C'est un endroit que je connais assez bien
Air de Paris•Jan 11, 2026 — Feb 14, 2026
More Exhibitions at Air de Paris
Similar Exhibitions
Guestbook
Press Release
As distilled in the 1949 drawing by Toyen from which the title of the current exhibition at Air de Paris is taken [1], Véronique Bourgoin, Juli Susin (and, in a wider framework, their friends and colleagues in the Royal Book Lodge) have worked on the liminal fringes of an epistemological and aesthetic paradox exemplified by their inheritance of and salient dispute with the radical dissipation of alchemical metaphoricity. Consider Raoul Vaneigem’s tart critique of Surrealism set out in Histoire désinvolte du surrealisme (1977) [2]. His revisionist thinking about the movement turns on what he (and others) identified as a bifurcation in the early 1930s between its political realignment (he calls it a “militant ... dalliance”) with the Communist Party, on the one hand, and the emergence of “‘magical’ works . . spurred on,” he contends, “by the revelation of Alberto Giacometti’s ‘objects with symbolic functions,’” on the other. The resonantly poetic counter-sign…
Exhibition Space
Metadata
Claims
C'est un endroit que je connais assez bien
Air de Paris•Jan 11, 2026 — Feb 14, 2026
Press Release
As distilled in the 1949 drawing by Toyen from which the title of the current exhibition at Air de Paris is taken [1], Véronique Bourgoin, Juli Susin (and, in a wider framework, their friends and colleagues in the Royal Book Lodge) have worked on the liminal fringes of an epistemological and aesthetic paradox exemplified by their inheritance of and salient dispute with the radical dissipation of alchemical metaphoricity. Consider Raoul Vaneigem’s tart critique of Surrealism set out in Histoire désinvolte du surrealisme (1977) [2]. His revisionist thinking about the movement turns on what he (and others) identified as a bifurcation in the early 1930s between its political realignment (he calls it a “militant ... dalliance”) with the Communist Party, on the one hand, and the emergence of “‘magical’ works . . spurred on,” he contends, “by the revelation of Alberto Giacometti’s ‘objects with symbolic functions,’” on the other. The resonantly poetic counter-sign…
