previews

  • Dominique Gonzalez-Foerster, Pierre Huyghe, Phillipe Parreno

    Musée d'Art moderne de la Ville de Paris
    11 avenue du Président Wilson
    October 8–November 29, 1998

    Dominique Gonzalez-Foerster makes moody installations out of furniture, wall hangings, and lighting. Pierre Huyghe stages what he terms “givings” or “dedications”—something like the inverse of appropriation—by having nonprofessional actors reenact scenes from classic films like Rear Window. Philippe Parreno has a well-known German anchorwoman recite, in measured, airwave-friendly tones, a Maoist harangue. In this exhibition curated by Angéline Scherf and Laurence Bossé, three of the most talked-about young French artists today are presented in a survey of their individual projects—as well as in a set of works made collectively.

  • Pierre Alechinsky

    Musée National du Jeu de Paume

    September 15–November 22, 1998

    Painter, collagist, printmaker, filmmaker, and calligrapher Pierre Alechinsky has long been identified with Cobra, the collection of Copenhagen, Brussels, and Amsterdam artists linked (via Guy Debord) to the wider ethos of French intellectuals in the ’50s and ’60s. But who is Alechinsky beyond Cobra? With this retrospective of more than 100 works from 1948–97, Jeu de Paume director Daniel Abadie intends to find out. Expect a fuller picture to emerge of an artist whose interest in melding painterly surfaces, graphics, political action, and performance makes him an interesting precursor—more kindly uncle than forbidding forefather—to a whole generation of younger polymaths.

  • Johan van der Keuken: Le Corps et la Ville

    Various Venues

    October 13, 1998–February 14, 1999

    After more than forty years of pursuing the “fiction of the real” through photography, film, and video, Johan van der Keuken has mounted not a retrospective but a multisite “production” of his work, conceived in collaboration with Jeroen de Vries. Seven photo and/or video installations, plus the artist’s latest film, juxtapose, decompose, and recompose still and moving images, while two photo exhibits and two film series provide an overview of the artist’s work. As befits the notion of “Body and City,” it’s all being presented at various sites in Paris (the Institut Néerlandais, the Maison Européenne de la Photographic, the Maison de l’Amérique Latine, and the Jeu de Paume) and Tourcoing (the new Fresnoy art school).

  • Issey Miyake

    Fondation Cartier Pour l'Art Contemporain
    261 boulevard Raspail
    October 13, 1998–January 17, 1999

    The pleated, gossamer synthetic that remains Issey Miyake’s trademark is not just a token of the designer’s interest in advanced technological research; that Miyake also intends it as homage to the great designer Fortuny indicates his enthusiasm for the creative work of others. Show organizer Hervé Chandès hopes to emphasize less the familiar pioneer of destructured Japanese fashion (the “lab technician” closely associated with the engineers and inventors of new fibers) than the maverick artist and collaborator. The show highlights Miyake’s work with contemporary artists, including Yasumasa Morimura, Tim Hawkinson, Cai Guo Quiang, and Nobuyoshi Araki for the designer’s series “Pleats Please.”