{"id":602600,"date":"2023-11-29T11:23:00","date_gmt":"2023-11-29T10:23:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee\/how-the-artist-lili-reynaud-dewar-takes-the-palais-de-tokyo-by-storm\/"},"modified":"2024-11-29T11:33:17","modified_gmt":"2024-11-29T10:33:17","slug":"how-the-artist-lili-reynaud-dewar-takes-the-palais-de-tokyo-by-storm","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/how-the-artist-lili-reynaud-dewar-takes-the-palais-de-tokyo-by-storm\/","title":{"rendered":"How Lili Reynaud-Dewar is taking over Palais de Tokyo"},"content":{"rendered":"\n
\"\"\/\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lili Reynaud-Dewar at the Palais de Tokyo for Num\u00e9ro art.<\/figcaption><\/figure>\n\n\n\n

How Lili Reynaud-Dewar is taking over Palais de Tokyo<\/h2>\n\n\n\n

Sometimes, when I think of\u00a0Lili Reynaud-Dewar<\/strong>\u2019s work, the\u00a0Encyclop\u00e9die\u00a0<\/em>\u2013 France\u2019s very first encyclopaedia, published between 1751 and 1772 \u2013 comes to mind, though her oeuvre has neither the exhaustiveness nor the academic rigour of that Enlightenment endeavour. Yet, for me, her work seems to overflow with words, voices and ideas, through her interest in literature, because writing is such an important part of her approach, and becauseof all the artistic and literary forebears she references and appropriates \u2013\u00a0Guillaume Dustan<\/strong>,\u00a0Sun Ra<\/strong>,\u00a0Josephine Baker<\/strong>,\u00a0Kathy Acker<\/strong>,\u00a0Jean Genet<\/strong>, and, of course,\u00a0Pier Paolo Pasolini<\/a><\/strong>.<\/p>\n\n\n\n

Words, voices, and ideas are also the basis of her teaching at Geneva\u2019s HEAD (Haute \u00c9cole d\u2019art et de design), where for more than ten years she ran a seminar entitled \u201cEnseigner comme des adolescents-x-es<\/em>\u201d (\u201cTeaching like teenagers\u201d), which she held in her hotel room and which consisted in getting the group to read together, talk together, and explore, interpret, share, and sometimes even quarrel together. When she showed me what she was planning for her solo exhibition,\u00a0Salut, je m\u2019appelle Lili et nous sommes plusieurs\u00a0<\/em>(Hi, my name is Lili and there are several of us<\/em>), which is being shown at Paris\u2019s Palais de Tokyo<\/a><\/strong> this autumn, she told me it was unlikey anyone would manage to see, hear, and grasp all of it.\u00a0<\/p>\n\n\n\n

Featuring some 40 films, the exhibition, which explores themes that have long been present in Reynaud-Dewar\u2019s work \u2013 domination, subversion, the interplay between the intimate and the political, teaching, and the transformation of cities and everyday lives by modernity \u2013, deploys multiple language registers and formulations, stretches time, and above all asks the question: \u201cCan we say everything, and how do we say it?\u201d <\/p>\n\n\n\n

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Lili Reynaud-Dewar at the Palais de Tokyo for Num\u00e9ro art.<\/figcaption><\/figure>\n\n\n\n

A plurality of views on masculinity<\/h2>\n\n\n\n

As part of this project, the artist asked 12 people who identified as men, and who only had in common the fact of being part of her immediate circle, to describe their lives through the prism of masculinity and private property. In each of the filmed interviews, which also took place in hotel rooms (cosily lit in pink, red, or orange), the montage gives the impression of a monologue, since Reynaud-Dewar<\/strong> has cut her questions. <\/p>\n\n\n\n

The cinematic and conversational techniques used here preclude overly-structured, polite talk; playing with conventional narrative beginnings and endings, they deliquesce and slant, as the digressions, omissions, and outpourings of speech underme the overly normative rhetoric of masculinity. As they recount very different, though never anodyne, personal stories and journeys \u2013 topics include AIDS, gender transition, addiction, chosen communities, discrimination, and sex and sex work \u2013 the interviewees unveil glimpses of events and socio-political crises unfolding beyond the camera frame. <\/p>\n\n\n\n

Together, these 12 interviews create a sample or portrait of a time and space rendered common by the narratives of those who inhabit it.\u00a0<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lili Reynaud-Dewar at the Palais de Tokyo for Num\u00e9ro art.<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lili Reynaud-Dewar at the Palais de Tokyo for Num\u00e9ro art.<\/figcaption><\/figure>\n\n\n\n

So where is Lili? Shown together in this way, perhaps these interviews also paint a portrait of the artist herself, based on the people who surround her and with whom she connects \u2013 as when she writes \u201cI am Lili and there are several of us,\u201d the \u201cI\u201d maintains a close and ambiguous relationship with the \u201cus.\u201d The interviews tell us something about the relationship, affect, and trust that must operate between two people to enable an exchange to come forth, as well as about how best to nurture the confession that is recorded, about what is cut and what is allowed to remain and to resonate in public. <\/p>\n\n\n\n

In a 1994 work, the artist\u00a0Lutz Bacher<\/strong>\u00a0also interviewed those close to her, asking them the question: \u201cDo you love me?\u201d1 Even if\u00a0Reynaud-Dewar<\/strong>\u00a0eschews asking her interviewees this question, love is perhaps also part of the equation. These videos are intended to be watched in beds built specially for the occasion, since the hotel rooms in which they were shot have been faithfully reproduced, so that the cinematic scenery spills over into reality. With this device, the artist somehow thwarts the slow disappearance of small, family-run hotels in Paris, at a moment when cities and the tourist industry are evolving under the often relentless processes of gentrification.\u00a0<\/p>\n\n\n\n

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Lili Reynaud-Dewar at the Palais de Tokyo for Num\u00e9ro art.<\/figcaption><\/figure>\n\n\n\n

An artist with a passion for words, winner of the Marcel-Duchamp Prize<\/h2>\n\n\n\n

During an earlier conversation, we touched on the idea of \u201cgossip,\u201d a theme that\u00a0Reynaud-Dewar<\/strong>\u00a0already explored in the installation that won her the\u00a0Marcel Duchamp<\/a><\/strong>\u00a0Prize,2 a work featuring written biographical interviews with 24 actors, each of whom re-enacted the moments leading up to Pasolini\u2019s assassination. The actors evoked stories of love, conflict, and working conditions in the art world \u2013 in other words, topics typically discussed at parties, in caf\u00e9s, or even in hotel rooms, far from official channels. <\/p>\n\n\n\n

At the time, we discussed the research that Ramaya Tegegne \u2013 an artist, cultural organizer, and close collaborator of Reynaud-Dewar\u2019s \u2013 was undertaking into this idea of \u201cgossip\u201d and the importance of oral history, of \u201crumours,\u201d and the \u201cgrapevine\u201d as political tools that allow the anecdote to find its place within larger systemic apparatuses. Some artists have incorporated gossip as a creative, discursive medium, like Dodie Bellamy for instance, one of the most celebrated authors of San Francisco\u2019s experimental late-1970s New Narrative literary movement, who wrote in 2006 that \u201cgossip, as a labour of disenfranchised subjectivity, feels rich.\u201d<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lili Reynaud-Dewar at the Palais de Tokyo for Num\u00e9ro art.<\/figcaption><\/figure>\n\n\n\n
\"\"\/\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lili Reynaud Dewar,
Paul-Alexandre, Hotel du Pr\u00e9, Room 502, Paris, April 2022<\/em> (2022). Video 55 min. Courtesy of the artist and Layr, Vienna. <\/figcaption><\/figure>\n\n\n\n

Lili Reynaud-Dewar’s diary<\/h2>\n\n\n\n

In her book\u00a0Video Green\u00a0<\/em>(2004), the author\u00a0Chris Kraus<\/strong>, who is also close to New Narrative, discusses a creative writing course she taught in Los Angeles about keeping a diary. She observes that diary writing, an exacerbated, literary form of \u201cgossip,\u201d is an undervalued practice, one that is considered too tempestuous or banal to be capable of producing thoughtful, fixed, and prestigious prose.\u00a0 As a result, her course mainly attracted young artists who had given up trying to excel within the institution and yet seemed to be those most aware of its paradoxes and flaws. <\/p>\n\n\n\n

For the past two years, Reynaud-Dewar has been keeping a diary, one that can hardly be described as \u201cintimate,\u201d given that it is on public display on the walls of the exhibition, an exhibition whose preparation \u2013 among other events \u2013 it chronicles. This gesture sets her in a tradition of \u201cdiary\u201d artists, such as Adrian Piper, Derek Jarman, and Lee Lozano, who, although they each embrace very different forms, ask themselves similar questions at the time of the writing, and particularly on publication: \u201cHow do you amplify what is usually whispered? What consideration should we give to the people quoted? What do we say and what do we hush up?\u201d\u00a0<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lili Reynaud-Dewar,
Gruppo Petrolio<\/em>, season 1, episode 2 (2022). Video, 50 min 53 <\/figcaption><\/figure>\n\n\n\n
\"\"\/\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lili Reynaud-Dewar at the Palais de Tokyo for Num\u00e9ro art.<\/figcaption><\/figure>\n\n\n\n

Dancing in the exhibition space<\/h2>\n\n\n\n

Inventing a new language based on gestures rather than on the spoken word, Reynaud-Dewar dances in an empty Palais de Tokyo<\/strong>, elegantly undulating alongside works by her contemporaries, exploring the spaces that we don\u2019t usually see, with all the nonchalance, grace, and vulnerability of a body that sidesteps the habitual ways of moving through the institution. Another part of the exhibition, which is free to enter, allows visitors to watch all the episodes of Gruppo Petrolio<\/em>, a kind of collective filmed survey of Pasolini\u2019s landmark posthumous novelPetrolio<\/em>. <\/p>\n\n\n\n

In some ways akin to the Encyclop\u00e9die<\/em>, Gruppo Petrolio <\/em>is a collaborative work between Reynaud-Dewar and her students that deals with all the major themes in Pasolini\u2019s book: the oil industry and socio-political conflicts, but also, as in her interviews, masculinity and property, or, as in her diary, the creative process and the possible subterfuges that allow us to allude to or to encrypt that which others may prefer to keep secret. Whether she is dancing in silence, speaking through important historical figures or through books that she has reappropriated, or handing someone the microphone, Reynaud-Dewar\u2019s oeuvre spills over with declarations, narratives, and pronouns, and prompts the movement of language \u2013 language that is potentially sharp, ironic, choreographed, stammering, or filled with friction \u2013 as a tool of emancipation and empowerment. <\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lili Reynaud Dewar,
Yassine Bouzid, Hotel du Pr\u00e9, Room 501, Paris, April 2022<\/em> (2022). Video 44 min. Courtesy of the artist and Layr, Vienna. <\/figcaption><\/figure>\n\n\n\n

Lili Reynaud-Dewar, “Salut, je m’appelle Lili et nous sommes plusieurs”, from October 19th, 2023 to January 7th, 2024 at the Palais de Tokyo, Paris 16e.<\/em><\/p>\n\n\n\n

1. First shown in France in 2022 at Paris\u2019s Treize gallery in an exhibition of the same name curated by Julien Laugier.
2.\u00a0Rome, 1er et 2 novembre 1975\u00a0<\/em>(2019\u201321), first shown as part of the 21st Prix Marcel-Duchamp at the Centre Georges-Pompidou in the autumn of 2021.
3. Dodie Bellamy,\u00a0Academonia\u00a0<\/em>(Krupskaya Books, 2006).
4. An artistic approach she has used for the past ten years or so, and which she repeats almost every time she is invited to exhibit in an art centre or museum. For\u00a0Salut, je m\u2019appelle Lili et nous sommes plusieurs<\/em>, she is showing a new series of danced videos made during exhibitions held over the past two years at Paris\u2019s Palais de Tokyo.\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

How Lili Reynaud-Dewar is taking over Palais de Tokyo Sometimes, when I think of\u00a0Lili Reynaud-Dewar\u2019s […]<\/p>\n

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