The works of Claude Lévêque, installations based on everyday objects, can be easily described. For instance, Deviation (all works 2008): a shelter made of thirty-two car hoods in which a Venetian-style chandelier glows; or Untitled, which was suspended from the ceiling of the gallery: various objects (two children’s scooters, linked together, two walkers subjected to the same fate, a wooden pantry containing two tiaras) rotating in front of a white nylon veil that is raised by a breeze produced by a fan, to a sound track derived from a looped sample of “Honky Tonk Women” by the Rolling Stones.

“The world remains whatever happens.” This phrase, which ends Marc Desgrandchamps’s biographical statement in a recent monograph, suggests some of the paradoxes apparent in his work: issues of permanence and event, timeless continuity and sudden presence, the known and the unexpected, stable reference and unspecified expectation. There is a sense of suspended temporality in his paintings, which are metaphors for both memory and forgetting. His recent show at Galerie Zürcher, featuring twenty works (all Untitled, 2007), revealed how the artist increasingly has been playing with the transparency