Rahma Khazam

  • Bethan Huws, Perroquets (Parrots), 2008, three bronze casts, 6' x 27 x 27".
    picks June 23, 2015

    Bethan Huws

    For over fifteen years now, Bethan Huws has been carrying out in-depth research on Marcel Duchamp that finds its way into her artworks and exhibitions. Her latest show, “Zone,” explores the influence of the poet Guillaume Apollinaire on Duchamp’s art. Huws’s L.H.O.O.Q.,1919, 2011, for instance, is a wall text that attributes the inspiration for Duchamp’s L.H.O.O.Q., 1919—a reproduction of the Mona Lisa to which he added a mustache and a beard—to the fact that in 1911 Apollinaire spent a week in prison after having been accused of stealing that very painting. Also displayed are the dense Research

  • Nina Beier, The Demonstrators (Broken Rope), 2013, wall-mounted radiator, C-print of an image found in an online image database on blue-back paper, dimensions variable.
    picks July 19, 2013

    “L’Image dans la sculpture”

    A welcome break from the blockbuster exhibitions that are a staple of the Pompidou, “Image into Sculpture” is a foray into more adventurous territory, both artistically and curatorially. Put together by Pompidou curator Christine Macel in collaboration with artist Navid Nuur, the show testifies to the rise of the artist-curator, a phenomenon seldom acknowledged by large institutions given their rigid organizational structures. Even more important, it reverses long-standing preconceptions regarding interdisciplinary practice, by showing that media are not fixed entities whose frontiers artists

  • View of “L’exigence de la saudade,” 2013.
    picks July 19, 2013

    “L’exigence de la saudade”

    The outcome of Bombay-based Clark House Initiative’s curatorial residency at Kadist, “L’Exigence de la saudade” (The Urgency of Nostalgia) is both a testimony to the ebullience of the burgeoning contemporary art scene in India, and a reminder of the specificity of its cultural and historical roots. Not only does it establish connections between the contemporary works on display and Indian politics, architecture, and dance, but it also retraces the continuities—and discontinuities—in the evolution of Indian art by including works realized in the 1960s and ’70s by a previous generation of

  • Liam Gillick, Benoît Maire, and Falke Pisano, The Lie and The Powerpoint (detail), 2013, video projection, PowerPoint with audio, fish decal, canvas, plastic, wood.
    picks June 05, 2013

    “The Lie and the Powerpoint”

    The latest addition to Parisian project space Shanaynay’s innovative exhibition program, “The Lie and the Powerpoint” stages a unique encounter between the art of Liam Gillick, Benoît Maire, and Falke Pisano. Rather than presenting three separate works on a common theme, it amalgamates the three participants’ ideas and intentions into a single piece. Like these artists’ previous cooperative endeavors—whether with other practitioners or each other—it implies the relinquishment of individual authorship and expression, while confirming that collaboration has become, as critic Godfrey Worsdale has

  • Ryan Gander, Ampersand (detail), 2012, mixed media, dimensions variable.
    picks November 09, 2012

    Ryan Gander

    The inaugural show in a series revealing the workings of the artist’s mind, “Esperluette” (Ampersand) highlights salient aspects of Ryan Gander’s methodology—and not least his proclivity for challenging established systems of thought. Take the multipart installation Ampersand (all works 2012), consisting of a succession of disparate items, ranging from a mushroom knife to a worn blackboard to a pair of pajama bottoms emblazoned with the I LOVE NY logo. Transported along a conveyor belt, these items file slowly past the viewer, visible through an opening in the wall. Eluding classification, they

  • View of “Altered Earth,” 2012.
    picks November 07, 2012

    Doug Aitken

    Doug Aitken’s monumental filmic installation Altered Earth, 2012, presents fragmented and nonlinear vistas of disparate images and sounds that never gel into a logical, reassuring whole. Commissioned by the LUMA Foundation for a 50,000-square-foot disused depot in Arles, the site-specific fifty-five-minute work features numerous scenes filmed in the adjacent unspoiled Camargue region. Twelve giant screens placed at different angles to one another offer majestic views of pristine marshlands with grazing horses and colonies of pink flamingos, which sit uneasily alongside more somber shots of an

  • Yves Marchand and Romain Meffre, Ballroom, Lee Plaza Hotel, Detroit, 2006, color photograph, 38 x 47".
    picks March 12, 2012

    “LE SILENCE Une fiction”

    In Werner Herzog’s science fiction fantasy The Wild Blue Yonder, 2005, a space expedition returns to earth to find that human civilization has been wiped out. The exhibition “LE SILENCE Une fiction” builds on this scenario, offering a snapshot of a postapocalyptic world filled with archaeological remains in the form of works representing extinct flora and fauna, extant architectural monuments, or devastated urban sites. Consisting of photographs, paintings, videos, and sculpture, they constitute the building blocks of a compelling, albeit open-ended narrative, triggering—like science fiction

  • View of “Du Monde clos à l’univers infini” (From the Closed World to the Infinite Universe), Le Quartier.
    picks March 07, 2012

    Du Monde clos à l’univers infini” (From the Closed World to the Infinite Universe)

    When the expanded-cinema movement of the 1960s and ’70s brought moving images out of the closed confines of the movie theater into the open spaces of the art gallery, it not only undermined cinematographic conventions but also questioned these images’ power and significance. Fifty years on, this exhibition brings together pioneering works from that era and pieces by contemporary artists with similar concerns: abstraction, mixed-media presentation, multiple screens, and the deconstruction of the projection event. Many echoes are to be found here, but rather than a nostalgic return to the past,

  • View of “Antic Measures,” 2012. Foreground: Manfred Pernice, Aufbau (Construction), 2010. Background: Esther Kläs, 3 Solitare, 2011. Middle: B. Wurtz, The Secret of the Pyramids, 1987.
    picks January 05, 2012

    “Antic Measures”

    At a time when the practice of transfiguring the commonplace is itself commonplace, this timely group exhibition infuses the cult of the banal with an uncommon playfulness and sensuality. Some of the pieces shown here endow mundane objects with an expressive presence through finely tuned changes of scale. In Lou Hubbard’s surreal video Hack, 2006, a small rubber horse dragged by a string makes its way amid giant makeshift obstacles ranging from an empty Scotch tape dispenser to a transparent plastic ruler, giving a dramatic intensity to the mechanisms of submission and power. Other works use

  • Neil Beloufa, Untitled, 2011, mixed media, 59 x 79 x 95 1/2".
    picks December 01, 2011

    Alex Cecchetti, Mark Geffriaud, Florian Pumhösl, Neil Beloufa

    Repetition and recurrence were the leitmotifs of three outstanding shows this year. At each performance of Alex Cecchetti and Mark Geffriaud’s “The Police Return to the Magic Shop,” 2011, at Jeu de Paume, two actors declaimed the same disjointed monologues—that coalesced into improbable dialogues—while repeatedly pulling, pushing, picking up, and putting down the objects around them in accordance with the rules of a hard-to-fathom game. An acerbic reconfiguration of day-to-day reality, the piece underscored the predictability of human discourse and activity.

    Employing the vocabulary of abstraction,

  • Cyprien Gaillard, Geographical Analogies (detail), 2006–11, mixed media, dimensions variable.
    picks November 15, 2011

    Cyprien Gaillard

    Cyprien Gaillard’s exhibition at Centre Pompidou—one of the perquisites of winning the 2010 Marcel Duchamp Prize—is less a celebration than a chilling meditation on the relationship between architecture and nature, and on the inexorable increase of entropy and decay. Setting the tone for the entire show, the installation Geographical Analogies, 2006–11, which consists of 882 Polaroids arranged in ninety-eight display cases according to visual and thematic affinities, is an atlas of ancient ruins—and deteriorating contemporary constructions that will one day be ruins themselves. Here, no particular

  • View of “Equality Float,” 2011.
    picks October 15, 2011

    Thomas Hirschhorn

    With “Equality Float,” Thomas Hirschhorn pursues his research into the intersections between art and philosophy. Following up a string of works ranging from 24h Foucault, 2004, to The Map of Friendship Between Art and Philosophy, 2007, a joint realization with philosopher Marcus Steinweg, his titular mega-installation at La Douane is a political, ethical, and historical critique of the much-abused concept of equality.

    The egalitarian nature of Hirschhorn’s works, designed for a nonexclusive audience, is reflected in the symbol of the float––a festive mobile platform designed to reach the widest