Elisabeth Lebovici

  • Eduardo Basualdo, Le silence des Sirènes, 2011, resin, pigmented water, apples, pipes, diving equipment. Installation view, La Sucrière.

    the 11th Biennale de Lyon

    THE BIENNALE DE LYON is “historically a Biennale d’auteur,” observes Victoria Noorthoorn in her curatorial statement for the exhibition’s eleventh edition. Given the connotations of the word auteur, it is striking that Noorthoorn’s primary gesture is the acknowledgment of uncertainty. “I have chosen to do as artists do: to grope, in the midst of a darkness,” she writes, by way of introduction to a set of nineteen fragmented and elliptical “convictions and questions,” many premised on the productive separation of art from the real. (“Imagination is the primary medium of knowledge. . . . Following

  • “Féminin-Masculin”

    FEMININ-MASCULIN, LE SEXE DE L’ART (Feminine-masculine, the sex of art), the first museum-size exhibition on French shores to address how visual art is traversed by the question of sexual difference, was, of course, eagerly anticipated. Comprising 500 works drawn from 20th-century-Western art that were displayed across the entire fifth floor of the Centre Pompidou—not to mention the gallery spaces on the ground floor—and accompanied by a 400-page catalogue,1 this survey of the “sex of art” certainly contained the stuff of fantasy. Two artistic approaches to sex served as a point of departure