Mark Geffriaud triggered an explosion of references with the extremely long title of his exhibition, which, in its abbreviated version, reads, “All that is said is true, all the time, all the time . . . on October 26th.” Its opening lines were appropriated from a poem by musician and performance artist Genesis Breyer P-Orridge, to which Geffriaud appended the announcement of the French release date of Marie Losier’s 2011 film about him, The Ballad of Genesis and Lady Jaye, which documents P-Orridge’s and his second wife Lady Jaye’s manipulation of their bodies in order to become a single “

In the nine untitled works presented here, all from 2010 and 2011, Stéphane Bordarier pursues the exploration of painting—more specifically, of color—that he began in the early 1980s and has since steadily deepened. As in the past, he works on his canvases flat, spreading out the paint with the aid of spatulas or scrapers over a base of wet rabbit-skin glue, the drying time of which determines the duration of the piece’s execution—a few hours at most. During this process, the color not only attaches itself to the support but also acquires, as it mixes with the glue, a material