Traverser la nuit :
Works from the Antoine de Galbert collection
From March 12, 2022, artworks by Tomasz Machciński and Eugène Gabritchevsky are on view at MAAT (Museum of Art, Architecture and Technology) in Lisbon until August 29, 2022.
On the occasion of the Portugal-France Season 2022, MAAT is presenting a broad overview of Antoine de Galbert’s personal collection in Portugal for the first time.
Guided by the site’s history and original purpose, the theme of the nighttime quickly imposed itself. Built in the early 20th century to supply Lisbon and the surrounding region with electricity, the Central Tejo power station bore witness to the far-reaching changes that took place at the start of the last century as power plants made electricity and lighting increasingly ubiquitous. Alongside the emergence of psychoanalysis, this energy revolution transformed the night and our relationship with it.
Providing an endless source of inspiration for artists, the night continues to permeate and infuse art with the philosophical, political, societal, ecological and scientific questions it raises. The night can evoke both hope and dread, but it is also a time and place for the freedom and transgression that offer such fertile ground for creation and are echoed in Antoine de Galbert’s collection.
Arranged in a way that represents the passage from dawn to dusk, from blindness and disorientation to better days on the horizon, from nocturnal dreams to the cosmic night, the exhibition invites visitors to traverse this nocturnal space, which is so ripe for the imagination, dreams and visions of the future.
Curated by Noëlig Le Roux.
Artists : Claudio Abate, Marina Abramović, Jane Alexander, Pilar Albarracín, Dieter Appelt, Clément Bagot, Frédéric Benrath, Julien Berthier, Sara Bichão, Olivier Blanckart, Anna Blume and Bernhard Blume, Cathryn Boch, Pierre-Yves Bohm, Christian Boltanski, Michaël Borremans, Marina Bourdoncle, Constantin Brâncuși, Robert Breer, Miriam Cahn, Roman Cieślewicz, David Claerbout, Denise Colomb, Nicolas Darrot, Thierry De Cordier, Philippe De Gobert, Hervé Di Rosa, Hubert Duprat, Leandro Erlich, Didier Faustino, Flavio Favelli, Hans-Peter Feldmann, André Félix, Lucio Fontana, Joan Fontcuberta, Eugen Gabritschevsky, Alberto García-Alix, Gilbert & George, Hans Jörg Georgi, Raoul Hausmann, Zhang Huan, John Isaacs, Šejla Kamerić, Mari Katayama, André Kertész, Jürgen Klauke, Nicolás Lamas, Annie Leibovitz, Eugène Leroy, Urs Lüthi, Tomasz Machciński, Man Ray, Philippe Mayaux, Anthony McCall, Annette Messager, Jorge Molder, Zanele Muholi, Mohror, Jonathan Monk, François Morellet, Roman Opałka, Lucien Pelen, Otto Piene, Éric Pougeau, Arnulf Rainer, Thomas Ruff, Claude Rutault, Frank Elmore Ross, Decebal Scriba, Miri Segal, Paul Sescau, Patti Smith, W. Eugene Smith, Agathe Snow, Louis Soutter, Ceija Stojka, Christer Strömholm, Istvàn Szirànyi, Stéphane Thidet, Alexander Tsikarishvili, Janaina Tschäpe, Nobuko Tsuchiya, Ben Vautier, Francesca Woodman, Thomas Zipp, Jérôme Zonder.
Heir to the Russian aristocracy of the 19th century, this renowned biologist fell into madness at the height of his scientific career. Interned in Germany, he threw himself body and soul into the creation of thousands of pages covered in gouache, charcoal or watercolour; thus opening, like a window in his cell, an escape into an infinite universe, a metaphysical escape. His fantastic works, when they are not abstract, are populated with ghostly characters: hybrid monsters, multicoloured insects, characters with disproportionate eyes, or small beings with the appearance of mutants.
His work, which captivated Daniel Cordier and Jean Dubuffet, is represented in important collections across the world, and thanks to a gift by Cordier, is in the permanent collection of the Paris Pompidou Center.
At a very young age, Tomasz Machciński built an identity around an autograph, addressed to him by an actress he believed to be his mother. From this confusion, which lasted more than twenty years, a protean and personal mythology was born that reconstructs the artist. As the image of the Ovidian myth, or Gregor Samsa, Tomasz Machciński cannot be described. Indeed, his work consists of over 22 000 self-portraits of as many different physiognomies. Exhibited in 2019 at the Rencontres de la Photographie, his works are already part of the Museum of Modern Art in Warsaw and the Museum of Photography in Krakow (Poland) as well as the collection abcd/Bruno Decharme.