From drawings to objects, manifestos
to posters, the exhibition is woven
into the collections of the modern
and contemporary galleries. It fosters
a conversation between objects created
during the lockdown and other, more
reflective artistic explorations undertaken
during this long, undecided, anxious and
creative period.
The purpose of “An uncertain spring”
is simply to present this unexpected
pause, a time for isolation, solitude,
or reunion. Some worked in silence while
others were surrounded by the turmoil
of family life, but all have, through their
creations, discovered unsuspected
horizons. Those weeks and months were a novel
experience for creators as much as for the
museum and its teams. Since 1939, the
Musée des Arts Décoratifs has never been
closed for so long and so abruptly, except
for renovation or refurbishments, with its
teams scattered and separated despite the
fruitful continuum of meetings and calls.
“An uncertain spring” also bears witness
to that experience: the spring acquisitions
committee and the meeting of the Cercle
Design 20/21 which marks the annual
enrichment of contemporary collections
and the beginning of summer, were both
rescheduled for the fall. Beyond a change
of dates, it was an opportunity to reflect
on the meaning of museum acquisitions
while the world is in crisis.
The exhibition is an invitation for
collective reflection, shared by the
members curatorial team involved with
contemporary creation, design, graphic
design, craft, toys, and more.
Newly acquired contemporary pieces
converse with works drawn from the
museum’s collections and the creations
selected for “An uncertain spring”.
The Covid-19 pandemic was, of course,
a source of inspiration, shown
by embroideries of the virus, a film about
the impatience of objects waiting for
the return of visitors, and 3D-printed
visors for hospitals. But “An uncertain
spring” couldn’t merely show pieces
inspired by the coronavirus. That would
have been too literal. For some, nature
and life were a recurring theme; it was
the flight of a butterfly yearning for
freedom, a collection of pebbles polished
by waves, drawings of tables set in
inaccessible gardens, interwoven invading
plants or a “painting” made of feathers.
More to the point, it exposes how
creators experienced it. Throughout our
exchanges, the museum had no special
expectations, no required typology.
Just the wish to show, quite simply, what
this truly incredible period has been for
each of them. With many of these creators
being previously featured in exhibitions
or their work is a part of the museum’s
collections, “An uncertain spring”
has allowed us to strengthen our ties
to these artists.
Disconnected by the virus from their
production lines, studios and workshops,
new solitary spaces became “a room
of one’s own”, to quote Woolf again.
These spaces became where some
creators went back to experimenting,
drawing sketches, building models.
The hand took over from the machine,
giving birth to woven colours, chromatic
mirrors, tortuous labyrinths… As they
sheltered in place, some creators were
inspired by their children’s world, conjuring
an improvised mini golf in the hallway
of their house, or revisiting an alphabet
in colour.
Throughout the Musée des Arts
Décoratifs, traces and moments of this
“uncertain spring” offer a light-handed,
touching, often infra-thin itinerary, with
no lessons to give or preconceived
anticipations, and avoiding the hasty
conclusions that so many would like
to draw about the world of “after”.