Nicolas Bourriaud

  • Pierre Huyghe

    BY SOME STRANGE TWIST OF FATE, major museum retrospectives of Pierre Huyghe and Philippe Parreno—two figures engaged in one of the art world’s most intense dialogues of the past twenty years—were on view concurrently in Paris this winter. But however coincidental the timing was, and however much talk their pairing has generated, these one-man shows are wholly incomparable, even incommensurate. On the one hand, Parreno occupied the totality of the Palais de Tokyo, his work synchronically animating an immense space like the mad computer in 2001 piloting the spacecraft. On the other,

  • Pierre Huyghe

    Since he is part of a generation of artists generally skeptical of retrospective endeavors, it is perhaps remarkable that Pierre Huyghe has agreed to the rules of the career survey. But the Centre Pompidou is expected to adjust its institutional framework in turn to accommodate Huyghe’s complex practice. Those familiar with the French artist’s activity know that he will inevitably enact some portion of his show hors champ and may involve any number of the organisms—dogs, bees, microbes—that have lately proliferated in his work. This will be a genuine retrospective

  • Pierre Restany

    “PIERRE RESTANY? A MYTH.” That was Andy Warhol’s laudatory reply when asked his opinion of the inventor of Nouveau Réalisme, who died in Paris in May. Restany was much more than a curator or a critic as we understand the terms today: He was at once a champion of artists and an entrepreneur of concepts, which he defended with all the power of his conviction. He is mostly remembered for founding the movement, with Yves Klein, Christo, and Jean Tinguely, in the late ’50s. Less known is his more recent and discreet engagement with a new generation of largely European artists—from Pierre Huyghe to