Loan of works from the IAC Collection, Villeurbanne/Rhône-Alpes :
Ann Veronica Janssens, Magma B & Sunset R, Diptych for IAC’s Friends, 2018
Daniel Steegmann Mangrané, Eri Sali, 2019
Hana Miletic, Materials, 2019 - 2020
Ann Veronica Janssens, Magma B & Sunset R, Diptych for IAC’s Friends, 2018
Daniel Steegmann Mangrané, Eri Sali, 2019
Hana Miletic, Materials, 2019 - 2020
Contrepoint & Mumi, from September 20, 2025, to December 20, 2025, Madeleine Lambert Art Center, Vénissieux, France
In music, counterpoint is that additional note that comes to join another — to color it, harmonize with it, and add a touch that will either complement or contradict it. Counterpoint engages in dialogue with the initial note, forming a duo — more or less harmonious or dissonant — a pairing of sounds.
The exhibition Contrepoint similarly extends the visit of Raphaël Emine’s solo exhibition. Contrepoint offers a nested space: an exhibition on the walls, bringing together five artists from the collections of the Centre d’art Madeleine Lambert in Vénissieux and the MUMI — a model-like artwork that itself hosts works from these collections, as well as loans from artists and from the collection of the IAC, Villeurbanne/Rhône-Alpes.
Contrepoint invites visitors to reflect on museums, approaching them through the kinds of questions any visitor might ask: How are artworks presented? How is space arranged to showcase them? How are they preserved? Who works in a museum, and what are the various professions involved? How does an artwork become part of a collection? […]
The MUMI
Le Gentil Garçon is the pseudonym of an artist based in Lyon, active since the late 1990s. Invited to Le Voyage à Nantes in 2016, he created a MUsée MIniature for his exhibition at the Palais Dobrée. Display case, cabinet of curiosities, model, dollhouse — the MUMI draws from all these forms and borrows the modernist vocabulary of 1930s architecture. These neutral, luminous interior spaces evoke major museum models: the Musée d’Art Moderne de la Ville de Paris, Berlin’s Neue Nationalgalerie, or New York’s Museum of Modern Art. The museum — often seen as an intimidating institution — here becomes a playground and a space of wonder.
Designed by the artist to live a nomadic museum life, the MUMI travels at the invitation of host institutions and stages its own exhibition seasons. It can accommodate various art forms as well as natural history or anthropological collections, offering the possibility of being reinvented by others beyond the artist himself.
Presenting itself as the miniature of an ideal museum, the MUMI immediately invites experimentation. Empty, it becomes a space for projection, where one can imagine dream exhibitions. Its interiors can host all kinds of works and objects, allowing for bold arrangements and combinations impossible to realize in reality. It also lends itself beautifully to plays on scale, serving as an ideal setting for small-format artworks.
In music, counterpoint is that additional note that comes to join another — to color it, harmonize with it, and add a touch that will either complement or contradict it. Counterpoint engages in dialogue with the initial note, forming a duo — more or less harmonious or dissonant — a pairing of sounds.
The exhibition Contrepoint similarly extends the visit of Raphaël Emine’s solo exhibition. Contrepoint offers a nested space: an exhibition on the walls, bringing together five artists from the collections of the Centre d’art Madeleine Lambert in Vénissieux and the MUMI — a model-like artwork that itself hosts works from these collections, as well as loans from artists and from the collection of the IAC, Villeurbanne/Rhône-Alpes.
Contrepoint invites visitors to reflect on museums, approaching them through the kinds of questions any visitor might ask: How are artworks presented? How is space arranged to showcase them? How are they preserved? Who works in a museum, and what are the various professions involved? How does an artwork become part of a collection? […]
The MUMI
Le Gentil Garçon is the pseudonym of an artist based in Lyon, active since the late 1990s. Invited to Le Voyage à Nantes in 2016, he created a MUsée MIniature for his exhibition at the Palais Dobrée. Display case, cabinet of curiosities, model, dollhouse — the MUMI draws from all these forms and borrows the modernist vocabulary of 1930s architecture. These neutral, luminous interior spaces evoke major museum models: the Musée d’Art Moderne de la Ville de Paris, Berlin’s Neue Nationalgalerie, or New York’s Museum of Modern Art. The museum — often seen as an intimidating institution — here becomes a playground and a space of wonder.
Designed by the artist to live a nomadic museum life, the MUMI travels at the invitation of host institutions and stages its own exhibition seasons. It can accommodate various art forms as well as natural history or anthropological collections, offering the possibility of being reinvented by others beyond the artist himself.
Presenting itself as the miniature of an ideal museum, the MUMI immediately invites experimentation. Empty, it becomes a space for projection, where one can imagine dream exhibitions. Its interiors can host all kinds of works and objects, allowing for bold arrangements and combinations impossible to realize in reality. It also lends itself beautifully to plays on scale, serving as an ideal setting for small-format artworks.
