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EXPOSITION / carte blanche to ugo rondinone
With : Ronald
Bladen · Lee Bontecou · Martin
Boyce · Joe Brainard · Valentin Carron · Vija
Celmins · Bruce Conner · Verne Dawson · Jay
DEFeo · Trisha Donnelly ·
Urs Fischer · Bruno Gironcoli · Robert
Gober · Nancy Grossman · Hans
Josephsohn ·
Brion Gysin et William S. Burroughs · Toba
Khedoori · Karen Kilimnik · Emma Kunz ·
Andrew Lord · Sarah
Lucas · Hugo markl · Cady Noland · Laurie Parsons ·
Jean-Frederic
Schnyder · Josh Smith · Paul
Thek · Andy Warhol · Rebecca Warren ·
Sue Williams ·
Consulter la biographie des artistes
Giving an internationally renowned artist carte
blanche is a key idea that emanates from the director of the Palais de
Tokyo, Marc-Olivier Wahler. Placed at the centre of the decision-making
process determining the programming of the Palais de Tokyo, the artist
is free to concoct an entire exhibition. His or her vision is given an
auspicious setting and sufficient time to develop into a visual arts world
that is always unique. As well as offering a kind of map of the artist's
brain, desires and influences, giving carte blanche to an artist provides
an opportunity to approach the processes of creation and aesthetic cross-referencing
from a novel angle. Artists are never where we expect them to be. They
look at our reality, our everyday life, but also the works of their contemporaries,
in a unique and enlightened way.
With THE THIRD MIND, Ugo Rondinone offers us
a unique journey. An MRI scan of his influences, inclinations and obsessions,
the exhibition is constructed as a stroll through a brain in perpetual
activity, going straight to the source of the artist's references and
discoveries. For the first time his gift for building systems of connections – an aptitude
which has made Ugo Rondinone famous – is placed at the service of the
works of other artists, not his own. The systems of connections activated
as well as the artists and works chosen make THE THIRD MIND an exhibition
that no curator/art historian would ever have been able to dream up.
William S. Burroughs, the cult writer of the Beat
Generation, and the artist Brion Gysin worked out the cut-up method which
consists of cutting up and reassembling various fragments of sentences to
give them a completely new and unexpected meaning. The Third Mind is the
title of a book they devised together following this method; they were so
greatly impressed by its contents that they felt it had been composed by
a third person, a third author, a synthesis of their two personalities. 1+1
= 3. In homage to this book which was never published, Ugo Rondinone sets
out to cut up and remix the contemporary artistic landscape to allow a new
meaning to emerge from it. THE THIRD MIND, composed from the assembled works
of thirty-one different artists, constitutes a fully fledged work in its
right, a new, spectral work created by a third mind, a third artist, the
product of the meeting between Ugo Rondinone and his selections.
Closing our first season which started a year
ago, THE THIRD MIND constitutes the final episode in a train of thought
exploring territories that are as disconcerting as they are heterogeneous,
but are nonetheless united by one and the same idea : getting shot
of the "window vision" of
art, which regards exhibitions and works as fixed points in time and space.
Each episode of this first season integrates the notion of programming
conceived of as a cursor, and is set in a scenario based on the multiplication
of interpretations, the decompartmentalization of intellectual and aesthetic
categories and the constant questioning of the bridges between art and
our reality.
From an open space (FIVE BILLION YEARS) to a
private space (THE THIRD MIND), from a proposal put forward by a curator
(Marc-Olivier Wahler) to the visions of an artist (Ugo Rondinone) by
way of artist curators (Peter Coffin and Olivier Mosset), from collective
exhibitions to solo exhibitions, the year ends with an exhibition where – as in the first episode – every
work is inscribed in a whole that is greater than its parts, so contributing
towards founding a paradoxical identity that is strong yet elusive. Thus
this first season will have seen the very concept of the exhibition – and
the entire Palais de Tokyo along with it – slipping, changing, metamorphosing
and relentlessly questioning the "schizophrenic quotient" of
art.
LES JEUDIS /
Impossible to explain an exhibition that refuses
to be explained, to repeat the words of Ugo Rondinone, even if everything
obliges us to do so, to repeat those of Samuel Beckett* - as much the
wish to understand as the duty to communicate understanding. But we
can at least try to remain firmly within the absence of explanation.
We can make an effort to inhabit the fact of being stunned, or stoned.
Drugs, altered states of consciousness, and rather abrupt landings after
trips… Precisely,
the Beat Generation, conjured up through the emblematic figures of Brion
Gysin and William S. Burroughs by Ugo Rondinone, is inseparable from
such an experience. In the programme of cultural events that accompanies
The Third Mind and the documents and educational activities offered to
the public we have attempted to provide visitors with guidance to the
country of highs and lows, on a journey taking them from cut-ups to bad
trips, from psychedelism to paranoia, from visions to nightmares, from
astral bodies to the "international
conspiracy of lies" (Burroughs), in short, from the utopian Sixties
to the
darker Noughties.
Mark Alizart
Opening night musical selection by Vincent Epplay and Samon Takahashi.
27 septembre 2007 / 18h-minuit.
Psychedelic conc
ert of Residents inspired cut-up masters from Japan.
2
octobre 2007 / 20h
Sur reservation
Performance by John Giorno.
4 octobre 2007 /
19h30
Around William S. Burroughs et Brion Gysin,
avec John Giorno, Bernard Heidsieck, Françoise Janicaud, Jean-Jacques Lebel, Gérard-Georges
Lemaire et Ramuntcho Matta.
11 octobre 2007 / 19h30
Burroughs' sex, by Bruce Benderson.
18 octobre 2007 / 19h30
A choice of films by Ugo Rondinone of the American master of experimental
animation.
25 octobre 2007 / 19h30
Brion Gysin's Dream Machines to be experimented on covers of Throbbing
Gristle, Monte Cazazza, Pierre Henry and original creations by Motus.
1 novembre 2007 / 18h00-minuit
Brain damage,
neurology and psychoanalysis, by Catherine Malabou, philosopher.
8 novembre
2007 / 19h30
From Burroughs “international conspiracy of lies” to modern “Men
in Black”, going through Sun-Ra and Juan Posadas, by Cédric
Vincent, Pacôme Thiellement and Tom McCarthy.
15 novembre 2007 / 19h30
Performance poetry with Jorg Piringer and Bryan Saunders.
22 novembre 2007 / 19h30
A little story of Beat drugs and of their effects on the arts, by Christoph
Grunenberg, Tate Liverpool director and curator of Summer of Love.
29 novembre 2007 / 19h30
First season of Jenji Kohan’s TV hit.
6 dEcembre 2007 / de
18h00 à minuit
Ginsberg's Howl by Carlo Brandt, Gabriel
Scotti, Vincent Haenni and Arnaud Valadié.
13
decembre 2007 / 21h
Sur reservation
BIOGRAPHIE DES ARTISTES /
Par ordre d'apparition dans l'exposition
Josh Smith, a young painter based in New York,
painted only one thing for several years : his name. Producing an enormous
quantity of pictures, he multiplied this indicator and symbol of his individuality
to the point of total exhaustion. By means of accumulation, "bad" photocopies and painting, his work
suggests that neither the original nor the copy can exist : the former is drowned
in a post-Fordist economy of dispersion, the second is compromised by difference,
error or human intervention. The distinction between the two is at the horizon
of his work which opens up new possibilities for painting, the question of
the "new" and the artist's position in the historical, economic
and political network of art. By using limited materials, Josh Smith has
developed an artistic language in which abundance, humour, collectivity,
gesture and singularity inform and contradict one another.
[1976] Lives in New York
By means of photography, ready-mades, collage and
sculpture, Sarah Lucas occupies space in a provocative way. Developing minimalist
processes, her works revitalise popular and anti-bourgeois codes, with the
question of the body being a major preoccupation. Crudely representing the
female body, sometimes even her own, Lucas denounces male/female relationships,
sexism, and questions the notion of gender and its power over everyday life.
Car Park (1997) features a damaged car, a site-specific installation, and a
series of reproductions of a deserted car park that cover the wall in the background.
The work condenses obvious violence within it, both past and future, in the
form of an enigmatic story for us to reconstruct.
[1962] Lives in London
Regarded by some as the "father of Minimalism",
the American artist Ronald Bladen produced monumental geometrically shaped
works in wood. Linked to their environment, these monochromatic works dominate
the museum space and alter our apprehension of it. Along with his peer Tony
Smith, Ronald Bladen elevated the artificial to the stature and strength
of a natural phenomenon. The Cathedral Evening (1969) takes the form of a
huge triangle opening up above the viewer a drama which has the appearance
of a Minimal experiment, while the less stable geometry of Three Elements
(1965) seems on the verge of collapse.
[1918-88]
Nancy Grossman
Nancy Grossman explores collage, sculpture and
assemblages. Her favourite materials, such as cloth, leather or metal, define
a universe in which sexuality is mixed with violence in an ambiguous and fascinating
light. The theme of the body is omnipresent, as in her famous series of "heads". These "heads" made
from carved wood are clad in black leather and have aggressive shapes : a pick,
horns, a horse's harness. Each masked face marks both the instrumentalization
of the body as well as hidden identity.
[1940]
Lives in New York
Sue Williams
Sue Williams uses the human body as
a tool for her drawing and painting, showing it in parts and in a disturbing
way. Man's and woman's role in today's society, feminism, and sexuality : such
are the themes at the root of her work from which a certain violence surges,
an "intimate anger,"as she herself
puts it. In the works exhibited at the Palais de Tokyo, indefinite body parts
are scattered or included in a choreography that is simultaneously erotic and
macabre, aggressive and satirical. With improvised gestures, Sue Williams'
works play on our deepest instincts.
[1954] Lives and works in Brooklyn, New
York
Bruno Gironcoli devotes his time to sculpture and
assemblages of raw and metallic materials. Through the transformation of play
objects and symbols, often associated with sexuality, the themes of alienation
and the absurd are imposed in space. His monumental and generally untitled
works were presented at the 2003 Venice Biennale, among other places. The grey,
silver, chrome or shiny hues of their surfaces outline slender contours and
hollowed-out shapes that intermingle. Gironcoli's giant organic and mechanical
sculptures are improbable forms that seem to be endowed with a secret life.
[1936] Lives in Vienna
Cady Noland
Cady Noland's work can be likened to a social
anthropology of the United States, its ideals and the most violent aspects
of its reality. Maintaining an objective and pseudo-scientific appearance,
her art does not pronounce any moral judgment but attempts to decipher the
signs of this violence through the rhetoric of the media image and the effects
of its potential power. Presented here, her silk screens of images and magazine
covers on wood or metal panels recall in a formal way newspaper stands' signs
exhibiting such magazine covers. Cady Noland thus creates a minimalist and
abstract sculpture laden with cultural meaning.
[1956] Lives and works in New York
Trisha Donnelly
Simultaneously using video,
sound, photography, drawing and performance, Trisha Donnelly explores the question
of art. Her mysterious work eludes any overarching shape and allows the spectator
to follow unconnected threads of stories that are both barely alluded to and
unexplained. The sound installation she is presenting at the Palais de Tokyo
allows the visitor to follow the sound from one space to another but without
ever being able to catch it! Trisha Donnelly's work is very poetic, putting
the spectator in a kind of trance that speaks to the captivating power of her
invocations.
(1974) Lives and works in San Francisco
Verne Dawson
Verne Dawson draws inspiration from creation myths,
popular culture and folklore in composing his paintings. By inventing a fantastical,
faux-naive universe, he revitalises the links that unite man to his primary
condition of being dependent on nature.
In the series of paintings presented at the Palais de Tokyo, Verne
Dawson invites us to revisit the origin of the names of the days of the week.
As well as being linked to the movement of the planets and the stars (Monday,
day of the Moon, Tuesday under the sign of Mars, etc.), every day is associated
with the personality of one of the Greco-Roman deities.
[1961] Lives in New York
Rebecca Warren's work outwits the codes
of figurative sculpture by producing shapeless or vaguely anthropomorphic masses.
Disconcerting and deconstructed, her work sets out to circumvent the clichés
of representation by consuming material with a disturbing energy. SHE is a
series of oversized women made of unfired clay. These sculptures with their
outsize developments are visibly aggressive, grotesque, vulgar even, but also
strangely sensuous and amusing. Mocking the fantasies of the masculine imagination,
these contemporary goddesses of fertility or archaic superwomen exalt female
sexuality in a monstrous light.
[1965] Lives in London
Vija Celmins
Born in Latvia but forced into exile from early
infancy because of the Soviet threat, Vija Celmins is one of the figureheads
of the Hyperrealist movement. Influenced by experiences linked both to her
personal story and the political context of her period, she started off doing
abstract expressionist painting, then developed an extremely meticulous technique
of drawing. In 1968 she started her series of paintings and drawings of the
starry sky, based on photographs. The galaxies, comets and fields of stars
concentrate and explode in accordance with two seemingly contradictory movements,
here exploited on the same surface. The effects of greys or blacks are dense,
velvety, coal-like, serving as a background for hundreds of white dots. The
patience and precision of her observation give rise to an infinite number of
inexhaustible options.
[1938] Lives in New York
Brion Gysin, a painter, writer and author of
sound poetry, was the famous inventor of the Dream Machine, which gives rise
to altered states of consciousness. At the end of the 1950s, Gysin developed
the technique of the cut-up, first initiated by Tristan Tzara and the Surrealists.
Cutting up, gluing, repeating words or parts of sentences became a practice
which Gysin adapted to painting and cinema. During the same period, his encounter
with William S. Burroughs, the cult writer of the Beat Generation, resulted
in many artistic creations. In his often autobiographical writings, Burroughs
deconstructs language's tendency towards standardisation and systematisation.
Hallucinatory ecstasies, accentuated by the use of the cut-up, shift the frontiers
of reality and leave reason vacillating in their wake.
[1914-1986] / [1914-1997]
The Third Mind, a work constructed like the maquette
of a book, is the outcome of the meeting of two explorers of the psyche, a
collaboration which set out to be total and unlimited. Composed of collages
of very diverse materials, newspaper articles, images, plans, etc., this original
project of plates for publication would not be published as such, but constitutes
a textbook model of an attempt by two minds to merge to create a "third entity".
Inspired
by the mechanical and subversive methodology of the cut-up developed by Brion
Gysin and William Burroughs for their unpublished book The Third Mind, and
adopting its title for his exhibition, Ugo Rondinone reactivates this practice
in the curatorial field : from work to work, it draws a complex and unpredictable
landscape. From the totality of this both carefully thought-out and impromptu
assemblage there emerges a "third mind" that is both omnipresent
and elusive, an emblematic figure of free associations and discreet resonances.
Andrew Lord, a sculptor and graphic artist, models
plaster that he mixes with beeswax and turpentine. This bright, matt, grainy
material gives the objects (vases, amphorae, etc.) and fragments of people,
(sometimes half-man, half-object) a smooth and tactile patina. These organic
and quiet-looking forms seem to be caressed by gentleness. The details of the
sculptures are meticulously worked, also leaving room for the imperfection
imparted by life and movement.
[1950]
Lives in New York
Urs Fischer
Urs Fischer finds his subjects
and his materials in everyday life. By transforming them into objects and sculptures,
he diverts them from their original function by humorously multiplying the
unexpected view-points. Madame Fisscher (1999/2000) was the artist's studio
during his residency in London. On his return to Switzerland, the artist repatriated
the entire studio and all it contained – works, various
materials, walls and floors – to turn it into an installation. A true ready-made
of the process of creation, the work functions as a picture within a picture
of the artist's work.
[1973] Lives in Los Angeles, Zurich and Berlin
Jean-Frederic
Schnyder
Playing with the effects of kitsch and referring
to the history of art and various popular practices, Jean-Frédéric Schnyder constructs
a universe in which the everyday is incessantly disturbed with a caustic humour.
His sculptural and pictorial works always belong to a social and historical
context, but disconcert our expectations in a more or less virtuoso or improvised
way. In the series Wartesäle (Waiting-rooms) Jean-Frédéric
Schnyder suspends all temporality. Hidden away in Swiss railway stations, the
places of transit that waiting-rooms represent are emptied of any presence,
like an absence that might come and inhabit the medium of painting itself.
[1945] Lives
in Zoug, Switzerland
A healer, researcher and artist, Emma Kunz occupies
a very special place in art history. She herself defined her atypical work
as "stylisation
and form as the measure, rhythm, symbol and metamorphosis of number and principle".
The discovery of Aion A, a healing rock originating from Würenlos in Switzerland
is due to her, and she used it throughout her life to tend various illnesses.
Her works are the result of her researches and have no titles or dates - large
geometric drawings done with lead pencil, coloured pencils or chalk on graph
paper, all or them "magnetic fields" linked to her non-standard practice
of medicine and art, using energetic and spiritual forces. Works that are still
topical more than forty years after her death.
[1892-1963]
By working in an extreme way with space and materials,
Paul Thek became one of the pioneers of "installation" in the 1970s. His environments
reject the traditional limits of art. Distancing himself from the calm and
coldness of Minimalist or Conceptual artists, he turned towards the excessive
and the brutal. Early on in his career, he created his "Meat Pieces" series,
fragments of bodies in wax, enclosed in yellow transparent Plexiglas showcases.
Not only do these "meat pieces" respond to the excessively clean
forms of Minimalism and Pop Art, they also symbolise the artist's revulsion
over the Vietnam war.
[1933-1988]
Toba Khedoori
Toba Khedoori focuses on urban and architectural
elements removed from their context and origin. Stairways, models or every-day
objects are clearly delineated on very big formats. There is no human presence
in these works, leaving the spectator alone in a no man's land that is both
anxiety-producing and delicate. On a sheet of paper is a layer of wax covering
ink drawings, playing on a solitude in which all life has disappeared. Toba
Khedoori's works are minimalist and display techniques and subjects of a sober
refinement.
[1964] Lives and works
in Los Angeles
Robert Gober
With Robert Gober, ordinary everyday objects such
as doors, sinks, children's beds or various parts of the body become strange
and enigmatic. A vague malaise arises from these seemingly simple works which
subtly touch on childhood, sexuality, segregation or even religion. Meticulously
sculpted by hand, Gober's sinks, unlike Marcel Duchamp's famous Fountain that
comes immediately to mind, are uneasy, perfectly controlled objects where the
bizarre resides in contorted plumbing and a pile of hairs in a duct.
[1954] Lives in New York
Martin Boyce is a sculptor and designer who integrates
his works into physical space – the space we occupy by our mere presence, but
also psychological and emotional space. His work is imbued with the urban universe,
and constructs ambiances of indoor life, with the help of a visual language
that sometimes comes straight from design. While he is close to furniture design,
Martin Boyce nonetheless chooses to invest the entirety of spaces, not concentrating
on the design of utilitarian objects. Linking outside urban spaces to the internal
space of exhibition galleries, Boyce invites us to take the time to move around
in his installations, each of them an imaginary landscape.
[1967] Lives in Glasgow,
Scotland
Laurie Parsons
During the 1980s Laurie Parsons collected
objects she found on her walks in urban, industrial or natural places, especially
in New Jersey. She brought them back to her studio, lived with them for a while,
and sometimes turned them into works of art. Pieces of wood, a heap of coal,
an old suitcase… She
then started putting together not objects, but a whole section of landscapes
to create piles of varied detritus. She often made her mark in the structure
of the art world in a subversive manner : for example, by leaving a gallery
empty, or living in a museum and inviting the entire population of a town in,
inviting onlookers to help themselves to notes from a 10-cm-high pile of dollar
bills, asking the attendants to interpret the works for visitors, spreading
rumours, etc. About fifteen years ago Laurie Parsons chose to withdraw from
the art world, started writing, has been working with organizations that help
the mentally ill, and no longer tells anyone that she was an artist.
[1959]
Lives in Hoboken, New Jersey
Jay DeFeo
Known for her famous painting The Rose (1958-66), made using about
a ton of white and grey paint, measuring over 3 metres by 2 metres and with
a thickness of over 25 cm (making the painting almost sculptural), Jay DeFeo
was an artist who looked for the weight, volume, transformed surface and attenuated
colour of nature and physical endurance. Her works have the depth of a mythical
story, with the viewer seeing only the part that has emerged. After doing photography
for approximately fifteen years, the artist turned back to painting in 1982
and extended her thinking about materiality, surface, abstraction and the symbolic
evolution of forms.
[1929-1989]
Bruce Conner
Since the 1950s Bruce Conner has been producing
films, paintings, assemblages, drawings, sculptures, collages, prints and photographs.
His first films used the collage and "sampling" technique of found
films and are regarded as the precursors of music videos. Through this multitude
of supports, his works often explore the physical, metaphorical and metaphysical
dimensions of light. Between 1973 and 1975, Conner made his series of Angels,
real-size photograms, ethereal images haunted by his own body floating in a
black, undefined space.
[1933] Lives in San Francisco
Hugo Markl
Hugo Markl draws directly on his everyday life to
create his works. He transforms impressions and materials that captivate and
intrigue him by reconstituting them in the form of videos, sculptures and various
assemblages. His works are born in the place where they are made because Markl
does not define himself as a studio artist. Through his collages, the Austrian
artist makes new entities from fragments of forms taken from magazines and
newspapers. These disparate assembled elements seem to convey messages that
often remain ambivalent and mysterious.
[1964] Lives in Vienna
Hans Josephsohn
Hans Josephsohn is a sculptor who questions the
body using an original technique : the plaster cast is vigorously worked before
being cast in bronze. The material, kneaded into a heap, conceals the identity
of the characters by drowning them in an anthropomorphic mass. In spite of
a heavy, massive appearance, a subtle presence emanates from these languid
creatures. Their generous, motionless forms seem animated by imperceptible
mutations which render them both fascinating and offputting.
[1920] Lives in Zurich
Lee Bontecou
Using the language of Abstraction,
the intimate and strange work of Lee Bontecou mixes the figurative, the organic
and the mechanical like so many states of transformation between the natural
and the artificial. In her three-dimensional mural sculptures, fragments of
canvases and other materials are stretched and shaped together over flexible
and metallic frames. A space with depth emerges from these objects, making
us think of organic and feminine references, the sublime, the mysterious or
the extraterrestrial, but also the anguish of something artificial that is
grotesque and mutilated. The frontiers between beauty and ugliness, nature
and war, earth and sky, woman and man are blurred in favour of an intense feeling
of life.
[1931] Lives in Orbisonia, Pennsylvania
Joe Brainard
In the 1960s and 1970s Joe Brainard, an artist and a poet, produced
a large number of works (collages, paintings, written works, stage sets, dance
costumes, etc.) before mysteriously stopping in the mid-1980s. The motifs developed
by Brainard (flowers, Madonnas, body tattoos, etc.) are on the fringes of the
decorative register, playing with details by means of bright, luminous colours
that appeal to the eye and are not devoid of humour.
[1942–1994]
Andy Warhol
An iconic figure in contemporary art, Andy Warhol
made the paradoxes of the consumer society central to his artistic practice.
The processes of reproduction, fetishism and industrialisation underlie the
screenprints, paintings and films of this artist who pushed the frontal relationship
of the spectator to mere appearance to its ultimate. Pop Art in the hands of
Andy Warhol took a turn that was both glamorous and iconoclastic. Between 1964
and 1966, he produced hundreds of Screen Tests, three-minute films in which
his friends are regarded as potential stars. In front of the camera, they are
asked to remain motionless, making the staging of their hypothetical fame powerless.
This accumulation of personalities transforms identity and subjectivity into
anonymous, endless images, like so many objets trouvés, the genuine
raw material of a mediatized culture. Among those who can be recognized are
Edi Sedgwick, Susan Sontag, Nico, John Giorno, Jonas Mekas, Gerald Melanga,
Jack Smith, Paul Thek, Lou Reed and Marcel Duchamp.
[1928-1987]
Valentin Carron
Valentin Carron avails himself of the iconography
of Swiss vernacular culture. The objects, images, symbols and customs of rural
culture appear in his works in misappropriated and often humorous forms. The
perception of a pure and perfect Switzerland – with its mountains, chalets, forests and churches – is
undermined by the artist who oscillates between celebration and criticism.
His sculptures of crosses combine the language of religion and that of minimal
abstraction, freeing the object of a fixed meaning by means of a strategy of
reproduction. But although the artist plays games with authenticity, craftsmanship,
ready-mades, commemorative monuments or kitsch aesthetics, his objects remain
too ambiguous to be part of a single ideology.
[1977] Lives in Fully, Switzerland
Karen Kilimnik
Karen Kilimnik's fascinating work is at the
intersection of fairy tales and today's movie stars. The idealized princess
and the cinema icon are portrayed in both baroque and precious universes. Oil
paintings, busy sets and historic installations cannot be dissociated from
her interest in painting and her passion for the royalty and celebrities' lives.
Between whimsy and fantasy, old Europe and Hollywood, her painting mastery
relates to a sophisticated vision, plunging the viewer into a seductive parallel
universe. (Details of the work to come)
[1955]
Lives and works in Philadelphia
Partenaires de THE THIRD MIND
Remerciements à Maja Hoffmann
Partenaires Média
Partenaires du Palais de Tokyo
Le Palais de Tokyo / site de création contemporaine /
13, avenue du président Wilson
75116 Paris
Tél. +33 1 4723 3886 & +33 1 4723 3886
fax + 33 1 4720 1531