Future, Former, Fugitive at Palais de Tokyo

Artists: Nils Alix-Tabeling, Mali Arun, Fabienne Audéoud, Carlotta Bailly-Borg, Grégoire Beil, Martin Belou, Jean-Luc Blanc, Maurice Blaussyld, Anne Bourse,Kévin Bray, Madison Bycroft, Julien Carreyn, Marc Camille Chaimowicz, We Do Not Work Alone, Antoine Château, Nina Childress, Jean Claus, Jean-Alain Corre, Jonas Delaborde, Hendrik Hegray, Bertrand Dezoteux, Vidya Gastaldon, Corentin Grossmann, Agata Ingarden, Renaud Jerez, Pierre Joseph, Laura Lamiel, Anne Le Troter, Antoine Marquis, Caroline Mesquita, Anita Molinero, Aude Pariset, Nathalie Du Pasquier, Marine Peixoto, Jean-Charles de Quillacq, Antoine Renard, Lili Reynaud-Dewar, Linda Sanchez, Alain Séchas, Anna Solal, Kengné Téguia, Sarah Tritz, Nicolas Tubéry, Turpentine, Adrien Vescovi, Nayel Zeaiter

Exhibition title: Future, Former, Fugitive

Curated by: Franck Balland, Daria de Beauvais, Adélaïde Blanc, Claire Moulène

Curatorial assistant: Marilou Thiébault

Venue: Palais de Tokyo, Paris, France

Date: October 16, 2019 – January 5, 2020

Photography: all images copyright and courtesy of the artist, ©Palais de Tokyo and the respective copyright holders

The exhibition Future, Former, Fugitive, devoted to “a French scene” is based on an open conception of territorial placement – bringing together artists born in France and abroad, living in France or elsewhere, linked provisionally or lastingly to this country – in particular it escapes from the effects of a tabula rasa dictating that one generation eclipses another. On the contrary, it unites “contemporaries” who today share this evolving space with its porous frontiers. Meanwhile, it seeks to sketch out the routes of transmission through which this mood of the times is conveyed and which is a breath of fresh air simultaneously for the forty-four artists or groups that have here been united. They are artists born between the 1930s and the 1990s, but who all live and work in and within their era.

Contemporary is a “transitive word and thus relational”, Lionel Ruffel reminds us in Brouhaha. Les mondes du contemporain. We are contemporary with something or with someone and it is this interdependency or bond, that allows us to establish a bridge from one artist to another in the exhibition which we have put together in all of the spaces of the Palais de Tokyo. It is once more this permeability to the present and a form of permanence in time which we seemed to notice in the artists in the exhibition and which allowed us to draw up this unexhaustive, but quite simply sensitive, snap of a French scene. Or, rather, of “another” French scene. The one that is being created more discreetly, but no less powerfully, in studios, art schools, shared spaces, on the margins or sheltered from the market.

The guest artists thus share forms of resistance to assignations and other fashion effects which tinge deeply an era. But these artists do not isolate themselves from today’s world. On the contrary, it might be said that by refusing immediacy, they allow the density of time to infiltrate their works. “The ones that call themselves contemporary are only those who do not allow themselves to be blinded by the lights of the century, and so manage to get a glimpse of the shadows in those lights, of their intimate obscurity” as Giorgio Agamben wrote a few years ago, while also bringing up the highly effective notion of “unactuality” which could fit with the artists who are in action here.

This exhibition is thus an opportunity to bring to mind that there is not just one French scene, but rather a number of communities, engagements and singularities. During the months of preparation of the exhibition, we became surprised by the increasingly outstanding posture of some of the individualities on the vast and complex surface of the French landscape. With a still-lively curiosity for a return to the collective which can been felt today among a certain number of young artists, who are trying out a new way of living together, in shared spaces and forms de mutualisation as an answer to an economic need, we have little by little been moved to a need to reaffirm more singular trajectories. They are singular and not necessarily solitary, given that many of the artists in this exhibition keep up forms of companionship in the long term with peers, of every generation.

Mur de mûres, série Photographie sans fin, 2019, Prints on paper, Courtesy of the artist & Galerie Air de Paris (Paris), Photo credit : Aurélien Mole © Adagp, Paris, 2019

Renaud Jerez, Pas de famille, / pas de sexualité, pas de genre, / pas de genèse, / du corps / et des coups, des coups, des coups, des coups, des coups, 2019, Aluminum, epoxy, electrical installation; Nature conquérante, 2019, PVC, aluminum, galvanized steel, faux leather, cotton, webcam; Metropolitain, 2019, Metal, plexiglas, wood, electric installation, Courtesy of the artist & Galerie Crèvecœur (Paris), Photo credit : Aurélien Mole

Caroline Mesquita, Soft Evasion, 2019, Cardboard, paint, Courtesy of the artist & carlier | gebauer (Berlin), UNION PACIFIC (London), T293 (Rome), Photo credit : Aurélien Mole

Carlotta Bailly-Borg, A Liquid Company, 2019, Acrylic paint on glass, six elements, Courtesy of the artist, Photo credit : Aurélien Mole; Adrien Vescovi, Land I, II, III, 2019, Coton, natural pigments, Courtesy of the artist, Photo credit : Aurélien Mole

Maurice Blaussyld, Space Unreachable, 2010, Wood, glycerophthalic resin, glass, metal, land, linseed oil, Courtesy of the artist & Galerie Allen (Paris), Photo credit : Aurélien Mole

Laura Lamiel, J’ai vu les buffles d’eau, 2019, Tempered glasses, underglaze paints, metal frames, fluorescent tubes, books, enamelled steel prints, cactus and vegetable foam, suitcases, objects from the artist’s collection, Courtesy of the artist & Marcelle Alix (Paris), Photo credit : Aurélien Mole

Corentin Grossmann, ONSEN I, 2018, Graphite, colored pencils and airbrush on paper Private collection (Hong-Kong); Corentin Grossmann, ONSEN II, 2018, Graphite, colored pencils and airbrush on paper Private collection (Hong-Kong); Corentin Grossmann, Les Acolytes, 2018, Ceramic, glaze, enamel, Courtesy of the artist & Galerie Art : Concept (Paris), Photo credit : Aurélien Mole; Jean Claus, Autel des Vosges, past future, Fiber glass, polyester, acrylic painting, Courtesy of the artist & Galerie Jean Brolly (Paris), Photo credit : Aurélien Mole

Nathalie Du Pasquier, Cabine n°3 : AS THE PLANE WAS REACHING CRUISING ALTITUDE 2, 2019, Installation, five painting, oil on paper ; Cabine n°1 : CASA MIA, 1984-2019, Installation, mixed media, paintings, wool carpets, photocopies; Cabine n°2 : TROUVÉ DANS UNE GROTTE, 2019, Painted wood, Courtesy of the artist, Photo credit : Aurélien Mole

Jonas Delaborde & Hendrik Hegray, NK 12 EGIPAN, 2019, Metal troughs, metal shelves, PVC tarpaulin, wallpaper, linoleum, paper, fluorescent tubes, modeling clay, paint, enclosure, publication, printer, sound, Courtesy of the artists & Galerie Valeria Cetraro (Hendrik Hegray), Photo credit : Aurélien Mole

Martin Belou, Demain les chiens, 2019, Tent, magnets, agave flower, lamps, bolsters, benches, fabrics, halyard, wood, brass, terracotta, steel, Courtesy of the artist, Photo credit : Aurélien Mole

Nils Alix-Tabeling, from left to right: Hydre, (2019) La Vasque Basile (from the Hybride series) ( 2019), Corps humain à la botte (2019), Corps humain à l’éventail (2019), L’Éveil du printemps (from the Hybride series) (2018), Transfert de gènes horizontal (from the Hybride series) (2019), Exhibition view, “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 –01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Nils Alix-Tabeling, from left to right: Harlequin (from the Hybride series) (2017), Hydre (2019), La Vasque Basile (from the Hybride series) (2019), Transfert de gènes horizontal (from the Hybride series) (2019), Exhibition view, “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 –01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Nils Alix-Tabeling, from left to right: Corps humain à l’éventail, 2019, L’Éveil du printemps ( from the Hybride series), 2018, Exhibition view, “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 –01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Nils Alix-Tabeling, from left to right: La Vasque Basile (from the Hybride series), 2019, Transfert de gènes horizontal (from the Hybride series), 2019, Exhibition view, “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 –01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Mali Arun, from left to right : Saliunt Venae (2015), Paradisus (2015), Exhibition view, “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05.20), Courtesy of the artist, Photo credit: Thomas Lannes

From left to right : Vidya Gastaldon, Healing object (marche-pied IKEA) (2019), Let it God (Santa) (2013), Healing object (tabouret double face tigre) (2019). Courtesy of the artist & Art : Concept (Paris). Fabienne Audéoud, Petits loups (2019), D’après The Tale of Two Bad Mice (Deux vilaines souris) de Beatrix Potter, 1908, (Hunca Munca et le balai) (2019), D’après The Tale of Two Bad Mice (Deux vilaines souris) de Beatrix Potter, 1908, (Hunca Munca et la balayette) (2019). Courtesy of the artist; Vidya Gastaldon, Healing object (chakra échelle), (2019). Courtesy of the artist & Art : Concept (Paris); Jean-Charles de Quillacq, Quillacq Ouverte, (2010). Courtesy of the artist & Marcelle Alix (Paris), Exhibition view, “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Photo credit: Thomas Lannes, © Adagp, Paris, 2019

Fabienne Audéoud, Parfums de pauvres (2019), Exhibition view, “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05. 20), Courtesy of the artist, Photo credit: Nikolai Jakobsen, © Adagp, Paris, 2019

Fabienne Audéoud, Parfums de pauvres (2019), Exhibition view, “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05. 20), Courtesy of the artist, Photo credit: Aurélien Mole, © Adagp, Paris, 2019

Fabienne Audéoud, Petits loups (2019), D’après The Tale of Two Bad Mice (Deux vilaines souris) de Beatrix Potter, 1908, (Hunca Munca et la balayette) (2019), Exhibition view, “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole, © Adagp, Paris, 2019

Carlotta Bailly-Borg, A Liquid Company (2019). Courtesy of the artist, In the background: Maurice Blaussyld (2002). Unreachable Space (2010). Courtesy of the artist & Galerie Allen (Paris), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05.20), Photo credit: Aurélien Mole

In the foreground: Carlotta Bailly-Borg, A Liquid Company (2019). Courtesy of the artist, In the background: Adrien Vescovi, Land I, II, III (2019). Courtesy of the artist, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05. 20), Photo credit: Aurélien Mole

Carlotta Bailly-Borg, A Liquid Company (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05. 20), Courtesy of the artist, Photo credit: Aurélien Mole

Grégoire Beil, Les Jeunesses d’Or (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Grégoire Beil, Roman national (2018), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Martin Belou, Demain les chiens, 2019, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Thomas Lannes

Martin Belou, Demain les chiens, 2019, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Jean-Luc Blanc, from left to right : Rosemary (2009), Sans titre (2006), Nora Miralda (d’après Serge Diakonoff) (2019), Tippi Miralda (d’après Serge Diakonoff) (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Galerie Art : Concept (Paris), Photo credit: Thomas Lannes

Jean-Luc Blanc, from left to right : Sans titre (2005), Sans titre (2005), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Collection Irié (Paris), Photo credit: Aurélien Mole

Jean-Luc Blanc, Nora Miralda (d’après Serge Diakonoff) (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (16.10.19 – 05.01.20), Courtesy of the artist & Galerie Art : Concept (Paris), Photo credit: Aurélien Mole

Maurice Blaussyld (2002). Unreachable space (2010). Courtesy of the artist & Galerie Allen (Paris), In the background: Adrien Vescovi, Land I, II, III (2019). Courtesy of the artist, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05.20), Photo credit: Aurélien Mole

Maurice Blaussyld (2002), Unreachable space (2010), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05.20), Courtesy of the artist & Galerie Allen (Paris), Photo credit: Aurélien Mole

Maurice Blaussyld (2002). Unreachable space (2010). Courtesy of the artist & Galerie Allen (Paris), In the background: Carlotta Bailly-Borg, A Liquid Company, (2019). Courtesy of the artist, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05.20), Photo credit: Aurélien Mole

Anne Bourse, Chaque après-midi je me demande ce que tu fais ce soir quand le jour est presque fini (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Kévin Bray, Lanima navigue (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Thomas Lannes

Madison Bycroft, Anepic (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16 19 – 01.05.20), Courtesy of the artist, Photo credit: Thomas Lannes

Madison Bycroft, Anepic (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16 19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Julien Carreyn, Untitled (2017-2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Galerie Crèvecœur (Paris), Photo credit: Aurélien Mole © Adagp, Paris, 2019

Julien Carreyn, Les anciennes auberges de jeunesse (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Galerie Crèvecœur (Paris), Photo credit: Aurélien Mole, © Adagp, Paris, 2019

Marc Camille Chaimowicz, Cambrai XVIII (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Wallpapers by Artists, Co-publishing Musée des beaux-arts de Cambrai et Wallpapers by Artists, Photo credit: Aurélien Mole

Marc Camille Chaimowicz, Cambrai XVIII (2019), Courtesy of the artist & Wallpapers by Artists. Co-publishing Musée des beaux-arts de Cambrai et Wallpapers by Artists, In the background: Antoine Marquis, Fleurs et oranges, 2019. Courtesy of the artist & Galerie de Multiples (Paris), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Photo credit: Aurélien Mole

Antoine Château, from left to right: Ed Minlackv (2018), Pétales (2019), Feu follet (2018), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Thomas Lannes

Antoine Château, Météore ( 2018), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Thomas Lannes

Antoine Château, from left to right: Vert clair (2019), Lactée (2019), Écume (2019), Troisième Soleil (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Antoine Château, Lactée (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Nina Childress, Comédie Française (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Galerie Bernard Jordan (Paris / Zurich), Photo credit: Thomas Lannes, © Adagp, Paris, 2019

Nina Childress, from left to right : Karen sourit (clair) (2018), Karen sourit (foncé) (2018), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist and Galerie Bernard Jordan (Paris / Zurich), Photo credit: Thomas Lannes, © Adagp, Paris, 2019

From left to right : Jean Claus, L’État agile (1991). Courtesy of the artist & Galerie Jean Brolly (Paris). Nina Childress, C.Twins (noir et blanc) (2017). Courtesy of the artist & Galerie Bernard Jordan (Paris / Zurich), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Photo credit: Aurélien Mole, © Adagp, Paris, 2019

Nina Childress, Immeuble danois (2017), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist and Galerie Bernard Jordan (Paris / Zurich), Photo credit: Aurélien Mole, © Adagp, Paris, 2019

From left to right : Jean Claus, Crédence à la plante verte (elusive date of creation). Courtesy of the artist & Galerie Jean Brolly (Paris), Corentin Grossman, Ovulos (2019). Courtesy of the artist & Galerie Art : Concept (Paris), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Photo credit: Thomas Lannes

On the ground, from left to right: Jean Claus, Crédence à la plante verte (elusive date of creation), Autel des Vosges, (futur past), Temple domestique – Vaisselier au cheval qui bande (futur past). Courtesy of the artist & Galerie Jean Brolly (Paris), On the wall, from left to right : Corentin Grossman, A Lovely Sunset (2019), Yeux de vulves (2018), Avocado Fantasy (2019), Miraj (2019). Courtesy of the artist & Galerie Art : Concept (Paris), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Photo credit: Aurélien Mole

In the foreground: Autel des Vosges (past future), In the background: Corentin Grossman, Miaou, (2018), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Galerie Art : Concept (Paris), Photo credit: Aurélien Mole

Jean-Alain Corre, Poisson ascendant poisson : Avatar 2 (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole or Thomas Lannes

Jonas Delaborde & Hendrik Hegray, NK 12 EGIPAN (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artists & Galerie Valeria Cetraro (Hendrik Hegray), Photo credit: Aurélien Mole

Bertrand Dezoteux, L’Histoire de France en 3D (2012), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

From left to right:, Marine Peixoto, Solène, Maison de la démocratie, Montpellier (2018). Marie-Hélène, Maison de la démocratie, Montpellier (2018).. Courtesy of the artist, Anna Solal, The Eaten Kite (2018). Courtesy of the artist & New Galerie (Paris), Jean-Charles de Quillacq, Shower gels washer fluids (2019). Courtesy of the artist & Marcelle Alix, Bertrand Dezoteux, L’Histoire de France en 3D (2012). Courtesy of the artist, Anita Molinero, La Grosse Bleue (troisième version) (2017). Courtesy of the artist & Galerie Thomas Bernard / Cortex Athletico (Paris), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Photo credit: Aurélien Mole

Nathalie du Pasquier, D’un jour à l’autre (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Vidya Gastaldon, Healing object (marche-pied IKEA) (2019). Courtesy of the artist & Art : Concept (Paris), Marc Camille Chaimowicz, Cambrai XVIII (2019). Courtesy of the artist & Wallpapers by Artists. Co-publishing Musée des beaux-arts de Cambrai et Wallpapers by Artists, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05.20), Photo credit: Aurélien Mole

From left to right :, Vidya Gastaldon, Let it God (Santa) (2013). Courtesy of the artist & Art : Concept (Paris), Marc Camille Chaimowicz, Cambrai XVIII (2019). Courtesy of the artist & Wallpapers by Artists. Co-publishing Musée des beaux-arts de Cambrai et Wallpapers by Artists, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05.20), Photo credit: Aurélien Mole

From left to right:, Jean-Charles de Quillacq, Bread or Cigarettes (2012). Courtesy of the artist & Marcelle Alix (Paris), Vidya Gastaldon, Healing object (chaise fleurie) (2019). Courtesy of the artist & Art : Concept (Paris), Antoine Marquis, Costume pour un spectacle (2008-2018). Courtesy of the artist & Galerie des Multiples (Paris), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05.20), Photo credit: Aurélien Mole

Corentin Grossman, from left to right: Un doute intersidéral (2019), L’Oiseau rare (2019), Océaniania (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05.20), Courtesy of the artist & Galerie Art : Concept (Paris), Photo credit: Aurélien Mole

Corentin Grossman, from left to right: Ovulos (2019), La Femme batracienne (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05.20), Courtesy of the artist & Galerie Art : Concept (Paris), Photo credit: Aurélien Mole

Agata Ingarden, A Picnic at Sunset (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Renaud Jerez, from left to right : Pas de famille, / pas de sexualité, pas de genre, / pas de genèse, / du corps / et des coups, des coups, des coups, des coups, des coups (2019), Laves Digitales (2019), Nature conquérante (2019), Metropolitain (2019) Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist and Galerie Crèvecœur (Paris), Photo credit: Aurélien Mole

Renaud Jerez, from left to right : Pas de famille, / pas de sexualité, pas de genre, / pas de genèse, / du corps / et des coups, des coups, des coups, des coups, des coups (2019), Nature conquérante (2019), Metropolitain (2019), De l’escarre d’écorché (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist and Galerie Crèvecœur (Paris), Photo credit: Aurélien Mole

Renaud Jerez, En m’asseyant sur mes convictions, j’ai réalisé le plaisir de dépenser 20€, d’en figurer #lemonde comme névrose photosynthétique, 2017, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Collection Monika Schnetkamp (Düsseldorf)

Renaud Jerez, Laves Digitales, 2019, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist and Galerie Crèvecœur (Paris), Photo credit: Aurélien Mole

Renaud Jerez, De l’escarre d’écorché (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist and Galerie Crèvecœur (Paris), Photo credit: Aurélien Mole

Pierre Joseph, Mur de mûres, série Photographies sans fin (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Galerie Air de Paris (Paris), Photo credit: Thomas Lannes, © Adagp, Paris, 2019

From left to right: Jean-Charles de Quillacq, Shower gels washer fluids (2019). Courtesy of the artist & Marcelle Alix (Paris), Pierre Joseph, Mur de mûres, série Photographies sans fin (2019). Courtesy of the artist & Galerie Air de Paris (Paris), Caroline Mesquita, Soft Evasion (2019). Courtesy of the artist & carlier | gebauer (Berlin), UNION PACIFIC (Londres), T293 (Rome), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Crédit photo : Aurélien Mole

Anne Le Troter, Martagueule (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Antoine Marquis, from left to right: Céline et Julie (2008-2018), Fleurs et oranges (2019). Courtesy of the artist & Galerie de Multiples (Paris), In the background : Fabienne Audéoud, Petits loups (2019). Courtesy of the artist. Vidya Gastaldon, Healing object (chakra échelle) (2019). Courtesy of the artist & Art : Concept (Paris)., Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Galerie de Multiples (Paris), Photo credit: Aurélien Mole

Antoine Marquis, Céline et Julie (2008-2018), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Galerie de Multiples (Paris), Photo credit: Aurélien Mole

Antoine Marquis, Fleurs et oranges (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Galerie de Multiples (Paris), Photo credit: Aurélien Mole

Caroline Mesquita, Soft Evasion (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & carlier|gebauer (Berlin), UNION PACIFIC (London), T293 (Rome), Photo credit: Nikolai Jakobsen

Caroline Mesquita, Soft Evasion (2019), Courtesy of the artist & carlier|gebauer (Berlin), UNION PACIFIC (London), T293 (Rome), In the background : Marine Peixoto, Fugue, photographies prises dans l’appartement n°111 de la Tour Fugue, Orgues de Flandre, Paris, de janvier à juillet 2019 (2019). Courtesy of the artist, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Photo credit: Aurélien Mole

Aude Pariset, from left to right : Promession®: Rêve de Chrysalide, Puberté Florissante (2018), Promession®: Schwammbett, Stadium des Krabbelns (2018), Young Adult Maze, Deciphering Level (2018), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Sandy Brown (Berlin), Photo credit: Aurélien Mole

Aude Pariset, Promession®: Rêve de Chrysalide, Puberté Florissante (2018), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Sandy Brown (Berlin), Photo credit: Aurélien Mole

Aude Pariset, Promession®: Young Adult Maze, Deciphering Level (2018), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & Sandy Brown (Berlin), Photo credit: Aurélien Mole

From left to right: Vidya Gastaldon, Healing object (tabouret double face tigre) (2019), Let it God (Santa) (2013). Courtesy of the artist & Art : Concept (Paris)., Fabienne Audéoud, D’après The Tale of Two Bad Mice (Deux vilaines souris) de Beatrix Potter, 1908, (Hunca Munca et le balai) (2019), D’après The Tale of Two Bad Mice (Deux vilaines souris) de Beatrix Potter, 1908, (Hunca Munca et la balayette) (2019). Courtesy of the artist, Confort Moderne (Poitiers) & Villa Arson (Nice). Petits loups,(2019). Courtesy of the artist, Vidya Gastaldon, Healing object (chakra échelle), (2019). Healing object (marche-pied IKEA) (2019). Courtesy of the artist & Art : Concept (Paris), Jean-Charles de Quillacq, Quillacq Ouverte, (2010). Courtesy of the artist & Marcelle Alix (Paris), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Photo credit: Aurélien Mole

Antoine Renard, Impressions, après Degas (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Thomas Lannes

Antoine Renard, Impressions, après Degas (2019). Courtesy of the artist, Jean-Luc Blanc, Sans titre (2006). Corutesy of the artisgt & Galerie Art : Concept (Paris), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Photo credit: Thomas Lannes

Antoine Renard, Impressions, après Degas (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Thomas Lannes

Antoine Renard, Impressions, après Degas (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Linda Sanchez, l’autre, 2019, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo, (16.10.19 – 05.01.20), Courtesy of the artist & Galerie Papillon (Paris), Photo credit: Aurélien Mole or Thomas Lannes

Anna Solal, from left to right : Twin Kite (2018), The Eaten Kite (2018), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & New Galerie (Paris), Photo credit: Aurélien Mole

In the foreground : Anna Solal, The Reddening Kite (2018). Courtesy of the artist & New Galerie (Paris), In the middle : Anne Le Troter, Martagueule (2019). Courtesy of the artist, In the background : Anita Molinero, La Grosse Bleue (troisième version) (2017). Courtesy of the artist & Galerie Thomas Bernard / Cortex Athletico (Paris), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & New Galerie (Paris), Photo credit: Aurélien Mole

Anna Solal, The Eaten Kite, 2018, Courtesy of the artist & New Galerie (Paris), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Photo credit: Aurélien Mole

Anna Solal, Horloge Ruche (2019). Courtesy of the artist & New Galerie (Paris); Antoine Château, Flanc de pirogue où dansent les ombres (2018). Ed Minlackv, (2018). Courtesy of the artist, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist & New Galerie (Paris), Photo credit: Aurélien Mole

Sarah Tritz, MIAM, from the THEATER COMPUTER series (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Thomas Lannes, © Adagp, Paris, 2019

Sarah Tritz, CLITOBEANS, from the THEATER COMPUTER series (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole, © Adagp, Paris, 2019

Nicolas Tubéry, 7460 Gina (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16.19 – 01.05.20), Courtesy of the artist, Photo credit: Aurélien Mole

Adrien Vescovi, Land I, II, III, 2019, Exhibition view “Future, Former, Fugitive”, Palais de Tokyo, (16.10.19 – 05.01.20), Courtesy of the artist, Photo credit: Thomas Lannes

Adrien Vescovi, Land I, II, III (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05. 20), Courtesy of the artist, Photo credit: Aurélien Mole

Nayel Zeaiter, Histoire du vandalisme en affiches illustrées (2019), Exhibition view “Future, Former, Fugitive”, Palais de Tokyo (10.16. 19 – 01.05. 20), Courtesy of the artist, Photo credit: Thomas Lannes, © Adagp, Paris, 2019