ARTISTS
L'脡tat du Ciel
L鈥櫭塼at du Ciel is a homage to many artists鈥�, poets鈥� and philosophers鈥� reflections on the physical, moral and political factors that shape our world. Over the course of a season, it will present over ten proposals or exhibitions centering on that theme, as artists adopt Andr茅 Breton鈥檚 definition of their role, as applied to Giorgio de Chirico: 鈥淭he artist, that sentinel on the endless road, always on the lookout.鈥� As far back as Goya, if not further, modern and contemporary artists have attentively examined contemporary reality. They often depict the landscape of our anxieties 鈥� dread, alarm, revolt, utopia 鈥� and suggest poetic ways of transforming the present. If we study the world as one might scrutinize an image, today stops being an imposed destiny and becomes a changing surface that we could, perhaps, transform.
New exhibition formats stem from these observations, innovative to the extent that the word 鈥渆xhibition鈥� may no longer apply. Thus, we will see Georges Didi-Huberman transpose the theme of lamentation into the language of film, inspired by Aby Warburg鈥檚 Mnemosyne Atlas; G茅rard Wacjman and Marie de Brugerolle reflect on the theme of the fall, from the Berlin Wall to the Twin Towers; and Thomas Hirschhorn, with his immense installation Flamme 茅ternelle, which involves nearly 200 intellectuals and poets in a debate focusing on the interconnections between art and philosophy and the ways in which these affect our consciousness.
Add to that ten fictions conceived by Hiroshi Sugimoto on the theme of humanity鈥榮 disappearance, Angelika Markul鈥檚 scrupulous exploration of the Chernobyl and Fukushima disasters, David Douard鈥檚 viral hybrids of bodies and machines, and Ed Atkins鈥� digital variations. Each represents a symptom of the world鈥檚 general state, focusing on both contemplation and action. L鈥櫭塼at du ciel 鈥� a title borrowed from Victor Hugo鈥檚 Promontoire du songe, in which the author wrote that 鈥渢he sky鈥檚 normal state is at night鈥� 鈥� addresses the current time, a political time in which seeing is already a means of action.
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L鈥櫭塼at du Ciel is a homage to many artists鈥�, poets鈥� and philosophers鈥� reflections on the physical, moral and political factors that shape our world. Over the course of a season, it will present over ten proposals or exhibitions centering on that theme, as artists adopt Andr茅 Breton鈥檚 definition of their role, as applied to Giorgio de Chirico: 鈥淭he artist, that sentinel on the endless road, always on the lookout.鈥� As far back as Goya, if not further, modern and contemporary artists have attentively examined contemporary reality. They often depict the landscape of our anxieties 鈥� dread, alarm, revolt, utopia 鈥� and suggest poetic ways of transforming the present. If we study the world as one might scrutinize an image, today stops being an imposed destiny and becomes a changing surface that we could, perhaps, transform.
New exhibition formats stem from these observations, innovative to the extent that the word 鈥渆xhibition鈥� may no longer apply. Thus, we will see Georges Didi-Huberman transpose the theme of lamentation into the language of film, inspired by Aby Warburg鈥檚 Mnemosyne Atlas; G茅rard Wacjman and Marie de Brugerolle reflect on the theme of the fall, from the Berlin Wall to the Twin Towers; and Thomas Hirschhorn, with his immense installation Flamme 茅ternelle, which involves nearly 200 intellectuals and poets in a debate focusing on the interconnections between art and philosophy and the ways in which these affect our consciousness.
Add to that ten fictions conceived by Hiroshi Sugimoto on the theme of humanity鈥榮 disappearance, Angelika Markul鈥檚 scrupulous exploration of the Chernobyl and Fukushima disasters, David Douard鈥檚 viral hybrids of bodies and machines, and Ed Atkins鈥� digital variations. Each represents a symptom of the world鈥檚 general state, focusing on both contemplation and action. L鈥櫭塼at du ciel 鈥� a title borrowed from Victor Hugo鈥檚 Promontoire du songe, in which the author wrote that 鈥渢he sky鈥檚 normal state is at night鈥� 鈥� addresses the current time, a political time in which seeing is already a means of action.
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