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David Tudor, Rainforest V (Variation 2), 1973/2015, mixed media. Installation view. From the 14th Biennale de Lyon. Photo: Blaise Adilon.

Biennale de Lyon

Biennale de Lyon

David Tudor, Rainforest V (Variation 2), 1973/2015, mixed media. Installation view. From the 14th Biennale de Lyon. Photo: Blaise Adilon.

Like the previous thirteen Biennale de Lyon exhibitions, the 2017 show, curated by Emma Lavigne, is also characterized by an open dialogue with the history of art and with earlier editions. It is also part of a broader thematic exploration that will unfold over several years. At the behest of Thierry Raspail, the biennial’s artistic director, “Floating Worlds” is the second part of a trilogy of exhibitions on the notion of modernity, whose first iteration was Ralph Rugoff’s “Modern Life” two years ago, and whose finale will take place in 2019.

“Floating Worlds” abounds with hemispherical structures, which can be seen in individual works, in containers for holding works, or both. Within these structures, different time frames interpenetrate one another. Sometimes it is the present that is included in the past, as in a 1957 geodesic dome by Buckminster Fuller that has been reconstructed

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