In Paris, the Bourse de commerce haunted by ghosts
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To input “in a second the infinity of enjoyment” : the Commodity Exchange endorses the words of Charles Baudelaire. Through the various exhibitions scattered throughout its spaces, it tracks down the paradoxical moment, the “Second of Eternity”, to use the title of this season. Bearing the signature of Emma Lavigne, director of the Pinault collection, this program requires patience and attention: here, “the intensity of the presence of bodies and images is measured by the yardstick of their transience”, she promises. To access this second, it will therefore be necessary to browse, to wait; pray to the invisible forces; and believe in ghosts, why not? Because many of them come to haunt this clash.
ghost of Felix Gonzalez-Torres (1957-1996), first of all, whose spectral presence sows each room. Every day, for five minutes (at random times, you have to fall), a gogo-dancer appears on the platform staged by the artist in 1991. Five minutes of fury to live and, suddenly, he disappears: terrible parable of the millions of people who died of AIDS, which killed the American artist of Cuban origin in 1996.
The Callas has its ghost, too. In the smoky darkness of a small room upstairs, the diva appears. Thrill of his voice, infallible. But the image wavers, fades, fights for its survival, regains intensity: a hologram, in fact. The singer is embodied by the visual artist Dominique Gonzalez-Foerster, who likes to multiply the avatars. The confusion is no less great, faced with this body constantly threatened with obliteration.
Emma Lavigne, director of the Pinault collection: “The narrative composed by the works explores the polysemy of the present time, alternately suspended, fugitive”
Finally, it is Marilyn Monroe who haunts the film by Philippe Parreno screened in the basement. In a suite at the Waldorf Astoria Hotel in New York, where she lived, her voice low, inimitable; his pen runs over the paper, compulsively. Marilyn lives again, one would think. A “ghost of the future, who tirelessly revisits his past”, wrote Nicolas-Xavier Ferrand in the exhibition catalogue. But little by little, Parreno reveals behind the scenes of this resurrection: a robot simulates the writing of the actress, software recreates her voice. The disturbing story of“an image that killed more life than it produced”in the words of its author.
Thereby “the narrative composed by the works explores the polysemy of the present time, alternately suspended, fleeting, inhabited by spectral presences, crossed by the theme of absence and incarnation”explains Emma Lavigne.
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