In Moki Cherry’s artistic practice, there are no sharp boundaries between design, art, drama and music. In 1962, Moki Cherry moved to Stockholm to study at the Beckmans College of Design. A few years later, she met the American jazz musician Don Cherry, and they embarked on a close collaboration. Separately and together, they created happenings, music, art, posters and album covers. Their motto was “the stage as a home, and the home as a stage”1. 1 Extrait du communiqué de presse de l’exposition «Moment» de Moki Cherry (cur. Fredrik Liew) Moderna Museet, Stockholm, 7.04 2016 – 9.04.2017. Extract from the press releasede of Moki Cherry’s exhibition «Moment» (cur. Fredrik Liew) Moderna Museet, Stockholm, 7.04 2016 – 9.04.2017.
The exhibition ON AIR is an ecosystem in becoming, hosting emergent choreographies and polyphonies across human and non-human universes, where artworks reveal the common, fragile and ephemeral rhythms and trajectories between these worlds. As a hybrid ecosystem, ON AIR is made of a myriad presences, both animate and inanimate, that meet and cohabit within it. Some voices become quiet, whilst others, perhaps those less often heard by human ears, are magnified. The exhibition functions as an ensemble for silent voices, performing the hidden scores that link events and sensibilities, earthly and cosmic phenomena – weaving a web of relations that cannot be described but maybe can be felt. ON AIR proposes a space and time that makes manifest the forces and entities that float in the air, and their interactions with us: from CO2 to cosmic dust, from radio infrastructures to reimagined corridors of mobility. Thus, the invisible histories that compose the ecologies we are part of invite us to poetically rethink different ways of inhabiting the world – and of being human. While extractivist activities that mine the Earth for resources continue to threaten entire ecologies, ON AIR celebrates new ways of thinking about our relation with […]
The Louvre’s Petite Galerie is a special space set aside for art and cultural education for all ages, with a selection of artworks representing different periods and techniques in yearly exhibitions—an eye-opening experience which serves as a starting point for an exploration of the whole museum. For its fourth season, the exhibition “Archaeology Goes Graphic” will spark a dialogue between archaeology and the 2018–19 guest art form—comic book art. It will invite visitors to follow in the footsteps of amateur or professional archaeologists with a passion for antiquity and see how they discover “treasures,” unearth objects buried at different periods, then classify them and try to understand what they tell us about the past. All this while illustrating how comic book art (known as the “ninth art” in France) has, in a blend of fact and fiction, drawn inspiration from the archaeological finds that have contributed to the Louvre’s collections.
Today Will Happen brings together 12 artists from the French and Asian scenes who are inspired by language as a motor for invention and the metamorphoses of form. A poem by Michel Houellebecq, which has also provided its title to the exhibition, serves as a thread between the artworks. In it, the author describes the jaded access to self-awareness in an urban world that transforms bodies into projectiles. An analogous process of transformation has been inflicted on Michel Houellebecq’s poem: Diffused through the space of the building, it is successively translated, reinterpreted, sung and distorted by a Korean poet, a group of pansori singers and a DJ, until it becomes totally unrecognizable. The poem is thus used as a material that inspires, before being blurred and modified once more by its association with the works in the exhibition. The artists it brings together were chosen because their works offer equivalent usages and modes of apparition: singular processes, ruminations, or the echoing rumors of a poetic atmosphere. Images, deconstructions, bodily schemas grown hysterical, labyrinths of meaning allowing us to make our journey, the exploration of a disturbing thought, seeking out the geometry of its expression. The exhibition is part of the “Off-Site” […]
With almost two hundred works, this unique retrospective – the most comprehensive to date – dedicated to the work of Franz West seeks to examine the legacy of the Austrian artist, one of the most influential of the last fifty years. A free and independent spirit with no formal training, Franz West (1947–2012) remained under the radar for almost fifteen years before his sculptures from the early 1970s brought him to international attention in the late 1980s. Paradoxically, this rather delayed recognition and the influence Franz West had on younger generations from the 1990s helped free him from any generational categorisation and granted him a timeless quality. Franz West’s complex character – profoundly individualistic and sceptical, yet, at the same time, continuously engaged in dialogue and discussions tinged with playfulness and sarcasm – led him to developing a unique body of work capable of taking on board and transcending all influences. A genre-defying collection of almost six thousand itemised pieces to date, his work has always blurred the lines between art and life in its most ordinary aspects. Moreover, it flits constantly between the popular and the cultured, action and contemplation, the individual and the group, the natural and the intellectual, and […]
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.
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 […]
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 […]
Through this exhibition covering the confused, precarious post-war years between 1945 and 1960, the Centre Pompidou provides a new interpretation of Sabine Weiss‘s photographs, which belong to a movement unjustly perceived as “sentimentalist”. Her rich and varied output, seen here through a fresh look at her work based on her own archives, illustrates a commitment fostering a reconciliation with reality.
This two-part project reveals the multifaceted work of artist, writer and film director Roee Rosen (Rehovot, 1963). The exhibition “Histoires dans la pénombre” presents two major works – The Blind Merchant (1989-1991), an alternative version of Shakespeare’s Merchant of Venice told by a blind usurer and Vladimir’s Night (2011-2014), a political treatise on the dangers of fetishising an object – accompanied by a more recent film, The Dust Channel (2016), an operetta on purification in all its forms.
This new circuit revisits the history of the Musée National d’Art Moderne’s collections as we celebrate the bicentenary of the Musée des Artistes Vivants, of which it is one of the heirs. This “retrospective” of the museum’s collections is laid out in some fifteen sections scattered through the modern circuit. Over 120 works, accompanied by an all-new documentary system, explore the identity of the Musée National d’Art Moderne and its predecessors from the 1920s to the opening of the Centre Pompidou.