Latiff Mohidin (b. 1941) is a major painter and poet in Malaysia. The exhibition presents the artist’s formative period during the 1960s, when he travelled to Europe and South-east Asia. Pago-Pago – the title of a series of well-known works – is an invented formula evoking the awareness born of these travels. It refers to a way of thinking and working that attempted to complexify Western modernism, opening the way to the construction of symbolic forms and dialogues with other avant-garde thinkers in South-east Asia.
The exhibition devoted by the Centre Pompidou to the Russian avant-garde between 1918 and 1922 focuses on the work of three of its iconic figures: Marc Chagall, El Lissitzky and Kasimir Malevich. It also presents works by teachers and students of the Vitebsk art school founded in 1918 by Chagall: Vera Ermolayeva, Nicolai Suetin, Ilya Chachnik, Lazar Khidekel and David Yakerson.
Over the last fifteen years or so, Vincent Meessen (b. Baltimore, US, 1971) has been developing a body of work at the boundary between the fields of art and research. In mobilising signs, images and hidden narratives in new narratives, his works offer a contemporary reanimation of history both poetic and polemical, through different media such as video, the printed image and sound. The historical document is always subjected to the test of the present, often returned to its original geographical context.
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).
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.