PRINT Summer 1995


Pascaline Cuvelier

FROM THE VERY BEGINNING of the year, what’s been shaking up the Paris art scene has been more political than artistic in nature. No more glosses on post-Minimalism or post-post-Conceptualism, on the ubiquity of installation art, on the phantomlike return of “real” painting or of postpainting. No more taking the crisis generation seriously, with their trashy language punctuated by lots of “I, um, like, uh.” Those fiery discussions about museum curators playing not just the directors’ role (as in the theater, if not the circus) but also the artists’, casting (real) artists as extras in their own shows—all forgotten. Politics has overshadowed everything.

To watch a right-wing president take over from a left-winger is to know the worst has arrived, as it did on Sunday May 7 with the election of Jacques Chirac. The funniest and most popular show on television, Guignois de l’Info—a Spitting Image

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