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Last week marked two major dates for Paris\u2019 Palais de Tokyo: not only did it just reopen after months of intensive construction works, expanding from 8,000 to 22,000 square meters, it also launched the Triennial \u2013 an ambitious, intricately politicised art happening. Sleek met the Palais\u2019 new director Jean de Loisy \u2013 previously the curator of the Centre Pompidou as well as Anish Kapoor\u2019s Monumenta \u2013s to discuss the institutional notion of the exhibition, the weight of memory, and the ethnographic potential of art.<\/p>\n
Sleek: What makes the Palais de Tokyo different than other art spaces in France?<\/strong> Jean de Loisy: The Palais de Tokyo is now the biggest art space in Europe \u2013 not to be confused with a museum, as we have no permanent collection. In other words, all we have to offer is the possibility of an experience, which is precisely what we\u2019ve been looking into: the existence of an exhibition, the viewer\u2019s voyage into it as well as into himself.<\/p>\n How will you put this aim into practice?<\/strong> To avoid the classical \u2018exhibition-between-four-walls\u2019 syndrome, one must accept that art is in a constant state of metamorphosis, and its future incarnation can\u2019t be predicted. We have hence left empty spaces all over the Palais, \u2018low-control zones\u2019, for last minute interventions, reactions against political events for example. Sure, but how do you truly open up to a wide range of voices, and avoid being elitist?<\/strong> We are trying to push for a decentralised art system, and work with school all over the country rather than simply in Paris; we will also have partnerships with schools and independent art centres round Europe. Also, we will show pieces by scientists and mathematicians to explore the porousness of the art world.<\/p>\n What is the philosophy behind the space\u2019s new look?<\/strong> The space creates an effect of surprise \u2013 all its \u201cscars\u201d or traces of previous lives are left visible rather than painted over. This suggests the need to embrace memory in order to innovate. Every space has its own dramaturgy, is an experience of its own, and will offer, throughout the space, semi permanent pieces \u2013 which will also sprawl over staircases and windows. The idea is to break the boundaries of where an art space begins and stops.<\/p>\n
Also, curators will be more involved than ever: next year, we have a show planned that will be in the hands of 15 curators at once, most not French. We want to reflect an international, contemporary voice.<\/p>\n