PALAIS offers an in-depth perspective at the exhibitions and the program of the Palais de Tokyo. Each season, the magazine places considerable emphasis on the artists’ self-expression, while inventing new kinds of interventions. It is open to other fields and other temporalities, thus becoming a tool for the comprehension of the present.
Echoing the Palais de Tokyo’s new season, this issue of PALAIS is infused with the poetic genius of Raymond Roussel, great explorer of invented worlds, causing us to topple over and over again into different mental geometries.
Contents of this issue: essays by Matthieu Poirier on Julio Le Parc, Niklas Maak on François Curlet, Dieter Roelstraete and Yann Chateigné Tytelman on recent works by Joachim Koester, Amélie Lavin on Dewar & Gicquel; a visual contribution by Evariste Richer; a focus on seven artists from the emerging contemporary scene (Marcos Avila Forero, Hicham Berrada, Gauthier Leroy, Lars Morell, Jean-Michel Pancin, Pierre Paulin, Clémence Seilles); under the heading “Hell as discussion,” Nadja Argyropoulou, curator, and Yorgos Tzirtzilakis, architect, discuss Greece’s “demonization” as a symptom of the European crisis.
PALAIS also invites François Piron, curator of the exhibition “New Impressions of Raymond Roussel,” to create a dossier in dialogue with this venture. In it, he comments on the writer’s whimsical personality and on his mysterious work in which, as Roussel stated, “Nothing real can be allowed to enter.” Accompanied by historians of art or literature, by critics and artists, Piron approaches the topic diagonally to consider the propagation of Roussel’s work through that of many artists.
Main dossier conceived by François Piron, with texts by Lorenzo Benedetti (on Mark Manders), Marie de Brugerolle (addressing the subject of Roussel’s Californian heritage), Bernard Marcadé (on the congruencies between Duchamp and Roussel), Alain Quella-Villéger (on the relationship between Roussel and Loti), and including an excerpt from Rodney Graham’s “Roussel-ian” novel.