Art
The Pleasures and Risks of Ahistorical Curating
PARIS — In Carambolages, currently at the Grand Palais, we are plunged into the big, fuzzy, ahistorical world of anti-categories typical of the networked global economic order.
Art
PARIS — In Carambolages, currently at the Grand Palais, we are plunged into the big, fuzzy, ahistorical world of anti-categories typical of the networked global economic order.
In Brief
Record rainfall in Paris has caused intense and dangerous flooding of the Seine River to the extent that the Louvre and the Musée d’Orsay are closing temporarily to safeguard their collections.
Art
PARIS — An uplifting yet melancholy poetry pervades Ken Matsubara’s show at Galerie Eric Mouchet, Hou-Chou, Releasing Birds, through the flickering of endlessly looped moving images that suggest shadowy ghosts.
Art
PARIS — Scattered throughout the cavernous nave of the Grand Palais are mountains of shipping containers.
Art
PARIS — Just outside the gates of the National Museum of the History of Immigration, an enormous, dreamy-faced, freestyle swimmer surges from the ground.
Art
Artist Mel Chin's plan was to film an Inuit hunter racing through the streets of Paris on a sled pulled by seven fluffy white poodles, timing this vision of the Arctic in the French capital with the United Nations Climate Change Conference (COP 21) in December of last year.
Art
PARIS — Conversations about art and medium-specificity are almost always conversations about history.
Art
PARIS — Poignancy pervades A Working Eye, the first comprehensive retrospective of François Kollar’s Constructivist-style photography that, through nuanced grays and deep blacks, dramatized French workers’ empowerment.
Art
PARIS — Galerie Georges-Philippe et Nathalie Vallois has launched a chic additional space wth a historical show of Jacques Villeglé and Raymond Hains’s abstract, 35mm animated film “Pénélope” (1953).
Art
PARIS — Anselm Kiefer’s swashbuckling, material-laden, paint-encrusted canvases and “alchemical” vitrines supposedly transport us into thick intellectual zones of passion for German history and land.
Art
PARIS — We rarely experience the oceanic sensation of our bodies as continuous and equal with all other humans.
Art
PARIS — In his prescient book Black Sculpture (1915), Carl Einstein describes certain transcendent examples of African sculpture as a form of “fixed ecstasy.”