paris

Fabrice Hybert

Galerie Anne de Villepoix

Literary critic Lucien Dallenbach, who has previously written on Balzac, Claude Simon, and the Nouveau Roman, among other things, recently proposed a new metaphor for contemporary society: What if today’s world took the form of a mosaic? Indeed, this ancient art is making a strong comeback of late: From the patchwork screens of CNN to the parceled urbanism of New York and Marseilles, from models for the structure of genes to the covers of magazines, or by way of the fragmented and kaleidoscopic narratives of today’s novels, the mosaic has imposed itself as a form that structures our world, superseding such old models as the melting pot, the Deleuzian rhizome, and the network. A fragmented world, but one that valorizes each of its fragments—singular elements, cells living autonomously in the protean whole.

It may be no coincidence, then, that a mosaic was exactly what Fabrice Hybert

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