PRESS KIT

A GATEWAY TO POSSIBLE WORLDS

ART & SCIENCE FICTION
05.11.22-10.04.23

Aïda MULUNEH, The Shackles of Limitations («Water Life Series»), 2018 Courtesy l’artiste et WaterAid © Aïda Muluneh. Used with permission. Commissioned by Water Aid
 A GATEWAY TO POSSIBLE WORLDS. ART & SCIENCE FICTION

CONTENTS

1. INTERVIEW WITH ALEXANDRA MÜLLER...........................................................................4

2. PRESENTATION................................................................................................................................................................... 7

3. EXHIBITION LAYOUT ............................................................................................................................................ 12

4. CATALOGUE.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .... 17

5. FEATURED ARTISTS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... 18

6. ASSOCIATED EVENTS.. . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .... 19

7. YOUNG PEOPLE EVENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... 22

8. PARTNERS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .... 24

9. PRESS VISUALS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .... 27

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 A GATEWAY TO POSSIBLE WORLDS. ART & SCIENCE FICTION

1.
INTERVIEW WITH ALEXANDRA MÜLLER,
CURATOR

What is the message of the exhibition title, "A GATEWAY TO POSSIBLE WORLDS"?
It refers to free will. Our way of life is the result of choices and, as beings with ima-
gination, we are not fated to stay on a route that is already traced out. We can take
a new direction, redefine our relations to the environment, overcome unlimited capi-
talism, rewrite History, etc. The power of our imagination is a tool that can reorient
our futures. In the exhibition, we explore this projection into a desirable future and
its political scope.

Why does the exhibition combine art, literature and science fiction?
In this exhibition, science fiction is considered less as a literary or film genre than as
a way of thinking, helping us to reconsider our achievements, our dogmas, our gui-
delines, everything we are used to. This way of thinking leads to a distancing from
the present, to a real questioning of the human potential, as well as an exploration
of other possibilities. The approach applies both to literature and art, two fields that
complement and mutually enrich each other.

Can we talk about the exhibition as a "scenography for the end of the world"?
The end of ONE world, yes, the end of THE world, no. Rubble is fertile ground for
the wildest dreams. The scenography plays on an ambivalence by creating a space
which we do not know if it is being built or destroyed. This ambiguity resonates
with the insecurity and disorientation that reign in our current world. It is also about
disorienting visitors, taking them somewhere else.

You have spoken about a punk and afrofuturist exhibition. Why is that?
Afrofuturism and cyberpunk are sci-fi movements fundamentally political which
reveal an imbalance in society, a lack, the need for another world. They carry the
voices of artists and authors who are not satisfied with the here and now, who
aspire to other living conditions. These movements embody the science fiction land-
marks of insurgents and minorities. Afrofuturism, for example, takes its revenge on
the linear History produced and written by the West, in particular, by integrating
mystical or religious dimensions into its stories, which strongly resonates with the
observation of Orwell, who said in his 1984 novel that "he who has control of the
past has control of the future".

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Why were these five themes chosen?

Science fiction is a vast field. The idea was to focus on the political and social
themes it deals with and which concern us today. So the first chapter explores
the idea of social harmony. The second, the dominance of the technosciences and
algorithms in our lives. The third, artificial and hybrid bodies. The fourth highlights
the very contemporary theme of ecology, inviting visitors to question their relations
with the environment. The last theme focuses on narratives examining otherness,
offering a non-Western viewpoint, particularly by including cultures with roots
in Africa.

What does it have to say to young generations?

Often you just need to be aware of a dream to make it possible. Environmental
catastrophes are a fact, but the apocalypse is not. Other possibilities are within
reach, and it is up to us to seize them with the help of our imagination. Sci-fi
culture is very much alive among young people, since it fills a gap opened up by the
need to break free, first from one's parents and learned models, and then from the
established order. Science fiction tells them that other possibilities are open to us,
it is our gateway to the future.

ALEXANDRA MÜLLER
PORTRAIT
Alexandra Müller is a curator and research director at the Centre Pompidou-Metz.
After studying philosophy and the visual arts in Münster, Germany, she joined the
Centre Pompidou (Paris) as a researcher in cultural production in the contemporary
collections department, before working as officer with the Cultural Affairs Department
for the City of Paris (Maison de Victor Hugo). She joined the Centre Pompidou-Metz
teams in 2008 to prepare for the museum's opening, and since then has notably
worked as curator on the project Rebecca Horn. Theatre of Metamorphoses (with
Emma Lavigne), Between Two Horizons. German and French Avant-Gardes (with
Kathrin Elvers-Svamberk), An Imagined Museum. What if art disappeared? (with
Hélène Guenin, Francesco Manacorda, Darren Pih and Peter Gorschlüter) as well
as Views from Above (with head curator Angela Lampe).

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Tadanori YOKOO, Amazon, 1989, Paris, Centre national des arts plastiques, © droits réservés Cnap, crédit photo : Yves Chenot

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2.
PRESENTATION
A GATEWAY TO POSSIBLE WORLDS
ART & SCIENCE FICTION
From 5 November 2022 to 17 April 2023
Grande Nef and Gallery 3
Curator: Alexandra Müller

The American writer Ray Bradbury said: "Science fiction is the art of the possible." Under the guise of anticipating
the future, it speaks to us of the present. It is a laboratory of hypotheses that manipulate and extrapolate the
repressive norms and dogmas of today's world, its ambitions, social afflictions, opportunities and perils. A Gateway
To Possible Worlds exhibition brings together over 200 works from the late 1960s to the present day. Art & science
fiction whisks visitors away to a 2300m² sci-fi world. It puts the spotlight on the bonds between imaginary worlds
and our reality with the help of artists, authors, architects and film directors. It builds on current demands for 21st
century utopias to spark debate, inspiration and a form of hope.

Behind a Gateway to possible worlds The possibilities to overcome disaster scenarios

The unthinkable came to pass in mid-March 2020: the world The future is tomorrow. We live on the brink, in a time of
went into lockdown to try to combat a pandemic that was ripping exploration and science fiction. Die-hard dystopias have been
through the world. The slowdown of our frenzied society with its all the rage since the end of the modern age with its concept of
focus on growth and speed, was abrupt, brutal and nothing we'd constant progress. According to Fredric Jameson, the present
ever experienced before. Collectively we became the incredulous "is characterised by a loss of a sense of history, not only of
spectators of a health crisis that gradually revealed its totalitarian the past but also of historical futures. This inability to imagine
nature. The forced inertia – no contact, curfews, economic and historical difference - what Marcuse called the atrophy of the
cultural activities coming to a standstill, empty towns and cities Utopian imagination - is a far more significant pathological
straight out of a Chirico painting, the waiting, with so much free symptom of late capitalism than ‘narcissism’.1 "
time suddenly available and seizing hold of our lives, and no
foreseeable end – turned the present day into an otherworldly
experience that felt like something out of a sci-fi film.
The idea for a project of an exhibition blending science fiction
with the plastic arts came during this time that enforced the
dawn of a "liquid" form of the present, blowing everything we
believed to pieces and revealing an individual and social burnout
that reflects the burnout of natural resources.

1 Fredric Jameson, Archaeologies of the Future. The Desire Called Utopia and Other
Science Fictions, Verso, London / New York, 2005, p. 345

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Dystopias may be an essential reminder that economic and social Resistance through imagination:
models have an expiry date, but they also have a crippling effect. sci-fi, a rebel genre
Plastic arts and sci-fi literature have quietly turned a corner
over the last decade. There has been a change in paradigm that
There are no almighty superheroes, no rows of gleaming shuttles,
doesn't attempt to conceal the risks it involves but also gives
no intergalactic wars, no little green men or clinking robots in this
us a glimpse, with creative force, of an appealing future. JUST
exhibition. These ever-popular images kept alive by commercial
like the Zanzibar author collective, striving to "free the future",
blockbusters reflect the genre when it was in its infancy, the so-
or Solarpunk's quietly optimistic vision despite the crumbling
called "heyday" of science fiction (1930s-late 1950s).
environment today, sci-fi boldly puts an end to the swan song to
relieve us of the burden of hidden perspectives. Nothing is set in
The project is true to a speculative form of sci-fi which appeared
stone, every MO, doctrine and fate has been imagined at some
just before the anti-establishment hippy movements, when the
point. It's up to our imagination to make the change.
slightly naive "space age" excitement for futurism and technology
was tinged with an outdated air. Visionary "new wave" sci-fi
A Gateway To Possible Worlds exhibition. Art & science fiction
swapped space for something closer to home. It explored cracks
is based on current demand for new 21st century utopias to
in our immediate future with authors such as Philip K. Dick, J.G.
immerse visitors in alternate realities. A utopia is a form of
Ballard and John Brunner.
intellectual freedom where you can assess future plans away
from what is achievable in the here and now, but which has
Themes that cropped up at the time, such as the flagging Vietnam
a direct effect on the present. Like a self-fulfilling prophecy,
War, the intensifying Cold War and increasing dread of nuclear
science fiction continues to forge our vision of the future and
weapons, are still very topical today: the genre explores issues
helps build it. Changing the imaginary world and semantics also
surrounding relationships of power, distrust of technology due
means influencing the trajectory of societies. The project intends
to the widening gap between science and conscience, the drain
to take back control of the future.
of natural resources and potential climate apocalypse, the battle
to overcome colonialism and patriarchy. Sci-fi uses the pretext
of futurism to open our minds to changes that are happening
now. It is a laboratory of hypotheses experimenting with the
possibilities available in the here and now. It provides a release
from dominant political messages and embodies otherness and a
profound change in our perception.

It has always been a hotbed for anti-establishment movements,

just like cyberpunk, biopunk and afrofuturism highlighted in the
exhibition. Especially over the past fifteen years, the visual arts
have produced myriad artworks from the sci-fi universe. Alongside
hippy counterculture figureheads such as Superstudio or Tetsumi
Kudo, and punk pioneers such as Anita Molinero or Linder
Sterling, this exhibition gives pride of place to the new generation
of artists that are still seldom seen in public collections. The new
guard delves into the melting pot of speculative fiction to shake
up the established order and broaden our view of otherness.¬
Sandy SKOGLUND, Radioactive Cats, 1980
Paris, Centre Pompidou, Musée national d'art moderne, © Sandy Skoglund

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ART AND LITERATURE: A PROJECT TO BRIDGE THE GAP

Art and literature both draw inspiration from the sci-fi world exhibition and reproduced in the catalogue. Breaking down the
without necessarily using the same stories, metaphors or images. barriers between the fields of creation has also had an impact
The exhibition captures their conceptual similarity by bringing on the exhibition catalogue, with unpublished essays by major
them together in both the catalogue and gallery. The project contemporary sci-fi writers. Each of the guest writers, including
addresses major contemporary sci-fi themes in five themed halls Alain Damasio, Philippe Curval and Sabrina Calvo, offers an
with titles taken from defining classic novels. Each chapter is original introduction to one of the exhibition's themes, as well as
also accompanied by a selection of novels relating to the theme, an immersion in the writer's literary world.
a small reference library that will be physically present in the

Selection of books accompanying the first chapter of the exhibition, © rights reserved, photo credit: Christine Hall

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STAGING:
OVERTURNING OUR PERCEPTIVE HABITS

The project by the architects Clémence La Sagna, Achille Racine whilst some walls are laid bare to reveal their structure, like flayed
and Georgi Stanishev immerses spectators in a science-fiction architecture. Some floor slabs are missing to give a glimpse of
environment. Starting from a very ordinary archetype, the famous the technical floor below, some gaps host films that are visible
museum "white cube", they have subverted and undermined it horizontally. It isn't about creating a show-stopper but instead
through a series of interventions: wide cracks open up gaps with shaking up our senses to take us into another world and create a
porous areas between the spaces. The gaps act as passageways, bond between container and content.

Clémence La Sagna, Achille Racine, Georgi Stanishev, maquette scénographique, © Schnepp Renou

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Clémence La Sagna, Achille Racine, Georgi Stanishev, maquette scénographique, © Schnepp Renou

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3.
EXHIBITION LAYOUT

The experience switches between immersive installations and

more classical pieces to capture what John Dewer called Art
as Experience. Most of the pieces on display are sensory with
a real narrative to create a direct relationship. That explains the
lack of virtual pieces or augmented reality installations despite
countless contributions discussing virtual reality. This isn't about
a technocritical attitude; it's about physically taking sci-fi around
the museum, mixing it with the sensory world, the visitors and
bringing it to life.
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1. BRAVE NEW WORLD1
Socio-economic dynamics and power
manipulation: the political nature of science fiction
Major political and social issues have always and still do form the
battlegrounds of imaginary worlds and utopias. Social criticism
is part of science fiction's DNA: by projecting the shadows of
our fears and hopes, by interpreting and magnifying the seeds
of our destiny, science fiction takes up a position, is political.
One of its most obvious and important abilities is to introduce
variations into our present period. Sometimes a small detail,
a grain of sand in the workings, which have the potential to
John ISAACS, Is More Than This More Than This, 2000,
reorient history, turning it away towards another tomorrow. From Paris, Antoine de Galbert Collection, Photo © Ville de Grenoble/Musée
Aldous Huxley to Alain Damasio in literature, from Ilya Kabakov de Grenoble - Jean-Luc Lacroix

to Atelier Van Lieshout in art, the slide towards authoritarianism

and the manipulation of the masses are key themes in science
fiction. The present, with its citizens who can be physically and
virtually kept under surveilance, opens the door wide to the Creating a work of science fiction in any
Orwellian trend of the technosciences and the insidious erosion medium involves first of all a minimum
of our free will. By taking a critical look at these trends or at the requirement: to provide reality with a possible
ultraliberalism that often goes hand in hand with them, science
fiction helps us to grasp a progress that has lost its prestige, to
future. Or rather to stage in words, in pictures,
sketch out other ways for us to live together. The first chapter of in an installation or sound, a possible future
the exhibition presents pieces that explore relationships of power with the power directly to diminish, to render
and provide the here and now with artistic techniques for free null and void, to ridicule or invalidate, or even
thinking. Architecture takes pride of place. Our buildings and
totally to replace our perception of reality,
urban landscapes are designed to outlive us and not only give
order to our social and economic fabric, but also quietly capture conceived as unsurpassable.31
a political ideology and plans for the future.
Alain Damasio

3 Alain Damasio, "Au possible, tous sont tenus", in Alexandra Müller (ed..),
Les Portes du Possible. Art & science-fiction, Metz,
2 Aldous Huxley, Brave New World (1932). Centre Pompidou-Metz, 2022, p. 22

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2. NEUROMANCER1
Cyberspace and Big Data: technoscience reshapes
our lives
Science fiction tries to make us mentally
Lulled by the comfort provided by technologies, cajoled into
a system whose very existence we have forgotten, we pay for
digest our own inventions before they
information, entertainment and consolation with the currency of arrive on our plates in real life, and begin
the 21st century: the increasing "algorithmisation" of our lives. We
are witnessing the subjugation and instrumentalisation of much
to devour us.
of our possible futures by the giants of the web and the social But science fiction can also go beyond the
networks, who decrypt our habits and pulsions to predict, channel
and direct our desires and future choices more effectively.
circle. For over a decade now, solarpunk
5
has been seeking the way to a better
Our complacent self-alienation and our societies' alienation
through our reliance on Big Data: this is a sci-fi storyline which world.2
has come into its own since the 1980s and the appearance of
cyberpunk. The myth of technology emancipating mankind is over. Catherine Dufour
Art doesn't instinctively reject technology but instead reimagines
it with a new sense of restraint over its use, a rediscovery of
cognitive and emotional interaction with living things. Science
fiction puts its own spin on technology, makes it its own and
sidesteps any attempt at heteronomy.

Tishan HSU, Breath 4, 2021,

Fondation Carmignac, © ADAGP,
Paris 2022, credit photo : Stephen
Faught

5 Catherine Dufour, "La science-fiction, laboratoires des solutions", in Alexandra Müller

(ed.), Les Portes du Possible. Art & science-fiction, Metz, Centre Pompidou-Metz, 2022,
4 William Gibson, Neuromancer (1984). p. 72.

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3. DO ANDROIDS DREAM OF ELECTRIC SHEEP?1
Metamorphoses of the body: the cyborg as a matrix
for incorporation of identity and a political voice
Just like sci-fi novels and exhibition galleries, social media is
now bursting with hybrid figures – avatars, digital ghosts and
androids. They blur the boundaries between man and machine,
reality and virtual reality and the age-old rivalry between men
and women. An evolution that feminist studies and primatology
professor Donna Haraway pinned her hopes on in 1985 in her
Cyborg Manifesto.

The hybrid body is a matrix for identity, a political medium

that entails other possibilities. Free of repressive biological,
biographical and cultural contexts, it sparks the end of the
binary and patriarchal stalemate of a changing society. New
technologies already allow us virtually to take up Queer positions,
to transcend biological, biographical and cultural contexts that
were once restrictive, with the aim of conceiving freely chosen
identities. 50 years ago, the body was highlighted as a medium
in the political struggle for equality. Today it is again part of
contemporary debates as the matrix for affirming identity and as
the political medium to model other possibilities.

The body – embodies the

problem. To slowly become
oneself, to finally make up Zanele MUHOLI, Phila I, Parktown, 2016
© Zanele Muholi. Courtesy of the artist,Yancey Richardson,

one's mind, to reconcile New York , and Stevenson Cape Town/Johannesburg

paradoxes1
6

Sabrina Calvo

6 Sabrina Calvo, "Nos corps enf(o)uis", in Alexandra Müller (dir.), Les Portes du Pos-
sible. Art & science-fiction, Metz, Centre Pompidou-Metz, 2022, p. 99.

7 Philip K. Dick, Blade Runner - Do Androids Dream of Electric Sheep? (1968).

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4. SOYLENT GREEN
In the face of the crumbling environment: a
restoration of our close bond with living things
Aside from Hollywood blockbusters, the days of virile, almighty and
all-conquering superheroes are over in sci-fi. The trend now is for In the future, the histories of humanity in the
biopunk, solarpunk and eco-feminism genres which stand for a
21st century should focus on our relations with
network of community support and a sense of belonging instead
of the classic idea of man dominating nature. Restoring our close the Earth's biosphere, our one and only home.
bond with living things, becoming one with the devastated Earth Space is useful to the extent that it can help
and believing in its power to bounce back. While the disruption us understand our planet; beyond, it is not
of today's world is a fact, the end of the world is not. Something useful and without interest for us […] Either
better is always possible, bearing witness to trauma but also to we succeed here, or we are going nowhere, in
the diverse links and histories enlacing us with the Earth.1 space or time. The alarm signals can be heard:
all hands on deck!110
As Ursula Le Guin writes, “science fiction can be seen as a far less
rigid, narrow field, not necessarily Promethean or apocalyptic at
all, and in fact less a mythological genre than a realistic one.”9.
9
Kim Stanley Robinson
With cli-fi and solarpunk, the pleasure of creation becomes a
militant and powerful unifying act.

Fabrice MONTEIRO, Untitled #1 (de la série "The Prophecy"), 2015 Paris, Galerie Magnin-A, © Adagp, Paris, 2022, Courtesy Galerie MAGNIN-A, Paris

8 Harry Harrisson, Soylent green (Make room! Make room), 1966 10 Kim Stanley Robinson, "La science-fiction a toujours été une affaire
9 Ursula Le Guin, “The Carrier Bag Theory of Fiction” (1986), in Dancing at the Edge of d'environnement", in Alexandra Müller (ed.), Les Portes du Possible. Art &
the World, Grove Press, New York, 1989, p. 154 science-fiction, Metz, Centre Pompidou-Metz, 2022, p. 137.

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5. PARABLE OF THE SOWER1
Reimagining the past for alternative futures:
afrofuturism and other reinvented myths
For a long time, science-fiction stories featured representations
based on a linear and Western historic framework, marginalising Afrofuturism aims at helping the individuals
other cultures as immature and archaic. Since the 1970s, this kind
of ethnocentrism has given way to alternative narratives showing
it portrays to flourish. When it plunges down
the richness of a heritage and a cosmopolitan imaginative world. towards the dystopian abysses and reaches
post-apocalyptic dead ends, it mobilies them to
Afrofuturism incorporates the dream of emancipation from
historical suffering: a form of uprooting leading to a sharp split breath a hope of change in them and to provide
from African languages and cultures, slavery, colonisations and a positive outcome to resilience. It triggers the
racism. To escape linear Western portrayals, afrofuturists rewrite liberation of the body from all constraints. This
History, restore its magic, make an ancestral past their own
again by reconnecting with a non-western magical dimension, idea is primordial: the black body of alterity,
mysticism and cosmology. Sampling, collage and mixing are its suffering discrimination and oppression,
operating modes. It isn't about countering cultures or establishing enslaved and dehumanised, has no place in
clear rights; it's about weaving together a historical and cultural
melting pot and combating long-standing destructive racism that this literature. It foreshadows a desirable future
has become inherent. As ultra-capitalism is called into question, and ventures to describe the tools needed to
the novels of Olivia Butler and Nora K. Jemisin show, like the achieve it.1 12

works of Kapwani Kiwanga or Yinka Shonibare, that a source of

unheard of forms of community life is within our reach. Nadia Chonville, Laura Nsafou, Michael Roch

Hew Locke, Where Lies the Land, Hales London, 26 September – 9 November 2019, Image courtesy the Artist, Hales Gallery
and P·P·O·W. © Hew Locke. All Rights Reserved, Adagp, Paris 2022, Photo by Anna Arca

12 Nadia Chonville, Laura Nsafou, Michael Roch, « Réflexions pour un Afrofuturisme

3.0 », dans Alexandra Müller (dir.), Les Portes du possible. Art & science-fiction, Metz,
11 Octavia E. Butler, The Parable of the sower, 1993 Centre Pompidou-Metz, 2022, p. 181.

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4.
CATALOGUE

The publication accompanying the exhibition on its

journey is not only designed for sci-fi experts and
connoisseurs, but also for the general public and
anyone who wants to delve deeper into the genre.
With over 200 works, including around one hundred
with a commentary, it boasts short, unpublished
essays by well-known science fiction authors:
Alain Damasio, Catherine Dufour, Sabrina Calvo, Kim
Stanley Robinson, Nadia Chonville, Laura Nsafou,
Michael Roch and Philippe Curval.

No drones, just "real" sentient contributions. Each

guest writer provides an original introduction to one
of the exhibition's themes, as well as a glimpse of
their own literary universe. Together with the artwork,
these essays help to bring imaginary worlds together
to open the gates to other possible universes.

If sci-fi is a powerful tool for emancipation, a refuge as

much as a refusal, its highly specific jargon, beginning
with the wide range of sub-genres, can be confusing.
This is why the rich catalogue is rounded off by a
glossary with 50 articles written by Ariel Kyrou. An
abundant, captivating work to explore the links
between the visual arts and science fiction.

Edited by Alexandra Müller.

Publication: 2 Nov. 2022
Format: 23 x 30 cm
240 pages
Price (inc. VAT): 39 euros
EAN: 978-2-35983-068-2

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5.
FEATURED ARTISTS

Jennifer ALLORA Ellen GALLAGHER Lucy et Jorge ORTA

& Guillermo CALZADILLA GERIKO (Hélène JEUDY, Neri OXMAN
David ALTMEJD Antoine CAËCKE) Eduardo PAOLOZZI
Ryuta AMAE Dionisio GONZALEZ Alexis PESKINE
Christian ANDERSSON Laurent GRASSO Floriane POCHON et Alain DAMASIO
Jean-Marie APPRIOU Nancy GROSSMAN Julien PRÉVIEUX
Edgar ARCENEAUX Kiluanji Kia HENDA Jon RAFMAN
ARCHIGRAM Lynn HERSHMAN LEESON Kim Stanley ROBINSON
Bettina von ARNIM Edi HILA Martha ROSLER
Daniel ARSHAM Hans HOLLEIN Aldo Loris ROSSI
Rina BANERJEE Max HOOPER SCHNEIDER Larissa SANSOUR
Guillaume BARTH Tishan HSU Ward SHELLEY
Eric BAUDELAIRE Marguerite HUMEAU Yinka SHONIBARE
Christophe BERDAGUER & Peter HUTCHINSON Mary SIBANDE
Marie PÉJUS John ISAACS Charles SIMONDS
Patrick BERNATCHEZ Renaud JEREZ Lorna SIMPSON
Huma BHABHA Ilya Iossifovich KABAKOV Sandy SKOGLUND
Diego BIANCHI Kiripi KATEMBO SIKU Robert SMITHSON
Sanford BIGGERS Zsófia KERESZTES Aïcha SNOUSSI
Dara BIRNBAUM Kapwani KIWANGA SODA_JERK (Dan et
Nuotama Frances BODOMO Konrad KLAPHECK Dominique Angeloro)
Mathieu BRIAND Jürgen KLAUKE Gerda STEINER & Jörg LENZLINGER
Lee BUL Josh KLINE Tavares STRACHAN
CAO FEI Kiki KOGELNIK SUPERSTUDIO
Pierre CASSOU-NOGUÈS, Stéphane Tetsumi KUDO MARY MAGGIC (Mary TSANG, dit)
DEGOUTIN et Gwenola WAGON Kisho KUROKAWA Anna UDDENBERG
Julian CHARRIÈRE LINDER STERLING (Linda MULVEY, dit) Uh513 (María CASTELLANOS &
Gordon CHEUNG Hew Donald Joseph LOCKE RA Alberto VALVERDE)
Willie COLE Stéphane MALKA Atelier VAN LIESHOUT
CONSTANT (Constant NIEUWENHUYS, Kevin MCGLOUGHLIN Adriana VAREJÃO
dit) Anita MOLINERO WAI ARCHITECTURE THINK TANK
Max COOPER Fabrice MONTEIRO (Cruz Garcia & Nathalie Frankowski)
Philippe CURVAL Nicolas MOULIN James WINES
Nicolas DARROT Zanele MUHOLI Erwin WURM
Nicolas DAUBANES Aïda MULUNEH Tadanori YOKOO
Damien DEROUBAIX Lavar MUNROE Yang YONGLIANG
Heather DEWEY-HAGBORG Wangechi MUTU Liam YOUNG
Jeannette EHLERS MVRDV HAUS-RUCKER-CO
Vincent FOURNIER Otobong NKANGA (ZAMP KELP/HAUS-RUCKER-CO, dit)
Yona FRIEDMAN Josèfa NTJAM
Cyprien GAILLARD Motohiko ODANI

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6.
ASSOCIATED EVENTS

CONFERENCES TODAY - THE TEN HIGH PLACES OF NATIONAL MEMORY

THURS. 23.02.22 - 7.30 PM
1929 – 2022 : A SLICE OF SCIENCE-FICTION HISTORY With Nicolas Daubanes and Aurélie Dessert
THURS. 24.11.22 - 7 PM
Nicolas Daubanes' work arises from the world of the counter-
With Philippe Curval and Ariel Kyrou utopia and the painful history of the genocides of the Third Reich.
Science fiction takes its roots in France with the fantastic novels of His subject is the Natzweiler Struthof concentration camp in
Jules Verne, but its golden age began in the United States, from occupied Alsace, built near a granite quarry that was mined to
1929. In France, it only found to a wider public in the 1950s. In supply major building projects in the Reich. The evening of debate
conversation with Ariel Kyrou, Philippe Curval, one of the genre's and conversation with Aurélie Dessert, Director of the National
greatest French writers, gives us a historic overview of the birth Memorial of Montluc Prison in Lyon, will be a chance to explore
and development of science fiction, while providing insight into his Daubanes' work and his relationship with history.
own literary work.
REFLECTIONS FOR AN AFROFUTURISM 3.0
QUEER SCI-FI: ALTERNATIVES TO THE END OF THE WORLD DATES TO COME
THURS. 08.12.22 - 7 PM With Stéphanie Nicot, Laura Nsafou and Michael Roch
With Eva Sinanian and Arsène Marquis. A discussion focused on Afrofuturist thinking, which is highly varied
Chaired by Stuart Pluen Calvo and expressed differently depending on its origins (Afro-American,
From the early 20th century, a whole host of authors looked to African, Caribbean). In particular, the participants will look at the
science fiction to describe other realities and other possible worlds, literary heritage in French-speaking Africa and the Caribbean, and
to break free of the established fetters of gender, heterosexuality put forward ideas about a young literary movement embodying the
and patriarchy. During this conversation, the history of queer idea of a rootstock culture, francophone Afrofuturism.
science fiction will be outlined and the way in which it has taken
inspiration from new narratives and ways of thinking. POST 68 SCIENCE FICTION CINEMA
SUN. 26.02.23 - 3.30 PM
PERFERENCE With Jean-Michel Frodon
THURS. 19.01.22 - 7.30 PM
For Gateway Of Possible Worlds, Jean-Michel Frodon, formerly in
With Alain Damasio, Heloise Brezillon and Norbert Merjagnan charge of the cinema pages in Le Monde newspaper and editor of
The publishers La Volte have invited three authors for a polyphonic Les Cahiers du Cinéma, will be presenting a series of science fiction
"perference". "Perferer" means to perform interacting and clashing films at the rate of one session a month. Prior to the projection
fictions. Science fiction is a way of dreaming and thinking about of the film DEMON LOVER, the cinema historian will give a talk
the world of the future. It opens up the horizon once more for those looking at sci-fi in the cinema since May 1968.
who still want to be among the living – love, solidarity, jubilation,
weaving – in the rifts of a society that is more and more unbearable
as it outlaws all form of otherness. It is the poetic and political soil
for contemporary literary publishing. Stay alert! Here possibilities
are growing!

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 A GATEWAY TO POSSIBLE WORLDS. ART & SCIENCE FICTION

CINEMA
GHOST IN THE SHELL,
EVENTS
by Mamoru Oshii
SUN. 27.11.22 - 3:30
SCI FI FILM NIGHT
Animation – Japan – 1997 – 83’.Introduction by Jean-Michel SAT. 10.12.22 - 9 PM TO 6 AM
Frodon. In 2029, the whole world and the human soul are
The Metz Subversive Film Festival and the Centre
controlled by the Internet. Motoko Kusanagi, a cybercop, and
Pompidou-Metz have partnered for a night of science
Batou, two cyborgs from the anti-terrorist section 9, are tasked
with tracking down a mysterious hacker in contact with a corrupt fiction.
diplomat.
> LOS ANGELES INVASION
HER by John Carpenter - 1988 - 93’
by Spike Jonze > PHASE IV
SUN. 11.12.22 - 3:30 by Saul Bass- 1974 - 84’
> ROCKY HORROR PICTURE SHOW
Los Angeles, in the near future. Theodore Twombly buys an ultra- by Jim Sharman - 1975 -100’
modern computer programme that can adapt to each user's > BRAZIL
personality. When the system boots up, he makes the acquaintance by Terry Gilliam - 1985 -132’
of "Samantha".
> TRON
HALTE (4H39) by Steven Lisberger - 1982- 96’
by Lav Diaz
SUN. 22.01.23 - 3:30 CINEMA FOR YOUNG PEOPLE
SUN. 25.02.23 - 3:00
In 2034, the sun no longer rises, madmen are running the country,
cataclysmic epidemics have devastated the continent. Millions of An afternoon of short films followed by a science fiction
people have died, millions have left. movie disguise event. Ages 12 and over
In partnership with the Clermont-Ferrand International
DEMON LOVER Short Film Festival
by Olivier Assayas
SUN. 26.02.23 - 3:30 > FARD
Luis Briceno, David Alapont / 2009 / France /
Preceded by a talk by Jean-Michel Frodon on post-May 1968
science fiction cinema Animation / 13'

Two companies specialised in cyberculture, Mangatronics and > PANTHEON DISCOUNT

Demonlover, compete to obtain exclusive distribution of 3D Stéphan Castang / 2016 / France / Fiction / 14'
pornographic animations on the internet. Mangatronics then > I WANT PLUTO TO BE A PLANET AGAIN
recruits Diane to destroy the interests of Demonlover from the
Vladimir Mavounia-Kouka, Marie Amachoukeli / 2016 /
inside.
France / Animation / 11'
THE LAST OF US > HYBRIDS
by Ala Eddine Slim Kim Tailhades, Yohan Thireau, Romain Thirion, Florian
SUN. 19.03.23 - 3:30 Brauch, Matthieu Pujol / 2017 / France / Animation
N., a young illegal immigrant from Sub-Saharan Africa, tries to expérimentale / 6'
reach Europe. For him a real rite of passage begins. > THERMOSTAT 6
Maya Av-Ron, Sixtine Dano, Marion Coudert, Mylène
Cominotti / 2018 / France / Fiction animée / 4'
> WRAPPED
Roman Kaelin, Falko Paeper, Florian Wittmann / 2014 /
Allemagne / Fiction animée / 4'

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SAYONARA PERFORMANCE INSTALLATION

de Koji Fukada TRANSCHRONES
SUN. 23.04.23 - 3:30 by Thomas Teurlai and Alain Damasio
SAT. 21.01.23 - 3 TO 6 PM
In the near future, Japan falls victim to terrorist attacks on
its nuclear plants. The inhabitants are gradually evacuated to The artist Thomas Teurlai and the writer Alain Damasio activate
neighbouring countries due to irradiation. Tania and Leona, her Transchrones, a hybrid machine based on the rotating movement of
android, are the last witnesses of a Japan that is slowly dying. But two sound-emitting holographic cylinders. The machine, designed
gradually, terror gives way to poetry and beauty. to generate audio and visual fictions, will have been previously
loaded with images inspired by research into the exhibition works
LIVE PERFORMANCE and the history of the Metz Pompidou Centre.

THEATRE DANCE
THE MARTIAN CHRONICLES THE DIVINE CYPHER
by Ana Pi
SAT. 26.11.22 - 4 PM
Le Théâtre dans la Forêt Company - Émilie Leborgne SAT. 18.03.23 - 5 PM

Inspired by the major work by the US writer Ray Bradbury, The Between the image and body, the visual and the living, the
Martian Chronicles takes the audience to the heart of an epic of choreographer Ana Pi undertakes poetical-political research
a new kind, where men arrive on Mars, leaving the Earth behind into sacred ancestral gestures and their perpetuation in the
them, racked by war and chaos. In a performance combining contemporary imagination, in dialogue with the experimental film-
theatre, sound creation and radio installation, the actors move maker Maya Deren.
among the audience and relive the discovery of the red planet.
DJ SET
EVENT VINYLES FROM AFRICA AND THE DIASPORA
COSPLAY EVENING With DJ Atlantik
SAT. 10.12.22 - 5 PM SAT. 18.03.23 - 7 PM
Cosplay – a portmanteau word from "costume" and "play" – is a One of the most powerful areas of expression in Afrofuturism is
leisure activity where participants don costumes and take on the music. The evening wil be illuminated by the shining stars of Sun
appearance of a fictional character. The phenomenon emerged Ra, George Clinton and Parliament-Funkadelic, and dedicated to
in the 70s and 80s in the United States with the release of Star Afrofuturist cosmology with sampling and mixing as the modus
Trek and Star Wars, and now exists in several countries, with the operandi.
addition of manga and heroic fantasy characters, among others.

PERFORMANCE
"HYBRID BODY" PARADE
SAT. 10.12.22 - 7 PM
By and with Sabrina Calvo, Koji and SchlampaKir Von Fickdich
Half an hour to dress Koji – with a garment woven in real time, as
she plays the piano and sings. The dress is presented, adjusted
and cut to fit her body in movement – without hampering her
movements, but in line with her breathing, gestures and voice. Bri
is silent and dances around her with her scissors, taking care not
to cause an accident, attentive to the fold of the fabric, to places
where she can hang her woollen thread. The dress, the dance and
singing fade away together.

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7.
YOUNG PEOPLE EVENTS

WORKSHOPS (5/10 YEARS)

WORKSHOP AND HIGHLIGHTS
MYTHES HYBRIDES
Guillaume Bouisset
FROM 05.11.22

Imagine another dimension, a world beyond our own. Guillaume

Bouisset’s work is a kind of quest, at the The border between
myth and science fiction: giving one form to another reality. In
a space arranged like a temple, he offers children to come and
conceive small entities from wire and papier mâché, to which it
will be necessary to confer a power! Each amulet will then be © Guillaume Bouisset
hung in space, to create a magical landscape.

SUPER NATURE, CHRISTMAS HOLIDAY COURSE

PACK OF 3 COURSES (21-22-23/12.22 OU 28-29-30/12.22)

What will nature look like in 150 years? Lush vegetation?

Anthropomorphic flowers? Bioluminescent plants...? Do you have a
theory? Meet a team of botanists to imagine the jungle of the
future.

MANGA SESSION
SAT. 18.03.23 FROM 14:00 TO 18:00

Discovery and experimentation of comics under the theme of

Japanese pop culture.

FAMILY VISIT 5-9 YEARS OLD «FUTURE AND YOU!» Illustration Super Nature, © Miranda Moss

FROM 06.11.22 AT 3 P.M.

What a pleasure to enter another dimension, to approach strange

beings, skies with two suns like that of Laurent Grasso. As a
family, we go through the exhibition to create, express, invent,
divert and above all have fun. Create strange columns like Ju-
lian Charrière, accumulate hybrid silhouettes from Kiki Kogelnik’s
Female Robot, inflate latex gloves to illustrate the work of Zane-
le Muh Oli. A privileged creative moment to share with young
and old.

Illustration Manga Session, © Centre Pompidou-Metz

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Guillaume Bouisset, Holy Fountain, Salon de Montrouge 2021 © Adagp, Paris 2022

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8.
PARTNERS

The Centre Pompidou-Metz was the first example of decentralization of a great national cultural
institution, the Centre Pompidou, in partnership with local authorities. An autonomous institution, the
Centre Pompidou-Metz benefits from the experience, expertise and international renown of the Centre
Pompidou. It shares with its elder counterpart the values of
​​ innovation, generosity, inter-disciplinarity and
openness to people from all backgrounds.

The Centre Pompidou-Metz organises temporary exhibitions based on loans from the collection of the
Centre Pompidou, National Museum of Modern Art, which is, with more than 120,000 works, is the biggest
collection of modern and contemporary art in Europe and the second largest in the world.

It also develops partnerships with museum all over the world. To supplement its exhibitions, the Centre
Pompidou-Metz offers dance performances, concerts, film screenings and talks.

It is supported by Wendel, its founding partner.

With the support of Sanef groupe

With the help of

With the participation of

Les Amis

Media partners

With the assistance of MI+ and Nexus VI

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WENDEL, FOUNDING PARTNER OF THE CENTRE POMPIDOU-METZ

Wendel has been a partner of the Centre Pompidou-Metz since it opened in 2010, Wendel was keen to
support an iconic institution, whose cultural riches are shared with the largest number of people. Thanks
to its commitment to culture over many years, Wendel was awarded the "Grand Mécène de la Culture" in 2012.

Wendel was one of the very first investment companies in Europe to be listed on the stock exchange. It is
dedicated to long-term investment, which requires a commitment on the part of shareholders that inspires
trust, and constant attention to innovation, sustainable development and promising forms of diversifications.

Wendel has the expertise to choose pioneering companies, such as those for which it is currently a shareholder:
Bureau Veritas, IHS Towers, Tarkett, ACAMS, Constantia Flexibles, Crisis Prevention Institute and Stahl.

Created in 1704 in Lorraine, the Wendel group was active in various fields for 270 years, notably steel
manufacture, before devoting itself to long-term investment in the late 1970s.

The Group is supported by its reference family shareholder, made up of more than one thousand two hundred
shareholders from the Wendel family, gathered together in Wendel-Participations, which holds a 39.3% stake in the
Wendel group.
CONTACTS
Christine Anglade Pirzadeh
+ 33 (0) 1 42 85 63 24
c.angladepirzadeh@wendelgroup.com

Caroline Decaux
+ 33 (0) 1 42 85 91 27
c.decaux@wendelgroup.com

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 A GATEWAY TO POSSIBLE WORLDS. ART & SCIENCE FICTION

THE SANEF GROUP, A PARTNER IN REGIONAL CULTURE

The Sanef group, which manages nearly 2,000 km of motorways in France, is committed to promoting the economic, cultural and
tourist vitality of the areas it crosses.

The group has been pursuing an active sponsorship policy in the regions for many years, helping to raise the profile of regional
cultural events and thus attracting new audiences.

The Sanef group has also chosen to commit itself to professional integration in the regions to encourage the return to work of people
in great difficulty. It has created bridges between its cultural sponsorship and its solidarity commitments, convinced that culture
creates links and helps reintegration.

It is in this context that the Sanef group has decided to renew its support for the Centre Pompidou-Metz and to contribute to the
promotion of their flagship exhibition A Gateway To Possible Worlds. Art & Science-fiction, which will be presented from 5 November
2022 to 10 April 2023.

THE SANEF GROUP

A subsidiary of the Abertis group, the world leader in motorway management, the Sanef group operates 1,807 km of motorways,
mainly in Normandy, Northern and Eastern France. The group's 2,400 employees work around the clock to ensure the safety and
comfort of all their customers.

As a partner of the State and the regions through which its networks pass, the group is committed to encouraging new forms of
mobility, promoting road safety and combating global warming.
Main subsidiaries: Sapn and Bip&Go.

CONTACT

Sanef
Directorate of Communication and Institutional Relations

Sandrine Lombard
Head of sponsorship, cultural and tourism partnerships
sandrine.lombard@sanef.com

WWW.SANEFGROUPE.COM

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9.
PRESS VISUALS

All or some of the works below offered are protected by copyright. sought from the Service Presse of the ADAGP.
Each image must be accompanied by a caption and credit and The copyright to be mentioned alongside every reproduction will
used solely for press purposes. Any other use should be autho- be: artist's name, title and date of the work followed by ©ADAGP,
rized by the rights holders. The conditions of use can be supplied Paris 2022, whatever the provenance of the image and the place
on request. The works held by the ADAGP must be accompanied of conservation. These conditions apply to websites that have
by the copyright ©ADAGP, Paris 2022 and can be published in the online press status, on the understanding that for online press
French press only on the following conditions: publications, file resolution is limited to 1,600 pixels (length and
- For press publications that have signed a general agreement width combined).
with the ADAGP: refer to its stipulations.
- For other press publications: exemption of the first two works CONTACT : presse@adagp.fr
illustrating an article devoted to a news event with which they are Société des Auteurs dans les Arts Graphiques et Plastiques 11,
directly linked and of a maximum format of a 1/4 page. Beyond rue Berryer - 75008 Paris, France
this number or this format, reproductions will be subject to repro- Tél. : +33 (0)1 43 59 09 38
duction / representation rights. adagp.fr
For reproduction on a front cover or first page, permission must be

New: to download the visuals, you will now have to create your press account. This simple procedure will allow us to better guarantee the
respect of the authors' image rights. If you have any questions, you can contact us at any time at
presse@centrepompidou-metz.fr

Jon RAFMAN, You Are Standing in an Open Field (Mental Traveler), 2020
© Jon Rafman, Courtesy the artist and Sprüth Magers Sandy SKOGLUND, Radioactive Cats, 1980
Paris, Centre Pompidou, Musée national d'art moderne© Sandy Skoglund

Stéphane MALKA, Auto-Defense / Poche de Résistance Active, 2009

© Stéphane Malka Architecture

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NOTES

Wangechi MUTU, The End of eating Everything, 2013

Animation vidéo, 8'10“
© Wangechi Mutu / Courtesy of the Artist, Gladstone Gallery and Victoria
Mary SIBANDE, A Reversed Retrogress, Scene 2, 2013, Somerset House,
Miro Commissioned by the Nasher Museum of Art at Duke University
Londres, 2019/2020, Vitry-sur-Seine, Musée d’art contemporain du Val-de-
Marne, Courtesy of the artist, Photo © Anne Tetzlaff Yinka SHONIBARE, Spacewalk, 2002
Londres, Stephen Friedman Gallery
© Adagp, Paris 2022

Edgar ARCENEAUX, Detroit Monolith, It’s Full of Holes, 2011

Paris, Centre Pompidou, Musée national d’art moderne
© Edgar Arceneaux / Photo : Robert Wedemeyer Kiki KOGELNIK, Female Robot, 1964
Paris, Centre Pompidou, Musée national d'art moderne Konrad KLAPHECK, Der Krieg [La guerre], 1965
© Kiki Kogelnik Foundation. All rights reserved. Düsseldorf, Kunstsammlung Nordrhein-Westfalen
Photo : © Philippe Migeat - Centre Pompidou, MNAM-CCI / © Adagp, Paris, 2022
Dist. RMN-GP Photo : © BPK, Berlin, Dist. RMN-Grand Palais / image BPK

Larissa SANSOUR, Nation estate, 2012

film, 9’ © Larissa Sansour
GERIKO (Hélène Jeudy & Antoine Caëcke), Anvil, 2016
Sur Anvil, 2015, de l’album « Vessel » de Lorn, label Wednesday Sound
Heather Dewey-Hagborg, Stranger Visions, September, 2014. Clip vidéo, noir et blanc, sonore, 3’41’’
Vue d’installation Saint-Gaudens National Historic Site, New Hampshire, Courtesy les artistes
USA, 6 September 2014. © Heather Dewey-Hagborg. Photo courtesy of
the artist and Fridman Gallery, New York

Mathieu BRIAND, Androyx [ A-s1/G1(1-5)\BL*P/17 ], 017 Paris, Collection

Kevin MCGLOUGHLIN, Repetition, 2019 Repetition (Album : Yearning for
Antoine de Galbert, Courtesy of the artist, Photo © Célia Pernot
the infinite) Film (Clip)
Courtesy the artists Studio Orta, Antarctic Village - No Borders (détail), Vue d’exposition,
HangarBicocca, Milan, Italy, 2008
Courtesy Lucy + Jorge Orta / ADAGP, Paris 2022

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CASTELLANOS & VALVERDE, Symbiotic-interaction, 2016/17

© María Castellanos & Alberto Valverde

Ilya Iossifovich KABAKOV, L'homme qui s'est envolé dans l'espace depuis son
appartement (détail), 1985,
Paris, Centre Pompidou, Musée national d'art moderne
© Adagp, Paris, 2022,
Photo : © Philippe Migeat - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

Anna UDDENBERG, Cuddle Clamp, 2017

Prêt de la République fédérale d'Allemagne - Collection d'art contemporain
© Anna Uddenberg, Gallery Kraupa-Tuskany Zeidler,
Photographie: Andrea Rossetti

Willie COLE, Fly girl, 2016

HAUS RUCKER & CO, Stück Nature [Morceau de nature], 1971 - 1973 New York, Alexander and Bonin Gallery
Paris, Centre Pompidou, Musée national d'art moderne Image courtesy of Alexander and Bonin, New York / photo: Joerg Lohse
© Adagp, Paris, 2022 Zsófia KERESZTES, Selfess Other, 2018
Photo : © Bertrand Prévost - Centre Pompidou, MNAM-CCI /Dist. RMN-GP Vue d’installation Liquid Bodies, Sammlung Philara, Düsseldorf
Photo: Paul Schöpfer, Cologne
Courtesy of the artist & Sammlung Philara, Düsseldorf

29
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NOTES

30
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THE CENTRE POMPIDOU-METZ

1, parvis des Droits-de-l’Homme
57000 Metz
+33 (0)3 87 15 39 39
contact@centrepompidou-metz.fr
centrepompidou-metz.fr

Centre Pompidou-Metz
@PompidouMetz
Pompidoumetz

OPENING TIMES
Daily, except Tuesdays and the first of May
01.11 > 31.03
MON. I WED. I THU. | FRI. I SAT. I SUN. : 10:00 – 18:00
01.04 > 31.10
MON. I WED. I THU. : 10:00 – 18:00
FRI. | SAT. I SUN. : 10:00 – 19:00

GETTING HERE ?
Comment venir ?
The shortest journey times
Les plus courts trajets via le réseau ferroviaire

Paris Lille
Rennes
Strasbourg
4:00 85’ 2:50
50’
4:30 3:00
Metz
Nantes 4:30 4:00
Bâle
Bordeaux Lyon

EXHIBITION ADMISSION
Individual price: €7 / €10 / €12 depending on the number of exhibition spaces open
Group rate (from 20 people): €5.50, €8, €10 depending on the number of exhibition
spaces open
Take advantage of the many advantages of Centre Pompidou-Metz partners offered in
the following offers: C.G.O.S ticket, combined Centre Pompidou-Metz/TER Grand Est
offer, combined travel offer + CFL (Chemins de Fer Luxembourgeois) entry, Pass Lorraine,
Pass Time , Museums Pass Museums, City Pass.
Beneficiaries of free entry to the exhibitions: active French teachers (on presentation of
their professional card or their duly completed and valid education pass), under 26 years
old, students, job seekers registered in France and recipients of RSA or social assistance
(on presentation of proof of less than 6 months), artists who are members of the Maison
des Artistes, people with disabilities and an accompanying person, holders of the
minimum old age, guides interpreters and national speakers , holders of Icom, Icomos,
Aica, Paris Première cards, holders of a press card.

31
 PRESS CONTACTS
CENTRE POMPIDOU-METZ AGENCE CLAUDINE COLIN
Regional press National and international press
Marie-José Georges Chiara Di Leva
Head of Communications, Téléphone : +33 (0)1 42 72 60 01
sponsorship and public relations chiara@claudinecolin.com
Phone : +33 (0)6 04 59 70 85
marie-jose.georges@centrepompidou-metz.fr