• Marisa Merz

    Centre Pompidou

    Marisa Merz envisions her work as an organic whole, without separate titles and dates for individual pieces. Everything is articulated in the present, in this present in which she has reorganized the space and time of the appearance of every single work. Thus, she bridges the distance between the moment of creation and that of exhibition, a distance that she has always marked. This was a far cry from a traditional retrospective; it was instead a global view where each piece seemed contemporaneous with the others.

    At the entrance was an extraordinary duet: on a thin tripod, a clay sculpture acted

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  • Claude Lévêque

    Galerie de Paris

    In the middle of the gallery stood a kind of shelter or rectangular cell made of unpainted cinderblocks, with a very narrow opening with just enough room for a mattress, lying on the floor and spray-painted in silver. Four radios that didn’t seem to be working right formed a square of broadcast static, and everything was bathed in harsh light.

    For a long time, Claude Lévêque’s work was attributed to the French mania for introspection, psychologizing, and nostalgic recollection. This was akin to an attempt to hide his luminous violence, which, to put it succinctly, is closer to the sensibility of

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