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PRESS pACK

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Table OF CONTENTS

I. BETWEEN ART AND FASHION – Photographs of the Collection of Carla Sozzani P.04

ii. Publication P.06 Iii. DOCUMENT – Henry Leutwyler P.07 iv. Publication p.09 V. PHOTOBOOK – The Cult of the Book P.10

Vi. UTOPIA – Ina Jang p.13

VIi. Publication p.15

VIII. 6 WALL DRAWINGS – Sol LeWitt P.16

Ix. Publication P.18

x. Events P.19

xi. EMOTIONS – New publication P.21

xiI. Press images P.22

XiiI. Winter exhibitions p.28 XIV. General p.29

XV: Partners P.30

xvI. Press contact P.30

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A Word from the director

The Museum of Fine Arts Le Locle was born shortly after the invention of photography, but it only very recently began to include this medium in its exhibitions. It may be worth recalling that when it originated in the 19th century, photography was regarded with distrust –“humble servant of the sciences and arts” wrote Baudelaire. Before making its entrance into museums, photography found its way in magazines. A good number of them owe their success to their photographers. What would LIFE, Vogue, or Vanity Fair be without photography? The numerous screens that characterise the 21st century have taken on the mantle. Without the images that they diffuse and produce by billions, we would be a little less attracted by these “extensions of body and mind”. Our Summer exhibitions thereby celebrate photography. One of them brings together the greatest photographers of the 20th century around Carla Sozzani, an eminent figure in the world of fashion and culture. Her private collection, the fruit of 40 years of acquisitions which will be unveiled here to the public, is fascinating in what it reveals about her photographic tastes–tastes that would compel her to place images of the past and of the present side by side, each one as remarkable as the other. Henry Leutwyler’s collection of objects is no less iconic! Through his still lifes, we enter into a kind of intimacy with the celebrities of the 20th century–those who made us fantasize about glossy paper. Ina Jang, an artist from the younger generation, had likewise found her inspiration in the pages of magazines. Here she reappropriates the female nude to better query this popular genre. Finally, the exhibition dedicated to the photobook offers an overview on this object coveted by all photographers. None of them will contradict Mallarmé –“The world exists to end up in a book”– or Borges –“this incessant book is the only thing that exists in the world: more exactly, is the world”. Ever since its birth, photography has chosen to follow this path! Nathalie Herschdorfer Director

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i. Between art and Fashion - Photographs

from the collection of Carla Sozzani

Helmut Newton, Self-Portrait with Wife and Models, Paris, 1980 © The Helmut Newton Foundation

It is rare for a museum to dedicate an exhibition to a private collection. Generally, it is a matter of borrowing a work of art here or there, and discretely indicating the name of the generous lender if the latter does not wish to remain anonymous. With this exhibition, Carla Sozzani, a legendary figure of contemporary elegance, welcomes us into her intimate space. Her collection of photographs, which covers the 20th and 21st centuries, is remarkable in all respects. More than 70 photographs are represented among the 200 prints selected by Fabrice Hergott, director of the Musée d’Art Moderne de la Ville de Paris. We find in the show some of the greatest photographers – Richard Avedon, Horst P. Horst, William Klein, Man Ray, László Moholy- Nagy, Don McCullin, Daido Moriyama, Helmut Newton, Irving Penn, Paolo Roversi, Alfred Stieglitz – and numerous female photographers such as Berenice Abbott, Lillian Bassman, Louise Dahl-Wolfe, Dominique Issermann, Sheila Metzner, Sarah Moon, Leni Riefenstahl and Francesca Woodman. The woman is at the heart of this collection, as author, subject, and object. The photographs, composed of such different scenes, are reunited here in a scenario construted over the years by Carla Sozzani. They figure a world in black and white, where a certain idea of beauty predominates. The whole could be summed up in a succession of moments that are fleeting, enigmatic, and charged with emotion – of such remembrances that leave their imprints on memory. Travelling through this vast collection, we cannot be but seized by these feminine figures that expose themselves and elude our gaze. It is true that fashion is present across the silhouettes and the icon is never very far. A harmony emerges from this profusion of images, but we also detect a passion for the mysterious and the strange.

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Photography nourished Carla Sozzani from the very beginning of her career, and her collection was enriched over the course of many encounters and several years. Playing a fundamental role in fashion since the early 1970s, Carla Sozzani collaborated with numerous photographers while she was editor in chief of special editions of Vogue Italia, and continued to do so after she founded Italian ELLE. Known for her sharp eye and her aesthetic sense, she launched the careers of numerous creators. In 1990, she founded the Galleria Carla Sozzani in Milan, where she mainly exhibits photography. Then, the following year, she founded 10 Corso Como, the very first concept store, which has since then been deployed in Seoul, Shanghai, Peking, and will soon open in New York. The richness of this collection unveils an intelligent, sensitive, cultivated, persevering, and beauty-loving personality. We find in it many icons but also images that are unknown, unusual, and that awe us. This exceptional exhibition, organized in collaboration with the Fondazione Sozzani in Milan, originated from the wishes of couturier Azzedine Alaïa, who belongs to Carla Sozzani’s intimate circle, and who displayed the collection in his Parisian gallery last winter.

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ii. Publication

BETWEEN ART & FASHION – Photographs of the collection of Carla Sozzani Association Azzedine Alaïa / Carla Sozzani Editore, Paris / Milan, 2016 Texts by Azzedine Alaïa, Barbara Carnevali, Germano Celant, Emanuele Coccia, William A. Erwing, Donatien Grau, Fabrice Hergott, Jean Louis Scheffer Available in English and in French 383 pages

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iii. DOCUMENT - Henry Leutwyler

© Henry Leutwyler, John Lennon’s sunglasses, from the series Document, 2004-2016

Celebrity photography is a genre that never runs out of steam. Portraits of movie stars, artists, statesmen, musicians, athletes… glossy magazines know that success is assured when photography prompts us to dream. Henry Leutwyler knows something about this–he who has made portraits of celebrities like Julia Roberts, Michelle Obama or Rihanna, and who works for such prestigious magazines as Vanity Fair, New York Times Magazine, Esquire, Vogue or Time. A product of 12 years of discoveries, the series Document presents itself like a portrait gallery of objects that belonged to celebrities that Leutwyler would have been able to photograph had he been born but a few years earlier! Gandhi’s pocket watch, John Lennon’s glasses (and the weapon that killed him), Andy Warhol’s paintbrush, Mohamed Ali’s boxing shoe, Michael Jackson’s glove, Jimi Hendrix’s guitar, Elvis Presley’s wallet, or James Dean’s hotel room key… Leutwyler photographed hundreds of objects that had belonged to idols who are no longer here today. Isolated from their context and their owner, these objects, whether ordinary or iconic, capture our attention. Authentic, worn, they are their owners’ material witnesses, their relics. These still lifes invite us into intimacy with celebrities in an unprecedented way. The gaze is first seduced by the object which presents itself to us as an icon of the modern world. As the eye follows its contours, suddenly memories of another time emerge. Then comes the name of its owner, which gives rise to new images, to those faces celebrated on screen and on glossy pages. The famous American photographer Irving Penn once said: “Still life is a representation of people. They are in the background. The camera is simply not focused on them.” Leutwyler, who prompts us to reread history in a different way, with all the unexpected emotional charge that this collection of singular objects entails, would not contradict him.

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Henry Leutwyler was born in Switzerland in 1961. He lived and worked in Paris for ten years before settling in New York in 1995. He owes his reputation to his portraits and still lifes. His first book, Neverland Lost: A Portrait of Michael Jackson, was published by Steidl in 2010, and was followed in 2012 by a book dedicated to the New York City Ballet. Document, which was published last fall, is his third title with Steidl. Working primarily as a magazine photographer, Leutwyler recently exhibited his work in New York, Tokyo, Los Angeles, Paris, Moscow, Madrid and Zurich. The show at MBAL is his first museum exhibition. The fact that MBAL is located in Switzerland is particularly symbolic in the eyes of the artist because he was refused admission to the Vevey school of photography when he, as a young man, dreamed of becoming a photographer! The exhibition is organized in collaboration with Foley Gallery, New York, and has received supports from Laumont Photographics and Zenith Swiss Watches. It is accompanied by a book published by Steidl and a limited edition, signed and numbered puzzle produced by MBAL.

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iv. Publication

DOCUMENT – Henry Leutwyler Steidl, 2016 Texts by Karen Overbey and Graham Howe 208 pages

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V. PHOTOBOOK - tHE CULT OF THE BOOK

© Viviane Sassen, Detail of the artist’s personal library, 2017

The book or the wall? Such is the question that today’s photographers ask themselves when they prepare to show their works. Several of them opt for both channels, but do not express themselves in the same way, depending on whether they do so through the printed page or the original print to be hung on the wall of an exhibition. The first channel, an individual and intimate experience, is eternal and can travel in the world and in time; the second, a physical and collective experience, is ephemeral and limited to a single place. Photographers need, in reality, both displays. This exhibit is interested in the photobook, a term that has been in the vocabulary of specialists for several years now. How to describe this object that was born with photography and accompanied its history and evolution? Is it a book uniquely composed of photographs? Is the text necessarily reduced to the role of a legend or can it coexist with equal emphasis? Does the photobook necessarily gesture to an artistic process or can we include all types of photographs (documentary, medical, culinary, etc.)? The definition of the photography book is as vast as the medium itself. Above all, it is the aggregation of the images that makes it a specific creation – one that goes beyond the individual image. A single image would be equivalent to a sentence or a paragraph, whereas the complete sequence of images would be equivalent to a text in its entirety. To celebrate the cult of the photobook, MBAL reunites after Paris, New York, Madrid, Düsseldorf and Moscow the books selected in the context of the Paris Photo-Aperture Foundation PhotoBook Awards, a competition organized annually by Aperture and the Paris Photo fair, two important actors of the international photography scene. Last year, in the context of the fifth edition of the prize, 35 books, chosen by a jury of specialists from 952 works submitted by from 63

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countries, were divided into three categories : the FIRST PHOTOBOOK prize is awarded to emerging artists and endowed with the sum of $10,000 USD; the PHOTOBOOK OF THE YEAR prize is given to a mid-career photographer, editor, or artist; the PHOTOGRAPHY CATALOGUE OF THE YEAR prize is awarded to the publishing house and/or the institution responsible for the exhibition catalogue or theoretical work judged to be the best of the year. For each of these categories, the success of the book had as much to do with its photographic quality as with its editorial choices, structure, graphics, and manufacturing.

The shortlist selection was made in New York by Ann-Christin Bertrand (curator, C/O Berlin), David Campany (author, photographer, curator, London), Lesley A. Martin (Creative Director, Aperture Foundation, New York), Rebecca Senf (Chief Curator, Center for Creative Photography, Tuscon, Arizona, and The Norton Family Curator of Photography, Phoenix Art Museum) and Christoph Wiesner (Artistic Director, Paris Photo). The final jury convened in November 2016 in Paris. It was composed of Paul Graham (photographer, New York), Jens Hoffmann (curator and Director of Public Programs, Jewish Museum, New York), Agnès Sire (Director, Fondation Henri Cartier-Bresson, Paris), Katja Stuke (photographer, curator, editor, Düsseldorf) and Thomas Zander (gallerist, Cologne).

The Paris Photo-Aperture Foundation PhotoBook Awards is organized by Aperture Foundation, New York, and Paris Photo.

Winners of the PhotoBook Awards 2016

First Photobook: Libyan Sugar, Michael Christopher Brown

Catalogue of the year: Wojciech Zamecznik: Photo-graphics, Karolina Puchała-Rojek and Karolina Ziebinnska-Lewandowska

Photobook of the year: ZZYZX, Gregory Halpern

Special mention: Taking Stock of Power: An Other View of the Berlin de Wallpar Annett Gröschner et Arwed Messmer.

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The PHOTOBOOK exhibition at MBAL is co-curated by Darius Himes, International Head of Photographs at Christie’s, and co-author of the book “Publish Your Photography Book“. Of all the histories of visual and plastic arts, that of photography has a special place for the book. This history of the photography book is, as historian Shelley Rice has written, "a secret history embedded within the well-known chronologies of photographic history." Most photographers, art-lovers, curators, and gallerists learned of, and fell in love with, photography through books. Ultimately, books are far more accessible than exhibitions of important work. And while photographs are now readily accessible online, one can return to physical books repeatedly and absorb the accompanying texts at will—a lap, a few hours, and some sunlight are all that is required. Photography was the perfect invention for a mechanized New World. If the Industrial Revolution produced a new body for humanity—with machines acting like so many limbs and organs, and speed, at an ever-increasing rate, playing its role as the blood of this new corpus—then photography was its eye. The invention provided a new way to see the world—further, deeper, smaller, bigger, faster, and slower than unaided sensory experiences could provide. All manner of phenomena were scrutinized under this new panopticon (as were long-held ideas and stereotypes), all of which were printed and disseminated through magazines and books. Photography books have never commanded greater interest than they do today. The photobook is seen by artists as both the vehicle and the thing itself. Never before have there existed as many means and tools to produce a book for broad dissemination. From hand-printed and bound books, to self-publishing, to a firmly established boutique and trade publishing network, the options before an artist are wide and accessible. Far from shunning digital technology, the renaissance we are experiencing in the printed book is due directly to the development of technologies and distribution networks unimaginable a mere 20 years ago. It is an exciting moment to witness. Long live the photobook!

Darius Himes

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vI. Utopia - ina jang

© Ina Jang, Watermelon, from the series Utopia, 2016

Ina Jang’s photographic language hints at an oneiric universe, in which plays on perception, textures, and forms, are fundamental. Her pastel palette portraits explore predominantly the theme of feminine identity in reference to the fashion image that she also cultivates in her personal work. An identity that she likes to mask by superposing layers of diverse materials (paper, wood, cellophane, stickers, etc.) on the final image. Manipulating her images both digitally and analogically, the artist creates a world that is poetic and minimalist, complex and multidimensional, where reality and fiction are interlaced. The Utopia series extends the South Korean artist’s reflection on the representation of the female body in photography. Here, Ina Jang relies on the figure of the pin-up as found in magazines. Realized from images found on Japanese internet websites, this series presents silhouettes of female bodies in suggestive poses. We find the artist’s trademark in the technique of collage and the gradient color processing. The poses and hair have not been modified, but in contrast the bodies were trimmed to make space for colored surfaces. In Butter, photographic sculpture printed on wood, Ina Jang returns flesh to the foreground and draws our attention to the knee, a part of the body where society seems to draw certain limits. Indeed, Korean schoolgirls are made to wear skirts that cover half the knee at a pivotal moment in their construction of sexual and social identities. The cutouts made by the artist demystify this culturally charged part of the body by bringing to it a level of abstraction that disincarnates it from any sensuality. This catalogue of silhouettes displays the gaze of a young artist of the 21st century who seizes the female nude, a genre with a long tradition dating back to painting that has been valued by photographers since the invention of the medium in the 19th century. Admitting that even now it is still difficult to liberate one’s self from the male gaze while becoming a woman–particularly in Japanese and Korean cultures–Ina

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Jang challenges the codes of current visual culture. And if this series finds its origins in imagery created by men for men, the bright colors, the metaphorical forms, and a certain anonymity establish a new dialogue with one who looks at them–a dialogue considerably different from the one preserved in the source images. By subtracting the body from the gaze, the artist plays with the idea of a virgin canvas on which it is possible to compose a new figure of femininity. Ina Jang (b.1982 in Seoul) is a graduate of the School of Visual Arts in New York with a Master’s in fashion photography. Her work was exhibited at the Empty Quarter in Dubai, the New York Photo Festival, and Tokyo Photo, and was published in the New York Times Magazine, the British Journal of Photography, and Foam Magazine. In Switzerland the artist is represented by Christophe Guye Gallery. She lives and works in Brooklyn, New York.

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vii. Publication

Could you talk about… Ina Jang Published by MBAL, 2017 Edited by Nathalie Herschdorfer Interview : Joël Vacheron Graphic design : Atelier Florence Chèvre Bilingual : English - French In 2016, the museum launched a series of small publications to shed light on new artworks. An interview is conducted with artists represented in MBAL program. Previous publications were dedicated to Mishka Henner, Dan Holdsworth and Mathieu Bernard-Reymond.

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In addition to our new exhibitions

VIII. Sol LeWitt - 6 wall drawings

Wall drawing 229, The location of two points on two walls, 1974 Courtesy of The Estate of Sol LeWitt and Pace Gallery © 2017, ProLitteris, Zurich

“The idea becomes a machine that makes the art.” So wrote American Sol LeWitt (1928-2007) on his approach to artistic creation and his experiments with wall drawing. The first of these drawings were created almost 50 years ago on the walls of the Paula Cooper Gallery in New York. The Wall Drawings are LeWitt’s most iconic work. He created 1200 of them between 1968 and 2007. They are complex yet simple, rational and intuitive, clear yet opaque. Ten years after the artist’s death, the Museum of Fine Arts celebrates this pioneer of conceptual art by setting aside a space in his honour for eight months. Six of his early drawings – Wall Drawings #208, #209, #210, #211, #212 and #229 (installed in Portland, Oregon, in 1973 and 1974) – are installed on the museum’s walls. Exploring the notions of impermanence and immateriality of art, LeWitt’s work demystifies the artwork as a physical – and often fetishised – object while merging with the exhibition space that embraces it. Favouring geometric shapes (here, straight lines plotted within a square and drawn on the wall in lead pencil), LeWitt established a system based on the repetition of simple shapes. This approach enabled him to concentrate on the idea that makes up the work, an idea passed on to his assistants by means of a diagram and a set of precise instructions. The drawing is always done by hand and its execution thus becomes a kind of performance for the assistants who work in tandem with the language and the image, each of which is indispensable in creating the work. LeWitt thus defined his practice by separating the concept and the execution. As in music, theatre or architecture, art is designed first and materialised later. The concept prevails over the execution, which is why the wall drawings are ephemeral – they exist for the duration of the exhibition and, once it is over, the walls are repainted. For LeWitt, each installation has its own value, so long as the concept is understood and respected by those who draw it, and the execution

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does not affect the artistic quality of the work. The mural is adapted to fit the scale of each new space, resulting in an interpretation – rigorous, stoical and enduring - rather than a reproduction of the artist’s idea. The wall drawings are thus not fixed in either space or time. In demonstrating that art is an idea before it is a thing, LeWitt makes his work almost permanent because the concept lives on during the installations and can be continued in other places, thus rendering the wall drawings unique and different on every occasion. The exhibition is made in collaboration with Pace Gallery (New York) and the Estate of Sol LeWitt (Chester, Connecticut).

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IX. Publication

101 Drawings, 100 Views Editions Yale University, 2009 Texts by Denise Cross et Susan Markonish 272 pages

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x. Events Opening Saturday, June 17th at 6:00 pm Guided tours of the exhibitions Sundays June 25th, July 30th, August 27th, September 24th and October 15th at 2:30 pm Included with admission Workshop with Henry Leutwyler Sunday, June 18th at 2:00 pm A celebrity photographer unveils the behind-the-scenes of his job during a workshop geared towards teenagers. A unique occasion to discover the universe of one who photographed Beyoncé and Rihanna and hear more about his studio, and to get photographed! Free entry Booking required Photo Studio Sundays August 6th, September 3th and October 1st from 1:30 to 4:30 pm Alone, with family, or with friends, get your portrait taken by a professional photographer! Choose your style from the three proposed photo sessions. Places are limited Registration is recommended Price : 60.- with a signed print Brunch at the museum Sunday, September 17th from 11:00 am to 1:00 pm Between two bites. Adults visit the exhibitions freely and children are welcomed by our guide for a moment of creativity. Booking required. Brunch: Adult 15.- / Child 10.- Panel discussion Sunday, October 1st at 11:00 am Art and emotions The museum organizes a panel discussion on the occasion of the release of the book EMOTIONS, edited by Nathalie Herschdorfer and David Sander. The museum welcomes diverse specialists from the Swiss Center for Affective Sciences/University of Geneva. Free entry An event organized in collaboration with Galerie C, Neuchâtel Holiday workshop Wednesdays August 9th and October 11th from 2:00 to 4:00 pm Guitar, glasses, keys, baskets… Create your family album by choosing an iconic object for each member! For children from 6 years old Booking required / Fee: 10.-

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Your events at the MBAL Cocktails, birthday parties, company outings, seminars, after-work events… Privatize the museum and experience a unique moment amidst works of art. This summer, a photographic season opens in the canton of Neuchâtel. The Musée d'art et d'histoire hosts a retrospective, retracing 130 years of photography in the region. Starting June 18th at the Chaux-du-Milieu, the Fondation du Grand-Cachot dedicates an exhibition in honor of the Jura landscape as viewed by five photographers. Quartier Général (QG), the Chaux-de-Fonds center for the arts, proposes to disseminate the works of six Swiss photographers by means of posters that will be shown in the city.

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Xi. EMOTIONS – New Publication

EMOTIONS – Nathalie Herschdorfer and David Sander Benteli, 2017 272 pages

“You put a camera in my hand, I want to get close to people. Not just physically close, emotionally close; all of it.” Danny Lyon Emotions are at the heart of human actions and shape both our individual beings and our societies in deep and lasting ways. These complex mental, physical and social phenomena have fascinated writers, painters and other artists, and have been the subject of many sophisticated experimental and conceptual studies. This volume aims to bridge the gap between art and academia by taking an interdisciplinary approach. Emotions combines psychology, philosophy, literature, and neuroscience with photography which exemplifies perfectly how art is an ideal vehicle to both represent and elicit emotions. Contributions from experts and scholars in the different fields of the affective sciences are juxtaposed with photographic essays by contemporary photographers and a selection of images by masters of the art including Josef Koudelka, Robert Capa, Robert Doisneau and Henri Cartier-Bresson that convey ten fundamental human emotions: anger, joy, fear, disgust, surprise, sadness, love, envy, pride and wonder. The book results from a collaboration between David Sander, Director of the the Swiss Center for Affective Sciences University of Geneva, and Nathalie Herschorfer, Director of MBAL. On October 1st, the museum organizes a panel discussion on art and emotions, with diverse specialists from the Swiss Center for Affective Sciences University of Geneva.

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xi. Press images Images cannot be reframed or retouched. Each photography must be accompanied with its caption and full credit line.

Between art and fashion – Photographs from the

collection of Carla Sozzani

Dominique Issermann, Carla Sozzani chez Azzedine Alaïa (Carla Sozzani at Azzedine Alaïa) 2014 © Dominique Issermann

Horst P. Horst, Hands, Hands…, New York, 1941 © Horst P. Horst / Condé Nast

Bruce Weber, Alaïa dress, 1990 © Bruce Weber

Erwin Blumenfeld, Le Décolleté (The Décolleté), Victoria von Hagen, for Vogue, New York, 1952 © The Estate of Erwin Blumenfeld

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Francesca Woodman, from Eel series, Venice, 1978 © Courtesy of George and Betty Woodman

Sarah Moon, Avril pour Alaïa (April for Alaïa), 2006 © Sarah Moon

For any use of the Horst P. Horst photograph, please contact us.

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Document – Henry Leutwyler

American boxer Mohamed Ali's boxing shoes From the series Document, 2015 © Henry Leutwyler

James Dean's key to the room 82 of the Iroquois Hotel, New York - James Dean residence From the series Document, 2015 © Henry Leutwyler

Charlie Chaplin's cane used in City Lights From the series Document, 2015 © Henry Leutwyler

Mohandas Gandhi's pocket watch From the series Document, 2007 © Henry Leutwyler

Michael Jackson's sequined glove From the series Document, 2009 © Henry Leutwyler,

Mohamed Ali's training glove From the series Document, 2008 © Henry Leutwyler

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Photobook – the cult of the book

Detail of the artist’s personal library, 2017 © Viviane Sassen Installation views of the exhibition available on request.

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Utopia – Ina Jang

Misty, from the series Utopia, 2016 © Ina Jang Courtesy Christophe Guye Gallery

Lemonade, from the series Utopia, 2016 © Ina Jang Courtesy Christophe Guye Gallery

Punch, from the series Utopia, 2017 © Ina Jang Courtesy Christophe Guye Gallery

Rouge, from the series Utopia, 2017 © Ina Jang Courtesy Christophe Guye Gallery

Watermelon, from the series Utopia, 2016 © Ina Jang Courtesy Christophe Guye Gallery

Tangerine, from the series Utopia, 2017 © Ina Jang Courtesy Christophe Guye Gallery

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6 wall drawings – Sol LeWitt

Wall drawing 229, The location of two points on two walls, 1974 © 2017, ProLitteris, Zurich Courtesy of The Estate of Sol LeWitt and Pace Gallery

Sol LeWitt 6 Wall Drawings © 2017 Musée des beaux-arts Le Locle. Image Lucas Olivet

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xiI. Winter exhibitions

05.11.2017 - 28.02.2018

Georg Baselitz

The prints 1995 2017

Jungjin Lee

ECHO

Camille Scherrer

LA GUIGNETTE

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XiII. General Opening Saturday, June 17th at 6:00 pm

Between art and fashion

Photographs from the collection of Carla sozzani

Document

Henry leutwyler

Photobook

The cult of the book

Utopia

Ina jang

Location Musée des beaux-arts Marie-Anne Calame 6 CH – 2400 Le Locle +41 (0)32 933 89 50 mbal@ne.ch – www.mbal.ch Hours Mon – Fri, 12.30 – 5 pm Sat – Sun, 11.00 – 5 pm Admission Adults CHF 8 APS, students, apprentices, unemployed CHF 5 Children 16 and under free First Sunday of the month free

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Xv. Partners

The Museum of Fine Arts Le Locle is based on public funding from the city of Le Locle, and is supported by the Société des Beaux-Arts et du Musée, Le Locle, at the origin of the museum’s foundation in 1864. In 2017, the museum exhibitions are supported by Loterie Romande. The programs for families and kids are supported by Clientis-Caisse d’Epargne CEC.

XIV. press contact Sara Terrier Musée des beaux-arts Le Locle T +41 (0)32 933 89 50 mbal@ne.ch