paris

“Ce qui arrive . . .”

Fondation Cartier Pour l'Art Contemporain

The gnawing question raised by “Ce qui arrive . . .” (What happens . . . , officially translated as “Unknown Quantity”), the exhibition at the Fondation Cartier conceived by technology theorist Paul Virilio and cocurated by Leanne Sacramone, is how this trial run for Virilio’s prospective “Museum of Accidents” could possibly have fixed on the destruction of the World Trade Center as the exemplary case. Yet at the core of this show, labeled “The Accident,” five extemporaneous recordings of the event by Tony Oursler, Moira Tierney, Jonas Mekas, and Wolfgang Staehle established an unequivocal center of gravity that pulled ineluctably on thirteen similarly shrouded black-box film installations selected, one can only imagine, less along the lines of intrinsic interest or quality than of brute homeomorphism: smoke (Peter Hutton), explosion (Bruce Conner, Cai Guo-Qiang), demolition (Dominic

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