paris

Pierre Huyghe, Untitled (Weather Score), 2002, mixed media. Installation view, 2013. © Pierre Huyghe/Artists Rights Society (ARS), New York/ADAGP, Paris.

Pierre Huyghe

Centre Pompidou

Pierre Huyghe, Untitled (Weather Score), 2002, mixed media. Installation view, 2013. © Pierre Huyghe/Artists Rights Society (ARS), New York/ADAGP, Paris.

BY SOME STRANGE TWIST OF FATE, major museum retrospectives of Pierre Huyghe and Philippe Parreno—two figures engaged in one of the art world’s most intense dialogues of the past twenty years—were on view concurrently in Paris this winter. But however coincidental the timing was, and however much talk their pairing has generated, these one-man shows are wholly incomparable, even incommensurate. On the one hand, Parreno occupied the totality of the Palais de Tokyo, his work synchronically animating an immense space like the mad computer in 2001 piloting the spacecraft. On the other, Huyghe played the retrospective game within the far narrower framework of the Centre Pompidou’s Galerie Sud. But his exhibition brilliantly rearticulates and revises the elements of his oeuvre. However close he remains to Parreno and other peers at this stage in his career, Huyghe is also, it

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