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RON MUECK
NOVEMBER 19, 2005—FEBRUARY 19, 2006
CONTENTS 2 VISIT OF THE EXHIBITION
3 LIST OF EXHIBITED WORKS
4 RON MUECK’S BODIES AND SOULS
by Robert Rosenblum
5 MEDIUM AND TECHNIQUE
6 THE CATALOG
7 BIOGRAPHY AND SELECTED BIBLIOGRAPHY
8 NOMADIC NIGHTS
9 ACTIVITIES FOR CHILDREN
10 UPCOMING EXHIBITIONS
11 EXHIBITIONS ABROAD
12 PRACTICAL INFORMATION
PRESS INFORMATION Linda Chenit
assisted by Hélène Cahuzac
Tel +33 (0)1 42 18 56 77/65
Fax +33 (0)1 42 18 56 52
linda.chenit@fondation.cartier.com
images on line: fondation.cartier.com

RON MUECK
NOVEMBER 19, 2005—FEBRUARY 19, 2006
VISIT OF THE EXHIBITION
In the mid-nineties, Australian artist Ron Mueck redefined realism as an aesthetic,
thus renewing the language of contemporary sculpture. The Fondation Cartier pour l’art contemporain is
pleased to present the first solo exhibition in France of this exceptionally gifted artist whose renown has spread
internationally in just a few years. The Fondation Cartier has given the sculptor the entire ground floor level;
the transparency of the building’s glass-enclosed spaces offers a spectacular setting for his works. The
exhibition presents a series of five new pieces created specially for the occasion. The naked Wild Man is a large
seated figure who appears tense and fearful. Spooning Couple represents a man and woman lying in bed
together in a foetal position, suggesting both intimacy and solitude. Mask III is the portrait of a black woman
wearing an expression of peace and content. Two Women depicts a pair of elderly ladies gazing off into the
distance. In Bed portrays a giant female figure who is gently waking up in her bed.
With these new pieces, Ron Mueck continues to explore reality’s ambiguous relationship
to artifice. Brillantly employing the strategies of imitation and illusion, he creates figures that express the
contradictions between the real world and the world of the imaginary. His figures are so lifelike that we
instinctively expect them to begin breathing. Veins, wrinkles, sagging skin, moles, body hair, rashes… every
detail has been crafted to such perfection that the remarkably convincing result can be disturbing.
The artist, who began his career creating marionettes, does not strive to reproduce reality
as we perceive it; by scrupulously imitating each of nature’s details, he gives life to strange and unsettling
figures. The onlooker is automatically disconcerted by their size, always larger or smaller than human scale (the
crouching figure Boy, his most famous piece, is five metres high). Similarly, certain anatomical proportions may
be stretched and accentuated, or the subject’s posture might appear untenable. The artist’s manifest sensitivity
as well as his technical mastery of his materials enable him to create this ambiguous sense of realism. After
years of sculpting with fibreglass alone, Ron Mueck now also works with the more flexible silicone, which
allows him greater ease in shaping certain body parts, such as hands and heads, and in implanting individual
hairs. Yet the extraordinary subtlety of Mueck’s work dwells first and foremost in its power to evoke, to suggest.
Beyond their physical presence, Ron Mueck’s figures express individual emotions and experiences. Accessories
such as a piece of clothing or some bed linens hint at a plot, suggesting a larger environment that allows each
viewer to elaborate his own personal narrative. Every work of art expresses an individual, intimate state where
the stuff of artistic realism shifts toward the realm of psychology. Through their emotional power, Ron Mueck’s
pieces surprise and fascinate. These characters are meant to be observed slowly, so that the shock of the first
glance can gradually be replaced by the dynamics of imagination. Each of Mueck’s hyper-sensitive creations
presents a curious mirror of reality that conveys observers towards a hidden dimension of themselves.
Wild Man, 2005
112 1 /8 x 63 3 /4 x 41 1 /3 in.
A naked, bearded man with tousled hair and a wild appearance is clutching the stool he is seated upon. His
tense body and oblique gaze echo the profound angst the environment provokes within him. For this
sculpture, Ron Mueck makes use of the Fondation Cartier’s physical structure by extending the exhibition space
into the surrounding garden. His character is placed against a natural background from which he seems to
have emerged against his will, only to be exposed to the unwelcome scrutiny of viewers. His silhouette, visible
from the Boulevard Raspail, invites passers-by to come discover the phantasmagorical universe of Ron Mueck.
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Spooning Couple, 2005
5 1 /2 x 25 5 /8 x 13 3 /4 in.
A man and a woman, lying naked side by side, are caught in the intimacy of light sleep. The absence of physical
contact between them belies the apparent serenity of the scene. As a result, physical presence mutates into
absence, closeness becomes distance, and the comfort of two is transformed into the solitude of one.
Among Ron Mueck’s sculptures, this piece is exceptional: it is the first time that the artist has left the theme of
a single character behind in order to focus on the relationship between two people.
Mask III, 2005
61 x 52 x 44 1 /2 in.
Mask III follows Ron Mueck’s self-portraits Mask (1997) and Mask II (2001). Inspired by a striking woman of his
acquaintance, Mueck has created a third mask that is his first portrait of a woman of colour. The munificence
of her radiantly smiling face is the artist’s tribute to this feminine beauty.
Two Women, 2005
33 1 /2 x 18 7 /8 x 15 in.
Here, as in Spooning Couple, Ron Mueck introduces the observer to a pair of characters bound by a common
experience. Two elderly ladies, presented together, are gazing in the same direction. The artist had previously
evoked old age through solitary old women whose patent introversion suggested suffering or loneliness. In
this piece, the women are looking not inward, but outward: the constraints of the private sphere are left
behind in favour of an unrestricted openness.
In Bed, 2005
63 3 /4 x 255 7 /8 x 155 1 /2 in.
A woman in her forties is in bed, propped up on some pillows. Fresh out of sleep, she is holding her face with
her right hand and appears to be lost in her reflections.
As with Boy, the enormous squatting lad first shown at the Venice Biennale in 2001, Ron Mueck has created
a new piece of monumental dimensions. Intimidating the viewer through her sheer size, deeply absorbed in
thought, the woman in bed may evoke loneliness, melancholy, or serenity. The range of possible interpretations
allows viewers to create a personal fiction that reflects their inner self.
Within the framework of the Ron Mueck exhibition, young visitors (6 and older) are invited to join sculpture
workshops where they will create their own pieces. These workshops will be held on Wednesdays, December
21, 2005 and January 18, 2006 at 3 pm. In addition, the notions of scale that distinguish Mueck’s work will
be explored through photo workshops* scheduled for Wednesdays, December 14, 2005 and January 25,
2006 at 3 pm.
Complete list of activities for children on page 9
*Event presented in partnership Nikon.

RON MUECK
NOVEMBER 19, 2005—FEBRUARY 19, 2006
LIST OF EXHIBITED WORKS
Wild Man, 2005
Mixed media
112 1 /8 x 63 3 /4 x 411 /3 in.
Anthony d’Offay, London
Spooning Couple, 2005
Mixed media
51 /2 x 25 5 /8 x 13 3 /4 in.
Anthony d’Offay, London
Mask III, 2005
Mixed media
61 x 52 x 44 1 /2 in.
Anthony d’Offay, London
Two Women, 2005
Mixed media
33 1 /2 x 18 7 /8 x 15 in.
Anthony d’Offay, London
In Bed, 2005
Mixed media
63 3 /4 x 255 7 /8 x 155 1 /2 in.
Anthony d’Offay, London
The Ron Mueck exhibition, initiated by the Fondation Cartier
pour l’art contemporain and realized in collaboration with Anthony d’Offay,
London is presented in Paris from November 19, 2005 to February 19, 2006.
The works especially created for this exhibition will be shown in 2006
and 2007 in the following museums:
Scottish National Gallery of Modern Art, Edinburgh (August—October 2006),
Brooklyn Art Museum, New York (November 2006—February 2007)
and National Gallery of Canada, Ottawa (February—May 2007).
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RON MUECK
NOVEMBER 19, 2005—FEBRUARY 19, 2006
RON MUECK’S BODIES AND SOULS by Robert Rosenblum
[…] Dead Dad, one of Mueck’s earliest works, immediately established his singularity,
not only in its fanatical insistence on the perfect replication of every hair, pore, wrinkle, or muscle that defines
an individual face and body, but in its shrinking of natural human dimensions to an alarmingly unnatural size.
This unique vision is no less indelibly printed on every sculpture he has made, so much so, in fact, that we tend
to think of him as a modern Frankenstein, the creator of a private universe of humanoids that both mirror us
and transform us into alien creatures. But like the inventions of even the strangest and most individual artists—
William Blake, for example—Mueck’s creatures can also be seen as branches off many different historical trees,
both past and present. As for the present, his work, in fact, can easily be seen as belonging to a growing
progeny of synthetic human beings spawned by artists who seem to be responding to a contemporary world
in which perfect replications—whether electronic or biological, a computer print-out or a cloned lamb—are
saturating our experience and blurring distinctions between originals and copies, between the natural and the
artificial. […] Mueck’s work fits comfortably into this expanding population of artists who have turned from
the artificial language of abstraction to the no less artificial language of realism, artists who, like the old
masters, can create such personal variations on three-dimensional facsimiles of the human body that we can
recognize immediately their individual hands. […]
[…] But Mueck’s choice of themes is no less distinctive, since he dares to tackle the kind
of subjects avoided by most contemporary artists, namely, the timeless, universal cycles of human existence,
from the womb to the tomb. The depiction of these momentous events in the stages of life, love, and death
was fundamental to Western art, recreated through biblical narratives and classical mythology; but for Mueck,
these pivotal experiences are recreated through the private lives of individuals, naked or clothed, whom we
recognize as members of our own world. […]
In describing the often painful realities of these works, what has not been mentioned so
far is their equally strong component of fantasy, instantly triggered by Mueck’s refusal to render his sculptures
as life-size figures. Instead, he startles us further by making them either smaller or larger than life, sometimes
with relatively subtle deviations from normal human dimensions, but more often with extreme exaggerations
of size that turn his figures into eerie races of pygmies and giants. In terms of the traditional history of
sculpture, there is nothing unusual about this. Michelangelo’s David is heroically scaled at a height of more
than four meters (13 l/2 feet), that is, twice normal size; whereas a table sculpture by Clodion of frolicking
nymphs and satyrs might be held in one hand. Figural sculpture, in fact, has always come in many sizes. But
when the figures become such frighteningly real facsimiles of ourselves and our contemporaries, these
shrinking and expanding dimensions transport us immediately to another territory, one closer to a world of the
irrational, where fearful creatures can shrivel into nothingness or loom high on the horizon. […]
Although at the Royal Academy’s Sensation show Mueck first became known within a
context of rebellious young British contemporaries, including Jenny Saville, who presumably turned their backs
on the past, it quickly became clear that his work was deeply rooted in the most venerable traditions of
Western art. Confronted with his passion for verisimilitude in sculpture, critics would often write about his
work by invoking ancestors, which might range all the way from the legend of Pygmalion and Galatea or the
palpable realities of Spanish Baroque polychrome sculpture (where real hair, blood stains, and glass tears
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contribute to the uncanny illusion of a living, and usually suffering, human presence), all the way to Degas’s
Little Dancer Aged Fourteen, a small bronze figure with a real muslin tutu and silk hair ribbon. In 2000, only
three years after his sensational debut in Piccadilly, Mueck moved on, in fact, to Trafalgar Square, where, as
the fifth National Gallery Associate Artist, he was invited to seek inspiration from the old masters. […]
(Extracts from the exhibition catalog Ron Mueck)

RON MUECK
NOVEMBER 19, 2005—FEBRUARY 19, 2006
MEDIUM AND TECHNIQUE
Ron Mueck’s sculptures captivate the viewer though their physical realism, from their
poses to the minute details of their skin. Their magical appeal is the result of a lengthy, meticulous process that
brings several factors into play: manifest talent, a precise knowledge of anatomy, and extraordinary technical
savoir-faire. Ron Mueck either personally carries out or is closely involved in each step of the creative process
in his studio. When making larger or multiple works, he sometimes requires the help of assistants.
The artist begins by crafting a series of small plaster maquettes, a process that allows him
the opportunity to study the possibilities for the figure’s position. When the pose is determined he makes
decisions about scale, often making a series of drawings in different sizes before reaching a final conclusion.
Next Mueck sculpts the figure in clay incorporating all the fine details of expression and skin texture that
appear in the finished work. If the artist is making a very large figure, as in the case of In Bed, he first creates
a metal armature which is then covered by wire mesh and swathed in plaster strips before being covered with
modelling clay.
When the clay sculpture is finished, a uniform coat of shellac is applied over the entire
surface so that the clay will not dry out. A mould is then made of the sculpture using silicone, which captures
all the details of expression and skin texture, supported by fiberglass to hold the shape. Sometimes it is
necessary to construct the mould in sections so that it can be removed from the sculpture with greater ease.
To fabricate the sculpture itself, Mueck first applies a layer of gel-coat which incorporates
pigments on the interior of the mould, giving the skin color and depth. Depending on the size of the sculpture,
the artist then paints layers of fiberglass or silicone into the mould until the required thickness and density are
attained. Fiberglass is generally used for large scale works. It is much stronger and has the advantage over
silicone that any seams still visible after the casting process can be filed and polished away. When using
fiberglass, individual hairs are glued into holes that have been drilled by hand. Silicone is much softer and has
the advantage that hairs can be individually punched into the surface, which looks more authentic. As a result
the artist will often cast a silicone face for large fibreglass sculptures so that facial and head hair can be applied
with greater ease.
Removing the sculpture from the mould is not an easy process. Great care must be taken
so that the silicone is not torn or stretched. Once removed, any seams are polished away and the artist will
paint finer details such as veins and blemishes on the surface. Finally, the artist turns his attention to the eyes,
which he sculpts himself and then puts into place, bringing his creation to life.
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RON MUECK
NOVEMBER 19, 2005—FEBRUARY 19, 2006
THE CATALOG
The exhibition catalog presents the five new sculptures that Ron Mueck created expressly
for his show at the Fondation Cartier. Several photographic essays were commissioned to follow the artist
through the different phases of his work. In London, a series of photographs was realized in Mueck’s atelier
over a recent six-month period, while in Paris the completed sculptures were photographed in their exhibition
environment, the transparent ground floor of the Jean Nouvel building. An analytical text by American art critic
Robert Rosenblum, lavishly illustrated with Mueck’s sculptures, studies his work from the perspective of
classical and modern art history.
Ron Mueck
Hardback, bilingual French/English
Fondation Cartier pour l’art contemporain, Paris/
Thames & Hudson, London-New York
22 x 28 cm, 120 pages, 100 color photographs
Text: Robert Rosenblum
Photographs: Gautier Deblonde; Patrick Gries
Graphic design: Larry Kazal, Paris
Publication date: December 20, 2005
Price: 30€
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RON MUECK
NOVEMBER 19, 2005—FEBRUARY 19, 2006
BIOGRAPHY
Ron Mueck was born in Melbourne, Australia, in 1958 to parents of German descent.
As a child he often made toys and this pastime soon became a profession. Mueck began his career in
Australia as a puppet maker, both making and animating marionettes for children’s television. In 1986, he
spent time in Los Angeles working in cinema before moving to London, to work for Jim Henson on Sesame
Street and the Muppet Show. Their collaboration continued in the movies, where Ron Mueck supervised the
special effects for two feature-length films, Dreamchild (1985) and Labyrinth (1986). In 1990, he set up his
own business manufacturing models for the European advertising industry, and began working with
fibreglass, which he continues to use today.
Mueck’s artistic career per se began in 1996 when he made hyper-realistic sculpture of
Pinocchio for the painter Paula Rego, his mother-in-law. Rego used the sculpture as a model for a series of
Disney inspired paintings she made for the exhibition Spellbound: Art and Film exhibition at the Hayward
Gallery in London. The sculpture was exhibited with Rego’s painting during the exhibition where it was noticed
by Charles Saatchi who later commissioned Mueck to make a group of work for his collection. A year later,
Mueck was included in the exhibition Sensation: Young British Artists from the Saatchi Collection at the Royal
Academy of Arts in London. Mueck’s work, Dead Dad, attracted considerable attention.
Entirely devoted to his artistic vocation for the past decade, Ron Mueck has participated
in a number of group exhibitions and is collected by many important museums throughout the world. In 2000,
the National Gallery in London invited him to be their Associate Artist for two years. This culminated in a
travelling exhibition to the Museum of Contemporary Art in Sydney, the Frans Hals Museum Haarlem and the
Nationalgalerie im Hamburger Bahnhof, Museum für Gegenwart in Berlin. His monumental sculpture Boy was
presented at the 49th Venice Biennale in 2001. The Hirshhorn Museum and Sculpture Garden in Washington,
DC, gave Mueck a solo show in 2002. The Fondation Cartier pour l’art contemporain exbihition is his first solo
show in France.
SOLO EXHIBITIONS
2005
Ron Mueck, Fondation Cartier pour l’art contemporain,
Paris (touring Scottish National Gallery of Modern Art,
Edinburgh; Brooklyn Art Museum, New York;
National Gallery of Canada, Ottawa)
Ron Mueck: The Making of Pregnant Woman, 2005,
National Gallery of Australia, Canberra
(touring National Gallery of Victoria, Melbourne;
Queensland Art Gallery, Brisbane)
2003
Ron Mueck: Making Sculpture at the National Gallery,
National Gallery, London
Ron Mueck, Frans Hals Museum, Haarlem (Netherlands)
Ron Mueck, Nationalgalerie im Hamburger Bahnhof,
Museum für Gegenwart, Berlin
2002
Ron Mueck Sculpture, Museum of Contemporary Art,
Sydney
Directions: Ron Mueck, Hirshhorn Museum and Sculpture
Garden, Smithsonian Institution, Washington DC
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2001
Ron Mueck, James Cohan Gallery, New York
2000
Ron Mueck, Anthony d’Offay Gallery, London
1998
Ron Mueck, Anthony d’Offay Gallery, London
MAIN COLLECTIVE EXHIBITIONS
2005
Mélancolie : Génie et Folie en Occident,
Galeries Nationales du Grand Palais, Paris
2004
Bodily Space: New Obsessions in Figurative Sculpture,
Albright-Knox Art Gallery, Buffalo
Noah’s Ark, National Gallery of Canada, Shawinigan
2003
The Body Transformed, National Gallery of Canada,
Shawinigan
2002
A Perspective on Contemporary Art: Continuity/
Transgression, The National Museum of Modern Art,
Tokyo (touring The National Museum of Art, Osaka)
SELECTED BIBLIOGRAPHY
2001
La Biennale di Venezia, 49. Esposizione Internazionale
d’Arte: Platea dell’ Umanità, Giardini di Castello,
Arsenale, Venice
2000
Ant Noises at the Saatchi Gallery: Part I, Damien Hirst,
Sarah Lucas, Ron Mueck, Chris Ofili, Jenny Saville,
Rachel Whiteread, The Saatchi Gallery, London
The Mind Zone, Millennium Dome, London
1999
Heaven, Kunsthalle Düsseldorf, Düsseldorf
(touring Tate Liverpool, Liverpool)
1997
Sensation: Young British Artists from the Saatchi Collection,
Royal Academy of Arts, London
(touring Neue Nationalgalerie im Hamburger Bahnhof,
Museum für Gegenwart, Berlin; Brooklyn Museum,
New York)
1996
Spellbound: Art and Film, Hayward Gallery, London
Ron Mueck, Fondation Cartier pour l’art contemporain, Paris/Thames & Hudson, London-New York, 2005.
Heiner Bastian (ed.), Ron Mueck, Hatje Cantz Verlag, Ostfildern-Ruit, 2003.
Ron Mueck, The National Gallery, London, 2003.
Boy by Ron Mueck, photographs by Gautier Deblonde, Anthony d’Offay Gallery, London, 2001.
Patricia Ellis, 100: The Work That Changed British Art, Jonathan Cape/The Saatchi Gallery, London, 2005,
p. 152-159, 212-213.
Kerstin Stremmel, Uta Grosenick (ed.), Realism, Taschen, Cologne, 2004.
Julian Heynen, Sammlung Ackermans. K21 Kunstsammlung Nordrhein-Westfalen, Hatje Cantz Verlag,
Düsseldorf, 2002, p. 31, 119.
Ant Noises, Saatchi Gallery, London, 2000.
Unsichere Grenzen, Kunsthall zu Kiel, Kiel, 1999, p. 18-21.
Spaced Out: Late 1990s Works from the Vicki and Kent Logan Collection, California College of the Arts,
San Francisco, 1999, p. 7-8, 29.
Richard Cork, Sarah Kent, and Jonathan Barnbrook (eds.), Young British Art: The Saatchi Decade,
Booth-Clibborn Editions, London, 1999, p. 381-385, 494-495.
Dick Price, The New Neurotic Realism, The Saatchi Gallery, London, 1998.
Sensation: Young British Artists from the Saatchi Collection, Royal Academy of Arts, London, 1997, p. 126-127.

RON MUECK
NOVEMBER 19, 2005—FEBRUARY 19, 2006
Nomadic Nights
PROGRAM NOVEMBER, 2005—FEBRUARY, 2006
During the course of the John Maeda and Ron Mueck exhibitions,
Nomadic Nights will present a program of events in the performing arts.
Information and reservations (necessary), every day, except Monday,
from 12:00 pm to 8:00 pm. Tel +33 (0)1 42 18 56 72
Entrance fee: 6.50€, reduce rate: 4.50€
WEDNESDAY, NOVEMBER 30;
THURSDAY, DECEMBER 1 AND FRIDAY, DECEMBER 2 AT 8:30 PM
Eva Meyer-Keller, Good Hands (performance)
How is a performance put together? Eva Meyer-Keller answers this question by organising a bricolage session,
an open theatrical kitchen where spectators too get to do a bit of stirring and chopping.
THURSDAY, DECEMBER 8 AND FRIDAY, DECEMBER 9 AT 8:30 PM
Houkka Bros., Wanderer (show)
Show in English
In the great ancestral tradition of the evening gathering, three Finnish artists invite an intimate group of
spectators to an unknown destination. Around a table, which is in fact a blackboard, they use drawings and
words to tell a story from another age, about a Russian pilgrim in the 19th century.
THURSDAY, DECEMBER 15 AT 8:30 PM
Marc Bamuthi Joseph, The Spoken Word (dance/poetry)
Show in English
A poet and dancer from a hip-hop background, Marc Bamuthi Joseph works in the narrow space between the
history, fantasy and myths of the American Black community in “choreopoems” that combine dance, the
spoken word and live music.
TUESDAY, JANUARY 17—SUNDAY, JANUARY 22 AT 8:00 PM
Le Petit Théâtre Baraque, Une case provisoire (show)
In a small, barrel-shaped circus tent, 32 spectators look down on the stage where, over 75 minutes, a poetic
and hallucinatory spectacle of chimeras will unfold before them.
THURSDAY, JANUARY 26 AT 8:30 PM
Olivier Mellano/Friedrich Wilhelm Murnau, L’Aurore (cine-concert)
With his masterful composition, Olivier Mellano, a key figure on the new French music scene, invites us to
rediscover the sublime images of Sunrise (L’Aurore), the silent masterpiece by Friedrich Wilhelm Murnau.
THURSDAY, FEBRUARY 9 AT 8:30 PM
The Books (concert)
Working with sounds collected here and there and with finely crafted melodies, the American duo The Books
compose unique music full of knowing references, both complex and light.
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RON MUECK
NOVEMBER 19, 2005—FEBRUARY 19, 2006
ACTIVITIES FOR CHILDREN
For the John Maeda and Ron Mueck exhibitions,
the Fondation Cartier pour l’art contemporain invites its young visitors
to discover contemporary art in a fun and original manner.
Events take place on Wednesday at 3:00 pm.
Workshops: 4.50€ per child
Visits and tales: 4.50€ for children over 10; free for children under 10
For information and reservations (necessary)
contact Vania Mehrar at +33 (0)1 42 18 56 67
vania.merhar@fondation.cartier.com
WEDNESDAY, NOVEMBER 30, 2005 AT 3:00 PM (AGE 6 AND UP; DURATION 1:30)
Ron Mueck and Bertille Soullier’s tantalizing tales
Storyteller Bertille Soullier introduces children to the Ron Mueck exhibition by means of a story-telling
discovery tour in which she associates tales of giants and wee folk with the artist’s sculptures.
WEDNESDAY, DECEMBER 7, 2005 AT 3:00 PM (AGE 6 AND UP; DURATION 1:30)
Digital fruit salad:
a multimedia workshop with Cécile Boyer *
After visiting John Maeda’s Nature + Eye’m Hungry exhibition, children create a digital image of an artistic
composition made of fruit and vegetables. The result is printed onto a T-shirt.
WEDNESDAY, DECEMBER 14, 2005 AT 3:00 PM (AGE 6 AND UP; DURATION 1:30)
Photo workshop with Aurélien Dupuis **
After visiting the Ron Mueck exhibition, young participants focus on taking photographs of the pieces.
Particular attention is paid to perception of scale, a hallmark of the Australian sculptor’s work.
WEDNESDAY, DECEMBER 21, 2005 AT 3:00 PM (AGE 6 AND UP; DURATION 1:30)
Sculpture workshop with Fulvia di Pietrantonio
After discovering Ron Mueck’s hyper-realistic sculptures in the exhibition, children learn how to create their
own truer-than-life pieces.
WEDNESDAY, DECEMBER 28, 2005 AT 3:00 PM (AGE 6 AND UP; DURATION 1:30)
Visit of the exhibitions
led by a Fondation Cartier guide
*Event presented in partnership with Apple, Epson, Nikon and Petit Bateau.
**Event presented in partnership with Nikon.
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WEDNESDAY, JANUARY 4, 2006 AT 3:00 PM (AGE 6 AND UP; DURATION 1:30)
John Maeda and Bertille Soullier’s tantalizing tales
Nature and gourmandise are the subjects of the tales told here. Bertille Soullier uses them to guide children
through the universe of John Maeda and digital imagery.
WEDNESDAY, JANUARY 11, 2006 AT 3:00 PM (AGE 6 AND UP; DURATION 1:30)
Of sweetmeats and pixels:
a multimedia workshop with Cécile Boyer *
After discovering John Maeda’s Nature + Eye’m Hungry exhibition, children create a digital image of an
artistic composition made of bonbons and other treats. The result is printed onto a T-shirt.
WEDNESDAY, JANUARY 18, 2006 AT 3:00 PM (AGE 6 AND UP; DURATION 1:30)
Sculpture workshop with Fulvia di Pietrantonio
based on the Ron Mueck exhibition
WEDNESDAY, JANUARY 25, 2006 AT 3:00 PM (AGE 6 AND UP; DURATION 1:30)
Photo workshop with Aurélien Dupuis
based on the Ron Mueck exhibition **
WEDNESDAY, FEBRUARY 1, 2006 AT 3:00 PM (AGE 6 AND UP; DURATION 1:30)
Of digital cakes:
a multimedia workshop with Cécile Boyer *
After visiting John Maeda’s Nature + Eye’m Hungry exhibition, children create a digital image of a composition
made of cakes. The result is printed onto a T-shirt.
WEDNESDAY, FEBRUARY 8, 2006 AT 3:00 PM (AGE 6 AND UP; DURATION 1:30)
Ron Mueck and Bertille Soullier’s tantalizing tales
WEDNESDAY, FEBRUARY 15, 2006 AT 3:00 PM (AGE 6 AND UP; DURATION 1:30)
John Maeda and Bertille Soullier’s tantalizing tales
*Event presented in partnership with Apple, Epson, Nikon and Petit Bateau.
**Event presented in partnership with Nikon.

RON MUECK
NOVEMBER 19, 2005—FEBRUARY 19, 2006
UPCOMING EXHIBITIONS
March 4—May 21, 2006
Press opening with the artists on Friday, March 3, 2006
Yokoo Tadanori
A pioneer of Japanese graphic design in the 1960 and 1970, Yokoo Tadanori (born in
Japan in 1936) originally became known through his posters and illustrations. A number of artists, including
Issey Miyake and the writer Yukio Mishima, spotted his talent early on and requested his collaboration. At the
time, Yokoo Tadanori deftly developed his own distinctive mode of expression, playing with styles belonging
to different eras. Inspired by the imagery of popular culture, his work explains many facets of Japanese
postwar society.
In the early 1980s, painting became the art form through which he uncompromisingly
began to explore various subjects rooted in personal and collective memories, such as life, death, society, sex
and religion. Impervious to all forms of criticism, bent on giving intuition and inspiration full rein, he never
shrank from shocking his contemporaries as he varied stylistic and thematic approaches.
The Fondation Cartier pour l’art contemporain is organizing this outstanding artist’s first
international exhibition. The Fondation Cartier will present a collection of his paintings along with some of his
older work, thus revealing his journey as a graphic artist and the opulence of his personal universe.
Juergen Teller
One of the most influential fashion photographers of his generation, Juergen Teller first
became famous for the innovative fashion editorials he realized for magazines such as i-D, W, and The Face.
His work redefined the aesthetics of fashion photography, away from the glamour and gloss of the 1980s to
the more brutally direct and authentic realism of the 1990s. Juergen Teller captures his subjects at seemingly
unrehearsed moments, revealing them in all of their imperfection and vulnerability. Exposing the scars, bruises
and blemishes of his models, Juegen Teller’s photographs question conventional notions of beauty. Whether
he is photographing supermodels and celebrities or himself and his family, Juergen Teller finds poetry in the
everyday, creating images that are poignant, humorous, rough or tender. The Fondation Cartier pour l’art
contemporain is pleased to present the artist’s first major solo show in France. The exhibition will include the
major icons of the artist’s work in fashion, as well as new and previously unpublished images. A special focus
will be given to the artist’s work as it appears in magazines and publications, exploring the relationships
created by the sequencing of images in printed form.
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NOVEMBER 19, 2005—FEBRUARY 19, 2006
EXHIBITIONS ABROAD
Adriana Varejão, Echo Chamber
The exhibition Adriana Varejão, Echo Chamber, presented at the Fondation Cartier pour
l’art contemporain in Paris from March 18 to June 5, 2005, and hosted by the DA2-Domus Artium 2002,
Salamanca from June 24 to September 4, 2005, is being shown at the Centro Cultural de Belém, Lisbon from
October 15, 2005 to January 15, 2006.
Rinko Kawauchi
The Rinko Kawauchi exhibition, presented at the Fondation Cartier pour l’art
contemporain in Paris from March 18 to June 5, 2005, is hosted by the Huis Marseille in Amsterdam from
September 10 to December 4, 2005.
Ron Mueck
The Ron Mueck exhibition is presented in Paris from November 19, 2005 to February 19,
2006. The works especially created for this exhibition will be shown in 2006 and 2007 in the following
museums: Scottish National Gallery of Modern Art, Edinburgh (August—October 2006), Brooklyn Art Museum,
New York (November 2006—February 2007) and National Gallery of Canada, Ottawa (February—May 2007).
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NOVEMBER 19, 2005—FEBRUARY 19, 2006
PRACTICAL INFORMATION
The Fondation Cartier pour l’art contemporain is open to the public every day
except Monday, from 12:00 pm to 8:00 pm.
Entrance fee: 6.50€, reduced rate*: 4.50€
WEBSITE
fondation.cartier.com
BOOKSHOP
The bookshop of the Fondation Cartier pour l’art contemporain is open
at the same hours as for the exhibitions.
GROUP VISIT
By appointment only. Guided visits daily through the exhibitions.
ACTIVITIES FOR CHILDREN
Visits round the exhibitions and other activities every Wednesday afternoon.
Workshops: 4.50€ per child
Visits and tales: 4.50€ for children over 10; free for children under 10
LECTURE SERIES
Mondays and Tuesdays, from 7:30 to 9:00 pm. By registration only.
THE CIRCLE OF FRIENDS
Membership of “The Circle of Friends”
of the Fondation Cartier pour l’art contemporain offers many advantages
(free entry to the exhibitions, invitations to private views,
10% discount in the bookshop, 30% discount on lecture courses…).
For information on all these activities:
Vania Mehrar: tel + 33 (0)1 42 18 56 67 vania.merhar@fondation.cartier.com
Nomadic Nights
Information and reservations (necessary), every day,
except Monday, from 12:00 pm to 8:00 pm: tel + 33 (0)1 42 18 56 72
Entrance fee: 6.50€, reduced rate*: 4.50€
ACCESS
261, boulevard Raspail 75014 Paris
Metro: line 4 and 6, Raspail or Denfert-Rochereau
Bus 38, 68, 88, 91– RER B: Denfert-Rochereau
*students, individuals under 25, carte Senior, Amis des Musées, unemployed
Free admission: Circle of Friends, children under 10, ICOM
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RON MUECK
NOVEMBER 19, 2005—FEBRUARY 19, 2006
Fondation Cartier pour l’art contemporain
DIRECTOR
Hervé Chandès
EXECUTIVE MANAGER
Sylvie Dumas assisted by Magali Bourcy
ASSISTANT TO THE DIRECTOR
Virginie Bergeron
CURATORS
Hélène Kelmachter, Grazia Quaroni, Leanne Sacramone, Katell Jaffrès
PUBLICATION
Sophie Perceval assisted by Adeline Pelletier
REGISTRAR
Corinne Bocquet assisted by Marcela Velasco
PRESS INFORMATION
Linda Chenit assisted by Hélène Cahuzac
BOOKSHOP, PUBLIC RELATIONS
Vania Merhar
NOMADIC NIGHTS
Isabelle Gaudefroy assisted by Frédérique Mehdi
SECRETARIAL STAFF
Michèle Geoffroy, Ursula Thai
EMPLOYMENT AND ACCOUNTING
Fabienne Pommier assisted by Cornélia Cernéa
GENERAL SERVICES
François Romani
INSTALLATION
Gilles Gioan
The exhibition Ron Mueck was organized with the support
of the Fondation Cartier pour l’art contemporain, under the aegis of the Fondation de France
and with the sponsorship of Cartier.