Paris

Bruno Peinado

Palais de Tokyo

It was the world turned upside down: In the entrance of the Palais de Tokyo, Daniel Buren had replaced his signature 3.39-inch stripes with colorful pop circles; through the looking glass, Bruno Peinado, a rising figure on the French scene, created a raucous and voracious exhibition around a huge open book . . . which, of course, was striped! Beyond an amused wink at his exhibition neighbor, Peinado was thinking, above all, of the gallery of ancestors that opens every volume of Tintin—except in Peinado’s version the family portraits have been carefully removed, leaving the barely visible traces of discarded paintings in their place. Appropriating Hergé’s tortuous account of his hero’s origins, the artist asserts that “the entire history of humanity is perturbed by this question of genealogy. For me it was a matter of symbolically undoing filiation and thus heritage.”

This is a strange

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