Christian Jaccard - Fonds de la collection du musée d'art moderne

Christian Jaccard. Fonds de la collection du Musée national d'art moderne

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In 2017, the visual artist Christian Jaccard makes an exceptional donation to the Centre Pompidou. Presented here to the public for the first time, it is an account of a powerfully original journey, which translates the world through two strong ideas, "to tie" and "to burn".
"The choice and purpose of the donation is to put into perspective the acquisitions made by the Musée national d'art moderne over the last few decades, and to show my gratitude to those who have looked at and committed their expertise to these works. Tie/Burn are two "tools" forming a paradigm that postulates a way of seeing things and translating a certain dynamic in the world. Between knotted and igneous pathways, my intuitions are guided by the entropy of contradictory and yet concomitant forces. Their appropriation, their occasional diversion, the exploration of these two parallel paths are the expression of a confrontation of dissipated energies (emancipated then subjugated), and stigmatized by the choice of materials and mediums and whose application, like the whims of chance, materializes a phenomenology of imprints. The dynamics of my intuitions bet and speculate along these two paths, touching each other, without ever merging. The chosen works shed light on, clarify and legitimize the method by which the sources and then the traces of their energy are knotted, constructed, propagated, ignited, transformed, consumed and disintegrated. It is an intrigue whose forces of attraction and repulsion never cease to be exalted, and of which works of various natures remain: these are the objects of the donation. »


Data sheet

Number of pages
17 x 24 cm
Publication date

Jaccard (Christian)

Christian Jaccard was born in 1939 in Fontenay-sous-Bois, France.

He lives and works in Paris.

After having studied at the school of fine arts Paris, Christian Jaccard perturbs very soon the traditional act of painting.

Free of the frame, the canvas, placed on the ground, is printed with the help of what he calls “tools”: natural objects (plants and insects), paper, ribbon. His work thus places him in line with preoccupations close to those of the group Supports/Surfaces.

In the 1970s, Jaccard uses other « tools » like the rope, the string, and, most of all, knots. All these replace the brush, in order to leave their prints on the canvas. He equally burns his paintings thanks to the slow burning fuse, which draws traces on canvases and other mediums through its combustion.

Starting with the year 2000, along with his outdoor works in abandoned places (industrial fallow lands), the question of the painting emancipates itself without denying its origins. His studio thus becomes a nomadic and ephemeral laboratory.

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