In Loris Gréaud’s work, what is on display is only ever the tip of the iceberg. Likewise, the artist is merely the figurehead for a gigantic production system involving collaborations with architect-designers (with two of whom the artist has founded a production company, DGZ Research), graphic artists, geo-biologists, and sound designers. “I’m like a conductor,” Gréaud said in a recent interview. “My original ideas go through a machine that negotiates them, distorts them, and distends them,” allowing him to be “both emitter and receiver” of his own works—an analysis confirmed by his recent

Artists like twenty-nine-year-old Clément Rodzielski, who hails from the French Southwest and went to school in Paris, may signal a new direction in France today. Their work, which employs methods on hand consistent with conceptual content, is a welcome break from the fixation on high production values and the spectacular that was rife among the previous two generations of French artists. Rodzielski’s exhibition “Grands a” (Big A’s) strikingly disarranged Cardenas Bellanger’s space with little more than ink-jet prints on paper, pre-existing offset-printed items, and MDF panels (all works Untitled