Visible until July at the GPI ( Grand Palais Immersif ) in the gill of the sperm whale of the Bastille, the exhibition or rather the prodigal of Jonas (Christian Omodeo) is not to be missed under any pretext. In a space that one imagines to be that of the storage of the sets of the Opera, consists a symphony of surfaces, movements and sounds. The show is to be judged as one of these «new media» of the 90s, as one of these «new images» of the 80s. Loading is also part of a new experience of cinema as were those of the Gaumont Palace of the place of Clichy, which, between 1913 and 1923, dazzled the city, redefined the cinematograph. Paris is not absent from the screen despite the tribute to New York in 1978-1982. See ECILOP projected to scale in the den of a building symbolizing the bicentennial of the French Revolution: do we need more to make the chronicle? A world of drones with icons. The 1UP painting the pyramids of Naples. And Cairo, devastated by EL SEED. Seen from Paris, Miami appears somewhere between Marseille and Aubervilliers. And Brazil? 30 minutes of travel assured. Because our cities are now interconnected media in the Great Game of Invader. Urban art responds to the practice of hacking. Space produces advertising that defines the space that art has diverted since the Situationist years. Everywhere, tags, graffiti but also screens. Times Square appears Montparnasse when Keith Harring’s baby crawls into the screen of bulbs guarded by Maxwell and Levi’s. Would our cities be shows disturbed by the performance of a handful of anarchists? The figure of Sheperd Fairey, who went from subversion to official art in 30 years, provides an ironically political answer. As in Garnier and as in the Grand Palais, you will have to know how to wander through these urban images, join Kashink at the Balcon, linger on history, archaeology.
The film lasts 30 minutes.
Duration of the visit: 90 minutes minimum.
text by Thom Thom
pictures by Christian Omodeo