DEMAIN EST LA QUESTION

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Open: Tue-Sat 11am-7pm

10 rue Charlot, 75003, Paris, France
Open: Tue-Sat 11am-7pm


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DEMAIN EST LA QUESTION

Paris

DEMAIN EST LA QUESTION
to Sat 25 Jul 2020
Tue-Sat 11am-7pm

Jennifer Allora & Guillermo Calzadilla, Abraham Cruzvillegas, David Douard, Mimosa Echard, Jean Luc Moulène, Melik Ohanian, Gabriel Orozco, Tim Rollins and K.O.S., Anri Sala, Rirkrit Tiravanija, Danh Vo, Haegue Yang.

Artworks

untitled 2015 (demain est la question), 2015

Silkscreen on ping pong table and paddles
76 x 152.5 x 274 cm | 29 7/8 x 60 x 107 7/8 inches.
Edition of 2. Installation view, Nouveau Festival, Centre Pompidou, 2015. Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Florian Kleinefenn

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Salomon, Ao, 2020

Fougère, lichen, coquille d'escargot, perles de verre lichen, perle de rivière, fleurs de Clitoria, préservatif Calendula, Larmes de Job, collier, prothèse oreille d'elfe, cories, noyaux de cerise, Achillée, ovule de Gingko, Lacrifluid,
emballage de pilule Trinordiol, Gardenia, gélule pour la beauté de la peau, collant, kapok, mousse synthétique, tissu résine époxy
Courtesy of the artist and Galerie Chantal Crousel, Paris. © Mimosa Echard

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L'épouvanté - Fénautrigues, Lot, Fr., été 1991, 2004

Cibachrome mounted on aluminum
121 x 151 cm | 47 5/8 x 59 4/8 inches || 124 x 158 x 6 cm | 48 7/8 x 62 2/8 x 2 3/8 inches (framed)
Edition of 3 + 2 AP. Courtesy of the artist and Galerie Chantal Crousel, Paris.

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Roiseau 3, 2012

Bamboo branch and bird feathers
190 x 190 x 150 cm | 74 6/8 x 74 6/8 x 59 inches
Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Florian Kleinefenn

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Untitled A-Z, 2013

Set of 2 engravings on Hahnemühle Bütten 350g
53.5 x 39.5 cm | 21 x 15 4/8 inches || 60 x 43.5 x 3.5 cm | 23 5/8 x 17 1/8 x 1 3/8 inches (framed, each)
Edition of 20 + 10 AP. Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Niels Borch Jensen

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Autoportrait avec pouce opposable XL, 2020

Paint on paper
61 x 45.5 x 4 cm | 24 x 17 7/8 x 1 5/8 inches (framed)
Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Florian Kleinefenn

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Contract (AOC L), 2014

Silkscreen on linen
243 x 182 cm | 95 5/8 x 71 5/8 inches
Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Sebastiano Pellion di Persano

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In the short essay entitled The Carrier Bag Theory of Fiction, feminist author Ursula K. Le Guin tells the story of human origin, from the Paleolithic and Neolithic time periods. Strongly influenced by anthropology, she developed a speculative fiction gender in her work as a writer and focuses primarily on social and political themes, but also on the entanglement of fiction with knowledge and on the role of men and women within the reign of the living and the Anthropocene.

“In the temperate and tropical regions where it appears that hominids evolved into human beings, the principal food of the species was vegetable. Sixty-five to eighty percent of what human beings ate in those regions in Paleolithic, Neolithic, and prehistoric times was gathered; only in the extreme Arctic was meat the staple food. The mammoth hunters spectacularly occupy the cave wall and the mind, but what we actually did to stay alive and fat was gather seeds, roots, sprouts, shoots, leaves, nuts, berries, fruits, and grains, adding bugs and mollusks and netting or snaring birds, fish, rats, rabbits, and other tuskless small fry to up the protein. And we didn’t even work hard at it–much less hard than peasants slaving in somebody else’s field after agriculture was invented, much less hard than paid workers since civilization was invented. The average prehistoric person could make a nice living in about a fifteen-hour work week.

Fifteen hours a week for subsistence leaves a lot of time for other things. So much time that maybe the restless ones who didn’t have a baby around to enliven their life, or skill in making or cooking or singing, or very interesting thoughts to think, decided to slope off and hunt mammoths. The skillful hunters then would come staggering back with a load of meat, a lot of ivory, and a
story. It wasn’t the meat that made the difference. It was the story.(1)”

— Ursula K. Le Guin


(1) “The Carrier Bag Theory of Fiction”, 1986. Source: Dancing at the Edge of the World; Transcribed: by Cody Jones

Courtesy of the artists and Galerie Chantal Crousel, Paris. Photo : Thomas Lannes

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