The other com­mon point is the at­ten­tion paid to hu­man beings, even though there aren’t that ma­ny hu­man bo­dies to be seen.

Art Press - - FIAC HORS LES MURS -

There are some me­mo­rable hu­man fi­gures, such as Grand Théâtre by Da­vid Alt­me­jd. This mo­nu­men­tal sculp­ture com­bi­ning Ba­roque and Sur­rea­list ele­ments in equal parts uses mixed me­dia to make a por­trait gal­le­ry set in the ca­vi­ties of an erect hu­man bo­dy. Alt­me­jd un­folds a fan­ta­sy my­tho­lo­gy that al­lows us to link him with ar­tists like Jan­nis Kou­nel­lis, a Greek who li­ved in

For FIAC vi­si­tors, who don’t ne­ces­sa­ri­ly go to the Pe­tit Pa­lais, this is an op­por­tu­ni­ty to ex­pe­rience the con­nec­tion bet­ween contem­po­ra­ry art and art of the past. There is much food for thought to be had re­gar­ding the com­plex de­fi­ni­tion of contem­po­ra­ri­ness by com­pa­ring clas­si­cal art, which is well known, with work that is still in the long pro­cess of be­co­ming known. We have to think about both the present and the past. This show is a kind of time ma­chine. We’ll see if the ge­ne­ral pu­blic wants to take the ride.

Trans­la­tion, L-S Tor­goff

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