PRINT December 2016

Daniel Birnbaum

View of “Philippe Parreno: Anywhen,” 2016, Tate Modern, London.

1 PHILIPPE PARRENO (TATE MODERN, LONDON; CURATED BY ANDREA LISSONI WITH VASSILIS OIKONOMOPOULOS) Parreno has turned the Turbine Hall into a mesmerizing machine producing light, sound, cinematic effects, and choreography: Inflated fish float in the air, huge planes reminiscent of Russian Constructivism ascend and descend inscrutably in the semidarkness, and a flickering apparatus seems to send out signals that trigger reactions throughout the entire museum. There are echoes of Duchamp and Cage, and even more obviously Richard Hamilton. But this expansive machinery goes beyond such precursors in scale, as well as in speculative ambition, hinting (as we’ve seen before in Parreno’s works) at a grand synthesis of the organic and artificial realms. This vision of futuristic biocomputing materializes as a flagon of yeast whose fluctuations allegedly control the colossal orchestration of

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