Charles Ray is suddenly everywhere.
At the Center Pompidou and, simultaneously, at the Bourse de Commerce where this prototype of the American society in jeans and a checkered shirt questions what sculpture is in all its forms.
It is both subliminal and figurative so much the self-portrait, from the most neutral to the most obscene, is its way of confronting the history of art, of measuring itself against space, time, to test his passion for know-how… And the freshness of his public, summoned to apprehend everything and its opposite.
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He is there, often gray heads, circulating between the two rooms transformed into showcases of sculptures in Beaubourg, seeking to decipher the story of this artist in his photographic series and his performances in absurdity (
Plank Piece I and II
, 1973) .
The same palpable interest in the almost empty Rotunda of the Bourse de Commerce where the crushed and redeployed truck (
Unbaled Truck
, 2021) makes the child who is playing with his toy car seem tiny (
The…
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