{"id":5852,"date":"2026-04-20T19:10:58","date_gmt":"2026-04-20T17:10:58","guid":{"rendered":"https:\/\/great-artmag.com\/?p=5852"},"modified":"2026-05-18T00:27:11","modified_gmt":"2026-05-17T22:27:11","slug":"calder-fondation-vuitton","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/calder-fondation-vuitton\/","title":{"rendered":"Calder \u00e0 la Fondation Louis Vuitton : il a mis le monde en mouvement"},"content":{"rendered":"

Ma\u00eetre du fil de fer et inventeur du mobile, Alexander Calder (1898-1976) est au c\u0153ur de l\u2019exposition “Calder. R\u00eaver en \u00e9quilibre” \u00e0 la Fondation Louis Vuitton \u00e0 Paris. Cette r\u00e9trospective magistrale retrace avec \u00e9l\u00e9gance l’\u0153uvre de celui qui a introduit le mouvement et le temps dans l\u2019art. Du 15 avril au 16 ao\u00fbt 2026.<\/strong><\/p>\n

Calder \u00e0 Paris : naissance d\u2019un langage artistique<\/h3>\n

\"\"Alexander Calder arrive \u00e0 Paris en 1926 \u00e0 un moment charni\u00e8re de sa vie. Il a 28 ans, ing\u00e9nieur m\u00e9canique, form\u00e9 aux arts plastiques \u00e0 la prestigieuse Art Students League de New York. Son histoire familiale p\u00e8se sans l\u2019enfermer : un p\u00e8re et un grand-p\u00e8re sculpteurs, une m\u00e8re peintre. Il a longtemps r\u00e9sist\u00e9 \u00e0 cet h\u00e9ritage avant d\u2019y revenir par une voie d\u00e9tourn\u00e9e. \u00c0 Paris, il trouve ce que New York ne lui offrait pas encore : un espace o\u00f9 les disciplines se croisent, o\u00f9 l\u2019art se pense collectivement, dans les caf\u00e9s, les ateliers, les amiti\u00e9s.<\/p>\n

“On dit Calder et en chacun l’enfant sourit, l’espace s’anime, tout vit.” Suzanne Pag\u00e9<\/p><\/blockquote>\n

Calder \u00e0 Paris : naissance d\u2019un langage artistique<\/h3>\n

C\u2019est dans ce Paris des avant-gardes qu\u2019il invente le Cirque Calder, \u0153uvre fondatrice autant que manifeste pr\u00e9sent\u00e9e d\u00e8s la premi\u00e8re salle. Ce cirque miniature, qu\u2019il transporte dans des valises, m\u00eale sculpture, performance et narration. Calder anime lui-m\u00eame ses personnages devant un public d\u2019artistes et d\u2019intellectuels. Fernand L\u00e9ger, Jean Arp, Le Corbusier, Joan Mir\u00f3, Jean H\u00e9lion, Piet Mondrian assistent \u00e0 ces repr\u00e9sentations. Le cirque r\u00e9v\u00e8le une conception nouvelle de l\u2019art, fond\u00e9e sur le mouvement, le temps, la relation directe avec le spectateur.<\/p>\n

De Mondrian aux mobiles : l\u2019invention du mouvement en sculpture<\/h3>\n

La rencontre avec Piet Mondrian, en 1930, marque un tournant. En d\u00e9couvrant l\u2019atelier du peintre n\u00e9erlandais, Calder est frapp\u00e9 par la mani\u00e8re dont l\u2019espace entier devient composition. Il comprend que l\u2019abstraction peut s\u2019\u00e9tendre au-del\u00e0 de la surface du tableau. D\u00e8s lors, il abandonne progressivement la figuration pour explorer des formes abstraites en mouvement. Marcel Duchamp nomme ces \u0153uvres des “mobiles”, soulignant leur instabilit\u00e9 et leur rapport au temps. L’exposition en pr\u00e9sente une centaine. Jean Arp proposera en miroir le terme de “stabiles” pour les sculptures fixes. De retour aux \u00c9tats-Unis \u00e0 partir de 1933, Calder maintient des liens \u00e9troits avec l\u2019Europe. Il participe en 1937 au Pavillon de la R\u00e9publique espagnole, aux c\u00f4t\u00e9s de Mir\u00f3 et Picasso qui vient d’achever Guernica<\/em><\/a>. Son travail circule, s\u2019agrandit, change d\u2019\u00e9chelle. Les mobiles deviennent monumentaux, les stabiles investissent l\u2019espace public.<\/p>\n

Dessiner dans l\u2019air : les sculptures en fil de fer<\/h3>\n
\"\"
Calder, “13 spines” (1940)<\/figcaption><\/figure>\n

Les sculptures en fil de fer dessinent dans l\u2019air des portraits reconnaissables en quelques lignes continues. La sc\u00e9nographie souligne avec subtilit\u00e9 le jeu des ombres. C’est ainsi que Jos\u00e9phine Baker, par exemple, devient une figure sensuelle, suspendue entre caricature et \u00e9l\u00e9gance. Ces \u0153uvres frappent par leur imm\u00e9diatet\u00e9, mais aussi par leur intelligence spatiale : Calder pense d\u00e9j\u00e0 la sculpture comme un dessin en trois dimensions. “Sculpteur de vent, forgeron lunaire”, les expressions employ\u00e9es par la musicienne et critique d’art Gabrielle Buffet en 1946 \u00e0 propos de Calder saisissent la po\u00e9sie de l’ensemble du corpus-m\u00eame.<\/p>\n

Sach\u00e9 : un atelier entre nature, lumi\u00e8re et exp\u00e9rimentation<\/h3>\n

Apr\u00e8s la Seconde Guerre mondiale, Calder revient r\u00e9guli\u00e8rement en France. En 1953, il installe un atelier \u00e0 Sach\u00e9, un hameau de Touraine (Val de Loire). Ce lieu devient un point d\u2019ancrage essentiel. Loin de Paris, Calder y travaille dans un rapport direct au paysage, au rythme des saisons. L\u2019atelier de Sach\u00e9 devient son laboratoire. Il y con\u00e7oit aussi bien des \u0153uvres monumentales que des pi\u00e8ces plus intimes. Assemblages de m\u00e9tal, gouaches, projets de sculptures publiques… C\u2019est l\u00e0 qu\u2019il approfondit une id\u00e9e qui traverse toute son \u0153uvre : la sculpture est une forme en relation. Relation \u00e0 l\u2019air, \u00e0 la gravit\u00e9, \u00e0 l\u2019espace environnant. \u00c0 Sach\u00e9, Calder observe le vent, les arbres, les variations infimes du mouvement. Cette attention au vivant irrigue ses Constellations<\/em>, ses mobiles les plus subtils, mais aussi ses grandes commandes publiques.<\/p>\n

“Tout comme on peut composer des couleurs ou des formes, on peut composer des mouvements.” Calder<\/p><\/blockquote>\n

Calder et les arts appliqu\u00e9s : bijoux, mode et avant-garde<\/h3>\n
\"\"
Broches en spirale, colliers graphiques, boucles d’oreilles asym\u00e9triques… les bijoux-sculptures de Calder<\/figcaption><\/figure>\n

Calder \u00e9change avec Duchamp sur le hasard, avec Mir\u00f3 sur la po\u00e9sie des signes, avec les architectes sur l\u2019int\u00e9gration de la sculpture dans la ville. Il con\u00e7oit des bijoux, comme autant de sculptures miniatures, prolongeant son vocabulaire formel \u00e0 toutes les \u00e9chelles. Plusieurs vitrines pr\u00e9sentent ces bijoux-sculptures, des pi\u00e8ces uniques souvent en laiton ou en argent martel\u00e9. Peggy Guggenheim portait ses boucles d’oreilles. On retrouve ses bijoux \u00e9galement port\u00e9s par des mannequins. Elsa Schiaparelli, qui adorait int\u00e9grer l’art \u00e0 ses v\u00eatements appr\u00e9ciait l’aspect brut et avant-garde des cr\u00e9ations de Calder. Lorsque Calder meurt en 1976 \u00e0 l’\u00e2ge de 78 ans, il laisse une \u0153uvre qui a profond\u00e9ment modifi\u00e9 notre rapport \u00e0 la sculpture. En introduisant le mouvement r\u00e9el, il a fait entrer le temps dans l\u2019art. En travaillant entre le jeu et la rigueur, il a invent\u00e9 une mani\u00e8re d\u2019\u00eatre artiste au XX\u1d49 si\u00e8cle.<\/p>\n

L\u2019exposition “Calder. R\u00eaver en \u00e9quilibre”, l\u2019une des plus importantes \u00e0 ce jour consacr\u00e9es \u00e0 l’artiste, a \u00e9t\u00e9 con\u00e7ue en collaboration avec la Calder Foundation<\/a>, principal pr\u00eateur. Le parcours chronologique occupe les 3000 m2 de la Fondation Louis Vuitton. Ce sont ainsi pr\u00e8s de 300 \u0153uvres r\u00e9parties sur les 4 niveaux du b\u00e2timent de Frank Gehry. Les Critters<\/em> (1974), ces diablotins ludiques rouges et noirs surgissent parmi les derni\u00e8res sculptures. Ce sont eux qui ont le dernier mot. Pour notre plus grande joie.<\/p>\n

Infos pratiques : visiter l\u2019exposition Calder \u00e0 Paris<\/h3>\n

\"\"<\/a><\/strong>Fondation Louis Vuitton https:\/\/www.fondationlouisvuitton.fr\/fr<\/a>
\nAdresse : 8 avenue du Mahatma Gandhi dans le 16e arrondissement.
\nAccessible en m\u00e9tro (ligne 1, station Les Sablons), au c\u0153ur du Bois de Boulogne.
\nLe mus\u00e9e est ouvert tous les jours sauf le mardi, de 12h \u00e0 19h en semaine et de 11h \u00e0 20h les week-ends.<\/p>\n","protected":false},"excerpt":{"rendered":"

Ma\u00eetre du fil de fer et inventeur du mobile, Alexander Calder (1898-1976) est au c\u0153ur de l\u2019exposition “Calder. R\u00eaver en \u00e9quilibre” \u00e0 la Fondation Louis Vuitton \u00e0 Paris. Cette r\u00e9trospective magistrale retrace avec \u00e9l\u00e9gance l’\u0153uvre de celui qui a introduit le mouvement et le temps dans l\u2019art. Du 15 avril au 16 ao\u00fbt 2026. Calder […]<\/p>\n","protected":false},"author":1,"featured_media":6710,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1163],"tags":[],"class_list":["post-5852","post","type-post","status-publish","format-standard","has-post-thumbnail","category-exposition"],"yoast_head":"\nCalder \u00e0 la Fondation Louis Vuitton : il a mis le monde en mouvement - GREAT-ARTMAG<\/title>\n<meta name=\"description\" content=\"Inventeur du mobile, Calder (1898-1976) est au c\u0153ur de l\u2019exposition "Calder. 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