In-situ works

The wish to foster a dialogue between artworks and their architectural, natural and urban context is indeed one of the key features associated with the identity of the museums in the Pinault Collection. In Venice, the marbles and painted ceilings of the Palazzo Grassi, and the brick walls and beams of the Punta della Dogana, interact with the changing reflections of the water. These non-standard elements, which one might have suspected of interfering or even compromising the presentation of the artworks, is, on the contrary, a source of inspiration for the artists. The environment also provides visitors with a unique, contextualized art experience, in the “here and now”.

Ryan Gander

Author of a multifaceted body of work, Ryan Gander (b. 1976 in Chester, UK) lives and works in London. He uses a vast array of media to question the mechanisms of perceiving an artwork within a complex relationship between reality and fiction. The majority of his production explores, in one way or another, absence, loss, invisibility, latency. With Ever After: A Trilogy (I... I... I...) (2019), Ryan Gander stages an animatronic mouse with a stutter, nestled in a hole in the wall, surprising visitors as they wait for the elevator. Trapped in its animated “loop”, this unlikely mouse, condemned to live cycle after cycle of the same experience to the point of exhaustion, encourages us to think and even smile about our own condition.

Martin Kippenberger

A strange fragmented streetlamp, entitled Ohne Titel, part of a series of sculptures created in 1989 by the German artist Martin Kippenberger, has woven itself into the architecture of the Bourse de Commerce. Compiling all the vices in their anti-heroic melancholy, not only are Kippenberger's streetlamps distorted by drunkenness, but their red bulbs lead to the "Rotlichtviertel", the red-light district. These companions of nocturnal wanderings become the artist's alter-egos. True to Kippenberger's anti-conformist attitude, as art historian Dider Ottinger writes, "Open to all metamorphoses, their convolutions simulate corrupted ideals, (...) they mime stuttering projects. A heretical serpent biting its own tail, the streetlamp becomes the image of aborted ambitions, that of incurable idealism.

Philippe Parreno

With its intermittent changing hues, this “lighthouse” translates into code the mythical and unfinished eponymous novel by René Daumal (1908-1944), published posthumously in 1951. This light sequence illuminates the Parisian sky, translating the story of Daumal’s fantastic, metaphysical adventure, which recounts the discovery and collective ascent of a mountain joining earth to sky. An endless quest, an impossible adventure, a metaphor for art and its utopia. Philippe Parreno has designed a new version of this in-situ installation for the Bourse de Commerce, reworking and modifying one of his seminal pieces, originally created in 2001. Mont Analogue is installed at the top of a unique architectural feature, present on the site since the Renaissance, when the building served as the palace of Catherine de’ Medici. This column, a symbol of royal power as much as esoteric eminence (according to legend, the queen’s astrologers, notably Cosimo Ruggieri and Nostradamus observed the stars there) becomes a beacon from which the artist transmits another message to the city. It is in the form of a mysterious code that the artist invites us to discover the invisible, possible, intangible worlds of art.

Philippe Parreno (b. 1964, Algeria) studied at the École des Beaux-Arts in Grenoble and at the Institut des Hautes Études en Arts Plastiques in Paris. In his work, he explores the exhibition as a medium. Convinced that the project takes precedence over the object, his interest in a dynamic and collaborative artistic approach has led him to work with other artists, including Pierre Huyghe, Tino Sehgal, Douglas Gordon and Dominique Gonzalez-Foerster, in an effort to radically rethink the concept of the exhibition. Parreno frequently intervenes in the mechanisms of how exhibitions work, by creating environments consisting of a succession of ephemeral elements or of varying duration, and by transforming the exhibition itself into an artistic object. In the 2000s, his films were populated by ghosts and automata, mirroring his questioning around the border that exists between fiction and reality, story and origin. These films take place in a poetic space punctuated by explicit references to the world of science fiction, science and the occult, philosophy and fables.