• François Morellet, Pier and Ocean, 2014, thirty-eight blue argon neon tubes, wooden pier (by Tadashi Kawamata). Installation view.

    François Morellet

    Kamel Mennour | Avenue Matignon

    Spread across Kamel Mennour’s two Left Bank galleries, “François Morellet, c’est n’importe quoi?” (François Morellet, Does It Make Any Sense?) showcased a variety of emblematic works—including three-dimensional assemblages of white-painted canvas squares; linear, site-specific wall drawings made with black adhesive tape; and a glowing blue-neon installation that filled a whole room—all made during the past five years. The show’s surprise highlight, however, was works dating back to the very beginning of the artist’s six-decade career. Tucked into a carpeted alcove in the rue Saint-André

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  • Julien Crépieux, Cumulus d’après Canoe of Port des Français de Michel Blondela (1799), 2014, silk-screen, ink, and salt on tinted MDF, 31 1/2 x 46 7/8".

    Julien Crépieux

    Galerie Jérôme Poggi

    A choreographed lightness radiated from Julien Crépieux’s “Corpusculum Flotans.” The exhibition title, suggesting small, floating bodies, shares that of a 2005 video work by the artist—a short meditation on passing clouds that is also a record of the eye looking toward the sky. Here, again, in a body of new work, Crépieux showed his concern with movement, not only in the visible world but in the mechanisms of its reception: the eye, the lens, and the captured image. Working in video, installation, and, increasingly, the two-dimensional techniques of collage and photography, Crépieux

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  • Karthik Pandian, A cherry table with a walnut brain, 2014, cherrywood, walnut, 70 x 32 5/8 x 30".

    Karthik Pandian

    Bétonsalon - Centre d'art et de recherche

    In life after life 1 (all works 2014), a silent, color 16-mm film that is Karthik Pandian’s first collaboration with Paige K. Johnston, fair-skinned arms hold a series of fruits and vegetables before the camera: cucumber, eggplant, mango, pineapple, tomato, walnut, and so on. While some are simply proffered for observation, others appear to be tested: squeezed or snapped, to bend or break. Still others, previously vivisected, are opened; our gazes linger on the innards. The setting is nondescript, a seemingly neutral studio space, with light entering from the right. The film oscillates between

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