Issue #21 of PALAIS is entirely devoted to the exhibition “Le Bord des mondes” [“At the Edge of the Worlds”] at the Palais de Tokyo (February-May 2015). By exploring territories that lie outside the art world and bringing to light unique gestures that give way to new forms of creation, the exhibition “Le Bord des mondes” aims to renew and expand the field of our artistic attentiveness.
Featured in issue 21:
The curator of the exhibition, Rebecca Lamarche-Vadel, presents the stakes at the heart of the exhibition and invites readers to discover the research undertaken by these creators, which goes beyond the classic definitions of art.
Jean-Marie Schaeffer (philosopher) presents a view which runs counter to a position that seeks to oppose art and everything that is not art. He considers art to be a plural world which is constantly redefining its reach and nature through its interactions and exchanges with the multiple worlds that border it.
Brian Dillon (writer and art critic) proposes a classification of the forms and the individuals who have played a role in the history of the way we have examined and exhibited the world.
And also: David Raymond (artist and writer) about Bridget Polk’s “balancing rock”; Laurent Derobert talks with Edward Frenkel (mathematician) and Peter Coffin (artist); Philippe Rekacewicz (cartographer and journalist) about Jerry Gretzinger’s imaginary map; Sandra Maunac (curator) about Kinshasa Sape; Hiroshi Ishiguro (creator of “geminoid” robots) talks with Keiichiro Shibuya (music composer); Theo Jansen about his “beach creatures”; Frédérique Aït Touati (literature and science history researcher and stage director) about Tomás Saraceno; Bénédict Beaugé (food essayist) about Pierre Gagnaire’s cuisine; Jean-Paul Thibeau (artist) about Jean Katambayi (artist-hacker); Jane Venis (sculptor and writer) about Kenji Kawakami’s chindogu.
As well as: CKY, Carlos Espinosa, Rose-Lynn Fisher, Game of States, Iris van Herpen, Zdenek Kosek, Jesse Krimes, Kusköy, Charlie Le Mindu, Arnold Odermatt, Le Prince noir, George Widener.
28.5 × 22.5 cm, Softcover, 2015,