On the opening night of his Palais de Tokyo exhibition AMALGAM, Theaster Gates will be joined by Romi Crawford and Clémentine Deliss for a conversation, followed by a show with the BlackMonks, Gates’ Chicago-based music ensemble.
From top: Theaster Gates—Amalgam installation view, Palais de Tokyo, 2019; Theaster Gates (center) and the Black Monks, photograph by Sara Pooley; book cover image courtesy Theaster Gates and Serraves; Gates and the Black Monks in performance at the Kunstmuseum, Basel, courtesy the museum.
It’s apparently the last show of Rick Owens to take place at his faithful location of Palais de Tokyo in Paris. It’s also certainly one of his most accomplished in terms of deconstruction and superposition in his work. Nestled in the outdoor courtyard during twenty minutes of “Take My Hand”—a remix by the Russian industrial band Ic3peak—Owen’s wardrobe displays a large spectrum of species like in the myth of the tower of Babel.
The spring 2019 collection started with the figure of insects—dark flies and beetles approaching from afar, wings turned in the wind, antennas out to reach the open sky. This rich and surprising performance ended with a large bonfire, as a call to celebrate all women, from the sacrificed witches to the holy sisters.
There were a lot going on with the clothes, too, with a multitude of layers and proportions. Added on to the scene was an explosion of materials with black rubber burst into parkas, dirty denim, and flags—mixed with pearl, glitter, and shredded lace—transforming the silhouette into dystopian semitransparent goddesses in tunics and gowns.
Rick Owens is himself a precious species, a designer who makes no compromise with his vision and design. He is assertive, strong, and most of all free and independent. Yet with a large crowd of acolytes follow his impressive fashion.
During an Indian summer afternoon in Paris that carried a fresh, crisp undercurrent, Dries Van Noten presented his summer 2019 collection in a splash of natural light under the grand canopy of Palais de Tokyo.
Optic white silhouettes of ladybirds with real feather hairdos revealed a gangling waist heighten by a squarish padded shoulder—yet the whole hangs together with relaxed looseness. Diagonal graphic stripes and photographic patterns and rays of bright neon colors completed a tableau which carried a minimal approach to formal design with a play of structured drapes and cuts.
There is also a palpable tension with the use of materials that combine foregrounded compositions of plastic and paper, silk with hand-made pieces of embroidery, and original paintings on garments. This full and honest confusion of feelings was accompanied by the heartbeats of the remix “Moan” by the Danish electronic multi-instrumentalist Trentemøller.
Van Noten’s next realm manages to render beauty and sophisticated finesse with reminiscences of post-futuristic broken romanticism, a place where nature and machine would finally find grace and gravity in chaos and harmony.
The second iteration of the PARIS ASS BOOK FAIR lands at Palais de Tokyo this weekend.
Programs include a panel on collecting artist’s books, an exhibition of paintings by Jeffrey Cheung, a performance by Christopher Clary, a film—Canal Supérieur—by Philippe Roger, and a presentation by EEAPES, a queer science-fiction workshop organized by Clara Pacotte and Charlotte Houette.
AA Bronson, Aaron Krach, Anthony Malone (on the Everard Baths fire), Billy Serib, Carlos Vergara, Céline le Gouail, Derek Axton (People, Places, and Things), Jacopo Benassi, Konstantin Zhukov, Lia Pradal and Camille Tallent, Maïc Batmane, Marco Siciliano, Marine Peixoto and Clara Piroux, Marthe’ Oh, Michael Crowe, Nicolas Kuttler, PéixeCollardot, Sandra March, Scott Ramsay Kyle, Tom de Pekin (who’s working on a film based on Alfred Jarry’s Haldernablou), SholemKrishtalka (A Berlin Diary), Sylvain Gaudenzi and Laurent Champoussin are among the participating artists.
PARIS ASS BOOK FAIR, Friday through Sunday, March 16, 17, and 18.
PALAIS DE TOKYO, 13 avenue du président Wilson, 16th, Paris.
In partnership with the Institut Français—and in conjunction with Expo Chicago and the 2017 Chicago Architecture Biennial—the PALAIS DE TOKYO presents SINGING STONES, their first Horsles murs exhibition in the United States.
Curated by Katell Jaffrès of Palais de Tokyo, SINGING STONES takes place in The Roundhouse, a 17,000 sq. ft space designed by Burnham & Root at theDuSable Museum of African American History. A dialog between original productions and pre-existing works, the exhibitionbrings together several emerging artists from Chicago and France: Wilfrid Almendra, Daniel G. Baird, FloatingMuseum, Dorian Gaudin, Lola Gonzàlez, Bouchra Khalili, GuillaumeLeblon, FlorianPugnaire & David Raffini, Cauleen Smith, Thomas Teurlai, Raphaël Zarka. and guest designer Andrew Schachman.
SINGING STONES—PALAIS DE TOKYO, through October 29.
THE ROUNDHOUSE—DU SABLE MUSEUM OF AFRICAN AMERICAN HISTORY, 740 East 56th Place, Hyde Park, Chicago.