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 […]
Like a tale in its principle and construction, with multiple levels of interpretation, addressed at once to children and adults, with its numerous rites of passage, the exhibition invites visitors, “from 7 to 77”, to cross through a variety of initiatory trials, while confronting themselves with the strange and the stranger.
For her first solo show in a Parisian institution, Laure Prouvost presents “Ring, Sing and Drink for Trespassing”; an exhibition manifesting as an escape that is both psychological and geographical. The Palais de Tokyo is transformed into a space where nature is purported to have taken over from humanity. Inspired by global warming, the exhibition invites us to explore and celebrate ambiguity by being at once intimate and expansive. Messages elsewhere spill over from the confines of the exhibition: “IDEALLY THIS PLANT WOULD GROW BOOBS AND PRODUCE MILK” or “IDEALLY HERE WOULD BE A SMALL CRACK IN THE WALL YOU COULD PASS THROUGH” in a demonstration of cognitive delinquency for both language and space. Through these multiplying and concertinaing viewpoints, “Ring, Sing and Drink for Trespassing” operates as an ode to diagonal lines, the transcending of limits and the joy of slipping over a fence to discover a wasteland. Or, a now-abandoned but marvelous garden, in which the artist has discovered a forgotten dystopic biological laboratory.
Composer and visual artist Ryoji Ikeda is a prominent figure in Japanese electronic music. His creations invite listeners to experience immersion in a world mingling sound, image, space, perceptive phenomena and mathematical equations. The exhibition unveils a new installation, where a black room and a white room divide the space into two opposing and complementary worlds.
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.
The new exhibition devoted by the Centre Pompidou to Jean-Jacques Lebel features 50-odd works and numerous archive documents. In the 1950s, Jean-Jacques Lebel (“the painter of the cross-over”, according to his friend Félix Guattari) began to develop an unclassifiable technique. Simultaneously artist, activist, writer, publisher, creator of happenings and organiser of events, he was one of France’s most important “go-betweens” in the second half of the 20th century.
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.