Musée d'Art moderne de la Ville de Paris

Unlike most thematic exhibitions, which in their attachment to illustrating an idea become mired in a fairly colorless systematic display, “Voilà: Le Monde dans la tête” (Voilà: The world in mind) stood out for its freshness and originality. As articulated by Suzanne Pagé in the supplement to Les Inrockuptibles that served as a catalogue, the goal of the show (cocurated by Pagé and Béatrice Parent) was to look at the century now ending through works that evidence memory and the recording of time, using techniques that involve “encyclopedic compulsions, fragile biographical traces, learned systems of acquisition, whether loose or methodical.” We are not far from Georges Perec, and the exhibition thus managed to touch on the encyclopedic more through the artistic processes used than through the show’s installation. It is here, perhaps, that the realization of this exhibition seems a bit

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