Jean-Max Colard

  • picks April 17, 2001

    Francis Alÿs

    Francis Alÿs in Antibes

    After two shows devoted to the history of walking in twentieth-century art, the Musée Picasso in Antibes is concluding its “Century of Surveyors” series with the first solo show in France of Belgian-born artist Francis Alÿs. Alÿs studied urbanism and architecture prior to his career as an artist, and has lived in Mexico City since 1987. Since then, he has made his adopted megalopolis a source of deep inspiration for his work and thought. For a 1994 project Magnetic Shoes, Alÿs walked through the city wearing a pair of magnetic shoes, picking up loose change, pins, bits of metal—intimate souvenirs

  • Malachi Farrell

    In installations full of thundering and disorderly machines, the Irish-born artist Malachi Farrell presents the world at its most aggressive, with the accent on irruptions of violence, sonic pollution, and collective outbursts. One may recall in particular his piece Hooliganism, 1997, which simulated and exaggerated the hysteria of soccer stadiums, with recorded screams, mechanically shaken bleachers, and fake money falling from the ceiling like confetti. Or his disconcerting reconstruction of an execution in Nature Morte (Les Chaises Electriques) (Still life [electric chairs]), 1997, where two

  • picks March 10, 2001

    Gillian Wearing: Under the Influence

    Gillian Wearing gets under your skin in Paris

    While Parisian art exhibitions buckle under the fuzzy palette of “Les Années Pop” at the Pompidou Center or the speckled surfaces of Yayoi Kusama’s five splendid installations at the Maison du Japon, at the Musée d’Art Moderne de la Ville de Paris, English artist Gillian Wearing’s mini-retrospective deploys video work that is somber, quieter, and full of a great deal of internal violence. Here nameless people offer up a grotesque compilation of traumatic childhood memories and narratives, some verging on sitcom. In I Love You, 1996, Wearing stages the hysteria of a desperate woman; in Sacha and

  • Xavier Veilhan

    Xavier Veilhan is an inventor of inventions, an artist-engineer who seeks the split second just after creation, the fragile moment of hesitation when anything is possible. He seeks the instance of the prototype. Take his recent solo show at Le Magasin, which featured La Ford T, 1997–99, a sculptural pad reconstruction of the Ford Model T. Moving back and forth on a metal rad that calls to mind assembly lines, La Ford T consists only of the car’s frame, steering mechanism, wheels, and motor; it is a blueprint, an outline—a calculated mix of industrial prototype and Minimalist sculpture.

    On view