Echoing the Palais de Tokyo's new season, this issue of Palais is infused with the poetic genius of Raymond Roussel, great explorer of invented worlds, causing us constantly to topple over into a different mental geometry.
Contents of this issue: essays by Matthieu Poirier on Julio Le Parc, Niklas Maak on François Curlet, Dieter Roelstraete and Yann Chateigné Tytelman on recent works by Joachim Koester, Amélie Lavin on Dewar & Gicquel; visual contributions by Takahiro Iwasaki and Evariste Richer; a focus on seven artists from the emerging contemporary scene (Marcos Avila Forero, Hicham Berrada, Gauthier Leroy, Lars Morell, Jean-Michel Pancin, Pierre Paulin, Clémence Seilles); under the heading “Hell as discussion,” Nadja Argyropoulou, curator, and Yorgos Tzirtzilakis, architect, discuss Greece's “demonization” as a symptom of the European crisis.
Palais also invites François Piron, curator of the exhibition “New Impressions of Raymond Roussel,” to create a dossier in dialogue with this venture. In it, he comments on the writer's whimsical personality and on his mysterious work in which, as Roussel stated, “Nothing real must enter.” Accompanied by historians, by art critics and artists, Piron approaches the topic diagonally to consider the propagation of Roussel's work through that of many artists.
Dossier conceived by François Piron, with texts by Lorenzo Benedetti (on Mark Manders), Marie de Brugerolle (addressing the subject of Roussel's Californian heritage), Bernard Marcadé (on the congruencies between Duchamp and Roussel), Alain Quella-Villéger (on the relationship between Roussel and Loti), and including an excerpt from Rodney Graham's “Rousselian” novel.