March 11 ? Sept. 12, 2010 - Fondation Cartier pour l'art ...

March 11 › Sept. 12, 2010

EXHIBITION MARCH 11 > SEPT. 12, 2010
BEAT TAKESHI KITANO
GOSSE DE PEINTRE
—
With joy, humor and seriousness, Beat Takeshi Kitano has thrown himself
into Gosse de peintre, an unusual project that subtly, if impertinently,
alights in the realm of childhood. Entirely created by Beat Takeshi Kitano,
this site-specific exhibition for the Fondation Cartier pour l’art contemporain
will be presented from March 11 to September 12, 2010. With paintings
and videos, bizarre objects and settings, whimsical and fantastic machines,
Kitano leads the visitor through surprises, gags and games, all the while
mocking contemporary art, experimenting with the sciences and toying with
clichés associated with his country, Japan.
A SingulAr PerSonAlity Filmmaker, actor, TV presenter,
comedian, painter, writer, Takeshi Kitano, also known as Beat
Takeshi, is a singular personality. Famous throughout the world
for his films, Beat Takeshi Kitano commands an unequalled
popularity in Japan as a comic and TV celebrity. Irrepressibly
curious, passionate about the acquisition and passing on of
knowledge, he adroitly switches genres and idioms, moving
from violence to comedy, from over-the-top performances to
deeply restrained ones.
An invitAtion from the fondAtion CArtier While this
insatiable artist finds inspiration everywhere, two leitmotifs
occur frequently in his work: his fascination and nostalgia
for childhood, and his relationship with the image, which is
fundamental to his creative approach. This passion for the
image is also evidenced by a prolific output of paintings, many
of which appear in his films. Reluctant to institutionalize his
artwork, which he deems essentially a private endeavor, Kitano
has never submitted to the numerous requests of museums
to exhibit his work. His decision to accept the Fondation
Cartier’s invitation resulted from meeting with its director,
Hervé Chandès, and their numerous discussions during which
arose the idea of a site-specific exhibition geared toward children,
designed as one gigantic installation.
A multifACeted ProjeCt In creating Gosse de peintre, a
multifaceted project with clear autobiographical references,
Beat Takeshi Kitano subverts the very idea of an exhibition.
He has transformed the museum into an amusement park
in which all the worlds of Beat Takeshi Kitano take center
stage. Popular culture and scientific inquiry, the imaginary
and the satirical, tradition and education, the beautiful and
the kitsch, all co-exist in a setting that is at once diverse
and cohesive.
Meandering along a path studded with bizarre images, interactive
workshops, gags and games, visitors enter a universe
1
as joyful as it is rich and complex. Populated by imaginary animals
amidst an array of inventions, sideshows and musings,
Beat Takeshi Kitano’s exhibition is like a gigantic self-portrait,
an expression of his dreams, ideas, and fantasies both as a child
and an adult. The autobiographical nature of the exhibition
is demonstrated through references to his childhood and
hints to events in his life and even his name, which appears
on objects and within the exhibition decor.
This first exhibition of Beat Takeshi Kitano is one of the most
ambitious projects ever created for the Fondation Cartier.
It is designed for children, but speaks to adults. With Gosse
de peintre, Beat Takeshi Kitano takes children seriously and
invites them to think, to dream and to join the show.
—
ACtivitieS for Children
March > Sept. 2010
In the context of the exhibition Beat Takeshi Kitano, Gosse de peintre,
the Fondation Cartier pour l’art contemporain invites young visitors
to discover today’s art in new ways. Workshops and guided tours
for children and families are offered to the public
on Wednesday and Saturday afternoons.
For further information: fondation.cartier.com/enfants
Practical information. Admission: 7 €. Advance booking essential.
Visitors’ Department: Tel. + 33 (0)1 42 18 56 67
info.reservation@fondation.cartier.com
—
exhibition
FONDATION CARTIER POuR l’ART CONTEMPORAIN
General Director: Hervé Chandès / Curator: Isabelle Gaudefroy /
Production Manager: Camille Chenet; intern: Alexandra Fouillade-Meyer /
Production and Installation Coordinator: Christophe Morizot /
Interpreter: Asuka Abe / Registrar: Corinne Bocquet,
Alanna Minta Jordan; intern: Flora Katz / Installation: Gilles Gioan /
lighting: Nicolas Tauveron / Soundtracks: Cristián Sotomayor /
Sound Technician: Cyril Chiron
OFFICE KITANO
General Director: Masayuki Mori / Production Managers: Makoto Kakurai,
Aya Nakahashi, Jun Ogawa / Director of Production: Satoru Maruyama
(ACS Inc.) / Director of Exhibition Design: Hironori Takamatsu (ACS Inc.)

INSTAllATIONS / PAINTINGS / VIDEOS
THE EXHIBITION
—
Described by Kitano as a “series
of dreams,” the exhibition allows
the discovery of a collection
of objects born straight from his
imagination. The entire ground
floor is surmounted by three large
rings that support some two
hundred figurines called dharma,
who seem to be looking over
the visitors and the exhibition.
Very popular in Japan, these
lucky charms are named after
the founder of Zen, Bodhidharma
who, having meditated for
nine years while facing a wall,
saw his legs and arms atrophy.
Conventionally, these Japanese
figurines are red and their
eyes remain unpainted, allowing
those who buy the charms
first to make a wish while
painting the left eye and once
the wish is granted, finish
by painting the right eye.
upon entering the small gallery,
the visitor is greeted by a model
of Beat Takeshi Kitano which is
observing his own brain and is
engaged in an internal dialogue:
Who are You Who is Looking
at Me?! This “self-portrait with
brain” hints at the spirit of the
exhibition, a veritable journey
into the heart of Kitano’s
imaginary world.
Following his 1994 motorcycle
accident, Kitano refused to have
a craniotomy.
“It’s true that if my surgeon
sees these paintings, he’ll probably
think he should have operated
on me right away!”
Beat Takeshi Kitano
In the same room, a recalcitrant
criminal escapes hanging (Beat
Takeshi Kitano’s way of taking on
the death penalty which remains
in force in Japan). A preview of the
latest model of the “safest driver’s
seat on the planet” is also on display.
2
On the small stage of the Ô-Edo
Puppet Theater, a wild array
of Japanese masks—traditional
figures from kabuki theater, folk
characters, deities from Japanese
mythology—create a beguiling,
emblematic composition.
The term Ô-Edo refers to
the name of Tokyo during
the Edo period (1600-1868).
Continuing, the visitor comes upon
Kitano’s theory on the disappearance
of the dinosaurs, as well as the
Japanese Imperial Army’s secret plans
to transform animals into weapons.
Seventeen never-before-seen
creatures, along with the blueprints
that served to make them, are
displayed in a large showcase
fashioned after the façade of
the early-20th-century Japanese
Naval Ministry building.

“Making such comparisons
between machines and animals
is like a children’s game,
but there is also a serious
analytical component to it.[…]
These pictures may seem
funny and can make us laugh.
But quite seriously, a whale
is much better in the water
than a hydroplane.
A dragonfly can fly better
than a helicopter. All of these
man-made technologies are
inspired by living creatures,
but they can never equal them.”
Beat Takeshi Kitano
Grandly seated in the middle of
the room, a gigantic, clattering,
laughably inefficient sewing machine
serves as an ironic metaphor
for contemporary art.
The Kitano Sewing
Machine “Hideyoshi”:
Toyotomi Hideyoshi
is the name of a 16th-century
Japanese warlord who
unified the country following
a century of upheaval.
Right beside this, transgenically
bred fish pre-stuffed with sushi
poke fun at technological progress.
underscoring his respect for traditional
craftmanship, Kitano entrusted
the production of the fish to Hagi
ceramists whose expertise dates
back to the 17th-century. A truly
miraculous catch, the installation
is decorated with a flag, like those
flown by fishermen to ensure a good
catch. He has set afloat “Takeshi’s
Boat” affiliated with the “Fishermen’s
Association of Adachi-ku.”
Adachi-ku is a working-class
neighborhood of Tokyo and
Kitano’s childhood home.
Passionate about science, Kitano
naturally included scientific games
and metaphors in the exhibition.
The Tower of Hanoi is a game
invented in the 19th century
by a French mathematician and
practiced—according to Kitano—
by Buddhist monks for meditation.
As presented here, this brain
teaser would take 580 billion years
to finish—an inconceivable time
span for the human mind to ponder.
Children can play simplified
versions of the game.
Similarly, the installation Probability
Of Chance also highlights the
disparity in scale between human
time and the time of creation.
using a clock, a bolt and a vibrating
base, it presents a scientific metaphor
that insinuates how the appearance
3
of life on earth was complete chance.
The stopwatch is set at Kitano’s birthday.
“On earth, we are under
the impression that we all live
in synchronous, equivalent time.
But this impression is utterly
false. Time is not perceived in
the same way by different cultures.
Time is not a universal concept.
It represents something
different to each individual.” 1
Beat Takeshi Kitano
1. Takeshi Kitano, in collaboration with Michel Temman,
Kitano par Kitano, Grasset, 2010
With a humorous bow to art history,
the Monsieur Pollock installation
presents a machine designed to
create a series of paintings by this
major figure of American abstract
expressionism. In the bookstore
on the mezzanine, several different
painting techniques, as well as the
results of these forged experiments,
are on display.
In a shed in the garden Tama-Jii
and Kon-Tan depicts the two opposing
spirits found in all humans and all
trees. Embodying the positive side
of the human soul, “Tama-Jii” is a
portmanteau word coined by Kitano
composed of Tamashii (spirit or soul)
and Jii (old man). Kon-Tan (schemer)
embodies the negative side of the
human soul. In humans, Kon-Tan
is situated near the intestines and
Tama-Jii near the heart. In trees, the
former withers the branch in which it
lives, whereas the latter fortifies it.

At a stand in the garden, visitors
can buy and savor Kitano’s waffles.
Customarily shaped like a fish,
here the traditional Japanese waffle
is transformed into a Buddha.
located on the lower level, this large,
bright stand was inspired by the
fairground booths seen in Asakusa,
a working-class neighborhood
where Kitano spent a great deal
of his childhood during the 1950s.
Reminiscent of a curiosity cabinet,
it is a trove of funfare phenomena.
Strange chimeras are caged behind
bars, while the “Beat Takeshi’s
real work,” like a sordid little secret,
hides behind the red drapes. Excerpts
from his TV shows, never previously
seen in France, are shown in an
off-beat setting.
Paintings, 2008-2009. The exhibition
also presents a large collection
of Beat Takeshi Kitano’s paintings,
presented here for the first time.
Despite his prodigious output, Beat
Takeshi Kitano considers himself
an amateur painter. For him, painting
is as much a writing implement
as it is an outlet. Figurative, even
narrative in style, the twenty-four
paintings, some of which were
produced for this exhibition, seem
to explode in colors and are
reminiscent of naïve art.
“Having split up in
prehistoric times,
creatures reunify in
the 21st century.”
Beat Takeshi Kitano
The Animal and Flower
Vases. While recovering
from the 1994 motorcycle
accident that almost
cost him his life, Beat Takeshi
Kitano created a series
of disturbing paintings
in 1996 that depicted
hybrid animal-flower
creatures. These works
accented several scenes
of his film Hana-bi.
The paintings are
displayed here, along
with a collection of
Venetian vases inspired
by the unsettling images
and which were produced
expressly for this project.
As an exclusive for the Fondation
Cartier, Beat Takeshi Kitano
has shot two short comedies.
This is Japan! is a surrealistic
compilation of picturesque images
and prejudices, in which he
humorously attacks clichés held
by westerners regarding Japan.
In Human Hanging Calligraphy,
Kitano films himself as he is
being manipulated to create
a giant calligraphy, echoing
his most recent film Achilles
and the Tortoise.
4
Modern Science Reveals The
Truth about Dinosaur Extinction:
“For example, the installation
that examines the extinction
of the dinosaurs. If you watch TV
programs on this subject,
for instance, on the Discovery
Channel, they try to give you
detailed scientific explanations
as to why the dinosaurs
disappeared. They usually say
that a meteorite hit the earth,
that the temperature of the planet
dropped, and this caused the
dinosaurs to die out. But I offer
a different, comic version.
Those dinosaurs had short arms,
which probably made it hard
for them to wipe their behinds.
And so the hypothesis is
that their disappearance was
due to the lack of hygiene in
their environment!”
Beat Takeshi Kitano
Two workshops have been erected,
inviting the visitor to participate
in the exhibition. In one interactive
installation, everyone can take
part and create drawings inspired
by soundtracks that evoke
a particular landscape, personality
or musical excerpts. Displayed side
by side, these drawings will form
a montage of the diversity of human
imagination. On the lower level,
there is a dinosaur painting workshop
where the visitor can imagine the
original colors of these now extinct
creatures. using a paint gun, the
lucky lottery winners (a small sticker
on your entry ticket indicates whether
you’ve won) get to color the dinosaurs
however inspiration may lead.

INTERVIEW REAlIZED BY MICHEl TEMMAN (EXCERPTS FROM THE CATAlOG)
INTERVIEW WITH
BEAT TAKESHI KITANO
—
miChel temmAn Your exhibition at the Fondation Cartier
is a new chapter in your already prolific career. Is it like
a dream come true?
beAt tAkeShi kitAno I feel like a mountain climber who has
been asked to climb Mt. Everest without a supply of oxygen.
When the Fondation Cartier asked me to do this exhibition, it
might have been the lack of oxygen that led me to say: “Okay,
I’ll do it.” Anyway, I think I was somewhat dehydrated. After
things had gotten off the ground, when it became hard to say,
“In fact, I’m not really sure of myself anymore,” I got worried.
We had gone past the point of no return, and I wanted to say
to the Fondation Cartier: “Wait a second! Are we actually
going to do this exhibition?” […]
miChel temmAn When you were working on the
exhibition, what were your priorities and what was your
greatest desire? What was going on in your head?
beAt tAkeShi kitAno I like the painting and the work of
Renaissance painters like leonardo da Vinci. What I admire
about them is that, throughout their lives, they didn’t confine
themselves to one path or define themselves by a single interest.
Da Vinci was a painter, but he was also a scientist. I like
the idea that he was able to combine elements from different
fields and that this combination made up his artistic oeuvre.
He was constantly doing new things with his hands. I like that
approach, that characteristic of the Renaissance artists: their
versatility. Nowadays, however, it has become terribly common
to segregate all of these different fields. We think we have to
separate each discipline and clearly distinguish artists from
scientists. Specialization is something that is becoming more
and more apparent in our times. However, for the education
of our children—and this is, in fact, true not only for children,
but for everyone—it is much more stimulating and exciting
to jam everything together in one pot. And, of course, being
a comedian, I can’t help but incorporate silliness and mockery
into the installations and paintings in this exhibition. But
who knows what will happen? Someone, a child perhaps, will
be astonished by a certain installation and want to become
a scientist. Another kid might want to become an artist, and
another, a comedian. […]
miChel temmAn The Director of the Fondation Cartier
Hervé Chandès chose the title Gosse de peintre
(“the painter’s kid”) for the exhibition. This was the
nickname you were given in school by other children
who made fun of your father’s job…
beAt tAkeShi kitAno Yes, it’s true, and in fact the title conveys
the message I wanted to express. Other kids often mocked
me because I was the son of a house painter. That happened
a lot when I was in primary school, junior high and even high
school. They would say: “Oh, you’re the house painter’s kid!”
I heard it all the time. That’s partly why I drew away from the
5
other kids when I was in school. I don’t know how things are in
Europe, but in Japan house painters are ridiculed because you
see them wearing their used coveralls stained with paint, and as
a result, their dirty clothes make them a target of derision. So in
school, I kept my distance from the bullying and the teasing of
my classmates, and in fact I liked being on the outside looking
in. I was like a spectator observing them objectively, it seemed
to me, from the outside. And I think this helped me later on,
especially when I was starting out as a stand-up comic. Watching
people, knowing how to observe them, is the most valuable skill
a comedian can have. I had learned how to observe the kids who
made fun of me, their behavior and ways of thinking, and that
habit later became very useful, it became an asset for me.[…]
miChel temmAn It [the exhibition] reveals you, for
the first time, as a visual artist. And it includes so many
different forms of artistic expression: it could have been
called Takeshi’s Vertigo. After Beat Takeshi, the TV star, and
Kitano, the filmmaker, is this the birth of a new Takeshi?
beAt tAkeShi kitAno Well, when I work on a television program
or on a feature film, there are always certain limits. For
example, with TV shows there are restrictions in terms of
content. The producers and directors, of course, tell me I can
do anything I want. But in reality, when you’re working with a
commercial network, you have to take the sponsors into consideration,
which means that you can’t criticize them on the
show. This is also applicable to movies, and the film industry
has its own constraints. For this exhibition, on the other hand,
I was given free rein. There were no restrictions—outside of
the physical limitations, of course—and that was quite new
for me. It was probably the most “anything goes” situation I’ve
ever experienced, and I took it as far as I wanted to go.
—
PubliCAtion
Beat Takeshi Kitano, Gosse de peintre
Opening the door to Kitano’s
world, this catalogue offers
a behind-the-scenes look at the
exhibition. Drawings of objects,
blueprints of the installations
and paintings by the artist wind
back to the genesis of an
extraordinary project. Through
a rich iconography drawn
from his films and top TV shows,
the reader retraces in images
Kitano’s exceptional career.
limited edition of 150 box sets,
containing a book signed by
the artist and a litograph. Price
available on demand. Exclusively
sold at the Fondation Cartier
pour l’art contemporain Bookshop
and on fondation.cartier.com
Fondation Cartier pour l’art
contemporain, Paris /
Actes Sud, Arles
Softback, 24 × 30 cm, 264 pages,
200 color illustrations, 43 €

BIOGRAPHY
—
the beginningS Born in Tokyo in 1947, Beat Takeshi Kitano
entered show business in 1974 as Beat Takeshi, a stage name
he continues to use as a performer. Half of the comic duo Two
Beat, Beat Takeshi was one of the leading figures in the manzaï,
or stand-up comedy boom of the late 1970s. Beat Takeshi’s
distinctive speaking style and idiosyncratic perspective made
him one of Japan’s most popular entertainers of the 1980s.
tv Celebrity Beat Takeshi’s television career saw its true
beginnings in 1981 with his appearances on Oretachi
Hyokinzoku (literal translation: we are jokers), a comedy show
that introduced many comedians. Of the numerous shows
presented by Beat Takeshi, the most internationally renowned
is Takeshi’s Castle in which contestants participated in a series
of trials, some quite physical. Broadcast from 1986 to 1989,
it achieved record audiences. Currently, Beat Takeshi Kitano
presents eight programs a week, with topics ranging from
politics to mathematics.
ACtor As an actor, Beat Takeshi has appeared in his own
films as well as numerous others. He garnered international
acclaim for his role in Nagisa Oshima’s Merry Christmas, Mr
Lawrence in 1982. In 1999, he again collaborated with Oshima
on the samurai epic Taboo. In 2000, he appeared in Kinji
Fukasaku’s controversial Japanese blockbuster Battle Royale.
His acting career also includes international films such as
Robert longo’s Johnny Mnemonic (uS, 1995) and Jean-Pierre
limosin’s Tokyo Eyes (France, 1997).
direCtor Kitano made his directorial debut with Violent
Cop, in which he also starred. He has since made Boiling
Point, A Scene at the Sea, Sonatine, Getting Any? and Kids
Return, among others. In 1997, Kitano’s directorial achievement
was truly acknowledged when Hana-bi was awarded
the Golden lion Award at the Venice International Film
Festival. This success was followed by Kikujiro, the Japan-uS
co-production Brother and Dolls. Kitano’s first period drama,
Zatoichi, won the Best Director Award at the Venice
International Film Festival. Following the release of Takeshis’,
Kitano was presented with the Special Culture Award at the
10th Galileo 2000 Awards in Italy. In 2006, Kitano directed
the short film, One Fine Day, for the Cannes Film Festival’s
60th anniversary project, Chacun son Cinéma. That year,
Kitano became the inaugural recipient of the Venice
International Film Festival’s Glory to the Filmmaker! Award,
which was established in honor of his thirteenth film, taking
on his title. In 2008, Achilles and the Tortoise premiered at
the Venice International Film Festival. That same year, Kitano
received in June the lifetime Achievement Award at the
Moscow International Film Festival, and in November the
Honorary Golden Alexander Award at the International
Thessaloniki Film Festival.
6
Disorder
In a film–just like in the universe–order
reigns, with its equations, subtractions,
divisions. A scenario, however, can be
the result of disorder. I would love to edit
a film by selecting the scenes at random.
The final version would be fantastical,
nonsensical, astonishing, completely wild.
Playing
I make movies, above all, for fun. Maybe
it’s because I’m obsessed with putting
things together… I see each of my films
as a sort of toy, an object. I don’t think
there is anything more enjoyable than
making a movie. It reminds me of when
I was a boy, playing with a top.
Television
Television offers me a lot of freedom,
especially as a filmmaker. Thanks to
television I can switch between genres
and take the time to work on a filmmaking
adventure that is really important to
me. Television is a drug that keeps me
from getting stressed out.
Time
If I could, I would like to be able to live
outside of time. like when you’re at
the movies. When you watch a film,
it’s like you’re living outside of reality.
I wish I could get away from that
constraint, that fatality from which
no one can escape.
Vocation
If I couldn’t get a job in a Honda factory,
then I thought I’d be just as happy being
an explorer, a marine biologist, for example,
in order to satisfy my yearning to see
the world…
The quotations by Takeshi Kitano are originally from the book
Kitano par Kitano, written by the artist in collaboration
with Michel Temman and published by Grasset in February 2010.

FIlMS, TV, BOOKS
—
FIlMOGRAPHY TV SHOWS
(Selection)
1989
Violent Cop
Director,
Writer
and Actor
1990
Boiling Point
Director,
Writer, Editor
and Actor
1991
A Scene at the Sea
Director,
Writer
and Editor
1993
Sonatine
Director,
Writer, Editor
and Actor
1995
Getting Any?
Director,
Writer, Editor
and Actor
1996
Kids Return
Director,
Writer
and Editor
1997
Hana-bi (Fireworks)
Director,
Writer, Editor
and Actor
• Golden Lion,
Venice
Film Festival
1999
Kikujiro
Director,
Writer, Editor
and Actor
2000
Brother
Director,
Writer, Editor
and Actor
2002
Dolls
Director,
Writer
and Editor
2003
Zatoichi
Director,
Writer, Editor
and Actor
• Silver Lion,
Venice
Film Festival
2005
Takeshis’
Director,
Writer, Editor
and Actor
2007
Glory to
the Filmmaker!
Director,
Writer, Editor
and Actor
2007
One Fine Day
Director,
Writer
and Editor
2008
Achilles
and the Tortoise
Director,
Writer, Editor
and Actor
Actor in selected
other films
1983
Nagisa Oshima,
Merry Christmas,
Mr Lawrence
1993
Toshihiro Tenma,
Many Happy Returns
1995
Robert longo,
Johnny Mnemonic
1995
Takashi Ishii,
Gonin
1997
Jean-Pierre limosin,
Tokyo Eyes
1999
Nagisa Oshima,
Taboo
2000
Kinji Fukasaku,
Battle Royale
2002
Kenta &
Kinji Fukasaku,
Battle Royale II
2004
Yoichi Sai,
Blood and Bones
7
1981/1989
Oretachi
Hyokinzoku
1983/1986
Takechan
no Omowazu
Waratteshimaimashita
1983/1999
Super Jockey
1985/1990
Sports Taisho
1985/1995
Genki TV
1986/1989
Takeshi’s Castle
1989/1996, 2007
Owarai Ultra Quiz
1989/Present
Beat Takeshi’s
TV Tackle
1990/Present
World Great TV
1997/2009
Takeshi No Daredemo
Picasso
1998/2002
Kokoga Hendayo
Nihonjin
2006/Present
Takeshi Kitano
presents
Coma Univ.
Mathematics
2008/Present
Jouhou 7 days
Newscaster
2009/Present
Takeshi
No Nippon
No Mikata
BIBlIOGRAPHY
Beat Takeshi Kitano
has published
over eighty books
under the name
of Beat Takeshi
or Takeshi Kitano.
Two of them have
been translated
into English:
Boy, Vertical, 2007
A Guru Is Born
Vertical, 2008
Selected english
books on
beat takeshi kitano
Aaron Gerow,
Kitano Takeshi
British Film Institute,
2007
Abe Casio,
Beat Takeshi
vs. Takeshi Kitano
Kaya Press,
2005
Imai Takako, Tommy
udo, Sato Yuki,
Machiyama Tomohiro,
Abe Casio,
Beat Takeshi Kitano
Tadao Press,
2001

CuRRENT EVENTS
— In cinemas
tAkeShi kitAno,
Achilles And the tortoise
Océan Films Distribution
Release date: March 10, 2010
Following Takeshis’ (2005) and Glory to the Filmmaker!
(2007), Achilles and the Tortoise (2009) is Takeshi Kitano’s
third full-length film to reflect on the condition of the artist.
Here he works less as a filmmaker and more as a painter.
With his extremely dark sense of humor, he expresses
the anguish of the painter who, in vain, devotes his
existence to discovering himself.
TAKESHI KITANO,
THE ICONOCLAST
THE FILMMAKER
AND ACTOR FOR THE BIG
AND THE SMALL SCREEN
MARCH 11 TH TO JUNE 26 TH
8
In bookshops
tAkeShi kitAno,
KitAno pAr KitAno
In collaboration with Michel Temman. Éditions Grasset
Release date: February 27, 2010
A culmination of years of interviews with the French
journalist Michel Temman, Takeshi Kitano has published
his first autobiography outside Japan. How does one
manage to be both a celebrity and an exacting filmmaker?
Kitano reveals all, confiding in the reader as if they were
just friends, seated around the table with a good bottle
of wine—one of his passions.
TAKESHI KITANO
THE FILMMAKER
THE ACTOR / CINEMA
THE ACTOR / TELEVISION
AROUND TAKESHI KITANO
www.centrepompidou.fr

uPcoMing
EXhibition
—
Mœbius
October 2010 > February 2011
In October 2010, the Fondation
Cartier will present an important
solo exhibition devoted to the work
of Jean Giraud, alias Mœbius,
undoubtedly the most influential
comic strip artist working in France
today. A master of draftsmanship,
he has developed a variety
of styles from the detailed realism
of Blueberry, to the dreamlike
drawings of Arzak or
The Airtight Garage.
Mœbius has chosen the theme
of metamorphosis as the central
focus of his exhibition—a theme
that can be found throughout
his work. Replete with shifting
landscapes and characters
in continuous transformation,
the drawings of Mœbius explore
the limits of the unconscious,
revealing an imaginary and
fantastical world. Through
the often sudden and disturbing
metamorphosis of a character,
Mœbius opens up the possibility
that the forms in our environment
may not be as stable as
they seem.
Including original notebooks,
comic boards, and paintings as
well as the artist’s work in film
and animation, the exhibition
will also provide the possibility
for the public to discover new
previously unpublished drawings.
With the support of
Media Partners
PRActicAL
inFoRMAtion
—
opening hours ⁄ adMission
Open every day except Monday,
from 11 a.m. to 8 p.m.
Tuesday evenings until 10 p.m.
Admission: 7.50 €
Reduced rate: 5 €*
Admission free **
Free entry for visitors under 18 on
Wednesday from 2 p.m. to 6 p.m.
Ticket sales in advance at
Fnac stores and on fnac.com
* Students, under 25, “carte Senior” holders,
“Amis des Musées”, unemployed.
** “Laissez-passer”, children under 10,
and ICOM members.
access
261, boulevard Raspail 75014 Paris
Tel. + 33 (0)1 42 18 56 50
Fax + 33 (0)1 42 18 56 52
Metro Raspail or Denfert-Rochereau
(lines 4 & 6) / Bus 38, 68, 88, 91
RER Denfert-Rochereau (line B)
Vélib’ 2, rue Victor Schoelcher
Disabled parking at
2, rue Victor Schoelcher.
accueil des groupes
Guided tours, Tuesday to Friday,
from 11 a.m. to 6 p.m.
(min. 10 people).
Adults: 8 € per person
Students and “Carte Senior”
holders: 5 € per person (free
admission for group leaders)
Self-guided tours, Tuesday to Sunday,
from 11 a.m. to 6 p.m. (min. 10 people).
Adults: 7 € per person
Students and “Carte Senior”
holders: 4 € per person (free
admission for group leaders)
Advance booking essential:
Visitors Department: Tel. + 33 (0)1 42 18 56 67
info.reservation@fondation.cartier.com
laissez-passer
The Laissez-passer offers free
and unlimited priority access
to the Fondation Cartier, free
access for a guest accompanying
the cardholder on Wednesdays,
guided visits to the exhibitions,
invitations to Nomadic Nights
events, and reduced prices for
special events (limited number
available, reservation only), a 5%
discount at the bookstore and
in specialized bookstores in Paris,
as well as privileges in numerous
other cultural institutions in Paris
(museums, theatres…).
Annual membership: 38 €
Reduced rate (students,
“carte Senior” and “carte famille
nombreuse” holders): 25 €
Tarif jeune (moins de 25 ans) : 18 €
Contact: Visitors’ Department
Tel. + 33 (0)1 42 18 56 67
info.laissezpasser@fondation.cartier.com
fondation.cartier.coM
Visit the Fondation Cartier website
to find all information related
to the exhibition (videos, making-of,
interviews, and more). You may
also follow the Fondation Cartier’s
current events on Twitter (twitter.
com/Fond_Cartier) and Dailymotion
(dailymotion.com/FondationCartier)
as well as on Facebook and iTunes U,
where you may download podcasted
tours of the exhibitions.
press info
Linda Chenit
assisted by Matthieu Simonnet
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
the exhibition beat takeshi Kitano, Gosse de peintre is organized with support from the Fondation cartier pour l’art contemporain, under the aegis of the Fondation de France, and with the sponsorship of cartier. images © office Kitano inc.