We are pleased to welcome Michel Houellebecq’s first solo exhibition at Air de Paris. In 2016, the Palais de Tokyo welcomed Rester Vivant, an exhibition thought as « a scenario […] which offered an immersion into the world and mind of the protean creator who is Michel Houellebecq » Quatrains brings together photographs, poems, songs, all intimately linked together, interlocked as the multiple facets of the artist. The text on Inscritpions #028 is an extract of a quatrain from the poem La Disparition (La Poursuite du Bonheur, 1991) which will be recreated on the wall while a discman will play Présence Humaine (2000), a song by Michel Houellebecq from his eponymous disk (2000) is played. Michel Houellebecq (born in 1956) is a writer. He has been revealed in 1992 by the publication of Extension du domaine de la lutte. In 2010 he won the Prix Goncourt for La Carte et le Territoire. His work focuses on the «spleen of the in-between, the loneliness of the individual in a liberal world.» A Polygraph writer, he is a poet1 and an essayist2 . He has already diverted from literature for being a movie director3 and an actor4 . He also lent some […]

In collaboration with Les Archives Jean Painlevé, we are pleased to present «Phase transition in liquid crystals» a film by Jean Painlevé (1978). One of his latest film and probably the most abstract. Jean Painlevé (1902-1989) was led to film the living world by «the profound beauty of nature in its colours and shapes»; but also, he admitted, by the fact that he drew very badly. As a student in the laboratory of comparative anatomy at the Sorbonne, he became fascinated both by microphotography and by scientific cinema as a modern, efficient means of recording movement. This initially scientific approach led him to discover «things nobody else had seen». Scientific cinema was the instrument that enabled him to share his discoveries by rendering the invisible visible: opposed to traditional teaching, he saw cinema as a decisive vector for generating awareness, and ensured viewer interest by his attentiveness to aesthetics and rhythm, and the anecdotes and shafts of wit that accompanied his message. It was this injection of subjectivity into the scientific that gave a poetic dimension to his work. Since his time at the Sorbonne he had been close to the Surrealists, although more so to Yvan Goll, who posited […]

Medzi finalistami sa nachádzajú svetoznáme mená osobností dizajnu ako Istvan Orosz, Kari Piippo, Lex Drewinski, Jean-Pol Rouard, Melchior Imboden, Finn Nygaard, Pekka Loiri, Karel Míšek a ďalší.

The exhibition ‘Woodland Sweden’ by the Swedish Institute and the Swedish architects association ‘Sveriges Arkitekter’, presents contemporary projects in timber architecture using different examples of building typologies, including schools, housing, and cultural institutions.

The futuristic “active energy building”, an apartment building in Vaduz, is the prototype of a new urban, decentralized power generation system that represents a trend-setting model for energy generation and distribution. It is the main focus of the exhibition, which details the extensive research work by the Austrian architects Anton Falkeis & Cornelia Falkeis-Senn with their results on numerous advances in terms of material, construction and network design for the development of active buildings. By means of further projects, the office presents its innovative strategies that help to tackle the major societal challenges, such as climate change, energy and resource scarcity. Photographs, texts, drawings and architectural models also give insight into other cultural buildings and infrastructure.

Modern photography is intimately connected to urban culture. In the 1920s, photographers drew inspiration from the urban environment to make experimental compositions and create the ‘new vision’ of the Neues Sehen movement. Their approach is today considered emblematic of avant-garde photography. At the same time, however, many photographers directed their gaze towards the social fabric of the city. Adopting the role of flaneurs and street photographers, they documented everyday life and the sheer dynamism of the city’s countless inhabitants. These views show the city as a collective living space, while creating a multi-layered portrayal of people and their living conditions in urban space. The exhibition shows photographs from the 1920s to the 1940s by Aenne Biermann, Florence Henri, Germaine Krull, Man Ray, Albert Renger-Patzsch, and Friedrich Seidenstücker from the collection of the Ann and Jürgen Wilde Foundation.

Liverpool Biennial is the UK biennial of contemporary art. Taking place over 15 weeks across the city in public spaces, galleries, museums and online, Liverpool Biennial commissions artists from around the world to make and present work in the context of Liverpool. The 10th edition Beautiful world, where are you? invites artists and audiences to reflect on a world of social, political and economic turmoil with free exhibitions and events across the city. In 2018, Liverpool Biennial is celebrating 20 years of presenting international art in the city and region.

2018 marks the 160th anniversary of diplomatic relations between Japan and France, as well as the 150th anniversary of the beginning of the Meji period, when Japan opened up to the West. As part of the Japonisms 2018: souls in harmony cultural season, Throne will be displayed under the Pyramid of the Musée du Louvre. This monumental work by Japanese artist Kohei Nawa is entirely covered with gold leaf, and blends Japanese cultural tradition with cutting-edge technology. Nawa drew his inspiration from the shapes and origins of floats used in Eastern religious festivals. He made the work using a combination of the latest 3D modelling systems and the gold leaf gilding technique, echoing ancient Egypt and the collections of the Musée du Louvre. With this work, Nawa predicts that rapid advances in computer science and artificial intelligence could, in the long term, replace power and authority as the principal instruments of political and economic influence.

The exhibition 55 Dates invites visitors to explore 55 works selected from the mumok collection of around 10,000, in “blind dates” with art. These works do not present a classical perspective on art history but rather a diverse coexistence of ways of thinking, themes, and artistic media. The selection ranges from Paul Klee, Giacomo Balla, and Pablo Picasso to Andy Warhol, uniting very different approaches in one show, with Anna Artaker, Cosima von Bonin, Günter Brus, Friedl Dicker, VALIE EXPORT, Marta Hoepffner, Ed Paschke, and many more. This exhibition presents a mix of the known and the lesser known, with artists whose names and works have entered art history and others still to be discovered. The unconventional exhibition design by Austrian artist Hans Schabus will facilitate interpretations that go beyond the normal expectations of an overview of art of the twentieth and twenty-first centuries.

The exhibition Photo/Politics/Austria takes you on a photographic journey through Austrian history from 1918 to the present. This project is undertaken in cooperation with Photoinstitut Bonartes and shows around 100 works from the mumok photographs collection, and additional loans from national and international institutions. Photo/Politics/Austria is an attempt to visualize Austrian history of the last 100 years using selected photos or photo series that show special events or situations. These include a postcard series of the fire at the Palace of Justice (1927), Friedl Dicker‘s socially critical collages (1931), Ernst Haas‘s Heimkehrer(1947), and Seiichi Furuya’s State Border (1981/83), images that are just as much part of a panorama of a turbulent history as Kiki Kogelnik’s Vienna Street Pictures (1967) or a screenshot of Hans Krankl in Cordoba (1978). Film theorist Siegfried Kracauer compared the reality of the camera with reality as constructed through historical knowledge. Both media show the present as just one part of the whole. This exhibition Photo/Politics/Austria, designed by the artist Markus Schinwald, uses press photographs, interventions, newspaper cuttings, posters, and film stills as “head pictures” (Michael Diers), that complement and sharpen the “headlines” of the past.