42 review A mong its many other attributes, the institut du Monde Arabe (iMA) is notable for the fact that a Pritzker Prize-winning architect (along with Architecture-Studio) designed the iconic building, which is now a Paris landmark. The innovative design catapulted Jean Nouvel to fame and the iMA was among the winners of the Aga Khan Award for Architecture in 1989. in April this year, the street on which it is located was transformed by the donation by fashion power- house Chanel, of its Zaha Hadid-designed ( Can- vas 3.2 and 6.6) Mobile Art Pavilion to the iMA. rue des Fossés Saint Bernard is now perhaps the world’s only space currently housing struc- tures by two Pritzker Prize-winning architects; (Abu Dhabi’s Saadiyat island will come next with creations by fellow Prize winners, Tadao Ando, Sir Norman Foster and Frank Gehry). in terms of design, the rue makes a remarkable destination – a fusion of old and new, both culturally and architecturally. “i am thrilled Chanel has donated Mobile Art to the institut du Monde Arabe as a new permanent venue for contemporary art in the heart of Paris,” said Hadid, “Mobile Art’s fluid architectural language generates a fascinating interplay with the Cartesian geometry of Nou- vel’s renowned south façade for the iMA.” ARCHITECTURAL ADDRESS After tours to Hong Kong, New York and Tokyo, the Zaha Hadid-designed Chanel Mobile Art Pavilion lands in Paris following its donation to the institut du Monde Arabe. Myrna Ayad attends the inauguration in the French capital and discusses the Pavilion’s future. Below: Guests at the 28 April inauguration of the Mobile Art Pavilion designed by Zaha Hadid for Chanel. Facing page: A view of the Mobile Art Pavilion at the Institut du Monde Arabe. Images courtesy Chanel. A TrAvelliNG MuSeuM it all began in 2007 when Chanel head designer and creative director, Karl lagerfeld, approached iraqi-born Hadid to create a mobile art museum. it was an incidental meeting at New York’s Mercer Hotel, and two months later, Zaha Hadid Archi- tects presented Chanel with sketches. “The idea first came out to do an object made of an organic form which would then be transported and redi- rected in different cities,” said Hadid, “it was very exciting; the whole experience was really quite rare.” Mobile Art toured Hong Kong, New York and Tokyo, exhibiting artworks by Contemporary art- ists inspired by Chanel’s iconic bag. lagerfeld is 43 one thing, but actually entering one precipitates a series of emotions, especially through Hadid’s web-like interior. “it’s a little feminine, like a womb, embracing and enveloping,” added Khazindar. exhibition plans for the Pavilion – which will strictly show Contemporary Middle eastern art (perhaps alongside western counterparts) – are in progress, but works by the 10 winners of the v&A’s Jameel Prize will be displayed in early December this year. The iMA plans on stag- ing two to three exhibitions per annum, a chal- lenging strategy which Khazindar feels involves “endless possibilities but one which makes this opportunity so great”. There is an undoubted kudos attached to such a prospect for Middle eastern artists, especially as it serves as another platform for the region’s art in the west, with particular attention to the status of the space, at an address which combines such laudable struc- tures. This is something Khazindar is excited about and notes the increase of visitors to the space dai- ly, namely those who had never visited iMA. “it’s a new kind of public coming to see the Pavilion,” she says. what would Coco herself have thought? Pavlovsky smiles, “[Hadid and Chanel] are both pi- oneers and strong women for sure, and it’s almost as though this Pavilion was designed specially for the iMA.” For more information visit www.imarabe.org “The whole experience was really quite rare.” - Zaha Hadid a woman, an architect, an Arab,” smiles iMA Direc- tor General Mona Khazindar. “Aesthetically speak- ing, there is a dialogue and harmony between the geometry and islamic design of the iMA and the curve-like modern minimalism of the Pavilion.” A uNique ADDreSS in tandem with its aim to promote cultural under- standing of the Arab world, the evening of 28 April commenced with readings by two of the Middle east’s legendary poets – etel Adnan ( Canvas 1.1) and Adonis – who recited Arabic poetry created for the event. A roundtable discussion followed, between Hadid, lagerfeld, Nouvel and Patrick Schumacher, Partner at Zaha Hadid Architects, moderated by French journalist elisabeth quin and orchestrated by the Serpentine Gallery’s Hans-ulrich Obrist. Fash- ion and art world glitterati were in attendance at a panel which witnessed these giants of the worlds of architecture, art and fashion candidly discuss the in- ception and design of the Pavilion and its donation to the iMA. “[Hadid’s Pavilion] confirms one of my old observations: architecture cannot be promoted by images or photographs; you have to feel it,” not- ed Nouvel, “to understand what is happening in this object and around it, you have to be in it and there is a feeling of movement, of continuity, a discovery, a consolidation of contact between the interior and exterior.” indeed, admiring a structure by Hadid is review reported to have praised the museum’s ingenuity – namely that, as opposed to people travelling to a museum, a museum is travelling to people. This wasn’t Chanel’s first foray into the worlds of art and culture either – its founder, Gabrielle “Coco” Chanel herself, socialised with intellectuals, composers, poets and artists and was a great pa- tron of the arts, becoming a knowledgeable col- lector of Byzantine art. The luxury brand pursues an artistic philosophy today through its acquisition of works by artists such as Jean-Michel Othoniel, YZ Kami ( Canvas 5.3), Claude and François-Xavier lalanne and Joseph Stashkevetch, whose works hang in Chanel boutiques. The decision to halt the worldwide tour of the ‘art container’ (as it has been dubbed) was “a ques- tion of timing”, according to Chanel’s President of Fashion Activities, Bruno Pavlovsky. Surely audi- ences in other parts of the world would have ap- preciated viewing a unique collaboration between a luxury retail giant and one of TIME magazine’s 2010 Top 100: Most Influential People ? “it wasn’t an easy decision [to stop the exhibition], but from the beginning, we wanted it to land in Paris,” explains Pavlovsky, “it’s a city that is important for the image of Chanel; a lot of Chanel values and creativity come from here.” iMA’s Communication Manager, Philippe Cardi- nal, read of the Pavilion’s arrival in Paris and the iMA subsequently approached Chanel, sealing a deal for a three-year renewable donation. For its Paris inauguration (exclusively sponsored by the Fayat Group), the Pavilion showcased works by Hadid (running until 30 October 2011), marking her first- ever exhibition in France. “we are so proud! She’s