• Dammi i colori, 2003.

    Dammi i colori, 2003.

    Anri Sala

    Musée d'Art Moderne de Paris
    11 avenue du Président Wilson
    March 25–May 16, 2004

    Curated by Laurence Bossé, Julia Garimorth, and Hans-Ulrich Obrist

    In a 2000 interview with Hans-Ulrich Obrist, Anri Sala spoke poignantly of contemporary life lived between—between his native Tirana and his adopted home of Paris, between the ancient language of his childhood and the cosmopolitan tongues of the art world. Whether observing the preparation of traditional Albanian pastry in a Brussels kitchen or documenting an eerily depopulated zoo in his hometown, Sala explores this existential indeterminacy with a combination of clarity and wistfulness. He is now the subject of a solo exhibition that includes five recent video works and which occupies the museum’s temporary venue of the Couvent des Cordeliers.

  • Refiguration/Self-hybridization n°4, 1998.

    Refiguration/Self-hybridization n°4, 1998.


    Centre National de la Photographie
    Hôtel Salomon de Rothschild 11 rue Berryer
    March 31–June 28, 2004

    Curated by Régis Durand

    Long the most daring artist in her use of the body as medium, Orlan is both inspiration and freak. In sync with today’s ever more technologically assisted bodies (with retooled personas to match), the Paris-based performer rules as the foremost cyborg in contemporary art. From late-’70s parodies of conventional feminine roles to body-altering plastic surgeries in the ’90s and beyond, Orlan’s importance has yet to be calculated. The CNP aims to find out, devoting its entire space and part of the Centre de Création Contemporaine de Tours to her first retrospective. Some eighty works (from 1964 to the present) in photography, video, installation, and sculpture will be on view, with documentation and relics of her early-’90s surgeries at the CCC.

  • Peau de feuille, 2000.

    Peau de feuille, 2000.

    Giuseppe Penone

    CaixaForum Barcelona
    Av. Francesc Ferrer i Guàrdia, 6-8
    September 21, 2004–January 16, 2005

    Centre Pompidou
    Place Georges-Pompidou
    April 21–August 23, 2004

    Curated by Catherine Grenier

    Well known in Italy and elsewhere in Europe, Giuseppe Penone has never been altogether accepted in the US: Perhaps his sense of nature is too classical for us, too aromatically Mediterranean. (In fact, the Pompidou might think about putting Ovid’s Metamorphoses on the Acoustiguide.) We prefer American contemporaries like Robert Smithson who deal with nature as a brute and impure force. Penone’s sculpture can sometimes appear kitschy, but this arte povera artist can also make exquisitely lyrical studies of humankind’s intricate embedment in the natural world. The eighty works in this retrospective, as well as the curator’s essay and the interview in the catalogue, supply the argument for the European sensibility.

  • Marc Newson

    Fondation Cartier Pour l'Art Contemporain
    261 boulevard Raspail
    January 24–May 2, 2004

    Curated by Hervé Chandes

    Sydney-born, London-based designer Marc Newson once estimated he spent at least one hundred days a year on airplanes. Small wonder, then, that his designs—soft, anthropomorphic, cocoonish—should so often sketch the seductive contours of a lost dreamworld of jet travel. From his rivet-dimpled Lockheed Lounge to his sleek, segmented Qantas Skybed seat to his new Eero Saarinen—inflected, honey-combed Lever House Restaurant interior, Newson rescues the luminous aeronautic future we almost had. Now he unveils Kelvin 40, a “concept jet” in anodized aluminum that also has something under the hood—an engine provided by French aerospace giant Snecma. An essay by Paul Virilio and an interview with Louise Neri occupy the catalogue.