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Karen Kilimnik
Musée d'Art Moderne de Paris

Until january 7, 2007

American Karen Kilimnik is practically unknown in France. However Jennifer Flay, the current director of Fiac, exposed her first work since 1992, followed in 1998 by the Ghislaine-Hussenot gallery. This artist acquired an international notoriety by many exhibitions in the museums and the galleries of the whole world, Zurich, New York or Dublin. Its installation last year in Palazzo Tito for the Bienniale of Venice made great noise. Living in Philadelphia, far from the usual circuits of the contemporary art, Karen Kilimnik built a work in which it carts contemporary mythologies as well as poetry, the magic, and a true passion for the fairy tale. It borrows its subjects as well from old painting than with the art of today, as it is of literature, music, ballet or decoration. There is irony in its matter, a certain insolence, respectful of the beauty of the dreams. With it, a high-speed motorboat of Hollywood is transformed into Cinderella and the castle of Manderley in thatched cottage, which accommodates Peter Pan.
Paris Hilton as a Marie-Antoinette, Leonardo DiCaprio as a prince Desiré and Noureev in Snow Prince. The astonishment is serious. In which world are we? That of Karen Kilimnik who seizes reality to carry it towards a dream through a series of three installations. Its Antechambers, which would like a madness XVIIIth century, is in fact the copy of a decoration of the series TV “Dynasty”, with on the wall of the forgeries Goya, false Gainsborough, false Reynolds. A commonplace which even enchants beyond the anecdote, and transports us in a world where childhood builds the dream. Even impression with The Grotto, installation of a basin surrounded by ivy and sculptures. Idyllic decoration for a traditional ballet. Dancers and dancers are not any more that phantoms, of which the portraits are locked up within frameworks, Rudolf Noureev is the great guardian figure. As for one of these landscapes which one can see hung here and there, it could be well that it is one of these cottages where Rolling Stones were made stop for detention of drug. There is no perversity at Karen Kilimnik, quite to the contrary, but a manner of demystifying the fairy tale all while restoring its magic capacity to him, that to transport us in another world.
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