Jérôme Sans

  • Markus Hansen

    Born in Germany in 1963, Markus Hansen belongs to a generation of artists still coming to grips with the trauma of their country’s Nazi past. While he has often looked to the history and symbols of his fatherland as fodder for his art, in his recent two shows, autonomous yet complementary vignettes, Hansen established a radical position for himself vis-à-vis his generation’s demanding, often suspicious relationship with the past. (Although not formally affiliated, Hansen’s concurrent installation at Gilles Peyroulet, Dürer’s Pillows, 1996–98, three-dimensional re-creations of the old master’s

  • Cétinié Biennale

    Like certain small towns of the American West, beyond the storefronts of Cetinje’s main street lie prairies and mountains. Many of the buildings are empty, as in a ghost town, but the dignified architecture and pastel colors of the vacant palaces and decaying embassies recall the cosmopolitan past of this small city, once the capital of Montenegro. When Nicolas Petrovitch Njegosh, a Parisian architect and prince of this former kingdom by birth, decided to launch a biennial art exhibition here in 1991, he faced a challenge, given the situation in Yugoslavia and Cetinje. In fact, the second biennial

  • Jochen and Esther Gerz

    Jochen and Esther Gerz have been collaborating since 1984 on interactive public projects. Among the most notable of these was Monument against fascism, realized in Hamburg in 1986, a work consisting of a twelve-meter, lead-covered column that was progressively lowered into the ground as it was covered with signatures and inscriptions by passersby. In 1996 they also published the question “If the twentieth century were to start over, what would you change?” in a Ruhr newspaper—later presenting readers’ responses in a book and an exhibition. In their recent show, the Gerzes chose to display three

  • Joseph Grigely

    Joseph Grigely’s recent exhibition in Limoges, entitled “Conversations & Portraits,” presented a number of the works he calls “conversations.” Each of these pieces consists of a typed, framed text that sketches a particular situation; this text is hung on a wall along with an array of colored pieces of paper covered with handwritten messages. When he meets people, Grigely, who has been mute since an accident that took place when he was eleven, asks them to write down what they would like to say to him by using pieces of colored paper that he carries in his pocket. The messages in his work are

  • Fariba Hajamadi

    For about ten years now, Fariba Hajamadi has been assembling an “archive” on museums and historical monuments located in places to which she has recently traveled. Hajamadi is primarily interested in the ways in which the West has represented other cultures and histories, and in particular how artworks have been catalogued and exhibited both in their countries of origin and in foreign institutions. The artist notes: “1 found myself taking on the role of the observer or tourist, photographing the sites of historical monuments as well as museums in these various countries. What interested me was

  • Musée de l’objet

    THE RECENTLY INAUGURATED Musée de l’objet in Blois marks the first time a museum has been devoted solely to tracking the everyday object as tt appears, disappears, and reappears In 20th-century art. Situated In one of several buildings that comprise Blois’ École des Beaux-Arts, a former Minim convent, this stunning exhibition space was built in Just two years. Given the number of oddly interchangeable glitzy institutions that cropped up seemingly everywhere In the ’80s, the city of Blois should be commended for having chosen an already existing structure whose humble origins seem oddly appropriate

  • Huang Yong Ping

    Huang Yong Ping’s site-specific installation, entitled Trois pas, neuf traces (Three steps, nine paths, 1995–96) reflected on the differences between various Chinese traditions and those of other cultures. In the past, Huang’s work often consisted of intricate networks of disparate elements that include references to Chinese culture, but many of those works remained somewhat hermetic. In this installation, however, the references to Chinese culture served above all as a textured, resonant background to the work.

    Upon entering the space, the spectator was forced to step onto a “continent” formed

  • Douglas Gordon

    Ever since Douglas Gordon re-presented Alfred Hitchcock’s Psycho—without a soundtrack and slowed down so that it took 24 hours to screen—at Glasgow’s Tramway in 1993, he’s been an ubiquitous figure on the British art scene, and has called attention to Glasgow, where he is based, as one of the new breeding grounds of the cutting edge. His recent installation at the Centre Pompidou confirmed the multidimensionality of his work, which typically creates psychological spaces that induce perceptual confusion.

    Appropriately entitled “Fuzzy Logic,” this show was intentionally chaotic. Defying institutional

  • Chen Zhen

    Chinese artist Chen Zhen’s Champ de désinfection (Field of purification, 1995) transformed the exhibition space into a trajectory that mirrored the artist’s journey from his native China to France. At the entrance a modest cabin made of wood disrupted one’s usual course through the gallery. Inside its cramped interior, intravenous bottles filled with mud hung next to a bed and a table, as though someone had just been given a soil infusion. The cabin had the standard dimensions of a Parisian maid’s room, evoking the one in which Zhen lived for almost four years when he first arrived in Paris. It

  • Martine Aballéa

    Martine Aballéa has always invented stories that emphasize the extremely fluid line that divides fiction from reality. Because of the saturation of our environment with media images, the real seems closer to fiction, at the same time that extreme situations begin to look banal. The point, however, is not to play on the gullibility of the viewer, nor to determine what is true and what isn’t. Aballéa invents stories that construct a universe, one that is as marvelous as it is monstrous. But if previously her photos, vi trines, and other presentations were combined quite systematically with a

  • Beat Streuli

    Beat Streuli’s most recent photographs, made in New York during a long stay in 1994, underscore the particularity of that city, which more than any other in the world is marked by a constant flux of bodies in the streets, bodies that form part of a collective but remain seemingly unaware of each other. Jean Baudrillard described New York as “the city [that] never empties. Everyone is in some way assigned to a stage set. It is practically useless to question the destiny of all the accelerating particles. This absolute mobility is a prodigious phenomenon. This phenomenon almost constitutes a

  • Dennis Adams

    Despite international recognition, Dennis Adams is, curiously, an artist whose work is little known in his own country. This is all the more surprising given that since his first appearance in Europe in the 1987 show in Münster entitled “Skulptur-projekt” (Sculpture-project) he has become an ubiquitous figure there, constantly solicited for public art projects. Adams’ first U.S. museum-scale exhibition (the last of a series of solo shows organized for the museum by curator Peter Doroshenko) brought together in one space more than twenty works created for exhibitions and public art projects in