,
the Bilbao Museum of
Contemporary Art, Portugal.
1983: ”Action de corps exclu”, the
Georges Pompidou Center, Paris.
1981: ”Rituel de corps interdits I”,
the Georges Pompidou Center,
Paris.
”Rituel de corps interdits Il”,
Museum of Modern Art, Stockholm.
Group shows (selection)
2002: ”La vie, au fond, se rit
du vrai”, CAPC, Bordeaux.
1998: ”Out of Actions: Between
Performance and the Object”,
1949-1979, MOCA, Los Angeles.
1997: ”L’empreinte”, the Georges
Pompidou Center, Paris.
1990: ”Le visage dans l’art
contemporain”, Musée
du Luxembourg, Paris.
1980: ”European Trends in Modern
Art 1950-1980”, Espace Pierre
Cardin, New York.
1979: ”Tendances de l’art en
France 1963-1978”, Musée d’Art
moderne de la Ville de Paris.
“ X “ III, 2006. Watercolor and glitter on paper © Rebecca Bournigault – Courtesy Galerie Frédéric Giroux
Rebecca
Bournigault
Born in 1970 in Colmar, France
Lives and works in Paris
and New-York
Dating from the early 1990s,
Rebecca Bournigault’s output
represents one of the most
significant bodies of video work
on the French art scene. Her
aesthetic displays a formal paring
down in the extreme which she
puts in the service of a certain
emotional authenticity, notably in
her “Portraits” series of videos.
At the same time Bournigault has
also been developing her work in
watercolor and photography. For
COVER GIRL, she will create
a large-format watercolor from
the cover of a women’s magazine
of her choice.
This watercolor will be the object of
a screenprinting edited by Bernard
Chauveau for the publication of the
COVER GIRL exhibition catalog.
Group shows (selection)
2010: “Let’s dance“, MAC/VAL,
Vitry-sur-Seine.
Solo shows (selection)
2010: “Emporte-moi / Sweep off my
feet “, MAC/VAL, Vitry-sur-Seine.
2008: “Les émeutiers“, Galerie Von
Bartha, Basel.
2007 : “Playback“, Musée d’art
moderne/ARC, Paris.
2007: “Six cent quarante-quatre
millimètres“, Galerie Frédéric
Giroux, Paris.
1997: “Beyond the Banal: French
Art in the Nineties”, Nexus
Contemporary Art Center, Atlanta.
2005: “La chambre interdite“,
Palais de Tokyo, Paris.
1994: “Winter of Love”, P.S.1
Museum, New-York.
2001:“Préliminaires“, Le studio,
Yvon Lambert, Paris.
1998: “Rebecca Bournigault“,
Galerie deux, Tokyo.
Galeries Lafayette Sales Catalogue, 1934. Première Floraison,
Color cover, 4 p. / Dreager Printers. Two copies.
Patrimoine & Archives Historiques des Galeries Lafayette
Galeries Lafayette Sales Catalogue, 1940/04. Toilettes d’été
12 p., b&w / G. Lang Printers, Paris.
Patrimoine & Archives Historiques des Galeries Lafayette
The Galeries Lafayette “COVER GIRL ”
from 1906 to 1968
Galeries Lafayette has fostered
the myth of the cover girl since
the turn of the last century.
Since 1894, the year it opened
its doors to the public, this Parisian
department store has widely
promoted its vision of the “beautiful
woman” by entrusting major art
directors with creating the cover
of its sales catalogue.
Along with illustrious and talented
unknowns, a number of names
stand out today, including Georges
Lepape for the 1910s;
Jean-Paul Domergue and AM
Cassandre for the ‘20s;
Peter Knapp for the ‘50s;
Jean Widmer for the ‘60s; and
of course Jean-Paul Goude for
the first decade of our century.
For the COVER GIRL show,
we have selected ten Galeries
Lafayette sales catalogues
that are representative
of revolutions in aesthetics and
on which the cover girl figures
prominently of course, from
the start of her career in the belle
époque until the late 1960s.
This project would never have seen the light
of day if Philippe Houzé, the president of
the Board of Directors of Groupe Galeries
Lafayette, hadn’t asked the fashion historian
Florence Brachet Champsaur in 2008
to create a Service du Patrimoine et des
Archives Historiques (the Heritage and
Historical Archives Department) for the
Lafayette group, a department she is proud
to head today.
La Galerie des Galeries
ART - MODE
- DESIGN
The Galerie des Galeries, designed
by the architect Pascal Grasso, is a
permanent exhibition venue located
on the first floor of the Lafayette
Coupole, in the Luxury space that
brings together in one place the
major names in fashion. The aim and
ambition of the Galerie des Galeries
is to help visitors discover the talented
artists of today and tomorrow.
The gallery’s exhibition program,
organized around five shows per
year dedicated to French, and
international work in various creative
fields, looks to emphasize the ability
to reach across categories that exists
between fashion, the finearts and
design, disciplines that have always
inspired Galeries Lafayette.
Upcoming
shows:
As part of the “La Parisienne” event
at Galeries Lafayette, Thibault de
Montaigu and Sofia Achaval imagine
an exhibition at Galerie des Galeries.
From March 30th to June 4th.
« Tout ou partie des œuvres figurant dans ce dossier de
presse sont protégées par le droit d’auteur. Les œuvres
de l’ADAGP (www.adagp.fr) peuvent être publiées aux
conditions suivantes : Pour les publications de presse
ayant conclu une convention avec l’ADAGP : se référer
aux stipulations de celle-ci. Pour les autres publications :
exonération des deux premières reproductions illustrant
un article consacré à un évènement d’actualité et d’un
format maximum d’ 1 /4 de page; au-delà de ce nombre
ou de ce format les reproductions seront soumises
More information on:
galeriedesgaleries@galerieslafayette.com
à des droits de reproduction ; toute reproduction en
couverture ou à la une devra faire l’objet d’une demande
d’autorisation auprès du Service Presse de l’ADAGP ; Le
copyright à mentionner auprès de toute reproduction
sera : nom de l’auteur, titre et de l’œuvre de © Adagp,
Paris 200.. (date de publication), et ce, quelle que soit
la provenance de l’image ou le lieu de conservation
de l’œuvre. »