This essay focuses on French artist Philip Parreno's 2013-2014 Palais de Tokyo exhibition Anywhere, Anywhere, Out of this World to explore how the artist utilizes the exhibition format to produce an aesthetic imaginary concerned with intermediality, collaboration, spectatorial attention and distraction. It examines the forms of object and image dissipation that Parreno and his collaborators mobilised through a digital network that activated ghostly environments in the spatiality of this unique exhibition space. Utilising the exhibition as a controlled dispositif that interfaced with viewers, Anywhere repurposed the normative structure of the exhibitionary complex to stage alternative relations between objects and subjects within the spectral conditions of the digital. The exhibition, rather than a framework that contains art, was used by the artist to stage relations and query contemporary rituals of artistic integration. The essay concludes that Parreno’s techno-environment and its anti-instrumentalising itinerary, posed, but didn’t resolve, recurring concerns with agency and publicness under intensified regimes of biotechnological integration.
Copyright (c) 2021 Monica Amor
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