Joseph Nechvatal

Post image for The Irresistible Pull of Takis’s Magnetic Fields

PARIS — Takis, a key post-war figure known for exploring magnetic field energy, was one of the avant-garde artists of the ‘60s that was most able to mix art with science, paving the way for all sorts of artistic directions in the ensuing decades, right up to our electro days.

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Post image for Make, Step, Repeat: Bruce Nauman Is Out of Ideas

PARIS — Bruce Nauman at the Fondation Cartier is a hip, hodgepodge mini-retrospective, curated by Hervé Chandè, that sets an array of Nauman’s works against each other, ranging from the ’80s to the rather recent.

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Post image for Lost in the Darkness of Baroque Paintings

PARIS — In these paintings, you’ll find wine and drunken excess, along with all the accompanying decadent behavior: insult, turbulence, transgression, sacrilege, and provocation.

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Post image for A Painter’s Reflective (and Reflected) Photographic Portraits

PARIS — The use of mirrors in art has been a rich one, used by Pop, Kinetic, Minimal, and Conceptual artists. In this long tradition, the Jeu de Paume currently offers an additional point of reference.

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Post image for Images of War, Re-Photographed and Transformed

Re-photographing (or re-purposing) the news media began for me as a healing ritual, a kind of laying-on-of-hands, to purge my despair over news events around the world.

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Post image for From Pulp to Pop, Seven Centuries of Book Art

PARIS — Pliure (meaning “fold” in French) is a book-based small show, tastefully curated by Paulo Pires do Vale, about the artistic metamorphosis of books (those folded paper things).

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Post image for Architecture that Integrates the Human Body

PARIS — The Fondation Cartier pour l’Art Contemporain in Paris commemorates its 30th anniversary with “Musings on a Glass Box,” a two-part immersive installation by controversial New York design studio Diller Scofidio + Renfro that nearly empties the museum’s ground floor.

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Post image for Getting Lost in David Altmejd’s Hall of Mirrors

PARIS — Young New York-based Canadian artist David Altmejd’s remarkably ambitious retrospective exhibition of sculpture at the Musée d’Art moderne de la Ville de Paris played pithily with many current intellectual strands.

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Falling for Niki de Saint Phalle

by Joseph Nechvatal on January 29, 2015

Post image for Falling for Niki de Saint Phalle

PARIS — I have never particularly admired French-American artist Niki de Saint Phalle’s overly familiar and obvious Nanas (French slang for “broads”) — the gaudy, plump, joyous everywoman figures that made the artist’s case for female affirmation.

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Post image for In Paris, a Spotlight on Morocco’s Contemporary Art

PARIS — Three curators, Jean-Hubert Martin (who last year orchestrated the sprawling Théâtre du Monde show), Moulim El Aroussi, and Mohamed Métalsi, have assembled a vast 2,500 square meters (~27,000 sq. ft.) show of contemporary aesthetics from Morocco called Contemporary Morocco at the Institut du Monde Arabe.

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