Daiga Grantina has created a vast sculpture from a range of materials with varying qualities: hard and soft, transparent and opaque. Blended together in a strange and colourful landscape, each one of these materials has a role of its own in this organism that is playful, furious, confused, and a little ‘toll’ (the German term meaning ‘mad’ or ‘astounding’ which lends Grantina’s work its title).
For his exhibition at Palais de Tokyo, Massinissa Selmani has followed in the footsteps of Louise Michel in Algeria and New Caledonia, where this legendary figure of anarchism was deported from 1873 to 1880, after the defeat of the Paris Commune. She not only frequented Kanaks there, whose rebellion she supported, but also the Algerians who had been sent there to a penal colony after the insurrections of March 1871 in Kabylia. Thanks to these encounters, Louise Michel struck up friendships with the deported Algerians and promised to visit them. Thus, from October to December 1904, just a few months before her death, she travelled to Algeria, where she gave a series of talks denouncing religion, militarism and colonial violence.
Nina Chanel Abney sometimes moves her pictorial practice from her studio to public spaces by painting immense murals on city walls. For her first commission by a French institution, Abney will take over a series of walls integral to the architecture of Palais de Tokyo and transform them into in situ frescoes.
Deployed in the air, above the landing of Palais de Tokyo’s main staircase and its surrounding space, the installation conceived by Anita Molinero is made up of a large sculpture of burnt polyfoam, a kind of fossilised planet or spaceship with hesitant technology. Like a mute “guardian”, a chained sculpture covered with fur watches over this aerial scene with its urban apocalyptic, Z-movie appearance.
Palais de Tokyo, in partnership for the first time with the Musée national des arts asiatiques – Guimet, presents an exceptional collection of artefacts that belonged to a powerful caste of governors who reigned in Japan between the 12th and 19th centuries: the daimyo.
One and the Other is not an exhibition but a research laboratory. It is the result of an exchange of our perspectives, of a partnership underpinned by our deep friendship. We present here a selection of our work linked to the major questions of our civilization, which are approached principally through two installations. The first addresses the fabrication in and by the dominant media of the absolute Other, a violent and warlike entity that never fails to inspire fear: the Satan, the Savage, the Terrorist. The second concerns the persistence throughout history of humiliation, rape and torture in imperialist war crimes.
Now world famous as a poet and artist, Jim Dine (b. Cincinatti, 1935) moved to New York in 1958. After making a name for himself with his happenings, he then turned to paintings that combined Abstract Expressionism with Pop images to novel effect. To mark a substantial donation by the artist to the Musée National d’Art Moderne, the Centre Pompidou is now staging an exhibition of his work. In painting and sculpture of great diversity, Dine has developed over the last sixty years an intensely personal iconography, a highly distinctive voice.