Moï Ver, "Ci-contre", Paris, 1931, Planche de couverture © Ann et Jürgen Wilde, Zülpich, Allemagne. Photo Centre Pompidou/A. Laurans/Dist. Rmn-Gp
TITLE_NAME :
Moï Ver
12/04/2023 - 28/08/2023
Centre Pompidou
Place Georges Pompidou
75004 Paris
www.centrepompidou.fr/fr/
The work of painter, graphic artist and photographer Moï Ver (born in Lithuania in 1904) is presented in all its richness and complexity for the first time. An exceptional retrospective that brings together more than 300 works and documents (photographs, paintings, drawings and printed items), most of them previously unseen.
During his first stay in France at the turn of the 1930s, Moshe (Moses) Worobiejczyk (Vorobeichik) adopted the pseudonyms "Moï Ver" then "moï Wer", before taking the name Moshe Raviv following his exile in Mandatory Palestine in 1934. Having trained as an artist at the Bauhaus, he studied in Paris under Fernand Léger between 1929 and 1934. Preserved in the collections of the National Museum of Modern Art, Paris (1931) and Ci-Contre (1931), major examples of 1930s photographic modernism, are presented in their entirety in the exhibition. With their brilliant grammar of forms, these two ensembles are a testament to an experimental vision and an impressive mastery of photographic montage.
12/04/2023 - 28/08/2023
Centre Pompidou
Place Georges Pompidou
75004 Paris
www.centrepompidou.fr/fr/
The work of painter, graphic artist and photographer Moï Ver (born in Lithuania in 1904) is presented in all its richness and complexity for the first time. An exceptional retrospective that brings together more than 300 works and documents (photographs, paintings, drawings and printed items), most of them previously unseen.
During his first stay in France at the turn of the 1930s, Moshe (Moses) Worobiejczyk (Vorobeichik) adopted the pseudonyms "Moï Ver" then "moï Wer", before taking the name Moshe Raviv following his exile in Mandatory Palestine in 1934. Having trained as an artist at the Bauhaus, he studied in Paris under Fernand Léger between 1929 and 1934. Preserved in the collections of the National Museum of Modern Art, Paris (1931) and Ci-Contre (1931), major examples of 1930s photographic modernism, are presented in their entirety in the exhibition. With their brilliant grammar of forms, these two ensembles are a testament to an experimental vision and an impressive mastery of photographic montage.