{"id":1802191,"date":"2026-03-03T02:26:00","date_gmt":"2026-03-02T23:26:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1802191"},"modified":"2026-03-03T02:26:00","modified_gmt":"2026-03-02T23:26:00","slug":"anne-imhof-prend-dassaut-le-plus-grand-musee-portugais","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1802191","title":{"rendered":"Anne Imhof prend d\u2019assaut le plus grand mus\u00e9e portugais"},"content":{"rendered":"<div class=\"entry-content\">\n<section class=\"single-header padding-top-s\">\n<div class=\"container\">\n<div class=\"row justify-content-between\">\n<div class=\"col-lg-9 col-xl-8\">\n<div class=\"video-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n<div class=\"container-img desktop\">\n\t\t\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/IMHOF-PUSH.jpg\" alt=\"Portrait de Anne Imhof par Sean and Seng.\"><\/p>\n<p class=\"number big\">2<\/p>\n<\/p><\/div>\n<div class=\"container-img mobile\">\n\t\t\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/THUMB-IMHOF.jpg\" alt=\"Portrait de Anne Imhof par Sean and Seng.\"><\/p>\n<p class=\"number big\">2<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"col col-lg-3 col-xl-4 desktop\">\n<div class=\"ad grand-angle desktop\">\n    <!-- \/21730003857\/numero-ad-unit\/numero-grand-angle --><\/p>\n<div id=\"div-gpt-ad-1757063143832-0\" class=\"px-0\">\n<p>            googletag.cmd.push(function () {<br \/>\n                googletag.display(&#8216;div-gpt-ad-1757063143832-0&#8217;);<br \/>\n            });<\/p><\/div>\n<\/div><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/section>\n<section class=\"post-content\">\n<div class=\"container\">\n<div class=\"row g-0 justify-content-between\">\n<div class=\"col-lg-9 col-xl-8 padding-top-s\">\n<p class=\"share-widget\" id=\"share-widget\"><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/themes\/%09%09%09understrap-child-main\/src\/public\/images\/share.svg\" alt=\"share-widget\"><\/p>\n<div class=\"share-icons\" id=\"share-icons\">\n<p class=\"copy-link\"><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/copy-link.svg\" alt=\"copy-link\"><\/p>\n<p>\t\t\t\t\t\t\t<a href=\"https:\/\/www.facebook.com\/sharer\/sharer.php?u=https:\/\/numero.com\/art\/numero-art\/annee-imhof-musee-serralves\/\" class=\"facebook\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/facebook.svg\" alt=\"facebook\"><\/a><br \/>\n\t\t\t\t\t\t\t<a href=\"https:\/\/twitter.com\/share?url=https:\/\/numero.com\/art\/numero-art\/annee-imhof-musee-serralves\/\" class=\"twitter\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/twitter.svg\" alt=\"twitter\"><\/a>\n\t\t\t\t\t\t<\/div>\n<p>\t\t\t\t\t\t<span class id=\"custom-tooltip\">Lien copi\u00e9<\/span><\/p>\n<div class=\"col-lg-10\">\n<div class=\"meta d-flex justify-content-between align-items-center\">\n<div class=\"cat\">\n\t\t\t\t\t\t\t\t\t<a class=\"cat-title\" href=\"https:\/\/numero.com\/category\/art\/numero-art\/\">Num\u00e9ro Art<\/a>\t\t\t\t\t\t\t\t<\/div>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t2 mars 2026\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<h1>Anne Imhof prend d\u2019assaut le plus grand mus\u00e9e portugais<\/h1>\n<div class=\"introduction\">\n<p><span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">Au Mus\u00e9e d\u2019art contemporain de Serralves, joyau du Portugal, Anne Imhof<\/span><\/span> investit l\u2019architecture d\u2019<span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">\u00c1lvaro Siza jusqu\u2019au 19 avril 2026<\/span><\/span> avec l\u2019exposition <em data-start=\"171\" data-end=\"193\">Fun ist ein Stahlbad<\/em>, con\u00e7ue en dialogue \u00e9troit avec le b\u00e2timent moderniste. Curat\u00e9e par <span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">In\u00eas Grosso<\/span><\/span>, cette proposition in situ d\u00e9ploie sculptures, peintures, son et film pour interroger les promesses du modernisme et les m\u00e9canismes contemporains du divertissement.<\/p>\n<\/div>\n<li class=\"credits d-flex\">\n<p>\n\t\t\t\t\t\t\t\t\t\t\tTexte et photos par\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/numero.com\/contributeur\/thibaut-wychowanok\/\">Thibaut Wychowanok<\/a>.\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/li>\n<div id=\"ads03\" class=\"mobile\">\n<div class=\"ad-wrapper\">\n<div class=\"ad interscroller desktop\">\n<\/div>\n<p><!-- \/21730003857\/numero-ad-unit\/numero-interscroller --><\/p>\n<div id=\"div-gpt-ad-1757521738078-0\">\n<p>        googletag.cmd.push(function () {<br \/>\n            googletag.display(&#8216;div-gpt-ad-1757521738078-0&#8217;);<br \/>\n            googletag.pubads().addEventListener(&#8216;slotRenderEnded&#8217;, function (event) {<br \/>\n                if (event.slot.getSlotElementId() === &#8216;div-gpt-ad-1757521738078-0&#8217;) {<br \/>\n                    const iframe = document.querySelector(&#8216;#div-gpt-ad-1757521738078-0 iframe&#8217;);<br \/>\n                    if (iframe) {<br \/>\n                        iframe.style.width = &#8216;100%&#8217;;<br \/>\n                        iframe.style.aspectRatio = iframe.getAttribute(&#8216;width&#8217;) + &#8216; \/ &#8216; + iframe.getAttribute(&#8216;height&#8217;);<br \/>\n                        iframe.style.height = &#8216;auto&#8217;;<br \/>\n                        const doc = iframe.contentDocument || iframe.contentWindow.document;<br \/>\n                        if (doc) {<br \/>\n                            const img = doc.querySelector(&#8216;a img.img_ad&#8217;);<br \/>\n                            img.style.width = &#8216;100%&#8217;;<br \/>\n                            img.style.height = &#8216;auto&#8217;;<br \/>\n                        }<br \/>\n                    }<br \/>\n                }<br \/>\n            });<br \/>\n        });<\/p>\n<\/div><\/div>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t&lt;!&#8211; <\/p>\n<div class=\"padding-bottom-s\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n<p> &#8211;&gt;<\/p>\n<figure data-wp-context='{\"imageId\":\"69a5ca967e2ab\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"908\" height=\"622\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/image-6.jpeg\" alt class=\"wp-image-806171\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition d\u2019Anne Imhof au mus\u00e9e Serralves de Porto <em>\u00a9<\/em> Thibaut Wychowanok<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">La rencontre d\u2019Anne Imhof avec l\u2019architecture d\u2019\u00c1lvaro Siza<\/h2>\n<p>Au <strong>Museu de Arte Contempor\u00e2nea de Serralves<\/strong>, \u00e0 <strong>Porto<\/strong>, il y a toujours cette seconde de suspension avant d\u2019entrer. L\u2019entr\u00e9e blanche tout en longueur du mus\u00e9e (nous laissant l\u2019impression de p\u00e9n\u00e9trer dans un autre monde, une autre temporalit\u00e9) de son architecte star <strong>\u00c1lvaro Siza <\/strong>ouvre l\u2019espace comme une promesse de clart\u00e9 moderniste, une confiance presque candide dans la capacit\u00e9 de l\u2019architecture \u00e0 organiser le monde. Avec son exposition intitul\u00e9e\u00a0<em>Fun ist ein Stahlbad<\/em>, <strong>Anne Imhof <\/strong>n\u2019attaque pas frontalement cette promesse : elle l\u2019infiltre, la ralentit, la tend jusqu\u2019au point de rupture.<\/p>\n<p>La commissaire <strong>In\u00eas Grosso<\/strong> le rappelle d\u2019embl\u00e9e : <em>\u201cCette exposition n\u2019a pas commenc\u00e9 par un th\u00e8me, mais par une rencontre.\u201d<\/em> Rencontre avec un b\u00e2timent qui \u201cn\u2019est pas un conteneur neutre\u201d, insiste-t-elle, mais une pr\u00e9sence active, presque un protagoniste. Ici, rien n\u2019est ajout\u00e9 pour neutraliser <strong>\u00c1lvaro<\/strong> <strong>Siza<\/strong> : pas de faux murs, pas de black box. <strong>Anne Imhof<\/strong> accepte la lumi\u00e8re, la frontalit\u00e9, la noblesse des mat\u00e9riaux. En apparence du moins.<\/p>\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure data-wp-context='{\"imageId\":\"69a5ca967e6b8\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"623\" height=\"831\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" data-id=\"806053\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/image.jpeg\" alt class=\"wp-image-806053\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition d\u2019Anne Imhof au mus\u00e9e Serralves de Porto <em>\u00a9<\/em> Thibaut Wychowanok<\/figcaption><\/figure>\n<figure data-wp-context='{\"imageId\":\"69a5ca967e962\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"623\" height=\"831\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" data-id=\"806055\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/image-1.jpeg\" alt class=\"wp-image-806055\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition d\u2019Anne Imhof au mus\u00e9e Serralves de Porto <em>\u00a9<\/em> Thibaut Wychowanok<\/figcaption><\/figure>\n<\/figure>\n<h2 class=\"wp-block-heading\">Un titre emprunt\u00e9 \u00e0 la philosophie allemande<\/h2>\n<p>Le titre de l\u2019exposition, emprunt\u00e9 \u00e0\u00a0<em>Dialectique de la raison\u00a0<\/em>de <strong>Theodor W. Adorno <\/strong>et <strong>Max Horkheimer<\/strong>, agit comme une cl\u00e9 froide :<em> \u201cFun ist ein Stahlbad\u201d<\/em> \u2014 <strong>le divertissement est un bain d\u2019acier<\/strong>. Ce que l\u2019industrie culturelle vend comme rel\u00e2chement fonctionnerait en r\u00e9alit\u00e9 comme un entra\u00eenement doux, une discipline sans friction. Le loisir \u00e9pouse la logique du travail. La d\u00e9tente devient protocole.<\/p>\n<p><strong>Anne Imhof<\/strong>, qui a toujours travaill\u00e9 avec les codes de la jeunesse, des sous-cultures, des communaut\u00e9s queer, ne moralise pas cette \u00e9quation. Elle la mat\u00e9rialise.<\/p>\n<p>\u00c0 l\u2019ext\u00e9rieur, dans le <strong>P\u00e1tio do Ulmeiro<\/strong>, une piscine en acier noir, longue de pr\u00e8s de vingt m\u00e8tres, s\u2019enfonce dans le sol.\u00a0<em>Stahlbad<\/em>\u00a0(2025) est <strong>la premi\u00e8re sculpture ext\u00e9rieure de l\u2019artiste<\/strong>. Aucune eau. Aucun acc\u00e8s. La piscine est plac\u00e9e entre les vastes baies vitr\u00e9es du mus\u00e9e et un grillage en acier concentrationnaire. La forme demeure, la fonction s\u2019est retir\u00e9e. On pense au <em>Carr\u00e9 noir<\/em> de<strong> Malevitch<\/strong> \u2014 non comme citation litt\u00e9rale, mais comme surface absolue, opacit\u00e9 qui refuse la narration.<\/p>\n<figure data-wp-context='{\"imageId\":\"69a5ca967eda8\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"574\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/image-1024x574.png\" alt class=\"wp-image-806198\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition d\u2019Anne Imhof au mus\u00e9e Serralves de Porto <em>\u00a9<\/em> Thibaut Wychowanok<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">De Tchernobyl au Portugal<\/h2>\n<p><strong>In\u00eas<\/strong> <strong>Grosso<\/strong> \u00e9voque les piscines publiques brutalistes de l\u2019apr\u00e8s-guerre, ces infrastructures social-d\u00e9mocrates qui promettaient sant\u00e9, \u00e9galit\u00e9, corps collectifs. <strong>Anne Imhof<\/strong>, elle, a longuement regard\u00e9<strong> <\/strong>la piscine de <strong>Pripyat<\/strong>, \u00e0 <strong>Tchernobyl<\/strong>. La plateforme de plongeon abandonn\u00e9e, toujours debout dans le vide radioactif, est devenue matrice. Le progr\u00e8s technologique, soudain fig\u00e9 dans son propre mythe destructeur.<\/p>\n<div class=\"wp-block-group is-nowrap is-layout-flex wp-container-core-group-is-layout-ad2f72ca wp-block-group-is-layout-flex\">\n<p>Mais il y a aussi un autre d\u00e9placement, plus local, plus pr\u00e9cis. Lors de la pr\u00e9paration de l\u2019exposition, <strong>Anne Imhof <\/strong>est all\u00e9e visiter <strong>la Piscina das Mar\u00e9s<\/strong> \u2014 <strong>la piscine de Le\u00e7a da Palmeira <\/strong>con\u00e7ue par <strong>\u00c1lvaro<\/strong> <strong>Siza<\/strong> dans les ann\u00e9es 1960. L\u00e0-bas, rien d\u2019un bassin standardis\u00e9 : les plans d\u2019eau s\u2019inscrivent dans la roche, au ras de l\u2019Atlantique. Les murs en b\u00e9ton bas guident le regard vers l\u2019horizon, cadrent la mer sans la dominer. L\u2019architecture dispara\u00eet presque dans le paysage ; elle orchestre une exp\u00e9rience lente, horizontale, o\u00f9 le corps glisse entre naturel et construit.<\/p>\n<\/div>\n<h2 class=\"wp-block-heading\">Les piscines d<strong>\u2018<\/strong>\u00c1lvaro Siza et d\u2019Anne Imhof<\/h2>\n<p>La piscine d\u2019<strong>\u00c1lvaro<\/strong> <strong>Siza<\/strong> promet une continuit\u00e9 \u2014 entre ciel, mer et b\u00e9ton, entre corps individuel et paysage collectif. Elle offre un espace d\u2019usage r\u00e9el, partag\u00e9, o\u00f9 l\u2019architecture canalise sans interdire.<\/p>\n<p>La piscine d\u2019<strong>Anne Imhof<\/strong>, \u00e0 <strong>Serralves<\/strong>, semble fonctionner comme un n\u00e9gatif critique de cette promesse. L\u00e0 o\u00f9 <strong>\u00c1lvaro<\/strong> <strong>Siza<\/strong> ouvre vers l\u2019horizon, <strong>Anne Imhof<\/strong> ferme sur une surface noire. Quand <strong>Le\u00e7a<\/strong> accueille les corps, <em>Stahlbad<\/em>\u00a0les exclut. L\u00e0 o\u00f9 l\u2019eau sal\u00e9e prolonge la mer, l\u2019acier absorbe toute profondeur. On pourrait dire qu\u2019<strong>Anne Imhof <\/strong>radicalise le geste moderniste : elle conserve la forme arch\u00e9typale du bassin, mais en retire l\u2019\u00e9l\u00e9ment vital. Elle transforme l\u2019espace d\u2019exp\u00e9rience en image inaccessible. Est-ce l\u2019\u00e9chec de la modernit\u00e9\u00a0?<\/p>\n<p><strong>La piscine de Serralves<\/strong> fonctionne ainsi comme une image retourn\u00e9e : elle convoque l\u2019\u00e9t\u00e9, les corps, le plongeon \u2014 et n\u2019offre que l\u2019absence. <em>\u201cUne forme sans fonction\u201d,<\/em> r\u00e9sume la commissaire. Le divertissement vid\u00e9 de sa promesse. Le bain d\u2019acier, litt\u00e9ralement.<\/p>\n<figure data-wp-context='{\"imageId\":\"69a5ca967f255\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/IMG_1418-1-768x1024.jpg\" alt class=\"wp-image-806215\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition d\u2019Anne Imhof au mus\u00e9e Serralves de Porto <em>\u00a9<\/em> Thibaut Wychowanok<\/figcaption><\/figure>\n<p>\u00c0 l\u2019int\u00e9rieur du mus\u00e9e, <strong>une plateforme de plongeon<\/strong> se dresse au centre d\u2019une salle, en fer noir, massive. On reconna\u00eet la silhouette de la structure de <strong>Pripyat<\/strong>, mais traduite dans le vocabulaire d\u2019<strong>Anne Imhof <\/strong>: lignes nettes, mat\u00e9rialit\u00e9 presque martiale. L\u2019escalier promet l\u2019ascension, le plafond suspend le geste. Mais rien ne se produit. Le corps du visiteur mesure la distance, imagine la chute. Il n\u2019y aura ni vol ni immersion.<\/p>\n<h2 class=\"wp-block-heading\">Un dialogue frontal avec \u00c1lvaro Siza<\/h2>\n<p>Le dialogue avec <strong>\u00c1lvaro<\/strong> <strong>Siza<\/strong> est frontal. Le blanc lumineux de la rampe de l\u2019espace mus\u00e9al qui m\u00e8ne au plongeoir rencontre la densit\u00e9 sombre du m\u00e9tal. <em>\u201cSiza ouvre, Anne introduit une tension\u201d<\/em>, dit <strong>In\u00eas<\/strong> <strong>Grosso<\/strong>. Ce frottement est au c\u0153ur du projet : comment un espace pens\u00e9 pour la circulation fluide peut-il devenir dispositif de retenue ?<\/p>\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-4 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure data-wp-context='{\"imageId\":\"69a5ca967f686\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" data-id=\"806059\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/image-3-768x1024.jpeg\" alt class=\"wp-image-806059\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition d\u2019Anne Imhof au mus\u00e9e Serralves de Porto <em>\u00a9<\/em> Thibaut Wychowanok<\/figcaption><\/figure>\n<figure data-wp-context='{\"imageId\":\"69a5ca967f936\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" data-id=\"806061\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/image-4-768x1024.jpeg\" alt class=\"wp-image-806061\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition d\u2019Anne Imhof au mus\u00e9e Serralves de Porto <em>\u00a9<\/em> Thibaut Wychowanok<\/figcaption><\/figure>\n<\/figure>\n<p>Plus loin,\u00a0<em>Arena<\/em>\u00a0(2025) d\u00e9ploie un cercle de barri\u00e8res m\u00e9talliques. Des \u00e9l\u00e9ments familiers \u2014 contr\u00f4le de foule, gestion d\u2019\u00e9v\u00e9nements, manifestations \u2014 d\u00e9plac\u00e9s dans le mus\u00e9e. La commissaire \u00e9voque ces barri\u00e8res vues en concert, ou dans les rues allemandes lors des protestations. \u00c0 <strong>Serralves<\/strong>, elles dessinent un p\u00e9rim\u00e8tre ferm\u00e9, panoptique discret, o\u00f9 chacun devient \u00e0 la fois spectateur et surveill\u00e9.<\/p>\n<h2 class=\"wp-block-heading\">Une architecte qui fabrique l\u2019attente<\/h2>\n<p>Le plus troublant n\u2019est pas ce que l\u2019on voit, mais ce que l\u2019on ne peut pas voir. Le centre est vide. Pourtant, raconte la commissaire, la surface se couvre de traces de visages : <em>\u201cLes gens collent leur front, leurs yeux, pour v\u00e9rifier s\u2019ils ne manquent rien.\u201d<\/em> D\u00e9sir d\u2019acc\u00e8s. Frustration. Soup\u00e7on qu\u2019un spectacle nous \u00e9chappe. L\u2019architecture fabrique l\u2019attente.<\/p>\n<p>Piscine, plateforme, ar\u00e8ne : profondeur, impulsion, circulation. Trois gestes emp\u00each\u00e9s. Trois promesses suspendues.<\/p>\n<p>On aurait tort de croire que l\u2019exposition est fig\u00e9e dans sa rigueur. Elle est au contraire travers\u00e9e par une instabilit\u00e9 permanente, presque performative. Grosso raconte les derniers jours d\u2019installation : <strong>Anne Imhof <\/strong>marchant sans cesse, ajustant les volumes sonores, r\u00e9\u00e9crivant les s\u00e9quences, envoyant des messages, modifiant la composition jusqu\u2019\u00e0 l\u2019\u00e9puisement.<\/p>\n<figure data-wp-context='{\"imageId\":\"69a5ca967fd5c\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/image-7-768x1024.jpeg\" alt class=\"wp-image-806201\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition d\u2019Anne Imhof au mus\u00e9e Serralves de Porto <em>\u00a9<\/em> Thibaut Wychowanok<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Un art de la vuln\u00e9rabilit\u00e9 <\/h2>\n<p><em>\u201cQuelques heures avant l\u2019ouverture, elle a d\u00e9cid\u00e9 de gratter les peintures.\u201d <\/em>Litt\u00e9ralement. La grande toile noire, impeccable le matin, portait l\u2019apr\u00e8s-midi une entaille brutale. Panique feutr\u00e9e de l\u2019\u00e9quipe. Puis silence. <em>\u201cIl faut lui faire confiance, c\u2019est son processus.\u201d<\/em><\/p>\n<p>Ce <strong>geste de griffure<\/strong> n\u2019est pas anecdotique. Il introduit une faille dans la surface contr\u00f4l\u00e9e. L\u00e0 o\u00f9 l\u2019acier semble d\u00e9finitif, <strong>la peinture reste vuln\u00e9rable<\/strong>, ouverte \u00e0 la blessure. L\u2019atmosph\u00e8re change, le ciel se trouble. Rien n\u2019est totalement stabilis\u00e9.<\/p>\n<p>Ailleurs, un relief en bronze montre des corps androgynes, aux membres \u00e9tir\u00e9s, presque hybrides. Ils semblent tenter de s\u2019arracher au mur. On retrouve ces\u00a0figures dans la pratique du dessin d\u2019<strong>Anne Imhof<\/strong> \u2014 une pratique que <strong>In\u00eas Grosso<\/strong> d\u00e9crit comme \u201cparall\u00e8le\u201d, compulsive.<\/p>\n<p><em>\u201cElle dessine tout le temps. Ce ne sont pas des \u00e9tudes. Ce ne sont pas des esquisses pr\u00e9paratoires. C\u2019est une pratique en soi, presque une mani\u00e8re de vider l\u2019esprit.\u201d <\/em>Les dessins ne pr\u00e9parent pas les \u0153uvres, mais certains motifs migrent : ces m\u00eames corps r\u00e9apparaissent dans les reliefs, dans les performances. Une circulation souterraine des formes.<\/p>\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-5 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure data-wp-context='{\"imageId\":\"69a5ca968013f\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" data-id=\"806203\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/image-8-768x1024.jpeg\" alt class=\"wp-image-806203\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition d\u2019Anne Imhof au mus\u00e9e Serralves de Porto <em>\u00a9<\/em> Thibaut Wychowanok<\/figcaption><\/figure>\n<figure data-wp-context='{\"imageId\":\"69a5ca96803f6\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" data-id=\"806205\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/image-9-768x1024.jpeg\" alt class=\"wp-image-806205\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition d\u2019Anne Imhof au mus\u00e9e Serralves de Porto <em>\u00a9<\/em> Thibaut Wychowanok<\/figcaption><\/figure>\n<\/figure>\n<h2 class=\"wp-block-heading\">Derri\u00e8re la monumentalit\u00e9, l\u2019intimit\u00e9<\/h2>\n<p>Cette dimension parall\u00e8le \u00e9claire l\u2019exposition autrement : derri\u00e8re la monumentalit\u00e9 des structures, il y a <strong>un flux continu, intime, graphique<\/strong>. Une pens\u00e9e en mouvement. Les corps hybrides des dessins \u2014 ni totalement humains, ni tout \u00e0 fait abstraits \u2014 prolongent la question du fun comme espace ambigu : promesse d\u2019\u00e9mancipation, mais toujours d\u00e9j\u00e0 cadr\u00e9e.<\/p>\n<p>Les peintures, elles, fonctionnent comme<strong> des chambres atmosph\u00e9riques<\/strong>. Vagues, explosions, nappes grises. Elles font entrer dans le mus\u00e9e la puissance sublime et inqui\u00e9tante de la nature. L\u2019ext\u00e9rieur vient troubler l\u2019int\u00e9rieur, vaste pi\u00e8ce blanche paraissant si vide\u2026<\/p>\n<figure data-wp-context='{\"imageId\":\"69a5ca96807c2\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"766\" height=\"1024\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/image-2-766x1024.jpeg\" alt class=\"wp-image-806057\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition d\u2019Anne Imhof au mus\u00e9e Serralves de Porto <em>\u00a9<\/em> Thibaut Wychowanok<\/figcaption><\/figure>\n<p>Un son, discret, mais obs\u00e9dant, traverse les salles. Une pi\u00e8ce vocale r\u00e9p\u00e8te : <em>\u201cI want discipline.\u201d<\/em> La phrase flotte entre injonction et d\u00e9sir. Discipline comme protection ? Comme cage ? <strong>Anne Imhof<\/strong> a travaill\u00e9 le son jusqu\u2019au dernier moment, ajustant la puissance, la direction, la mani\u00e8re dont il se m\u00eale \u00e0 l\u2019architecture. Le mus\u00e9e devient caisse de r\u00e9sonance.<\/p>\n<h2 class=\"wp-block-heading\">Citizen, un film qui donne \u00e0 voir une communaut\u00e9<\/h2>\n<p>Dans la derni\u00e8re salle, le film\u00a0<em>Citizen<\/em>\u00a0(2025) prolonge et reconfigure des fragments de <em>DOOM: House of Hope<\/em>, pr\u00e9sent\u00e9 au <strong>Park Avenue Armory\u2019s Drill Hall <\/strong>en 2025. Sur quatre canaux, des performeurs \u2014 danseurs, musiciens, acteurs \u2014 occupent un espace qui n\u2019est plus tout \u00e0 fait sc\u00e8ne, pas encore refuge.<\/p>\n<figure data-wp-context='{\"imageId\":\"69a5ca9680b2e\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/image-11-768x1024.jpeg\" alt class=\"wp-image-806210\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition d\u2019Anne Imhof au mus\u00e9e Serralves de Porto <em>\u00a9<\/em> Thibaut Wychowanok<\/figcaption><\/figure>\n<p>Les corps chantent, dansent, parlent. Ils forment une communaut\u00e9 instable, un <em>\u201c\u00e9tat fragile\u201d<\/em>, dit <strong>In\u00eas Grosso<\/strong>. L\u00e0 o\u00f9 les sculptures figent le geste, le film introduit une r\u00e9sistance. Persistante.<\/p>\n<p><strong>Anne Imhof<\/strong> conna\u00eet intimement les communaut\u00e9s qu\u2019elle met en sc\u00e8ne : <strong>jeunesse queer, culture rave, amiti\u00e9s tiss\u00e9es autour de la musique<\/strong>. Elle sait aussi leur face sombre \u2014 <strong>surveillance, marchandisation, programmation du d\u00e9sir.<\/strong> L\u2019\u00e9conomie de l\u2019attention a transform\u00e9 le loisir en disponibilit\u00e9 permanente. Le repos devient performance.<\/p>\n<h2 class=\"wp-block-heading\">Une exposition clinique et pourtant si humaine<\/h2>\n<p>Il y a quelque chose de presque clinique dans la mani\u00e8re dont <strong>Anne Imhof<\/strong> expose cette condition. Pas de chaos, pas de surcharge. Des formes lourdes, peu d\u2019\u00e9l\u00e9ments, une pr\u00e9cision glaciale.\u00a0<\/p>\n<figure data-wp-context='{\"imageId\":\"69a5ca9680ec0\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"826\" height=\"1024\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-on-async--load=\"callbacks.setButtonStyles\" data-wp-on-async-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/03\/image-10-826x1024.jpeg\" alt=\"Portrait de Anne Imhof par Sean and Seng.\" class=\"wp-image-806207\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on-async--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Portrait de Anne Imhof par Sean and Seng.<\/figcaption><\/figure>\n<p>Mais sous cette rigueur, l\u2019instabilit\u00e9 persiste : une peinture <strong>griff\u00e9e \u00e0 la derni\u00e8re minute<\/strong>, un volume sonore d\u00e9plac\u00e9, une marche obsessionnelle dans les salles pour comprendre <em>\u201ccomment le regard circule le mieux\u201d<\/em>. L\u2019exposition, comme une performance, ne cesse de s\u2019ajuster.<\/p>\n<p>\u00c0 la sortie, la piscine vide revient en m\u00e9moire \u2014 et, en contrepoint, celle de <strong>Le\u00e7a<\/strong>, ouverte sur l\u2019<strong>Atlantique<\/strong>. Entre ces deux bassins, <strong>deux visions de la modernit\u00e9<\/strong> : l\u2019une confiante dans la continuit\u00e9 entre architecture et monde ; l\u2019autre r\u00e9v\u00e9lant la structure nue, priv\u00e9e d\u2019usage. Impossible de plonger. Impossible de sauter, de p\u00e9n\u00e9trer l\u2019ar\u00e8ne. Et pourtant, dans son film, les corps continuent \u00e0 se mouvoir. Le corps imagine encore qu\u2019il pourrait sauter.<\/p>\n<p><em>\u201cFun ist ein Stahlbad\u201d, exposition jusqu\u2019au 19 avril 2026 au <a href=\"https:\/\/www.serralves.pt\">mus\u00e9e Serralves<\/a>, Porto, Portugal. <\/em><\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"col-lg-3\">\n<div class=\"suggested-posts padding-top-s\">\n<div class=\"title\">Recommand\u00e9<\/div>\n<div class=\"post-card\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link d-flex\" href=\"https:\/\/numero.com\/culture\/pour-quel-film-camille-cottin-a-t-elle-collabore-avec-matt-damon\/\"><\/p>\n<div class=\"container-img\">\n\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"790\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/push-cover-camille-cottin-matt-damon-stillwater-numero-magazine.jpg\" class=\"attachment-post-thumbnail size-post-thumbnail wp-post-image\" alt>\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<p class=\"number\">17<\/p>\n<\/p><\/div>\n<div class=\"card-info d-flex\">\n<div>\n<p class=\"cat-title\">Culture<\/p>\n<h3 class=\"post-title\">Pour quel film Camille Cottin a-t-elle collabor\u00e9 avec Matt Damon ?<\/h3>\n<\/p><\/div>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t17 mai 2021\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<div class=\"post-card\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link d-flex\" href=\"https:\/\/numero.com\/art\/quel-designer-francais-signe-le-nouveau-mobilier-du-musee-du-louvre\/\"><\/p>\n<div class=\"container-img\">\n\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"500\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/thumb-szekely-numero-magazine-1.jpg\" class=\"attachment-post-thumbnail size-post-thumbnail wp-post-image\" alt>\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<p class=\"number\">2<\/p>\n<\/p><\/div>\n<div class=\"card-info d-flex\">\n<div>\n<p class=\"cat-title\">Art &amp; Design<\/p>\n<h3 class=\"post-title\">Quel designer fran\u00e7ais signe le nouveau mobilier du mus\u00e9e du Louvre ?<\/h3>\n<\/p><\/div>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t2 avr 2021\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<div class=\"post-card\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link d-flex\" href=\"https:\/\/numero.com\/culture\/anthony-hopkins-et-olivia-colman-dans-une-piece-de-theatre-francaise\/\"><\/p>\n<div class=\"container-img\">\n\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"790\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/push-cover-anthony-hopkins-florian-zeller-le-pere-numero-magazine.jpg\" class=\"attachment-post-thumbnail size-post-thumbnail wp-post-image\" alt>\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<p class=\"number\">6<\/p>\n<\/p><\/div>\n<div class=\"card-info d-flex\">\n<div>\n<p class=\"cat-title\">Culture<\/p>\n<h3 class=\"post-title\">Anthony Hopkins et Olivia Colman dans une pi\u00e8ce de th\u00e9\u00e2tre fran\u00e7aise<\/h3>\n<\/p><\/div>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t6 mai 2019\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<div class=\"post-card\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link d-flex\" href=\"https:\/\/numero.com\/art\/art-art\/jenny-holzer-deroule-ses-textes-des-murs-du-guggenheim-au-monde-entier\/\"><\/p>\n<div class=\"container-img\">\n\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"790\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/push-jenny-holzer-guggenheim-bilbao-numero-magazine.jpg\" class=\"attachment-post-thumbnail size-post-thumbnail wp-post-image\" alt>\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<p class=\"number\">30<\/p>\n<\/p><\/div>\n<div class=\"card-info d-flex\">\n<div>\n<p class=\"cat-title\">Art &amp; 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2026\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<\/p><\/div>\n<div class=\"col-lg-3\">\n<div class=\"post-card desktop\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link\" href=\"https:\/\/numero.com\/art\/numero-art\/loewe-foundation-craft-prize-2026\/\"><\/p>\n<div class=\"container-img\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/02\/THUMB-FINAL-FINAL-LOEWE.jpg\" alt=\"Seed of Circulation, Jieun Park.\"><\/p>\n<div class=\"number\">27<\/div>\n<\/p><\/div>\n<div class=\"card-info\">\n<div class=\"meta d-flex justify-content-between\">\n<p class=\"cat-title\">Num\u00e9ro Art<\/p>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t27 f\u00e9v 2026\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"post-title\">Le Loewe Foundation Craft Prize annonce ses 30 finalistes et une exposition \u00e0 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Chelkovski<\/div>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<div class=\"post-card mobile\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link d-flex\" href=\"https:\/\/numero.com\/art\/numero-art\/igor-chelkovski-galerie-alina-pinsky\/\"><\/p>\n<div class=\"container-img\">\n\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1300\" height=\"1634\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/02\/Chelkoski-thumb.jpg\" class=\"attachment-post-thumbnail size-post-thumbnail wp-post-image\" alt=\"Vue de l'exposition Dessins dans l\u2019air \u2013 \u0152uvres 1976-2024\">\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<div class=\"number\">23<\/div>\n<\/p><\/div>\n<div class=\"card-info d-flex\">\n<div>\n<p class=\"cat-title\">Num\u00e9ro Art<\/p>\n<h3 class=\"post-title\">\u00c0 la galerie Alina Pinsky, (re)d\u00e9couvrir l\u2019artiste dissident russe Igor Chelkovski<\/h3>\n<\/p><\/div>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t23 f\u00e9v 2026\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/section>\n<div class=\"padding-bottom-s\">\n<div class=\"ad banner desktop\">\n<div class=\"container\">\n<div class=\"row\">\n            <!-- \/21730003857\/numero-ad-unit\/numero-banner-1 --><\/p>\n<div id=\"div-gpt-ad-1757006327907-0\" style=\"min-width: 350px\">\n<p>                    googletag.cmd.push(function() { googletag.display(&#8216;div-gpt-ad-1757006327907-0&#8217;); });<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div><\/div>\n<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>2 2 googletag.cmd.push(function () { googletag.display(&#8216;div-gpt-ad-1757063143832-0&#8217;); }); Lien copi\u00e9 Num\u00e9ro Art 2 mars 2026 Anne Imhof prend d\u2019assaut le plus grand mus\u00e9e portugais Au Mus\u00e9e d\u2019art contemporain de Serralves, joyau du Portugal, Anne Imhof investit l\u2019architecture d\u2019\u00c1lvaro Siza jusqu\u2019au 19 avril 2026 avec l\u2019exposition Fun ist ein Stahlbad, con\u00e7ue en dialogue \u00e9troit avec le b\u00e2timent [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[226,258],"class_list":["post-1802191","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-crawlmanager","tag-numero-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1802191","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1802191"}],"version-history":[{"count":1,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1802191\/revisions"}],"predecessor-version":[{"id":1952991,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1802191\/revisions\/1952991"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1802191"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1802191"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1802191"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}