calendario eventi  :: 


Cold Sun

Palais de Tokyo, Paris

The new Cold sun season at the Palais de Tokyo explores the surface of a strange world where, as Raymond Roussel talking about writing put it, "nothing real must enter". On show: Evariste Richer's Artistss Library; Joachim Koester's works between conscious and unconscious, dream and reality; the sculptural experiments of Dewar & Gicquel adapted to stop motion film; Francois Curlet, an expert at detournement; the celebratory group show "New Impressions of Raymond Roussel"; and a big monographic exhibition of Julio Le Parc's work, including large-scale installations in the Palais de Toyko's entrance hall, features a selection of landmark works ranging from the 1950s to today.

comunicato stampa

27 February - 20 May 2013

With : Julio Le Parc / New Impressions of Raymond Roussel / François Curlet / Daniel Dewar & Grégory Gicquel / Joachim Koester / Evariste Richer / Les Modules - Fondation Pierre Bergé - Yves Saint Laurent, etc.

From the invention of the work to the artifices of a new world

After the “Imagine the imaginary” season which drew visitors along in the very wake of the invention of the work, the new “Cold sun” season at the Palais de Tokyo explores the surface of a strange world where, as Raymond Roussel talking about writing put it, “nothing real must enter”. The selfsame Raymond Roussel who wrote Nouvelles impressions d’Afrique [New Impressions of Africa] without ever having set foot on that vast continent inspires this season which takes as its dominant theme a paradoxical sun, a sun that as Michel Foucault emphasizes “does not move, [is] equitable to all things, raised for all time above everything”, illuminating a world where “everything is luminous. But nothing there tells us the day: there is no hour and no darkness.” The artifices of such a world give rise to the existence of “undreamt-of spaces” which the many artists invited to participate in this season explore, each in his or her own way.

Playing with light, playing with forms, and playing with words

Taking this “Cold sun” as his theme, Julio Le Parc, a long-established artist whose immersive works have influenced the most contemporary of artists, displays his work. On the occasion of his first major exhibition in France since the 1980s his research into light and movement is used to serve an art militating for the participation and emancipation of visitors.

This attention to increasing the visitor’s field of awareness recurs in the exhibition “New Impressions of Raymond Roussel”, devised by the guest curator François Piron, which clearly demonstrates the influence of that dazzling genius of literature on many contemporary artists. We find hard-to-categorize figures like Mike Kelley or Guy de Cointet, but also Jules Verne or Marcel Duchamp.

Inspired by the same impetus, three monographic exhibitions go beyond the normal confines, whether it be the objects François Curlet transforms into “mental tools that keep us permanently perplexed”, the very idea of sculpture deconstructed into images and movements by the artist duo Dewar & Gicquel, or the psyche pulled in every direction by Joachim Koester. Finally, Evariste Richer opens up a new “Artist’s Library” where constellations meet up with mineralogical collections.

All this is supplemented by Meltem, a group exhibition of new sculptural practices devised with the École Nationale Supérieure des Arts Décoratifs, as well as two batches of Modules from the Fondation Pierre Bergé – Yves Saint-Laurent allowing us to discover “Hell as Pavilion”, a work proposed by Nadja Argyropoulou, and exhibitions by Hicham Berrada, Lars Morell, Pierre Paulin, and Clémence Seilles, then Jean-Michel Pancin, Gauthier Leroy and Marcos Avila Forero.

[1] Michel Foucault, Raymond Roussel, Folio essais, 1992


The Great Elastic
27 February - 20 May 2013

« Some works of art are like so many opaque veils and screens on which to project one’s imagination. »

Evariste Richer

Following Ryan Gander, it is Évariste Richer’s turn to conceive a new “Bibliothèque d’artiste” [Artist’s Library] for the Palais de Tokyo. An opportunity for the artist to take the visitor on a journey into the faraway and the deeply hidden. The viewer can take in the extravagant proportions of a photograph depicting the billions of stars of the Magellanic Clouds beside a thorough presentation of Canon René Just Haüy’s mineralogical collection. The artist’s references are drawn from a number of disciplines that are not ordinarily associated with one another and that, for the duration of this exhibition, invite the visitor to experience the distortions created by instruments of measurement throughout the centuries. The artist calls attention to the symmetries between the compactness of the mineral world and the expanding immensity of the sky, the poetic and the cosmic, reality and the imaginary.

Artist’s library

Each season, an artist is invited to stage an exhibition which giving the access to a space that only exists through his / her mind by demonstrating the implicit connections in his / her mental universe. This program makes it possible to reveal the artist’s sensibility and to come as close as possible to the creative act. “One of the best ways of recreating a man’s thinking is to reconstruct his library,” Marguerite Yourcenar wrote in The Reflections on the Composition of the Memoirs of Hadrian.

The gap between science and reality

If one were to sum up the work of Évariste Richer (b. 1969, lives and works in Paris) as a single action, it would be that of exposing gaps. The gap between the sciences and reality, for instance. In many of his works, Évariste Richer draws inspiration from measuring instruments. Meant to quantify and thus rationalize phenomena, these instruments are reapplied in order to create a tension between the object and the subject, the tangible and the invisible. The sparseness of means tends to accentuate the telling gap. Évariste Richer apprehends those distortions specific to measuring instruments or that are emerging through technical and scientific progress. As he explores the semantic—at times even affective—fertility of this territory, he unearths these narratives which he then presents to the viewer.

Astronomy, mineralogy: far and deep

In “Le Grand Élastique” [The Great Elastic], Évariste Richer has created a library containing objects as diverse as an Indian astronomical observatory, a collection of minerals, and a photograph of celestial clouds. During a trip to India several years ago, Évariste Richer visited the astronomical observation site Jantar Mantar in Jaipur, built in the first half of the 18th century. This observatory of celestial mechanics—one of the largest ever built—is now obsolete, but it remains at the juncture of the “fixed point” and the astral movement, of the mineral and the celestial.

Mineralogy is a field of study which specializes in identifying and classifying minerals and employs a variety of methods. The discipline presides over the creation of collections containing stones extracted at more than 300 kilometers under the ground or originating from faraway asteroids. The history of this discipline owes much to Canon René Just Haüy, author of a method for structural analysis aiming to define the entire mineral species. One hundred years later, the collection of Roger Caillois and his approach at once typological and poetical becomes another milestone in this history. Invented in 1931 by Bernhard Schmidt, the Schmidt corrector plate is an aspheric lens used to correct the geometric aberration in telescopes using a spherical primary mirror. As early as 1949, Schmidt telescopes from different observatories, centralized by the Mount Palomar telescope in California, contributed over a period of eight years to the realization of hundreds of photographs, thereby producing a quasi mosaic/grid of the sky.

Evariste Richer has envisioned his library as a “great elastic” that, similarly to Jantar Mantar, ties the profound to the distant, an ellipse that reveals the instability of tools and the irreducibility of the visible world.


Reptile Brain or Reptile Body, It's Your Animal
27 February - 20 May 2013

« The spirit does not distinguish between the real and the unreal. Our daily activities can be influenced by the past or the present as much as by dreams. The images that are essential to our psyche can be pure products of our imaginations. »

Joachim Koester

Working in the murky zone between conscious and unconscious, dream and reality, the artist Joachim Koester explores vast fields of knowledge, ranging from Haitian ritual to esoteric séances, and including yoga, use of Peyote and other hallucinatory experiences. As a result, he creates works that blur the line separating the documentary and the fictional, proposing the audience to explore mental journeys on which they undoubtedly would never embarked. This exhibition at the Palais de Tokyo allows the visitor to discover films evoking John Murray Spear's esoteric séances or Jerzy Grotowski’s research on the superior consciousness of the actor and the “reptilian brain.”

From Haitian rituals to esoteric séances

In two films, he evokes Jerzy Grotowski (1933-1999), a Polish writer and theater director who attempted to rediscover the actor’s heightened awareness through exercises in flexing the spinal cord, inspired by Haitian rituals and by yoga. Grotowski was referring to Paul D. MacLean’s definition of the “reptilian brain”, a sedimentary, almost unconscious layer of the human brain, responsible for bodily movements and basic needs. Another film uses John Murray Spear’s esoteric séances as a starting point. This 20th-century American activist and spiritualist attempted to access the designs for a sewing machine prototype through a choreography created in a state of trance.

An exhibition with an extension

For the “cerebral” part of the exhibition, the artist invited two art historians, curators and researchers, Lars Bang Larsen and Yann Chateigné Tytelman, to conceive an extension of the exhibition. In it, they present a group of archival documents borrowed from their research on the “nervous system,” exploring possible relationships between art, science, and the counter-culture. Joachim Koester suggests that we (re)discover a constellation of figures and ideas, as he outlines a reflection on the physiological relationships between the body and the spirit, and evokes esotericism, mysticism and conspiracism. Adopting a subjective stance towards the document, he invites the visitor to immerse himself/herself in the interstice between fact and fiction.

Maybe one must begin with some particular places, 2012
In this film, the artist studies Jerzy Grotowski, a major precursor of contemporary performance art. At the end of the 1960s, Grotowski moved away from theater to create a system of spatial movements and exercises combining performance, anthropology and ritual. Koester filmed Jaime Soriano, an actor who participated in a work by Grotowski in 1985, as he executed one of Grotowski’ psycho-physical exercises on the roof top terrace of a house designed by the Modernist architect Luis Barragán.

Of spirits and empty spaces, 2012
This film examines a scheme undertaken by John Murray Spear, an American spiritualist and activist. In the mid-19th century, Spear tried to obtain the plans of a sewing machine prototype, an alternative to the costly model patented by Elias Howe. During spiritualist séances, participants would enter into a state of trance in order to access the plans, which existed in the immaterial realm of spirits. In this mechanical choreography, each participant would embody a piece of the machine. The knowledge acquired during these séances led to the construction of a prototype, of uncertain operability.

Combining documents, videos and works examining the complex relationships existing between the visual arts, exact sciences and counter-cultures throughout the 19th and 20th centuries, this “intermediary” zone presents a continuation of the artist’s exhibition. Developed as part of the HES-SO research project led by Lars Bang Larsen and Yann Chateigné Tytelman, “Art, Science, Counterculture: Perspectives on a Radical Enlightenment,” the appendix consists of a visual and auditory journey, linking shapes with different statuses, an active way of diving into a little known universe located behind the surface of the works. An event, conceived as an echo to this presentation, will take place on March 15th 2013, in the Palais de Tokyo’s historic movie theater (Salle 37), located above the exhibition space.


Orange Juice
27 February - 20 May 2013

« The reason for using a material is the subject, but the reverse is also true. »
Dewar & Gicquel

After “Crêpe Suzette” in Bristol in 2012, it’s time for “Orange Juice” at the Palais de Toyko in 2013. The exhibition is not about food but rather presents the sculptural experiments of Dewar & Gicquel adapted to stop motion film. The artistic duo – proponents of a “hand-made” approach to their practice which includes wood and stone-carving, ceramics and weaving – have been experimenting with a new medium and giving life to strange sculptures in which pairs of clay legs dancing improbable minuets can be spied amid formless forests and mountains that rise up and collapse.

Reinventing sculpture

From tapestry weaving to granite carving, from chain sawing to firing ceramics, Daniel Dewar and Grégory Gicquel’s (b. respectively in 1976 and 1975, they both live and work in Paris) artistic lexicon creates a joyful— albeit erudite—hodgepodge of types. Though the artists constantly quote pop culture references, thereby casually shrugging off the prevailing aesthetic canons and good taste, they do, however, take their place in the history of sculpture, from its ancient origins to the post-industrial era. The motifs they use throughout their work borrow as much from medieval recumbent effigies as from a form of abstraction developed by certain artists in the latter half of the 20th century. Accordingly, the series Mixed Ceramics (2011) bears resemblances to some of Arman’s archeological sculptures: In both cases, the texture of the found objects indicates a common interest in forms of sedimentation, thus producing a collusion of temporalities.

A new series of video works

For time is precisely at the heart of the short videos recently produced by the intrepid duo. These sequences— undeniably forming a coherent whole—reproduce the precepts of proto-cinema: through the use of stop motion, each of these videos creates the illusion of movement, just like the flip books, thaumatropes and phenakistoscopes of earlier times.

“Deliberately flat yet exciting”

The exhibition takes the viewer through a series of rooms in which sculptures and videos are juxtaposed using a simple setup. Small in size, the ceramics are on the same scale as the video projectors, like tabletop sculptures. The exhibition’s title is made up of a common noun “voluntarily dull yet exciting. An image so simple it becomes absurd” - designating a common exoticism, just like the subjects touched upon by the artists within their sculptural practice. As the art critic Zoë Gray pointed out: “Their multiform process walks a fine line between the sublime and the ridiculous. It is permeated by visualhyperbole; everything is overstated and simultaneously left unsaid.”

Selection of works in the exhibition

In a constant effort to put their sculptural practice into perspective, Dewar and Gicquel use ceramic, considered the first „art of fire“. In this way, the artists question the way in which raw materials can be transformed. In these ceramics, the pair employs a technical knowhow (glazing and firing) and craftsmanship (everything is handmade) whose purpose is less to attain a form of perfection than an indirect quest for the representation of the object thus made or found.

Animated GIFS
Projected in a loop, the GIFs animés [Animated GIFs] are short sequences depicting large-scale raw clay sculptures being created in an outdoor setting. These sculptures— reminiscent of the rocks sculpted by Father Fouré at the end of the 19th century in Brittany—come to life thanks to pixilation, a basic animation process with resemblances to pre-cinema techniques. Following a binary rhythm, these GIFs animés [Animated GIFs] have opened up sculpture to a new temporal dimension; a throwback to the rudiments and malleability of the material, they can create movement, like the dance steps of a minuet. More than just videos, these animations are something like the mutation of a unsophisticated image into a sculpture.


27 February - 20 May 2013

« Yes, we could ask Romy Schneider too, I have contacts in the afterlife, she is really interested in design. It would be just right for this project. Otherwise Jacqueline Maillan is up for doing something at Frieze I think, I’ll have to check with Jacques Chazot with whom I’ve been in touch. »


For his first solo exhibition in Paris, François Curlet, an expert at détournement, reveals a distanced worldview that challenges the clichés of the day. Advertising slogans, human interest stories, or everyday objects give way to a subtle poetry, both existential and demotic. Out of this arises a system built on paradoxes in which – like the Fugu fish so highly valued in Japan – a delicious dish can become a deadly poison. The visitor fluctuates between lighthearted intellectual pleasure and a latent seriousness that could manifest itself at any moment.

Between joyful skepticism and cynical laughter

«Fugu,» a monographic exhibition devoted to the artist François Curlet (b. 1967, lives and works in Brussels), presents at the Palais de Tokyo an extensive selection of pieces from the period between 1985 and 2013. Since the end of the 1980s, the artist has been developing a body of work in which the material world is dismantled, disturbed, and distorted through the poetry of the day to day. By having recourse to the artifact as much as to philosophy, the artist is developing a strategy in which free associations are transformed into allegories, and the mind is seized by surprising dialogs of forms that set the power of imagination in motion and permanently reinvent our natural and material environment. From the existential to the trivial, François Curlet’s fields of interest seem to have no limits, no one territory. Encouraging critical thinking, his work is open to reinvention and surprise, using a vocabulary as close to joyful skepticism as it is to cynical laughter.

Objects pushed to borderline states

Atomic as it is, his work does not obey any algorithm, and each piece seems to proceed from its own theorem instead, while François Curlet searches within each object for its possible «radioactive» qualities. Micro-history,human interest stories, historic events, political news, advertising slogans, social anecdotes, derivative work, and puns are fertile ground for the artist’s work. Hallucinatory vision of things, the work of François Curlet cultivates such borderline states, where the object fluctuates between many fictions and realities, pleasure and poison, just like the eponymous fish, “Fugu”. In the wake of artists such as Erik Satie, George Brecht, Jef Geys, John Knight or the film Mon oncle d’Amérique (1979) by Alain Resnais, François Curlet creates a universe in which humor is also used to unravel social protocol.

Selection of works in the exhibition

Bunker pour six oeufs, 2011
Something between a sarcophagus and a nest, a tomb and a shelter, the Bunker pour six oeufs [Bunker for Six Eggs] toys humorously with the odd and the ambiguous. Between security paranoia and the obsessive will to conserve, these eggs, as reproducible as they are fragile, are both imprisoned and protected by their concrete armature. Borrowing from the iconography of war, the work suggests the vacuousness of our behavior and the permanent search for refuge and security, when «everyone wants to make their nest, whether inheriting, in debt, or furtively, like the cuckoo.”

Chanter l’Enfer, 2010
In 2010, François Curlet visited Father Andras Pandy’s apartment in Brussels, a “psychological Bermuda’s triangle” where the serial killer committed six murders and afterwards dissolved his victims’ corpses in acid. The artist returned from this journey into the macabre with a number of relics, everything from curtains to coat racks, objects still carrying the aura of these dramatic events. The objects were turned into birdhouses and keels, like so many altars inviting the viewer to question the power of matter as a transmitter of evil.

Rorschach Saloon, 1999
This decompression chamber, entitled Rorschach Saloon, is a passageway. The swinging doors in the shape of Rorschach test inkblots open onto a liminal space, inviting the viewer to explore the realms of consciousness and knowledge. Vodka and whiskey, symbolizing the two blocks of the Cold War, are tools left for the visitor to use to attain another state of consciousness. He must then take sides and choose which of these two alcohols he prefers in order to gain access to one of the teachings produced by indoctrination.

Vitrine, 1992
A reversal system and a role-playing game, this piece, entitled Vitrine, toys with the viewer. “The tables have turned” as the saying goes, as the viewer finds himself distorted by the object he’s observing. Using reversal and situation comedy, Vitrine places the viewer at its center, trapped by his exposed body, enlarged and transformed by the materials. Pointing to questions about the relationships between the body, perception and power, François Curlet gives the artwork the ability to transform.

Jonathan Livingstone, 2010-2012
Inspired by the now classic dramatic comedy by Hal Ashby, Harold and Maude (1971), the film Jonathan Livingstone portrays a character driving around in his Type E Jaguar that has been turned into a hearse. The driver, wandering through open countryside, seems lost, even as the situation fluctuates between the pleasure of speed and a potentially fatal accident. This ambivalent, Russian-roulette game of life and death is made bearable because it is legitimized by the trophy-like car.
This project was selected and supported by the sponsorship committee of the Fondation nationale des arts graphiques et plastiques.

Maquettes pour architectures fainéantes, 2005-2006
Maquettes pour architectures fainéantes [Models for lazy architectures] is a project study made by François Curlet in view of creating a cabin or interior space formed by the natural drippings of poured concrete. Gravity and the own weight of concrete determine the generic shape of man’s shelter. This lazy architecture bending to the laws of nature create for the individual a space determined by the physical characteristics inherent in the material.

Moteur, 1989
Moteur, an industrial object reduced to its mere structure belongs, as an artwork, to the tradition of Duchamp’s readymade. This elementary tool of the industrial era, made of finely woven wicker, was produced by a workshop of blind craftsmen. The hands weaving the object are reminiscent of industrial assembly lines, while the worker is compared to a blind and servile cog in the production cycle. Stripped of its mechanical characteristics, this motor, lying on a plinth, only signals the vacuity of its state.

Western (E.A tricolore italien), 2005-2012
“I am a clandestine traveler moving across the land, a projectile.” Referring to the evolution of the history of the American classic Western genre towards the Italian Spaghetti Westerns, François Curlet characterizes his practice as “Spaghetti Conceptual Arte”. Freeing himself of the orthodox definition of conceptual art, his work, however, appropriates some of its codes (the importance of the idea, of developing a line of logic) in order to de-territorialize—much like the spaghetti does—and imagine new scenarios for creating.

Moonwalk, 2002
An order given by a machine, Moonwalk suggests the possible triggering of Michael Jackson’s classic walk in a passer-by. The work can be seen as a store sign, a traffic sign or light signal, as it redirects advertising and urban furniture codes. Playing as it does with functional equipment and the poetry of everyday life, the machine is also a despot whose messages find themselves somewhere between the pragmatic order and space travel. François Curlet has dreamed up an educational device meant to prepare the people for future walks on the moon.


27 February - 20 May 2013

With : Mathieu K. Abonnenc, Jean-Michel Alberola, Jean-Christophe Averty, Zbynek Baladrán, Thomas Bayrle, Jacques Carelman, Guy de Cointet, Collège de Pataphysique, Joseph Cornell, Salvador Dalí, Gabriele Di Matteo, Thea Djordjadze, Marcel Duchamp, Giuseppe Gabellone, Rodney Graham, João Maria Gusmão & Pedro Paiva, Mike Kelley, Revue Locus Solus, Pierre Loti, Sabine Macher, Man Ray, Mark Manders, André Maranha, Pedro Morais, Jorge Queiroz et Francisco Tropa, Jean-Michel Othoniel, Victorien Sardou, Joe Scanlan, Jean Tinguely, Jules Verne

« My soul is a strange factory »

Raymond Roussel

Raymond Roussel is finally being celebrated in Paris: a long overdue event for this writer who for more than a century has occupied a central place in the imaginations of artists— some artists, but not the least important—, embodying the figure of the artist totally dedicated to his work, to the very boundaries of reason, the work of the artist who creates a “complete world”, “following only the inclination of his imagination” (André Breton). “New Impressions of Raymond Roussel” is a follow-up and a complement to the exhibition “Impressions of Raymond Roussel” which was held at the Museo Reina Sofia (Madrid) in 2011 and the Museu Serralves (Porto) in 2012. It outlined a diagonal history of 20th-century art, linking the points between artists and creative people who have talked of the influence of this author and his writings on their work: starting with, Marcel Duchamp, then the Surrealists, but also Michel Foucault or Georges Perec. This time “New Impressions of Raymond Roussel” intends to accord a larger place to the present, and brings together artists encountered during these recent years of research focusing on Roussel. It did not seem necessary for their relationship to that writer to have taken the form of a tribute, or even for them to refer to him explicitly.That would underestimate the nature of those influences, as deep as they are underground, to reduce them to games involving quotation. These works cannot be reduced to a theme and their combined presence here is an exercise in unraveling the motifs – always different – that artists have derived from Roussel, consciously or not, according to a reading which must of course be assumed to have been partial. It is indeed the “greatest magnetizer of modern times,” in the words of André Breton, that this exhibition is recalling to people’s memories; the man who, for Michel Leiris, achieved “escape from the field of Reality into that of Conception”. It involves telling of the power of his poetry, its capacity to transport us into a “topsy-turvy world”; the vast childish and sometimes cruel theater that is the universe of Raymond Roussel.


27 February - 13 May 2013

"Generally speaking, I have tried, through my experiments, to elicit a different type of behavior from the viewer […] to seek, together with the public, various means of fighting off passivity, dependency or ideological conditioning, by developing reflective, comparative, analytical, creative or active capacities."

Julio Le Parc

An artist of historical importance and an influential figure in contemporary art, Julio Le Parc´s work is presented for the first time in France in such a large exhibition. His socially committed art is an immersive art, in which, through Le Parc’s study of light and movement, the visitor is invited to discover new ways of interacting with the world. We discover a practice that rejects psychologism, an art that participates in a social utopia and which, following an industrial model, participates in the constant reconstruction of our environment. Spread over 2,000 square meters, this exhibition at the Palais de Tokyo allow us to apprehend all facets of an oeuvre constituted of paintings, sculptures and monumental installations.


A precursor of kinetic art and Op Art, founding member of G.R.A.V. [Visual Art Research Group] and recipient of the Grand Prize for Painting at the 33rd Venice Biennale in 1966, Julio Le Parc (b. 1928 in Argentina, lives and works in Cachan) is a major figure of art history. The socially conscious artist was expelled from France in May 1968, after participating in the Atelier Populaire and its protests against major institutions. A defender of human rights, he fought against dictatorship in Latin America. An uncompromising personality, in 1972 he refused to hold a retrospective exhibition at the Musée d’Art Moderne de la Ville de Paris, after flipping a coin to make the decision.


Julio Le Parc’s examinations of the visual spectrum, of movement, light, and of the relationship between the work and the spectator, remain highly relevant today. The visitor’s physical involvement and visual disturbance, as well as the reduction or expansion of shapes, are foremost concerns for the many artists who continue to build today on Le Parc’s research. The exhibition illustrates the extent to which the work of this artist, still young at 84 years of age, remains current, to convey his spirit of investigation and experimentation, and to allow the public to discover, or rediscover, his generous, playful and visionary work.


This important monographic exhibition of Le Parc’s work, including large-scale installations in the Palais de Toyko’s entrance hall, features a selection of landmark works ranging from the 1950s to today. Certain of them are adaptations, scaled to their environment, of historical works, thereby endowed with a new life. The exhibition also presents the opportunity to move beyond the seductive appearance of Julio Le Parc’s work, in order to confront his more political, even utopic, works. The layout of the exhibition plays on the contrast between dark and bright areas, with certain works floating in space: a sensory experience combining light, energy and movement.


Image: Julio Le Parc derrière Cloison à Lames Réfléchissantes, 1967. Photo : © Julio Le Parc.

Official opening on february 25, open to the public from 20.00!

Press office: Vanessa Julliard, +33 (0)1 47 23 54 57,
Dolorès Gonzalez, +33 (0)1 47 23 52 00,

Palais de Tokyo
13, avenue du Président Wilson - 75 116 Paris
Daily, except on Tuesdays
From noon to midnight
It closes on 1 January,1 may and 25 december.
And at 6pm on 24 and 31 december.
Regular fee: 8 EUR
Reduced fee: 6 EUR
(under 26 years-old visitors, holders of France’s Carte Famille Nombreuse, teachers)
Free : Under 18 years-old, job seekers, people in receipt of French state benefits (minima sociaux) and the minimum pension, ICOM, IKT, journalists, people with disabilities and their carers (in accordance with the conditions laid down by the Maison Départementale des Personnes Handicapées).

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