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Espace de l'Art Concret, Mouans-Sartoux - Opus 58 (French, English, Hardcover, New ed)
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Espace de l'Art Concret, Mouans-Sartoux - Opus 58 (French, English, Hardcover, New ed)
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Text in French and English. Mouans-Sartoux, a small community near
Cannes, has become a Mecca for concrete art. Since 1990 two
collectors from Switzerland, Sybil Albers and the artist Gottfried
Honegger, have been working to establish the Espace de l'Art
Concret (EAC). Neither a museum nor a municipal gallery, this
institution is located in the Chateau de Mouans and in two new
buildings in its large park. The first of the two new buildings was
a studio designed by Marc Barani from Nice for children who come
here to paint and to develop their aesthetic senses. Barani began
work in 1990 with the extension to the cemetery of Saint Pancrace
in Roquebrune-Cap-Martin. The way he located the cemetery in the
local landscape and his use of original vegetable and mineral
materials immediately brought him to international notice. In 2000
Albers and Honegger decided to donate their collections to the
French state, on the understanding that it would finance a building
to house the nearly 500 works of art. A competition was launched
and was won by the Zurich architects Annette Gigon and Mike Guyer.
The building, which opened its doors in 2004, stands on a steeply
sloping wooded terrain. As one enters the park, one sees its
yellowish-green hues through the branches of the trees. The
monochrome colour unifies the five levels of the building that give
no clue as to what it contains. While the outside of the building
looks artificial, independent, sculptural, its interior is set up
in accordance with Honegger's special instructions. He wanted the
building that was to house his collection to be distinct from the
official and sterile museums that are often laid out on the gallery
model, passageways for contemplation, internal streets with
overhead lighting. Honegger prefers an interior that is like a
private home rather than a public institution. The domestic
framework of the rooms must reflect a principle dear to the heart
of the donors: that the works are to be lived with. Honegger takes
an overall view of our material environment and emphasises that for
him the distinction between fine arts and applied arts has no
meaning, because "an unapplied art would have no purpose and would
be bound to be insignificant and disappear".
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