Curators :
Maurice Fréchuret,
Ariane Coulondre

Musées nationaux du XXe siècle des Alpes-Maritimes

RMN - Grand Palais

Musée national Pablo Picasso,
La Guerre et la Paix
Place de la Libération
06220 Vallauris
T +33(0)4 93 64 71 83
www.musee-picasso-vallauris.fr

June 26th – November 7th 2011

Open every day
From July 1st to August 31st,
From 10am to 7pm.

Open every day but tuesday,
from June 26th  to 30th and
from Septembre 1st to 15th ,
From 10am to 12am and 2pm to 6pm
(5pm since  Septembre 16th).

2011 – Sans titre, Cuir rouge et matériaux divers Dimensions variables - Vue de l exposition à la chapelle Picasso à Vallauris dans le cadre de la manifestation de l’ACCA © Pascal Mournard

2011 – Sans titre, Cuir rouge et matériaux divers Dimensions variables - Vue de l exposition à la chapelle Picasso à Vallauris dans le cadre de la manifestation de l’ACCA © Pascal Mournard

2011 – Sans titre, Cuir rouge et matériaux divers Dimensions variables - Vue de l exposition à la chapelle Picasso à Vallauris dans le cadre de la manifestation de l’ACCA © Pascal Mournard

2011 – Sans titre, Cuir rouge et matériaux divers Dimensions variables - Vue de l exposition à la chapelle Picasso à Vallauris dans le cadre de la manifestation de l’ACCA © Pascal Mournard

Pablo Picasso national Museum,
War and Peace
La peinture autrement (volet 3) - Aïcha Hamu
-Another Look at Painting/Part 3- Aïcha Hamu

This summer the museum opens its doors to an installation by artist  Aïcha Hamu. The piece was specifically designed for this venue, taking into account the history and dimensions of the site. The museum is located in a huge former church, dating from the 12th century. Pablo Picasso was very fond of the proportions of this magnificent building and it was here that he created his famous War and Peace panels for the chapel in 1953.

«Painting differently, drawing differently”. Such is Aïcha Hamu’s proposal. Confronted with this Roman-style building, she has designed her work for the space. Here, Aïcha Hamu draws in three dimensions using red leather straps that run from one point to the other, or which are braided into large tassels that draw attention because of their scarlet colour. Leather embodies the work of all those hands that have shaped, processed and coloured it, just as it evokes the straps that are used to operate the machinery in workshops and theatres. These places stimulate the imagination, encouraging stories and narration. In this capacity, Aïcha Hamu’s work is both the front and back of the stage.

Ariane Coulondre