• Piero Manzoni, Pino Pascali, Ettore Spalletti

    Musée d'Art Moderne de Paris

    This show did not sanction a linear historical development but focused on an individual view of each of these three artists. The exhibition’s continuity was developed by means of a thread that didn’t obfuscate the differences among them, but exalted them, giving voice to the dialogue of constant contemporaneity. Contemporaneity is renewed in the moment that—as Piero Manzoni would say—we recognize the necessity to assume responsibility for our own actions. Isolating each artist’s work in terms of his individual development renews our debt to their innovations because it opens a dialogue with the

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  • Marylène Negro

    Galerie Jennifer Flay

    Among the new generation of artists who have emerged in France over the past five years, Marylène Negro is unique in that she rejects both the object and the spectacle. Cold and experimental, her work does not posit fictional situations, rather, it sets forth procedures of observation. It consists most often of a light table and a magnifying glass, with which one may examine a profusion of transparencies. The image is thus objectified, as a body to be manipulated and examined, multiplying itself in metastasis. But what Negro gives as reference are not images so much as linguistic and taxonomic

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  • Christine Spengler

    L'Espace Photographique

    With time and forgetting, all war photographs probably become antiwar photos. But Christine Spengler’s black and white “witnesses,” as she calls them, hardly need to wait for the allegiances and enthusiasms of the moment to fade. Not that these are atrocity pictures: in this retrospective exhibit, entitled “De la Guerre et du Rêve” (Of war and dreaming), she has spared us the blood and gore, the mangled bodies and leveled buildings, the violence, the fear, the hysteria. Even the soldiers are scarce, and the great leaders nonexistent. No, hers is the view from between the battles, when life, such

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