MUSEUM - Palais de Tokyo - Patrick Neu - Jesper Just

Going around the new exhibtions at Palais de Tokyo. Hugh Crush on Patrick Neu's work..

Patrick Neu - "Les choses paraissent fragiles mais, en fait, c'est toute la vie qui est fragile. Je ne cherche ni à rendre un travail fragile, ni à le condamner à disparaître. C'est simplement ma manière de faire."
-His work fragility and his artistic references just blow you away and moove you as if you were the one who could break starring at his work.-
This summer the first major exhibition of little-known artist Patrick Neu (born in 1963, lives in Alsace) takes place at Palais de Tokyo.
For 30 years, Patrick Neu has been developing his skill away from the limelight. With each work, he turns traditional technique on its head and embarks on new experiments which he continues for as long as necessary. He works with materials not often found in the world of art: bee wings, soot on glass, crystal, wax, Chinese ink sculpture, butterfly wings, shed snakeskin, eggshells, painting on ashes… “I turn materials and practices on their head. Crystal is, for me, simultaneously sharp, heavy, fragile and transparent (…) If I use it to make a warrior object, for example, this opens the way for questions …” (Patrick Neu)
 The works selected for the exhibition are a nod to his perilous dialogue with the materials and world memory: Samurai armour in crystal and a straightjacket made from bee wings, specially created for the exhibition, a glass column blackened by smoke, birds feet cast in metal, dying iris watercolours, a dead Christ on carbonised paper, a recollection of Jérôme Bosch’s Garden of Earthly Delights in smoke on glass…

Patrick Neu’s work is epitome of a bubbling abstract Museum. He converses with the figures of Bosch, Holbein and Rubens and reproduces them in black smoke, guided by the properties of the material.

Then, two young artist of my generation.. I don't want to be the one against my generation, and I guess this kind of work have it's place in art history, just like Duchamp did, but it just doesn't moove me. 
Tianzhuo Chen -
 Korakrit Arunanondchai -
 Shelly Nadashi - a bit of ceramics.. The Exhibition Leaves
The Exhibition Leaves is “a project on the pretences, illusion and speculation surrounding what makes an artwork” according to Shelly Nadashi (b. 1981, lives and works in Paris). A new set of her works is on show including a short film about a crow accused of theft, in which, deep in a forest, a lawyer reads its indictment. One cannot speak while the other is blind; both convoke the archetypes of moral fables such as Aesop or La Fontaine, and are entwined with the clichéd language of the law or post-industrial economics: the artist's texts twist her wild imagination together with set phrases. The Exhibition Leaves is a fine play on words, on the appearance and disappearance of the work of art. The core of this project focuses on a series of ceramic tree leaves, opaque masks, tribal totem poles or stationary sculptures. It explores the tension between the physical dimension of the space in which the viewer and the works meet, and other spaces in which the works circulate in a more ethereal fashion.
Through a variety of supports including film, performance, the art of puppetry and the manufacture of objects, Shelly Nadashi expresses her interest in the value of things and people, symbolic value and market value, as well as the ambivalent position of the artist in society, seen as “entertainer”. She imagines situations which at first seem absurd and include archetypic characters – a menacing Russian panderer, a hypnotic masseuse, a dynamic executive preparing a soup – which she activates during her performances, placing the viewer in a possibly unpleasant situation. Her works take a look at the creative yet alienating power of speech and show “how language can produce a choreography and tempo” (1) while still allowing space for interpretation.
 Jesper Just - Servitudes -
For his Palais de Tokyo solo exhibition, Jesper Just (born 1974, lives in New York) has created a new installation which combines multiple videos, music and a spatial intervention.
In his film work, Jesper Just links images of an exceptional quality to sound and music. The enigma disrupts the narrative, creating a tension that lets the poetry of the space emerge. Jesper Just does not provide a solution in his narrative, leaving the observer with his own questions and emotions.
In the lower gallery at Palais de Tokyo, Jesper Just will creates an audiovisual installation and a vast spatial intervention which will transform the existing space and the visitor’s journey. The film’s setting, the equally iconic and controversial One World Trade Center, becomes, as in much of Jesper Just’s work, a character itself, serving here as a phantom limb, indicative of absence and loss, but likewise a testament to resilience. Its presence, somehow inorganic, appears like a prosthetic limb within an altered skyline. The films follow two characters: a young girl who doesn't appear as an individual but embodies the ideals of youth and femininity conveyed by contemporary society, and a disabled child. Within the videos the characters mirror, oppose and interact, to explore themes of ableism, agency as well as the boundaries of body and selfhood.
(c) Chavanitas