Philippe Parreno

Philippe Parreno
November 25, 2010 – February 13, 2011

The Boy From Mars, 2003
35mm film transferred to video HD, 10:39 min

 

Photo © Gautier Deblonde

Invisibleboy, 2010
35 mm, 5:18 min

 

Photo © Gautier Deblonde

No More Reality, La Manifestation, 1991

Betacam, 4 min

 

Photo © Gautier Deblonde

June 8, 1968, 2009
70 mm or DCP 2K anamorphic, 7:11 min

 

Photo © Gautier Deblonde

June 8, 1968, 2009 
70 mm or DCP 2K anamorphic, 7:11 min

 

Photo © Gautier Deblonde

Philippe Parreno

Philippe Parreno
Serpentine Gallery, London
November 25, 2010 – February 13, 2011
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Parreno’s exhibition at the Serpentine Gallery is his first solo exhibition in a UK public institution. It has been conceived as a scripted space in which a series of events unfolds. The visitors are guided through the galleries by the orchestration of sound and image, which heightens their sensory experience. Noise from Kensington Gardens and from the surrounding streets can be heard inside the Gallery, as though the outside is leaking in. The blinds come up to reveal a sudden change of weather. Taking the exhibition as a medium, Parreno has sought to redefine the exhibition experience by exploring its possibilities as a coherent ‘object’ rather than a collection of individual works. The show features the UK premiere of Parreno’s latest film, Invisibleboy (2010), the story of an illegal Chinese immigrant boy who sees imaginary monsters that are scratched onto the film stock. In this filmic portrait fantasy and social realism, fiction and documentary overlap. June 8, 1968 (2009) recalls the train voyage that transported the corpse of assassinated senator Robert Kennedy from New York to Washington D.C. Kennedy’s invisible body and the Invisibleboy are characters that float between several layers of reality. Set in Asia, The Boy from Mars (2003) follows dimming points of light and reflections of the sun, before lingering on buffalo tied to a purpose-built structure containing an electricity-generating machine that provides the power required to make the film. Whether through the cinematic image or the exhibition itself, Parreno explores and manipulates contemporary signs in all of their hallucinatory reality.

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