{"id":1804727,"date":"2026-03-04T02:26:00","date_gmt":"2026-03-03T23:26:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1804727"},"modified":"2026-03-04T02:26:00","modified_gmt":"2026-03-03T23:26:00","slug":"des-chefs-doeuvre-du-centre-pompidou-exposes-en-plein-desert","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1804727","title":{"rendered":"Des chefs-d\u2019\u0153uvre du Centre Pompidou expos\u00e9s en plein d\u00e9sert"},"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\/PUSH-ALULA.jpg\" alt=\"vue de Hegra, AlUla, Saudi Arabia.\"><\/p>\n<p class=\"number big\">3<\/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-alula.jpg\" alt><\/p>\n<p class=\"number big\">3<\/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\/exposition-arduna-alula-centre-pompidou-arabie-saoudite\/\" 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\/exposition-arduna-alula-centre-pompidou-arabie-saoudite\/\" 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\t3 mars 2026\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<h1>Des chefs-d\u2019\u0153uvre du Centre Pompidou expos\u00e9s en plein d\u00e9sert<\/h1>\n<div class=\"introduction\">\n<p>\u00c0 <span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">AlUla<\/span><\/span>, oasis mill\u00e9naire du nord-ouest de l\u2019Arabie saoudite, l\u2019exposition \u201cArduna\u201d marque, jusqu\u2019au 15 avril 2026, le premier pr\u00e9ambule au futur mus\u00e9e d\u2019art contemporain de la r\u00e9gion. Pr\u00e9sent\u00e9e dans le cadre du Festival des arts d\u2019AlUla et co-curat\u00e9e avec le <span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">Centre Pompidou<\/span><\/span>, cette manifestation r\u00e9unit plus de 80 \u0153uvres modernes et contemporaines issues de collections fran\u00e7aises et saoudiennes, ainsi que de nouvelles commandes. Pens\u00e9e comme un dialogue entre paysages d\u00e9sertiques, chefs-d\u2019\u0153uvre internationaux et artistes du Moyen-Orient, \u201cArduna\u201d incarne \u00e0 la fois l\u2019ambition culturelle du plan Saudi Vision 2030 et un geste de diplomatie artistique entre la France et le Royaume.<\/p>\n<\/div>\n<li class=\"credits d-flex\">\n<p>\n\t\t\t\t\t\t\t\t\t\t\tpar\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\":\"69a72c6a9efbb\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" 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_8951-2-1024x768.jpg\" alt=\"Vue de l'exposition Arduna en Arabie Saoudite\" class=\"wp-image-806573\"><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\">Les \u0153uvres monumentales d\u2019Eva Jospin (\u00e0 gauche) et de David Hockney (\u00e0 droite) au sein de l\u2019exposition Arduna en Arabie saoudite. \u00a9 Thibaut Wychowanok.<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">L\u2019exposition \u201cArduna\u201d, pr\u00e9ambule au mus\u00e9e d\u2019art contemporain d\u2019AlUla<\/h2>\n<p>\u00c0 <strong>AlUla<\/strong>, oasis mill\u00e9naire situ\u00e9e \u00e0 <strong>1 100 kilom\u00e8tres<\/strong> au nord-ouest de <strong>Riyad<\/strong>, le pari culturel de l\u2019<strong>Arabie saoudite <\/strong>de transformer les magnifiques paysages de d\u00e9serts et canyons en destination culturel pourrait tenir du mirage. Ancien carrefour des routes de l\u2019encens, territoire des royaumes de <strong>Dadan<\/strong> et de <strong>Nabat\u00e9e<\/strong>, la r\u00e9gion \u2014 dont le site de <strong>H\u00e9gra<\/strong> est class\u00e9 \u00e0 <strong>l\u2019UNESCO<\/strong> \u2014 devient le th\u00e9\u00e2tre d\u2019une renaissance artistique pourtant bien orchestr\u00e9e. L\u2019exposition \u201cArduna\u201d (\u201cNotre terre\u201d) r\u00e9alis\u00e9e avec <strong>le Centre Pompidou<\/strong> marque une \u00e9tape cl\u00e9 : premier pr\u00e9ambule au futur mus\u00e9e d\u2019art contemporain d\u2019<strong>AlUla<\/strong>, elle s\u2019inscrit dans <strong>la cinqui\u00e8me \u00e9dition du Festival des arts d\u2019AlUla<\/strong> et mat\u00e9rialise une institution avant m\u00eame l\u2019ouverture de ses portes. <\/p>\n<p>\u00c0 l\u2019heure o\u00f9 l\u2019<strong>Arabie saoudite<\/strong> redessine sa place sur l\u2019\u00e9chiquier mondial, la culture est devenue un levier strat\u00e9gique. Le royaume ne s\u2019en cache plus : il veut am\u00e9liorer son image, diversifier une \u00e9conomie longtemps d\u00e9pendante des hydrocarbures et faire \u00e9merger un nouveau secteur de d\u00e9veloppement capable d\u2019attirer capitaux, talents et tourisme international. Dans le cadre du plan <a href=\"https:\/\/www.vision2030.gov.sa\/en\" target=\"_blank\" rel=\"noreferrer noopener\">Saudi Vision 2030<\/a>, <strong>plus de 81 milliards de riyals<\/strong> (pr\u00e8s de 19 milliards d\u2019euros) ont d\u00e9j\u00e0 \u00e9t\u00e9 investis dans les infrastructures culturelles.<\/p>\n<h2 class=\"wp-block-heading\">Une revitalisation culturelle<\/h2>\n<p>Comme l\u2019a rappel\u00e9 <strong>Hamad Alhomiedan<\/strong>, directeur <strong>des industries cr\u00e9atives et artistiques de la Royal Commission d\u2019AlUla<\/strong> lors de l\u2019inauguration de l\u2019exposition \u201cArduna\u201d, <em>\u201cle Royaume est profond\u00e9ment engag\u00e9 dans cette revitalisation culturelle\u201d<\/em>. Ces investissements massifs \u2014 81 milliards de riyals depuis le lancement du plan <strong>Saudi Vision 2030<\/strong> \u2014 ne rel\u00e8vent pas du symbole : <em>\u201cchaque dollar investi dans le secteur culturel saoudien est estim\u00e9 g\u00e9n\u00e9rer jusqu\u2019\u00e0 2,5 dollars d\u2019impact \u00e9conomique, agissant comme un puissant multiplicateur\u201d<\/em>. L\u2019objectif est clair : porter la contribution du secteur culturel <strong>\u00e0 3 % du PIB d\u2019ici 2030<\/strong>, contre 1,6 % fin 2024. Le march\u00e9 de l\u2019art saoudien, lui aussi, est appel\u00e9 \u00e0 cro\u00eetre fortement dans les ann\u00e9es \u00e0 venir. Les chiffres, \u00e9nonc\u00e9s avec assurance, dessinent les contours d\u2019<strong>une \u00e9conomie culturelle en devenir <\/strong>\u2014 et d\u2019<strong>une diplomatie par l\u2019art assum\u00e9e<\/strong>.<\/p>\n<figure data-wp-context='{\"imageId\":\"69a72c6a9f44b\"}' 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_8924-2-768x1024.jpg\" alt=\"Vue de l'exposition Arduna en Arabie Saoudite\" class=\"wp-image-806583\"><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\">Joan Mitchell,<em> La Grande Vall\u00e9e XIV (For A Little While),<\/em> 1983. Huile sur toile. \u00a9 Thibaut Wychowanok. <\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">La vitrine d\u2019un savoir-faire hexagonal<\/h2>\n<p>Pour la France, l\u2019enjeu n\u2019est pas moindre. Depuis l\u2019accord intergouvernemental sign\u00e9 en <strong>2018<\/strong>, l\u2019<strong>Agence fran\u00e7aise <\/strong>pour le d\u00e9veloppement d\u2019<strong>AlUla<\/strong> (<strong>AFALULA<\/strong>) accompagne la transformation du territoire. Mais dans un contexte o\u00f9 les acteurs anglo-saxons multiplient les offensives au Moyen-Orient, l\u2019agence fran\u00e7aise se sait attendue. \u201cArduna\u201d, coorganis\u00e9e par le futur mus\u00e9e d\u2019<strong>AlUla<\/strong> et <strong>le Centre Pompidou<\/strong>, avec le soutien d\u2019<strong>AFALULA<\/strong>, devient ainsi la vitrine d\u2019un savoir-faire hexagonal en mati\u00e8re de diplomatie culturelle. Faut-il rappeler que <strong>Jean-Yves Le Drian<\/strong> (ancien ministre des Arm\u00e9es) a pris la t\u00eate d\u2019<strong>AFALULA<\/strong> en 2023 ? Il \u00e9tait bien s\u00fbr pr\u00e9sent \u00e0 l\u2019\u00e9v\u00e8nement.<\/p>\n<h2 class=\"wp-block-heading\">Un \u201cb\u00e2timent fantastique avec une exposition fantastique\u201d<\/h2>\n<p>Le pr\u00e9sident du <strong>Centre Pompidou<\/strong>, <strong>Laurent Le Bon<\/strong>, r\u00e9sume la situation avec un m\u00e9lange d\u2019emphase et d\u2019ironie : <em>\u201cParfois, dans le d\u00e9sert, nous avons des mirages, mais ici, nous avons la r\u00e9alit\u00e9. Pour ceux qui viennent ici pour la premi\u00e8re fois, il y a trois mois, il n\u2019y avait rien. Nous sommes partis de z\u00e9ro pour construire le b\u00e2timent qui accueille aujourd\u2019hui l\u2019exposition. Et gr\u00e2ce \u00e0 nos amis du Royaume, quelque chose d\u2019unique est apparu. Ce b\u00e2timent fantastique avec une exposition fantastique.\u201d<\/em> Puis, d\u00e9clenchant les rires des Fran\u00e7ais pr\u00e9sents et habitu\u00e9s \u00e0 ses discours \u00e0 rallonge : <em>\u201cMes amis, je ne serai pas trop long, ne vous inqui\u00e9tez pas, cela ne durera qu\u2019une heure.\u201d<\/em> Mais l\u2019humour et l\u2019ironie hexagonale font-elles mouche chez les Saoudiens ?<\/p>\n<figure data-wp-context='{\"imageId\":\"69a72c6a9f82c\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"681\" 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\/Frantisek-Kupka-Motif-hindou-Degrades-rouges-Hindu-Motif-Graduated-Red-1919.-Centre-Pompidou-MNAM-Cci-Paris.-Courtesy-of-Nick-Jackson-Photography-1024x681.jpg\" alt=\"Vue de l\u2019exposition Arduna \u00e0 AlUla\" class=\"wp-image-806592\"><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 Arduna \u00e0 AlUla en Arabie saoudite. Rencontre entre les collections du<br \/>Centre Pompidou et celle de la Commission Royale d\u2019AlUla. \u00a9 Nick Jackson<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Une co-curation fran\u00e7aise et saoudienne<\/h2>\n<p>La r\u00e9ussite d\u2019\u201cArduna\u201d tient pourtant moins \u00e0 la performance logistique qu\u2019\u00e0 sa qualit\u00e9 curatoriale. Co-commissari\u00e9e par <strong>des \u00e9quipes fran\u00e7aises et saoudiennes<\/strong>, l\u2019exposition revendique un dialogue \u00e0 plusieurs voix. \u201cArduna\u201d se veut <em>\u201cune conversation honn\u00eate et organique\u201d,<\/em> un \u00e9change entre paysages et esprits, entre <strong>chefs-d\u2019\u0153uvre \u00e9tablis <\/strong>et <strong>nouvelles commandes<\/strong> faites \u00e0 des artistes et ancr\u00e9es dans l\u2019environnement si particulier d\u2019<strong>AlUla<\/strong>. L\u2019exposition, coh\u00e9rente et juste de bout en bout, r\u00e9unit <strong>plus de 80 \u0153uvres<\/strong> issues des collections du <strong>Centre Pompidou<\/strong> et de <strong>la Commission royale pour AlUla<\/strong>, ainsi que quelques nouvelles commandes \u00e0 des artistes internationaux et de la r\u00e9gion (<strong>Ayman Zedani<\/strong>, <strong>Dana Awartani<\/strong>, <strong>Tarek Atoui<\/strong>, <strong>Renaud Auguste-Dormeuil<\/strong> et <strong>Taveres Strachan<\/strong>). Le parcours, organis\u00e9 en six chapitres, explore ainsi la relation \u00e9volutive de l\u2019humanit\u00e9 \u00e0 la nature : jardins, for\u00eats, d\u00e9serts, cosmos, anthropoc\u00e8ne, fronti\u00e8res. Le th\u00e8me pourrait sembler consensuel, voire bateau. Il se r\u00e9v\u00e8le, in situ, d\u2019<strong>une belle puissance<\/strong>.<\/p>\n<figure data-wp-context='{\"imageId\":\"69a72c6a9fb7a\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" 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\/Lithophone-Tarek-Atoui-Bayt-Al-Hams-2025.jpg\" alt class=\"wp-image-806602\"><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\"><em>Lithophone<\/em>, Tarek Atoui (2025)<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Un Picasso en ouverture<\/h2>\n<p>L\u2019exposition s\u2019ouvre de mani\u00e8re spectaculaire avec un <strong>Pablo Picasso<\/strong>. Voir un <strong>Picasso<\/strong> inaugurer un parcours en <strong>Arabie saoudite<\/strong> rel\u00e8ve d\u2019<strong>un basculement symbolique<\/strong>. Il affirme d\u2019embl\u00e9e l\u2019ambition internationale du projet. \u00c0 ses c\u00f4t\u00e9s, l\u2019immense <em>La Grande Vall\u00e9e XIV<\/em> de <strong>Joan Mitchell<\/strong> impose sa puissance gestuelle : six m\u00e8tres de peinture vibrante qui trouvent, avec les falaises d\u2019<strong>AlUla <\/strong>en t\u00eate, un hiatus tellurique d\u00e9tonant. Ce <em>Printemps<\/em> de <strong>Pablo Picasso<\/strong> rappelle aussi que la modernit\u00e9 occidentale a, elle aussi, cherch\u00e9 dans la nature un paradis perdu. Ici, au c\u0153ur de l\u2019oasis, ces \u0153uvres r\u00e9sonnent autrement : le jardin n\u2019est plus une utopie abstraite, mais <strong>une r\u00e9alit\u00e9 fragile<\/strong>, entretenue par des g\u00e9n\u00e9rations d\u2019agriculteurs. <\/p>\n<figure data-wp-context='{\"imageId\":\"69a72c6a9fedd\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"679\" 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-3-1024x679.png\" alt=\"Pablo Picasso, Le Printemps, 20 mars 1956. Huile sur toile.\" class=\"wp-image-806647\"><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\">Pablo Picasso, <em>Le Printemps<\/em>, 20 mars 1956. Huile sur toile.<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">L\u2019\u0153uvre puissante de Viswanadhan<\/h2>\n<p>Dans la section \u201cSand and Stone\u201d, une \u0153uvre historique de <strong>Viswanadhan<\/strong> agit comme une charni\u00e8re silencieuse. <em>Sand<\/em> (1976) se compose de <strong>dix-sept toiles recouvertes de sable<\/strong>, chacune constitu\u00e9e d\u2019une couche pr\u00e9lev\u00e9e par l\u2019artiste lui-m\u00eame sur diff\u00e9rents points du littoral indien. Install\u00e9es comme <strong>un damier m\u00e9ditatif<\/strong>, ces surfaces monochromes varient subtilement en tonalit\u00e9s et en textures : beige p\u00e2le, ocre dense, brun presque rouge. Le panneau central \u00e9voque <strong>Dandi<\/strong>, lieu de la Marche du sel men\u00e9e par <strong>Gandhi<\/strong> en <strong>1930<\/strong> contre le pouvoir britannique. L\u2019\u0153uvre, entr\u00e9e dans les collections du <strong><a href=\"https:\/\/www.centrepompidou.fr\/fr\/\" target=\"_blank\" rel=\"noreferrer noopener\">Centre Pompidou<\/a><\/strong> en <strong>2016<\/strong> gr\u00e2ce \u00e0 un don de l\u2019artiste, fonctionne comme un mandala min\u00e9ral. Chaque carr\u00e9 devient \u00e0 la fois fragment g\u00e9ographique, m\u00e9moire politique et unit\u00e9 cosmique. Face au d\u00e9sert d\u2019<strong>AlUla<\/strong>, ces sables import\u00e9s r\u00e9sonnent \u00e9trangement. Un rivage dialogue avec un autre, une histoire coloniale rencontre une autre cartographie du pouvoir.<\/p>\n<figure data-wp-context='{\"imageId\":\"69a72c6aa0227\"}' 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_9074-2-768x1024.jpg\" alt=\"ue de l\u2019exposition Arduna \u00e0 AlUla en Arabie Saoudite.\" class=\"wp-image-806653\"><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 Arduna \u00e0 AlUla en Arabie saoudite. Rencontre entre les collections du Centre Pompidou et celle de la Commission Royale d\u2019AlUla. \u00a9 Thibaut Wychowanok.<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Le dialogue entre David Hockney et Eva Jospin<\/h2>\n<p>Plus loin, un rapprochement inattendu fonctionne avec une \u00e9l\u00e9gance rare : les paysages \u00e9clatants de <strong><a href=\"https:\/\/numero.com\/portrait\/david-hockney\/\" target=\"_blank\" rel=\"noreferrer noopener\">David Hockney<\/a><\/strong> dialoguent avec les for\u00eats sculpt\u00e9es en carton d\u2019<strong><a href=\"https:\/\/numero.com\/portrait\/eva-jospin-art\/\" target=\"_blank\" rel=\"noreferrer noopener\">Eva Jospin<\/a><\/strong>. La luxuriance color\u00e9e du peintre britannique fait face aux sous-bois minutieusement d\u00e9coup\u00e9s de l\u2019artiste fran\u00e7aise. Deux visions oppos\u00e9es \u2014 la jubilation chromatique et la minutie monochrome \u2014 qui se r\u00e9pondent dans une sc\u00e9nographie subtile. Ce <strong>face-\u00e0-face inattendu<\/strong>, presque risqu\u00e9, devient l\u2019un des moments forts du parcours.<\/p>\n<h2 class=\"wp-block-heading\">La lumi\u00e8re sur les artistes majeures du Moyen-Orient et du Sud global<\/h2>\n<p>Mais l\u2019exposition ne se contente pas d\u2019aligner des chefs-d\u2019\u0153uvre occidentaux. Elle les met en tension avec des figures majeures du <strong>Moyen-Orient<\/strong> et du <strong>Sud global<\/strong>. Les \u0153uvres d\u2019<strong><a href=\"https:\/\/numero.com\/art\/art-art\/pourquoi-faut-il-voir-lexposition-detel-adnan-a-la-galerie-levy-gorvy\/\" target=\"_blank\" rel=\"noreferrer noopener\">Etel Adnan<\/a><\/strong> condensent une cosmologie m\u00e9diterran\u00e9enne o\u00f9 montagne et soleil deviennent des signes mystiques. <strong>Hassan Sharif<\/strong> interroge le consum\u00e9risme par des accumulations radicales. <strong>Manal AlDowayan <\/strong>inscrit les voix f\u00e9minines dans la pierre du d\u00e9sert, transformant la fragilit\u00e9 en monument. <strong>Ayman Zedani <\/strong>explore les \u00e9cosyst\u00e8mes invisibles d\u2019<strong>AlUla<\/strong>, r\u00e9v\u00e9lant la vitalit\u00e9 scientifique du d\u00e9sert. <strong>Nadia Kaabi-Linke<\/strong> met en lumi\u00e8re les cicatrices politiques et extractivistes du paysage contemporain.<\/p>\n<p>Les sections structurent le propos en une travers\u00e9e sensible. \u201cEchoes of Arcadia\u201d interroge le jardin comme utopie domestiqu\u00e9e. \u201cAt the Forest\u2019s Edge\u201d explore la for\u00eat comme fronti\u00e8re mentale. \u201cSand and Stone\u201d r\u00e9habilite le d\u00e9sert comme <strong>espace de vie et de m\u00e9moire<\/strong>. \u201cThe Drift of Stars\u201d \u00e9l\u00e8ve le regard vers le cosmos, rappelant que le ciel d\u2019<strong>AlUla<\/strong> est l\u2019un des plus purs au monde. \u201cBeyond Nature\u201d aborde l\u2019anthropoc\u00e8ne et les ravages \u00e9cologiques. Enfin, \u201cBorderline\u201d questionne territoire, migration et appartenance. Des sujets \u00e9voqu\u00e9s en toute libert\u00e9 malgr\u00e9 leurs \u00e9chos si particuliers en Arabie saoudite. <\/p>\n<figure data-wp-context='{\"imageId\":\"69a72c6aa05e9\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"781\" 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-4-1024x781.png\" alt=\"Vue de l\u2019exposition Arduna \" class=\"wp-image-806667\"><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 Arduna avec des oeuvres d\u2019Etel Adnan. \u00a9 Thibaut Wychowanok.<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Le dialogue entre l\u2019histoire occidentale et le paysage saoudien<\/h2>\n<p>Dans une autre salle, le <em>Concetto spaziale <\/em>(1958) de <strong>Lucio Fontana<\/strong> dialogue avec une composition cosmique d\u2019<strong>Adolph Gottlieb<\/strong>. \u00c0 proximit\u00e9, une abstraction lyrique de <strong><a href=\"https:\/\/numero.com\/art\/art-art\/pourquoi-un-tableau-de-kandinsky-vient-il-de-battre-un-record-aux-encheres\/\" target=\"_blank\" rel=\"noreferrer noopener\">Wassily Kandinsky<\/a><\/strong> et une \u0153uvre d\u2019<strong>Antoine Pevsner <\/strong>prolongent la conversation. Plac\u00e9es dans le contexte d\u2019<strong>AlUla<\/strong>, ces \u0153uvres ne semblent plus seulement raconter l\u2019histoire occidentale du XXe si\u00e8cle. Elles entrent en r\u00e9sonance avec le ciel nocturne du d\u00e9sert, avec ses constellations nettes et son horizon infini. <\/p>\n<figure data-wp-context='{\"imageId\":\"69a72c6aa0968\"}' data-wp-interactive=\"core\/image\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"681\" 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\/Ibrahim-El-Salahi.-Palm-Tree-2001-andThe-Tree-2003.-Arduna-2026.-Royal-Commission-for-AlUla.-Courtesy-of-Nick-Jackson-Photography-1024x681.jpg\" alt=\"Vue de l\u2019exposition Arduna\" class=\"wp-image-806661\"><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\">Ibrahim El-Salahi. <em>Palm Tree<\/em>, 2001, et <em>The Tree<\/em>, 2003. \u00a9 Nick Jackson. <\/figcaption><\/figure>\n<p>Ces dialogues, loin d\u2019\u00eatre d\u00e9coratifs, constituent le v\u00e9ritable moteur d\u2019\u201cArduna\u201d. L\u2019exposition ne juxtapose pas ; elle met en friction. Elle cr\u00e9e des ponts inattendus entre <strong>modernismes historiques<\/strong> et <strong>pratiques contemporaines du Moyen-Orient<\/strong>. Elle d\u00e9montre que l\u2019histoire de l\u2019art n\u2019est pas une ligne droite, mais un r\u00e9seau de correspondances.<\/p>\n<p>Le parcours s\u2019ach\u00e8ve sur une \u0153uvre de <strong>Kader Attia<\/strong>. <em>The Embrace<\/em> (2019) repr\u00e9sente deux figures de bois enlac\u00e9es. <strong>Attia<\/strong> y d\u00e9veloppe l\u2019id\u00e9e de la r\u00e9paration comme m\u00e9taphore po\u00e9tique d\u2019une gu\u00e9rison collective. Les deux corps imbriqu\u00e9s incarnent une restauration mutuelle, faite d\u2019empathie et de vuln\u00e9rabilit\u00e9 partag\u00e9e. Les blessures coloniales, inscrites dans les corps comme dans les paysages, ne disparaissent pas ; elles se n\u00e9gocient. La gu\u00e9rison n\u2019est ni lin\u00e9aire ni d\u00e9finitive, mais un processus continu. Tout est dit.<\/p>\n<p><em>\u201cArduna\u201d, exposition jusqu\u2019au 15 avril 2026, au <a href=\"https:\/\/www.experiencealula.com\/en\/media\/alula-contemporary-art-museum\">AlUla Contemporary Art Museum<\/a><\/em>, <em>AlUla, Arabie saoudite. <\/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\/art\/numero-art\/le-surrealisme-vu-par-le-duo-de-photographes-star-luigi-iango\/\"><\/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\/10\/surrealisme-luigi-iango-numero-art-.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\">27<\/p>\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\">Le surr\u00e9alisme vu par le duo de photographes star Luigi &amp; 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Pr\u00e9sent\u00e9e dans le cadre du [&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-1804727","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\/1804727","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=1804727"}],"version-history":[{"count":1,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1804727\/revisions"}],"predecessor-version":[{"id":1952997,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1804727\/revisions\/1952997"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1804727"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1804727"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1804727"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}