Flash Art uses cookies strictly necessary for the proper functioning of the website, for its legitimate interest to enhance your online experience and to enable or facilitate communication by electronic means. He succeeded Emma Lavigne, now general director of the Pinault Collection.
Meanwhile, through his Work Method curatorial agency, he now also directs the Salon de Montrouge, a melting pot for young artists in France. His experimental and multidisciplinary practice is based strongly on participation. This interview grew out of research for an earlier essay on the museum paradigm. Pascale Krief : Guillaume, I thought it was important to meet before you announced your detailed program for the Palais de Tokyo, to get a sense of your position and have a more general discussion about the way you see things.
In , as a young curator and art critic, you drew up a set of questionnaires for artists, which provided a critical and not unhumorous analysis of practices. In retrospect, they also read as a kind of programmatic framework. I was fascinated by conceptual art, by minimal art, by art you would naturally associate with demonstration, reason, or mathematics rather than poetry.
This revelation was what I called poetry, i. In reality, in order to reach us, art needs to mask itself, in a kind of humiliation or corruption of reason, through the mysterious dimension of its form. There is a moment when discourse, reasoning, no longer works, and poetry takes over. But I had already used that word in the s. Preparing questions for one artist, putting them to another.
GD : To conceive a museum for the future is to have a very linear vision of time. Who can know it? The project I am proposing for the Palais de Tokyo is therefore an extremely reversible project, if only for ecological reasons.
