There is the old Biennale des antiques, renamed "La Biennale" (without the addition of Paris), more than the showcase.
The setting of the ephemeral Grand Palais saves the day for this 32 edition, which has lost all of its magic, substance and aura.
With 30% less surface area, the short list of participants - 70 against much more than double in the Belle Epoque - is less noticed under this sea bubble than under the luminous nave of the Grand Palais.
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The ephemeral Grand Palais ready to open its doors
To hide the voids, monumental sculptures stand at the entrance and at the crossroads of the aisles, such as the imposing
Adel Abdessemed
Passenger Pigeons
in the midst of which the guests of the opening (spread Thursday, from 3 p.m. to 11 p.m., to ensure a flow constant) were photographed.
Others are less tasteful, like
Koen Vanmechelen's
Custodian
(2020), with its furry and horned head.
Designed by Stabilo (successor to Décoral), the layout of the stands opening onto very wide aisles creates a harmony of tones predominantly beige-white
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