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View of “Larissa Fassler,” 2016. Photo: Nicolas Brasseur.

Larissa Fassler

Galerie Jérôme Poggi

View of “Larissa Fassler,” 2016. Photo: Nicolas Brasseur.

Writing about “pickpockets and paranoia in France” for the New Yorker in 2014, Adam Gopnik described Paris’s Gare du Nord as a place where tourists, “looking for a week’s pleasure, mingled with travellers recently arrived from Bulgaria and Romania, looking for a job or a new life.” This same crossroads—the French capital’s oldest and, notoriously, unruliest train station—became the focus of Larissa Fassler’s attention while on a residency in Paris in 2014. Over the course of three months, the Berlin-based Canadian artist spent hundreds of hours, day and night, surveying and documenting the Gare du Nord’s physical space and goings-on. The resulting five paintings (all 2015), which resemble obsessively annotated architectural blueprints, are assiduous observations of the station’s design, infrastructure, and diverse transient population. Installed against a backdrop of

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