As a prefiguration of its new formula, this issue of the Palais de Tokyo magazine is accompanying, but above all deepening
Thanks to an updated and highly subjective archaeology of graffiti, the exhibition provides us with the opportunity to investigate what creation coming from urban culture has given to the history of forms, in aesthetic, but also conceptual, social and political terms, through such notions as the construction of identities via collective destruction, subversion of the practices and economies of art, illicit acts, resistance and a form of idealism or romanticism derived from vandalism.
In this issue:
an introductory text by Hugo Vitrani ; the presence of graffiti in the history of western art by Charlotte Guichard; Hito Steyerl
interviewed by Ingrid Luquet-Gad about her work The City of Broken Windows
; Simon Johannin: encounter with the artist SKKI; interview about the research of the two sociologists Jérôme Denis et David Pontille into maintenance work, in particular based on their investigation into the erasure of graffiti in Paris; an history of the aerosol can since the beginning of 20th century by Nicholas de Monchaux; images of works by Chaz Bojorquez, Aline Bouvy, A.One (Anthony Clark), Samuel Bosseur, Brassaï, Miriam Cahn
, Sophie Calle
, COCO 144, Martha Cooper, Miodrag Đurić́ DADO, John Divola, Miho Dohi, Ida Ekblad
, VALIE EXPORT, Caley Feeney, FUTURA 2000, Richard Hambleton, Thomas Hirschhorn
, Jenny Holzer
, Antwan Horfee, Renaud Jerez, David L. Johnson, Margaret Kilgallen, Olivier Kosta-Théfaine, Mierle Laderman Ukeles
, Renée Lévi, Tala Madani, Mark Manders, Roberto Matta, Gordon Matta-Clark
, Ari Marcopoulos
, MODE 2, Tania Mouraud
, NOC 167, Nestor Nomakh, PHASE 2, Alexander Raczka, RAMMELLZEE, Jay Ramier, Lady Pink, Leomi Sadler, SAEIO, SKKI©, Robert Smithson
, SNAKE 1, STAY HIGH 149, Lisa Signorini, Hito Steyerl
, Hervé Télémaque, Toni, Lily Van Der Stokker
, Martin Wong, Gérard Zlotykamien.
Published twice a year, Palais
magazine (P L S
since 2023) offers an in-depth perspective on the exhibitions and program of the Palais de Tokyo
allows people to see contemporary art in a topical way, as often as possible from the point of view of the artists themselves. Each issue of the magazine includes dossiers, interviews, essays, special projects and inserts, all contributed by artists, art critics, historians or theorists, making Palais
magazine an essential tool for apprehending contemporary art.