paris

Abraham Poincheval, Pierre (Stone), 2017, limestone performance object on steel plate. Installation view. Photo: Aurélien Mole.

Abraham Poincheval

Palais de Tokyo

Abraham Poincheval, Pierre (Stone), 2017, limestone performance object on steel plate. Installation view. Photo: Aurélien Mole.

Living within a sculpture, becoming one with it as an object: This is the obsession of Abraham Poincheval, who, like a character in a Werner Herzog film, is an explorer of extremes. For Ours (Bear), 2014, at the Musée de la Chasse et de la Nature in Paris, he enclosed himself inside the carcass of a bear, remaining there for thirteen days. More recently, Poincheval has hatched eggs, sitting like a hen for a three-week incubation period (allowing himself a half-hour break every day), inside a transparent display case with a temperature of 98.6 degrees Fahrenheit, covered with a traditional Korean blanket designed by artist Seulgi Lee (Oeuf [Egg], 2017).

These performances may evoke other famous endurance works, such as those of Marina Abramović or Chris Burden, but Poincheval’s aesthetic of camouflage is less indebted to art-historical precedents than to the mythical tale of the

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