In 1925, Ireland-born architect and designer Eileen Gray began work on a minimalist villa, E-1027, in the southern French commune of Roquebrune-Cap-Martin. In collaboration with Jean Badovici, Gray conceived the innovative project as a dynamic marriage of tight forms and flexible spaces. Gray’s contemporary, Le Corbusier, quickly developed a fierce admiration of the house, and in 1938 and 1939, he painted a series of murals on its interior walls. Using Gray’s clean, reductive architecture as a canvas on which to project his own vision, Le Corbusier went beyond the role of engaged spectator. His

Pascal Broccolichi’s works have long explored the boundaries between sound and vision. In this recent exhibition, he presented an installation that highlights sound along with four photographs (three in the exhibition space and one in the gallery office). It was at first difficult to connect these two sets of work, and the title of the exhibition, “Dispersion,” seemed to be justified by the apparent heterogeneity of its means and motifs. Sonotubes II, 2008, is an intriguing installation whose formal purity evokes minimalist sculpture as much as hi-fi equipment, industrial machinery, or spacecraft;