Mega Retrospective of Basquiat at Louis Vuitton Foundation

Mega Retrospective of Basquiat at Louis Vuitton Foundation

One of the most significant painters of the 20th Century, Jean Michel Basquiat , will be the star of a blockbuster show at the Louis Vuitton Foundation, having been 3 years in the making. The exhibition spans the artists’ entire career, which was relatively short from 1980 – 1988, with a focus on 120 artworks loaned from numerous collections worldwide.

The rebellious Basquiat started out on the streets of New York in the 70’s, tagging the city under the name SAMO (SAMe Old Shit), alongside his friend Al Diaz. He rose rapidly from street artist to sought-after painter at the height of New York being the fastest growing art scene in the 1970’s and 80’s. Throughout his life, he created around 1000 paintings, 2000 drawings, and 150 works alongside Andy Warhol. 

 

Behind the Drawing Board: Highlights of the Exhibition

Bernard Arnault, chairman and CEO of LVMH (Louis Vuitton Moet Hennessy) and mastermind behind the Louis Vuitton Foundation which opened in 2014, has been plotting this blockbuster exhibition since it’s opening. He also happens to be an avid collector of Basquiat, having in his possession over a dozen of his artworks, some of which are presented at the museum (although it is unspecified as to which ones). Arnault started purchasing Basquiat in the 70’s when he lived in New York and they were only selling for around US$5000, his very first purchase was a work that was done on wood which still hangs in his home. 

The show in Paris highlights his enduring appeal and includes artworks that have never landed on European soil, several collaborations between Basquiat and Warhol, as well as the Heads from 1981-82 that will be gathered together in the same room for the very first time at the Foundation (representing the artist at the peak of his artistic power). It is spread over nearly 2500m2 and is organized chronologically, but also by groups of works which define themes and invite comparisons. For Dieter Buchhart, curator of the show, “The exhibition follows his work, from the first drawings and monumental works to the later prints, collages, and assemblages, shedding light on his inimitable touch, use of words, phrases and enumerations, and his recourse to concrete hip hop poetry. To the image of the African American man threatened by racism, exclusion, oppression and capitalism, he opposed warriors and heroes.

 

An artwork of Basquiat from private collection on show at Louis Vuitton Foundation in Paris

Untitled, 1982. Acrylic and oil stick on panel. 182.8 × 244 cm. Private collection © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.

The Rise and Rise of Basquiat 

Consistent hype surrounding the artist that has been gradually rising over the past couple of decades was cemented with a monumental moment last year when his artwork Untitled (1982) was sold at Sotheby’s to billionaire Japanese collector Yusaku Maezawa for US$110.5 million, representing the height of his market strength. The painting contains his signature crowned heads against a vibrant blue background and holds the title as a record price for an American artist at auction (previously held by Andy Warhol at US$105 million). This particular sale smashed his previous auction record of US$57.3 million for Devils Head, also purchased by Maezawa, in May 2016. Untitled (1982) had not appeared on the market since 1984 when it was sold to Jerry and Emily Spiegel for US$19,000. Sotheby’s is also taking advantage of the hype and announced days before the opening that a private European collector has consigned 4 artworks that will go under the hammer at their contemporary evening sale in November.

 

The most expensive artwork of Basquiat sold to japanese collector Maezawa for $ 110.5 million at Sotheby’s in 2017 on show at Louis Vuitton Foundation

Untitled, 1982. Acrylic, spray paint, and oil stick on canvas. 183.2 × 173 cm. Yusaku Maezawa Collection, Chiba, Japan © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Picture: Courtesy of Sotheby’s, Inc. © 2018

Basquiat’s work refers to the eruption of Modernity, and he had an instinctive sense for the world that we are currently living in. His artworks are filled with references to his personal heritage, and he was influenced by artists past and present as well as New York’s downtown scene. The fact that Basquiat died 30 years ago and continues to have such a tremendous amount of impact on a generation that wasn’t even alive then, is quite remarkable. 

An artwork of Basquiat from the collection of Louis Vuitton Foundation in Paris

Grillo, 1984. Acrylic, oil, paper collage, oil stick, and nails on wood. 243.8 × 537.2 × 47 cm. Fondation Louis Vuitton © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Picture: © Fondation Louis Vuitton / Marc Domage

 

 

Lee Lee Nam at Cernuschi Museum in Paris During FIAC

Lee Lee Nam at Cernuschi Museum in Paris During FIAC

South Korean artist Lee Lee Nam is perhaps one of the most notable video artists of our time and will be exhibiting at the Cernuschi Museum in Paris during globally renowned FIAC, as well as satellite art fair Asia Now. The Lee Lee Nam Museum will be opening in Gwangju early 2019, an exciting endeavor. His artwork A Path to Peace (2018) acted as the visual backdrop at the inter-Korean summit in April 2018, where Kim Jong-un crossed over to the South Korean territory to meet Moon Jae-in – a first for a North Korean leader since the beginning of the Korean War in 1950. A significant moment between the two historical enemies, and for the artist himself.

Reappropriation of Classical Art

Lee Lee Nam has exhibited alongside video art heavyweights such as Nam June Paik (whom he has been likened to and influenced by) and Bill Viola, ultimately aiding his international recognition. Central to his oeuvre, he places new technologies at the heart of his artistic approach whilst synthesizing significant art historical images using multiple new media techniques – breathing life into these classical artworks. He engages with traditional Korean art, animation, European old masters as well as digital art, going back and forth between East and West, past and present, dreams and reality, thereby probing the differences between cultures. A strong poetic charge emanates from his creations creating a cross-cultural dialogue replete with references to art history and technology. By using video as his medium, he is critiquing the society in which we live by responding to today’s generation of hyperconnectivity.

By blurring traditional contours of art, Lee Lee Nam allows new apprehension of his artworks, transporting the viewer from 2D to an interactive and animated sphere of video in 3D. Elements move slowly and silently, engaging the viewer with a hypnotic invitation to travel to another world that is imagined through his acutely technical digital manipulation of images.

Lee Lee Nam at the Cernuschi Museum

The 2nd edition of Cernuschi Video Art ‘Survivances’ at the Cernuschi Museum runs from 16th – 21st October and is dedicated to the theme of history and it’s ghostly presence, as well as the trauma that it presents to contemporary Asian societies. It explores a reflection of the memory of wars that once tore apart and disconnected societies and creates dialogue in terms of how new generations are confronted with this past. When one travels to an undesirable place, nostalgia sets in, and the artists selected for this year’s edition reappropriate their heritage by using digital manipulation, introducing the stylistic and technical diversity of video art in the Far East.

Lee Lee Nam at Cernuschi Museum in Paris During FIAC

New General view of Mount Geumgang – 2009 – Video duration: 7:14 min

‘New General view of Mount Geumgang’ (2009), the reappropriated artwork that will be on display at the Cernuschi Museum, begins originally as the famous landscape painted by Korean artist Jeong Seon in 1734 during the reign of King Yeongjo. Against a backdrop of tranquil sounds of nature, we are transported to a world steeped in historical references, beginning with a way of life that is seemingly peaceful. As the image slowly starts to take on a life of its own, the music gradually becomes more ominous. One hears a world that has been imprinted with the hand of industrialization, visually moving towards scenes of anarchy. The landscape transforms to one filled with city lights and skyscrapers, with a sinister tone of war plans and helicopters hovering, underscoring a time of mass destruction. Clouds of smoke gradually fill the air, indicative of explosives and suggestive of war.

This visual storytelling technique that is employed takes us on a journey through the history of Korea, the pinnacle being that of the Korean War that was a by-product of the Cold War between the Soviet Union and the United States. The war began in 1950, and the conflict ultimately resulted in Korea being split into two sovereign states. It was also the first time in history where jet fighters confronted each other in air-to-air combat, which is also reflected in the artwork. 1953 marked the end of the war when an armistice was signed, leading to a separation of North and South Korea. No peace treaty was signed, and the two Korea’s are technically still at war and engaged in a frozen conflict.

Lee Lee Nam depicts this trauma of war that is still very much prevalent in today’s society with the political tensions and dislocations that it stirs. He communicates with a contemporary audience whilst immersing them in a historical experience, underscoring the disturbance that presents itself alongside war.

The opening of Bahrain Art Week at Grand Palais

The opening of Bahrain Art Week at Grand Palais

Hosted by the office of Her Royal Highness, the Wife of the King of Bahrain, as part of Bahrain’s leading art initiative “Art Bahrain Across Borders,” Bahrain Art Week was welcomed at the Grand Palais on the 13th of September, organised by CT2A and ArtSelect, along with ArtPremium as official media partner. The show was co-curated by Corinne Timsit and Kaneka Subberwal, which provided an in-depth overview of the region’s diversity through both historical material and cutting-edge works by established and emerging artists. 

The Vernissage was well received by the public, with large crowds continuously trickling in with intrigue. There was a truly international audience and the buzz was palpable, people came from near and far including officials from the Gulf embassies, friends from a number of art institutions in Paris, alongside a handpicked selection of esteemed private collectors. Overall the event was an eye-opening success to all those in attendance.

Bahrain Art Week at the Grand Palais

On view were 172 artworks by 17 artists using a wide range of techniques predominantly including paintings, drawings, and collages – along with 20 sculptures being present. It centered around the theme “The Legacy and Contemporary Memory,” which was reflected incredibly well in the layout of the exhibition following a logical, as well as aesthetically pleasing order. Upon entry, the first lot of artists that were showcased made part of the legacy, juxtaposed with that of the younger generation of artists representing the contemporary memory, that made part of the second layout. The exhibition explored a variety of artistic perspectives, the most striking being that of social commentary on the world outside of the exhibition space. There was a contrast between an older generational perspective with that of a more contemporary outlook – at the same time blending the two to make a cohesive presentation.

The show offered the artists’ an opportunity to present their work, connect art and culture in the surrounding area – and successfully exchange in a cross-cultural dialogue between France and Bahrain. It provided a platform to bring their highest quality work to France for the first ever Bahrain Art Week in Paris, which has been met with noteworthy success and will continue at Rabouan Moussion Gallery with the vernissage taking place on Thursday the 20th of September. The exhibition will run for a full week, and the works on show will be a selection of artworks that were presented at the Grand Palais.

Bahrain Art Week at the Grand Palais

Gam ’s Vivid Artworks on the Life and Legacy of Sankara

Gam ’s Vivid Artworks on the Life and Legacy of Sankara

Pierre-Christophe GAM, The Murder, 2017, Hahnemuhle archival paper, mixed media collage, 60x45

Pierre-Christophe GAM, The Murder, 2017, Hahnemuhle archival paper, mixed media collage, 60x45

Upper Volta was a colony of low strategic importance to France in economic terms, yet she subjected its people to harsh colonial rule. Growing up surrounded by stark inequalities, even after its independence from France in 1960, a young man was moved to pursue social justice: Thomas Sankara. His all-too-short life story remains an inspiration, both across Africa and in his own country, which he renamed Burkina Faso in 1984: “the land of the upright people”.

Sankara’s remarkable life story and his transformation of Burkina Faso during his four short years (1983–1987) as Prime Minister is brought to vivid life in the works of Pierre-Christophe Gam. The Cameroonian-Chadian artist’s mixed media installation, “The Upright Man”, offers a body of work that functions at the crossroads of the political, the personal and the spiritual. It encapsulates Sankara the man, the myth, and the visionary Pan-Africanist. The artist, who was 4 years old when Sankara was assassinated, captures in his works both the perspective of a child seeking the trail of his idol, and that of many contemporary Africans today seeking the truth of a shared past. Gam’s pieces feature certain milestones in Sankara’s time in power, expressed through both Christian iconography and visual symbolism specific to twentieth-century political history, such as the three colours (red, green and yellow) of pan-Africanism. It is an intriguing approach than befits Gam’s own definition of his art practice as that of a modern griot: a West African oral historian and storyteller.

The Battle, 2017, Hahnemuhle archival paper, mixed media collage, 100 x 74 cm, Gam

The Battle, 2017, Hahnemuhle archival paper, mixed media collage, 100 x 74 cm

In his representations of this towering political figure, Gam takes inspiration from a widely spread aesthetic practice in West Africa: commemorative cloths, which are printed textiles often featuring patterns, scenes, and memorial portraits. These colourful textiles, printed for commemorating everything from political campaigns to royal anniversaries, tell stories about people, movements, culture and society. Gam’s techniques include pencil colour drawing, pixel art, photography and digital manipulation; the results of this experimental mix are unique, yet somehow familiar to anyone who sees images mostly through a screen in their day-to-day lives. But to understand the story that these pieces visually narrate, it helps to grasp the significance of Sankara in post-colonial African history.

Some said Sankara’s visions were too grand, for he was impatient with those who insisted that a poor country should not set their sights too high.

Unlike the country’s previous military interventions, Sankara came to power in 1983 in a takeover that was conducted with the direct collaboration of several leftist civilian groups, resulting in a hybrid military–civilian formation at the helm of the country. From 1983 to 1987, Sankara transformed the institutions of the state fundamentally, so that they would cease to protect the interests of the few political elite. His aspirations for his fellow Burkinabé were rooted in social mobilisation and Pan-Africanist aspirations, but took direction from the needs of the majority of people. These included ecologically sustainable development, women’s emancipation, free education, accessible healthcare and community self-help projects. Some said Sankara’s visions were too grand, for he was impatient with those who insisted that a poor country should not set their sights too high. Yet Sankara’s quest was not impossibly utopian. In four years, he demonstrated repeatedly through initiatives that much social, political and economic progress could be made. His assassination in 1987 is widely confirmed by historians as having direct support from France, and other foreign powers alarmed by the Sankara’s policies.

The Temptation, 2017, Hahnemuhle archival paper, mixed media collage, 60x45 cm, Gam

The Temptation, 2017, Hahnemuhle archival paper, mixed media collage, 60x45 cm

Sankara’s strong stance against neocolonial dependency reflected in his programs for agricultural self-reliance, healthcare, and anti-corruption campaigns. From the outset, he also emphasised the emancipation of women as one of his central social and political goals – a rarity for any president in Africa at the time. These social and economic leaps are visualised with strong symbolism and joyful colours in several pieces of Gam’s series: Agricultural Reform, Battle of the Railway, The Emancipation of Women, Education for All and Self-Reliance (all 2017). Each concept is explored in two prints: one featuring Sankara initiating or demonstrating the task at hand, and the second featuring the people of Burkina Faso putting it into action together. A nod, perhaps, to the Sankarist approach to development, which was notable for its reliance on social mobilisation and community self-help.

Although Gam’s works illustrate key points throughout Sankara’s life and political career, there is also a strikingly original interpretative exercise at play: the religious and spiritual undertones to his art. Gam’s framing of Sankara as a Christ-like figure — both prophet and martyr — blurs the lines between the material and the spiritual world, as it does between the political and the personal. This acknowledges the contemporary relevance of West African traditional religions to social and political life, in which the spiritual world is widely accepted to exist in tandem with the physical one, and events in either are able to influence those in the other. Interpreting social and political changes not only for their implications in material reality, but also for their spiritual consequences, is part and parcel of community interactions and day-to-day life in many West African societies. The La Patrie triptych (2017), for instance, includes one mixed media collage featuring the dead Sankara, surrounding by six angelic female figures gesturing to his body, lying Christ-like in the arms of his widow, Myriam Sankara, who radiates a maternal and otherworldly persona reminiscent of the Virgin Mary. The third print in the triptych cements this biblical iconography by presenting the dead Sankara crucified on the cross. The two final works on the other hand, both titled La Resurrection (2017), bring the story full circle; one shows Sankara reawakened, draped in cloth like a prophet emerging from the desert, and the final one features the flag of Burkina Faso — a community of “believers” in symbolic unity under the pan-African colours.

The Resurrection, 2017, Hahnemuhle archival paper, mixed media collage, 74x100 cm, Gam

The Resurrection, 2017, Hahnemuhle archival paper, mixed media collage, 74x100 cm

The artworks’ formal qualities mirror this synthesis of traditional spirituality and modern political experience. Gam’s bright patterns in digital print, with their game-like aesthetic in certain places, make them unmistakably contemporary in their visual language. Sankara is represented in photorealistic style amidst geometric and repeating patterns that at times appear pixelated. All are composed of the same minuscule pattern, printed over and over again: an almost emoji-like head of a smiling African woman holding an abundance of colourful produce atop her headdress. When fused with the political content of the work — which is celebratory of the thoroughly secular, developmental goals of pan-African socialist thought — this Christian religiosity to the works do not remain static. They evolve into another kind of conceit: one that makes use of the familiar connotations of biblical iconography for much of Gam’s audience in West Africa and the world, but implies that this was the short-lived birth of a new “religion” in the form of pan-Africanism and a certain Sankarist humanism.

Tryptique “La Patrie B”, 2017, Hahnemuhle archival paper, mixed media collage, 133 x 100 cm, Gam

Tryptique “La Patrie B”, 2017, Hahnemuhle archival paper, mixed media collage, 133 x 100 cm

Gam’s synthesis of a digital aesthetic, biblical imagery and twentieth-century history is singular, and the result is a retelling of Sankara’s story through visuals that feel universal, youthful and dynamic. This story becomes, quite literally, anything but dead history. Gam paints Sankara garbed in spiritual mythologies to striking effect, but perhaps it is all the more remarkable that in doing so the artist reminds us Sankara was no saint or angel, but an ordinary man — albeit an exceptionally upright one.

Written by Sarah Jilani

Contributor - London

First edition of Bahrain Art Week – Paris opens its doors at the Grand Palais

First edition of Bahrain Art Week – Paris opens its doors at the Grand Palais

“The Legacy and the Contemporary Memory”, the exhibition of Bahraini contemporary artists, takes places at the Grand Palais in Paris on September 13 – 15, 2018. The exhibition, making part of the Bahrain Art Week in France, presents a wide range of thematics, styles, and generations of Bahraini art: from religious art to contemporary social critique, from post-impressionism to digital art, from post-war generation to millennials. 

Since its creation in 2016, Bahrain Art Week, created by Kaneka Subberwal ArtSelect , aims to promote Bahraini contemporary art to meet the needs of an international community of collectors discovering talent. The English, Russian and Indian edition of Bahrain Art Week have already had success in 2016 and 2017: a selection of 15 Bahraini artists has already been presented in London at the Victoria & Albert Museum in 2016 and the Saatchi Gallery in 2017. In the same year, ArtBAB became the participant of the Cosmoscow contemporary art fair in Russia as well as in India during the 2017 and 2018 India Art Fair. Bahrain Art Week was launched soon after the creation of the Art Bahrain contemporary art fair.

“ArtBAB is a platform that connects international galleries with established and emerging artists of Bahrain, widening the outreach to collectors in the region,”

Art Bahrain Across Borders (ArtBAB) contemporary art fair had been created by Kaneka Subberwal under the patronage of Princess Sabeeka Bint Ibrahim Al Khalifa of Bahrain. Curated by Jonathan Watkins and Alistair Hicks, ArtBAB aims at pivoting galleries, artists, and collectors towards the country, establishing a more pronounced connection between Bahraini art and the global art market. “ArtBAB is a platform that connects international galleries with established and emerging artists of Bahrain, widening the outreach to collectors in the region,” states Subberwal. In 2017, ArtBAB saw 60 participants from Bahrain, the UAE, India, Ukraine, France, the USA and others across its three categories: Gallery arena boasting a cluster of international galleries, the ArtBAB Pavilion Artists (with free entry for Bahraini artists), and General Entry Artists. The stellar line-up included New York-based artist Bradley Theodore, known for his paintings Queen Elizabeth and Pyramid, and a piece by Turner Prize-winning English artist Keith Tyson.

ArtBAB 2018 will also see the return of the not-for-profit exhibition space that featured the Floating World exhibition this year with 32 large-scale installations screening films by a great number of international artists. “Floating World made ArtBAB 2017 unique,” says Watkins. “It was a not-for-profit factor in the art fair equation, ambitious in its range of moving imagery by some of the most important international artists working today, with a strong visual appeal. A kind of landscape lounge, it was an environment for all visitors to enjoy.”

The Grand Palais is a large historic site and museum complex located in Paris. The Construction of the Grand Palais began in 1897 following the demolition of the Palais de l’Industrie (Palace of Industry) as part of the preparation works for the Universal Exposition of 1900. For the 2011 Monumenta exhibition, sculptor Anish Kapoor was commissioned to create the temporary indoor site-specific installation, Leviathan, an enormous (ca. 775,000 square feet) structure that filled half of the main exhibition hall of the Grand Palais. 

Kaneka Subberwal invited Corinne Timsit Art Advisory (CT2A) to be co-organizer and co-curator of Bahrain Art Week in Paris.

Founded by Corinne Timsit and Eric Bonici in 2014 in Paris, CT2A is a media, events, and advisory company specialized in the contemporary art comprising two magazines, ARTPREMIUM and CORPORATE ART, an art advisory department, and an immersive online resource – artpremium.com.

17 artists on show at the Grand Palais

Aysha AlMoayyed – Balqees Fakhro – Dr Ahmed Ahmed – Faika Al Hasan – Hala Kaiksow – Sayed Hasan Al Sari – Jamal Abdul Rahim – Mayasa Al Sowaidi – Mohamed Al Mahdi – Nabeela Al Khayer – Omar Al Rashed – Othman Khunji – Rawan Al Hosani – Salman AlNajem – Lulwa bint Abdulaziz Al Khalifa – Marwa Rashid Al Khalifa

Beyond the limits: teamLab digital art exhibition in Paris

Beyond the limits: teamLab digital art exhibition in Paris

The human is a being that often opposes himself to nature. Isolating from the latter, he creates his own world, seeking the security and comfort. Throughout history, he was building his own universe, moving away from nature. But with more significant inventions he was making, the more he missed the natural balance and purity. Thus, he was seeking the restoration of his original relation with nature through art. An infinite number of artists of different epochs tried a various media, returning to primitive creation, refusing the technology and progress in search of art that would allow the spectator to feel himself in the harmony with nature. However, it was finally the technology, an opposition to nature, that allowed some artists to achieve this goal. This is the case of teamLab, a Japanese artistic collective that uses exceptional installations, which can be called, without exaggeration, alive.

Their artworks are immense, not framed and fully immersive. Remaining totally figurative, they represent a diversity of forms and figures of nature, of flora and fauna, and, sometimes, of human individuals too, inviting the spectator to join their vivid world and feel a connection between himself and the nature. Destructing the barrier between the artwork and the spectator, this art envelopes the viewer, makes him a part of its universe of forms and colors, and, furthermore, offers him an opportunity to become its co-creator. teamLab artworks are made by more than 450 people, including artists, programmers, engineers, scientists, architects, and animators, who have been operating together since 2001.

 

 

Their principal instrument for the creation is digital technology: their art involves projectors, touch screens, audio speakers, and scanners; and their principal objective is to form a new type of art, open and interactive. teamLab seeks to escape the limits of ‘conventional art’ and to create outstanding installations, that change our understanding and perception of contemporary creation. Being really impressive, their artworks do not shock the spectator, nor are they causing discomfort. On the contrary, they are trying to remain friendly and attractive, despite their scale and dynamism.

The name of the exhibition of teamLab, which opened on the 15th May in La Villette in Paris, is “Au-delà des limites”, which means meaningBeyond the Limits” — beyond the barriers between the visitor and the artwork, and at the same time, beyond the frontiers of ‘conventional art’. The exhibition assembles in the 2,000 square-meter space the most iconic and new artworks of teamLab, among which you can find an enormous 11 meter-height and 26.5 meter-width interactive waterfall, some installations reproducing the whole saison sycle, or entire digital worlds, created by visitors of the exhibition. As all the artworks exhibited are reacting to the public’s actions, people and art are in dialogue, co-existing in one digital universe. The latter changes significantly because of the public, thereby, “Au-delà des limites” turns into a unique symphony of artworks and people, never the same.

The exhibition meets the public with the works “Graffiti Nature – Mountains and Valleys” (2016) and “Graffiti Flowers Bombing” (2018), a whole ecosystem worlds made by people: they offer to color new animals or flowers on paper and to scan it. The software integrates the digital artwork in the composition, and then the visitor suddenly finds his creation among thousands of flowers, plants, lizards, fish, moving, appearing, vanishing, multiplying across the space. That’s how the visitor discovers from the very beginning that the digital universe, created by teamLab, is playing with him and changes dynamically regarding his actions. Whether he is a wind for flowers or a living being for spirits, the human can always become a co-creator or a destroyer of every artwork, seeking for harmony or chaos.

But sometimes, playing with this astounding universe, the spectator does not notice that he himself becomes a part of an artwork. If you stand apart from the crowd, you can see how people in the light of projectors become an organic piece of several artworks. For an instance, the hall, where the installation “Impermanent Life: People Create Space and Time, at the Confluence of their Spacetime New Space and Time is Born” (2018) is shown, allows the visitor to transform the surface of walls around him and to create his own worlds, that are borning, burgeoning and dying. But it also transforms the creator himself into a part of the artwork, making him to dissolve against the background of the walls. That’s how a human, an omnipresent forceful being, is shown as an indispensable part of this universe he changes and considers to rule.

The exhibition “Au-delà des limites” will be opened in the Grande Halle de La Villette in Paris until the 9th September 2018.