Out of the World of Philippe Parreno in the Palais de Tokyo
While his friend Pierre Huyghe is on show at the Centre Pompidou, Philippe Parreno takes on an exhibition that fills the renovated Palais de Tokyo in its entirety – the first time an artist has been invited to take on this challenge.
Showing both well-known works and original pieces, the exhibition ‘Anywhere, Anywhere Out of the World’ is likely to resemble its creator: offbeat, intelligent and eclectic.
Philippe Parreno has indeed radically transformed the monumental space of the Palais de Tokyo. He has delicately transformed the space without overloading it. In response to its carte blanche invitation, Parreno has devised an exhibition driven by his dialogue with architecture and with the notion of the exhibition as a medium in its own right.
The show is a work of art in its own right: as is his habit, Parreno has reinvented the exhibition format, creating something that can be viewed as polyphony, as a living organism, and as a poetic and sensory experience.
‘Anywhere, Anywhere Out of the World’ celebrates an artist whose works, ideas, and approach exercise considerable influence and have irrefutably reshaped our idea of art.
Philippe Parreno orchestrates his exhibition along the lines of a dramatic composition where the spectral presence of objects, music, lights, and films guide and manipulate the visitor’s experience, offering a journey through his works, both old and new, transforming this monologue into a polyphony.
He plays with symbols, words, and sounds, to alter the visitor’s perception of the space. His meticulously mastered script metamorphoses the building itself into a quasi-living, perpetually evolving organism, into an automaton.
When asked whether this show can be described as a “total artwork”, Philippe Parreno replies : “Yes, this idea of Gesamtkunstwerk is an inspiration. The fact of being immersed. But there is also a Kafkaeseque side to this exhibition, a sort of paranoid logic.”
The works will examine the fascination exerted by art’s codes of narration (in film, but also television and theatre). Covering video, sculpture, performance, drawings and texts, we bet that the artist who became widely known thanks to his film (in collaboration with Douglas Gordon) that followed Zinedine Zidane for the length of a Real Madrid football match will be well able to find a way to occupy the immense space of the building on the Avenue President Wilson.
The Palais de Tokyo is one of the few spaces in which such an experience of these epic proportions experience can occur. Parreno is the first artist invited to occupy the entirety of the museum’s expanded space of 22,000 square metres.
[divider]Philippe Parreno [/divider]
Since the 1990s, Philippe Parreno’s reputation has been built on his work’s originality and on the diversity and variety of his practice, including film, sculpture, performance, drawing, and writing. He views the exhibition as a medium, an object in its own right, an experience whose every possibility he seeks to explore.
Philippe Parreno rose to prominence in the 1990’s, earning critical acclaim for his work which employs a diversity of media including film, sculpture, performance, drawing and text. Taking the exhibition as a medium, Parreno has redefined the exhibition experience by exploring its possibilities as a coherent ‘object’.
Philippe Parreno lives and works in Paris.
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