Author Description

Part 1 of this exhibition brings together artworks that explore, in different ways, how the body absorbs, processes, stores, and recalls experiences. Many of the artists exploit the gap between personal and official narratives, grappling with the precarity of memory and responding to histories of dislocation and loss. Working with fragments and traces, utilizing repetition and shadow play, stressing the importance of language in remembering and resisting, collapsing time, and encouraging us to employ all our senses to experience and remember, they explore the slippages between fact and fiction, imaginatively reconstructing connections to the past in the void left by history. Part 2 focuses in how memories are inscribed, featuring artworks that explore in different ways the traces of history all around us while proposing alternative, sometimes subversive strategies of looking at the past. Many of the artists exploit the gap between personal and official narratives, grappling with the precarity of memory and unreliability of history. Drawing our attention to the overlooked, collapsing time through montage, employing humor, dabbling with the absurd, stressing the importance of language in remembering and resisting, and encouraging us to employ all our senses to experience and recall, they explore the slippages between fact and fiction, imaginatively reconstructing connections to the past in the void left by History. The exhibition features international loans and works from the Deutsche Bank Collection that were acquired over the past ten years. The collection's global orientation is due in part to the Nigerian curator Okwui Enwezor, who was a member of Deutsche Bank's Global Art Advisory Council and directed the groundbreaking documenta 11. -- from https://palaispopulaire.db.com/