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17/2/2015

Six Exhibitions

Palais de Tokyo, Paris

Curated by Rebecca Lamarche Vadel
Le Bord des Mondes

Answering Marcel Duchamp’s question: “Can one make works of art which are not ‘of art’?”, the exhibition “Le Bord des Mondes” [At the Edge of the Worlds] explores the many fields of artistic creation and welcomes creative people from outside of the art world whose work would seem to belong to it through its depth, its beauty and its singularity. These artists – visionaries, experimenters, poets and pirates – reveal these unprecedented fields and defy limits.

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Curated by: Alfred Pacquement
TAKIS Champs Magnétiques [Magnetic Fields]

True to its mission to present art from France across all generations, the Palais de Tokyo continues its exploration into the interstices between art and the sciences by paying tribute to the great sculptor and inventor Takis who will turn 90 in 2015.

The first person to “send a man into space,” six months before Yuri Gagarin, during a famous performance, and who realized a monumental basin of light signals on the esplanade of La Défense in 1988 that thousands of people see every day, probably without knowing anything of their author, is a major figure in post-war art. Born in Athens and based in Paris since the 1950s, Takis set about exploring magnetic field energy in his work. Working in proximity with his contemporaries of the New Realism movement, he integrated light and music in combination with the use of magnets into his sculptural practice.

From his exposition of magnetic forces to his “tribute to Kafka” and his erotically charged bronze sculptures, the exhibition brings together around fifty spectacular pieces. This is one of the most comprehensive solo exhibitions of Takis’ work since the Jeu de Paume’s show of 1993.

A tireless experimenter and “intuitive savant”, Takis has continuously sought to capture cosmic energy by combining art and science.

As a contemporary plastician, his work is grounded in a sculptural tradition that spans archaic Greek sculpture and Giacometti on the one hand and the rejects of technology on the other.

Fascinated by the “scientific magic” at the core of inventions (he even registered a number of industrial patents), Takis is also a science philosopher, regularly drawing inspiration from the great ancestors of pre-Socratic philosophy, Hippocratic medicine, and Ancient Egypt.

In 2015 on his 90th birthday, he will be exhibiting at the Menil Collection in Houston and at the Palais de Tokyo in Paris.

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Bouchra Khaiili
Foreign office

Through her various artistic propositions (videos, photography and installations), Bouchra Khalili, Winner of the SAM Prize for contemporary art 2013, (b. 1975, lives and works in Berlin) associates subjectivity and collective history in order to question the complex relationships between colonial and postcolonial History, contemporary migrations its geographies and stories and the imaginary that result from it.

For her exhibition at the Palais de Tokyo, Bouchra Khalili presents a new series of works made up of films, photographs and documents. Produced in Algeria, this new project takes is part of the artist’s investigation over the last ten years into the forms and discourses of resistance as expressed by the members of minority groups that arise from these colonial and postcolonial histories.

With “Foreign Office,”, Bouchra Khalili revisits the period spanning from 1962 to 1972 when Algiers became the “capital of the revolutionaries” after Algeria’s independence. The city opened its arms to the many militants of African, Asian and American liberation movements such as Eldridge Cleaver’s International Section of the Black Panther Party, the ANC (African National Congress) led by Nelson Mandela, the PAIGC (African Party for the Independence of Guinea and Cape Verde) led by Amilcar Cabral, and even the now-forgotten Popular Front for the Liberation of Oman and the Arab Gulf.

Taking as a starting point this facet of Algerian history whose piecemeal transmission, in the form of legend, has frozen it in the past, the film portrays two young Algerians of today who recount this history, questioning its traces and the reasons why it has been forgotten by their generation. Questions surrounding oral tradition, language and their relationship to the story and to history are at the film’s core and reveal an alternative historiography.
The series of photographs establishes an inventory of the different places that welcomed these liberation movements based in Algiers, while a map made by the artist reinstates them within the city’s contemporary topography.
As in each of her previous projects, this corpus is the result of research and a compilation of personal accounts that enabled the artist to propose an examination of history’s transmission modalities and a modern-day reading of a collective heritage while questioning the material that makes up this (hi)story, its narrative potentialities and its resonance in the present and perhaps into the future.

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Curated by: Rebecca Lamarche Vadel
Marie Luce Nadal
Les Modules - Fondation Pierre Bergé - Yves Saint Laurent

The work of Marie-Luce Nadal (b. 1984, lives and works in Paris)—a graduate in architecture and scenography—consists in interpreting and constructing artificial landscapes by observing her environment and the way in which humans perceive it. Dynamics, currents and their interactions, the movements at work in the universe are at the heart of her investigation. How does one capture what is aerial or possess what is intangible?

At the Palais de Tokyo, Marie-Luce Nadal centers her work around a characteristically vaporous element: clouds, which can cross borders and transcend the systems put in place by man (territories, nations, cultures, etc.). Fabrique de nuages [Cloud Factory] —a system invented by the researcher—allowed her over the course of her travels to catch clouds and reduce them to extracts in order to make them reproducible at will. Poised between industrial production and utopian dream, Marie-Luce Nadal is developing a project that attempts to make man’s Promethean dream a reality: to master the elements and own them.

The researches by Marie-Luce Nadal are lead in the framework of the doctorate SACRe PSL Research University with the laboratories EnsadLab (Reflective Interaction group) and 'Physique et Mécanique des fluides en Milieux Hétérogènes' (ESPCI).

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Curated by: Daria de Beauvais
Clément Richem

For his first exhibition in Paris, Clément Richem (b. 1986, lives and works in Besançon) presents a selection of recent and previously unseen works that explore the relationship between movement and time on small and large scales, between acceleration and suspension. Making and unmaking whole civilizations, worlds and universes in sandcastle proportions, he adopts the gaze of a child, an architect or even a biophysicist in order to generate experiences that resonate mystically. In Room 37 of the Palais de Tokyo, a number of projections display different temporalities. On the walls drawings and engravings form a testing ground while an organic installation, fragile and evolving, stands in counterpoint to these frozen images.

Clément Richem questions the relationship between humanity, nature and matter. Through the media of engraving, drawing, sculpture or video, he focuses his reflection around the processes of construction and destruction inherent in life and creating. In his work, raw or artificial elements oppose each other or merge. The artist highlights their dual ephemeral and eternal nature and creates a universe governed by constant phenomena of regeneration and metamorphosis, documenting them over time.

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Michael Riedel
EFFJ KNOOS [JEFF KOONS]

At the heart of the Palais de Tokyo, Michael Riedel (b. 1972, lives and works in Frankfurt) takes over for the third time the Point Perché at the invitation of The Absolut Company. The Point Perché is a strange platform, an architectural oddity overlooking the Galerie Basse which offers an unconventional perspective of the exhibitions. This space is the headquarters of the Events program, a space for concerts, performances, lectures, and screenings. Developed by an artist, the Point Perché is conceived as a living space, a place of exchange and discovery. An accompanying blog (lepointperché.com) focuses on the international emerging art scene.



From: Michael Riedel
Sent: Sunday December 7 2014 12:25

To: Jean de Loisy, Daria de Beauvais
Subject: PRESS RELEASE_MICHAEL RIEDEL – „EFFJ KNOOS [JEFF KOONS]“

Dear Jean de Loisy, Dear Daria de Beauvais,

As my exhibition at the Palais de Tokyo draws near, I wish to thank you for these two years of collaboration that allowed me to make my idea of a three-part exhibition a reality. “EFFJ KNOOS [JEFF KOONS]”, the third and last part of this trilogy, will complete the two installations you’re already familiar with, “Jacques comité [Giacometti]” and “Dual air [Dürer].”The object of this third installment is a piece of display furniture originally intended for selling posters, postcards, t-shirts, tote bags and exhibition catalogues from Jeff Koons’ exhibition at Liebieghaus in Frankfurt. When I was invited to fill the empty shelves and use them in the same way, I also had tote bags, t-shirts, posters and postcards made that visitors could buy at the exhibition. I will also submit to the tradition of the exhibition catalogue which, however, will only be able to cover parts one and two of the trilogy, the third one – “EFFJ KNOOS [JEFF KOONS]” – being slated for a future publication. The catalogue’s foreword, entitled Blinder Fleck, offers an outline of the trilogy: “Based on a recording at the Hamburger Kunsthalle that led to a document acknowledging the dismounting of the exhibition and simultaneously served as installation material for a new exhibition, it was possible to deal in many ways with the contradiction between what was done and what wasn’t done. Using the two digital signal states 0 and 1 (o / I), we have at our disposal a universally recognized diagram able to represent instances of contradictory decisions. The text “o” in the installation “Jacques comité [Giacometti]” was consequently the first step in a system that played on the confusion between a non-exhibited exhibition and the exhibition of a non-exhibition, subsequently illustrated by the text “I” in “Dual air [Dürer]”. The installation “EFFJ KNOOS [JEFF KOONS]”, on the other hand, represents a continuation of paradoxical forms. The text used here, “lool”, is not based on a sound recording but rather contains the two previous texts “l” and “o”, reproduced in this case in alphabetical order.” In a bid for conciseness, these few lines may seem terribly conceptual but actually describe an idea that reflects with great simplicity the art system within the systemics of art and in doing so, emancipates itself through formulations of infinite reproductions, according to a rule obeyed even by this very text.

Best regards,

Michael Riedel

PS: It goes without saying that when media and communication technologies, ingenuity and refinement in the means of expression, and oral and written communication codes are transformed, and above all when reproduction and recording capacities increase, then new structures become possible – even necessary – in order to control these new complexities.

Image: Beurre en stick, Kawakami Kenji. Courtesy Jean-Christophe Lecoq.

Press Contact:
Press office:
Dolorès Gonzalez, +33 (0)1 47235457, dolores@palaisdetokyo.com

Opening 18 February 12pm-24pm

Palais de Tokyo
13, avenue du President Wilson-Paris Francia
Hours: daily 12-24 except tuesday

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