On the day of his opening at the Louvre, provocative Belgian artist Wim Delvoye craved a cigarette. "Sometimes, when no one's looking, I have a quick one in the Napoleon III apartments," he said.
Once a rowdy young man expelled from his prestigious art school in Ghent, the 48-year-old Delvoye thrives on defiance. A recurring work that dates back to 1992 sees the artist tattooing live pigs and exhibiting their skins after death. He made headlines for his work Cloaca (2000), a machine that, using a system of tubes and jars filled with gastric juices, simulated a digestive system, receiving food that was processed into excrement.
Following Anish Kapoor and Christian Boltanski, it is Daniel Buren's turn to be Paris's guest and the subject of the annual, majestic solo exhibition "Monumenta" at the Grand Palais. A lifetime opponent of ceremony but a master of art done in situ
, the Paris-born Buren's career involves a consistent development of tools that aim to reveal their environment's architectural and symbolic complexity.
Since 1965, Buren has primarily used stripes in two colors, covering the street or billboards,
or most notoriously the
rotunda during the Sixth Guggenheim International in 1971, when the other features artists successfully rejected his contribution. Read More
Musician, art critic and teacher Jeff Rian's exhibition, "Rowboat Box," at the Galeries des Multiples in Paris' Marais, began with a song.
After recording a folk- and jazz-inspired album, Battle Songs
, with his band Rowboat, (produced by buddies Dike Blair and Richard Prince),
Rian designed a specially formatted box. He then asked 10 artists pals, many of whom he met by writing about their work—Vito Acconci, and of course Blair and Prince—to produce a new editioned artwork inspired by the spirit of exchange. Read More
On November 5, Paris' Musée d'Art Moderne opened a solo exhibition of photographs entitled "Gaza," by German war photographer Kai Wiedenhöfer. The show is sponsored by the Fondation Carmignac Gestion, the art funding branch of a Paris-based international investment and management company that has been working with the Museum for years, and also funded in part the current Basquiat exhibition. In the month since its opening, "Gaza" has been met with substantial protest for its confrontational images and politics, and provoked questions about the role of sponsors in exhibition programming in France, and elsewhere. Read More
Lovers, strangers, family members, everyone who crosses the life of artist Sophie Calle is implicated in her multi-media tests of the porosity of intimacy and public space—famously without their knowledge or against their will. Buried amidst the Palais de Tokyo's brand new art space—a 9000-square-meter basement that connects to the neighboring Musée d'Art Moderne—she explores one of her all recurring, obsessive interests, her recently passed mother. The show "Rachel, Monique" is in fact named for the latter, and its central tropes are the maternal figure and the transcendence from life to death. Calle shows films, post-it notes, and photos, some previously one view at the Venice Biennale, others for the first time. Art in America
met with Calle in her Paris studio to talk about the shadows of parental figures and remaining close after death. Read More