Patrick Faigenbaum

Musée du Louvre

With all due respect to the artist, the first thing that came to my mind—once the visual and emotional shock of his monumental two-part photo installation “Louvre et Chaussée d’Antin” subsided—was a one-line joke: “What’s the difference between a tailor and a psychoanalyst? One generation.” For the visitor, Patrick Faigenbaum’s artistic variation on the generic saga of the Eastern European Jewish immigrant began with “Palmarès,” 2004, a mosaic of the ten large-format color photos disposed along the wall opposite the entrance to the vast workshoplike space that the Louvre has recently devoted to interventions by contemporary artists. These lush, large-format tableaux vivants represent the final days of Palmarès (literally, “prize list”), the clothing boutique on rue de la Chaussée d’Antin run by Faigenbaum’s aunt for more than thirty years. Like a visual countdown, the photos mark the end

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