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El Anatsui, Broken Bridge, 2012, mixed media. Installation view, Galliéra, Musée de la Mode de la Ville de Paris. Photo: André Morin.

La Triennale: “Intense Proximities”

El Anatsui, Broken Bridge, 2012, mixed media. Installation view, Galliéra, Musée de la Mode de la Ville de Paris. Photo: André Morin.

“INTENSE PROXIMITY” is a sexy name for an exhibition showcasing art produced for a postcolonial era. It intimates a situation in which distinct cultures, thanks to new technologies and economies, are brought within kissing distance of one another, even if they ultimately end up coming to blows. And by privileging proximity over, say, mixture, an exhibition can explore the differences that persist despite the homogenization that rhetorics of Western globalism often favor. Such was the accomplished goal of La Triennale 2012, which opened at the newly renovated and expanded (though still tastefully grungy) Palais de Tokyo this spring. Organized by veteran perennial curator Okuwi Enwezor (along with Mélanie Bouteloup, Abdellah Karroum, Émilie Renard, and Claire Staebler), “Intense Proximity” assembled more than one hundred image and object makers from scores of countries (with a

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