5 charcoal-painted panels form a wall with an integrated door. A black-and-white photograph hangs in front of the installation.
Wood, charcoal, metal, paint, black & white photograph, glass, gouache, 350 x 300 cm
Collection Institut d’art contemporain Rhône-Alpes
Photos: © Jean-Marc Pharisien
5 charcoal-painted panels form a wall with an integrated door. A black-and-white photograph hangs in front of the installation.
Wood, charcoal, metal, paint, black & white photograph, glass, gouache, 350 x 300 cm
Collection Institut d’art contemporain Rhône-Alpes
Photos: © Jean-Marc Pharisien
5 charcoal-painted panels form a wall with an integrated door. A black-and-white photograph hangs in front of the installation.
Wood, charcoal, metal, paint, black & white photograph, glass, gouache, 350 x 300 cm
Collection Institut d’art contemporain Rhône-Alpes
Photos: © Jean-Marc Pharisien
5 charcoal-painted panels form a wall with an integrated door. A black-and-white photograph hangs in front of the installation.
Wood, charcoal, metal, paint, black & white photograph, glass, gouache, 350 x 300 cm
Collection Institut d’art contemporain Rhône-Alpes
Photos: © Jean-Marc Pharisien
5 charcoal-painted panels form a wall with an integrated door. A black-and-white photograph hangs in front of the installation.
Wood, charcoal, metal, paint, black & white photograph, glass, gouache, 350 x 300 cm
Collection Institut d’art contemporain Rhône-Alpes
Photos: © Jean-Marc Pharisien
5 charcoal-painted panels form a wall with an integrated door. A black-and-white photograph hangs in front of the installation.
Wood, charcoal, metal, paint, black & white photograph, glass, gouache, 350 x 300 cm
Collection Institut d’art contemporain Rhône-Alpes
Photos: © Jean-Marc Pharisien
5 charcoal-painted panels form a wall with an integrated door. A black-and-white photograph hangs in front of the installation.
Wood, charcoal, metal, paint, black & white photograph, glass, gouache, 350 x 300 cm
Collection Institut d’art contemporain Rhône-Alpes
Photos: © Jean-Marc Pharisien
In the early 90s, the Pavillon à Vent‘s concerns addressed the question of the work’s autonomy and formulated the concept of the exhibition as sculpture. Consequently, to achieve this objective, my exhibitions had to be created from a fictional base, a narrative, which allowed them to develop in space and time. The story had to allow them to be political, poetic and utopian, in a space of projection, but also in the concrete space of exhibitions and events.
The Pavillon à Vent was a perfect proposal for a single, meta-structured machine to answer the questions of the art exhibition, which subtly opened up a political space through the content of one of its exhibitions entitled Le Manège des Douze +, a monument imagined and built for the inauguration of the Common Market in 1992. The events were works that existed through representation and metaphor.