Centre Pompidou

THERE IS A SEQUENCE in René Clair’s Entr’acte (1924) in which the image of a folded-paper boat floating on a deluge of water is superimposed over shots of the rooftops of Paris, so that it seems to be moving through the watery skyline of a mysteriously postdiluvian city. Watching the film at the Centre Pompidou, where it was screened as part of the exhaustive survey exhibition “Dada”—jointly organized by the Centre Pompidou and the National Gallery of Art, Washington, DC, in collaboration with the Museum of Modern Art, New York, and spearheaded by curators Leah Dickerman, of the National Gallery, and Laurent Le Bon, of the Pompidou—one could not help but feel a similar sense of elation and immersion. The Paris incarnation of the show was a sea of paper, engulfing the viewer in copious quantities of collages, letters, manuscripts, drawings, notes, diagrams, posters, photographs, albums,

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