• “Sheila Hicks: Life Lines”

    Centre Pompidou
    Place Georges-Pompidou
    February 7 - April 23

    Curated by Michel Gauthier

    The American artist Sheila Hicks will finally have her first retrospective in Paris, her adopted home. A Nebraska native and a former student of Anni and Josef Albers, Hicks has created monumental fiber sculptures since the late 1950s. Early on, these works took the form of interior—design commissions for corporate and public spaces; later, she made a turn toward dimensional sculptural forms that drape and unfurl. As a peripatetic expatriate, Hicks produced site-specific sculptures and installations that explored indigenous weaving practices in Mexico, India, Morocco, Israel, and elsewhere, long before the term globalization came into vogue. A progenitor of material—driven installations, she has created projects that privilege abstraction, utilizing a vast textile vocabulary of bundling, heaping, coiling, braiding, weaving, and wrapping. Hicks is, at heart, a formalist, building a complex and dense palette of color, volume, texture, and space. A bilingual catalogue will accompany the show, featuring essays by Monique Lévi-Strauss and Cécile Godefroy.

  • “Neïl Beloufa: The enemy of my enemy”

    Palais de Tokyo
    13, Avenue du Président Wilson
    February 16 - May 13

    Curated by Guillaume Désanges

    In his videos embedded in sculptural environments, as well as in his first feature film, Occidental (2017), Neïl Beloufa has made a strategy of sidestepping expectations to redirect attention to structural questions of politics and power. Here, Beloufa ups the ante of his culture jamming to expose the discourses and strategies of modern propaganda across the board, from Far Left to Far Right. The clincher is that the exhibits—including artifacts such as a baseball signed by Tony Blair, loans from museums of military history, and artworks by the likes of Gustave Courbet and Thomas Hirschhorn, as well as by Beloufa himself—are installed on robotically controlled display units. The automated rearrangement of these displays continuously makes and unmakes the connections between them, forcing a literal and metaphorical repositioning of the viewer in relation to the panoply of competing ideological agendas that define our time, and the art made within it.