The Dream of Forms
Images, transcriptions, modelisations, speculative forms produced by inventors and prospective scientists, derived from mathematics, physics, biology, optics or chemistry, for example, join or inspire works resulting from grafts made between art and science, or between speculation and invention, thanks to a good twenty contemporary artists.
With: Francis Alÿs, Hicham Berrada & Sylvain Courrech du Pont & Simon de Dreuille, Michel Blazy, Juliette Bonneviot, Dora Budor, Damien Cadio, Julian Charrière, Sylvie Chartrand, Clément Cogitore, Hugo Deverchère, Bertrand Dezoteux, Mimosa Echard, Alain Fleischer, Fabien Giraud & Raphaël Siboni, Bruno Gironcoli, Spiros Hadjidjanos, Patrick Jouin, Ryoichi Kurokawa, Annick Lesne & Julien Mozziconacci, Adrien Missika, Jean-Luc Moulène, Marie-Jeanne Musiol, Katja Novitskova, Jonathan Pêpe & Thibaut Rostagnat & David Chavalarias, Olivier Perriquet & Jean-Paul Delahaye, Arnaud Petit, Jean-François Peyret & Alain Prochiantz, Gaëtan Robillard, Gwendal Sartre, SMITH & Antonin-Tri Hoang, Anicka Yi
Curators: Alain Fleischer, Claire Moulène
Prior to the exhibition at Palais de Tokyo, a research group was set up at Le Fresnoy with artists (Hicham Berrada, Julien Clauss, Daniel Dobbels, Emmanuel Guez, Arnaud Petit, Olivier Perriquet, Jonathan Pêpe, Jean-François Peyret, SMITH) and scientists from different fields (Ada Ackerman, David Chavalarias, Joseph Cohen, Jean-Paul Delahaye, Annick Lesne, Alain Prochiantz, Jean-Philippe Uzan, Raphael Zagury-Orly), so as to explore collectively the question of “the incertitude of forms”. Their exchanges nourished the exhibition and prefigure the symposium which will be organised on September 5, 6 and 7, 2017 at the Collège de France, on the invitation of its general administrator, the neurobiologist Alain Prochiantz; the debates will be broadcast live at Palais de Tokyo on September 6.
Issue #25 of the magazine PALAIS is entirely dedicated to the exhibition “The Dream of Forms”.
This exhibition benefits from the support of:
Fabien Giraud and Raphaël Siboni’s film benefits from the support of: