guest editor in chief of this issue of Palais /
. By mapping the artist's brain, desires, and influences, the carte blanche gives a fresh slant on the creative process and aesthetic correlations. In the wake of Ugo Rondinone
in 2008 and Jeremy Deller in 2009, Adam McEwen (British artist living in New York) hatches an extraordinary scheme and creates a dialogue between medieval sculpture and conceptual art, vaults and attempts to levitate, forgotten artists and those already blessed by history. When faced with this history, what stance can an artist take today? Everything has been done already? Great, now we can finally get to work! Fresh Hell
dives into history, recent or distant, but doesn't bore through the strata. Instead, the exhibition, which is accompanied by this issue of the magazine Palais /
, skims horizontally and in a nonlinear fashion, generating multiple paradoxes and stirring up a breath of fresh air that is constantly sucked away by ghostly shadows.
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.