The top floor of the Palais Fesch, Corsica's largest museum of fine arts, has been transformed by French artist Laurent Grasso. Called 'Paramuseum', the exhibition juxtaposes the museum's collections with his recent work. Pictured: the Grande Galerie, showing the artist's 2016 film, Élysée

费什宫是19世纪建在科西嘉首都阿贾西奥海滨的一座宏伟建筑，里面收藏着法国卢浮宫以外最大的意大利绘画收藏品。有波提切利，米开朗基罗，提香，维罗尼昂人和许多其他的作品-散落在岛上最显赫的家族波拿巴的肖像画和半身像中。

这不是展示当代艺术的最明显的环境。但这并没有阻止导演菲利普·科斯塔玛纳(Philippe Costamagna)举办异常大胆的展览。2014年，在与美国摄影师安德烈斯·塞拉诺(AndresSerrano)合作后，科斯塔玛纳与法国概念艺术家洛朗·格拉索(LaurentGrasso)合作，重新设计了博物馆的顶层。

名为“PARAMESUM”，格拉索在FESCH的展览结合了博物馆收藏的绘画和雕塑，以及他自己创作的作品。通过挑战政治权力和宗教力量的表现，模糊了气象和神话之间的界限，格拉索将他的观众们投入到一个奇怪的令人困惑的平行宇宙中。

进入“博物馆旁”后，观众会看到一堵长长的墙，里面有43幅历史肖像。格拉索选择了他们作为他们的被试的刺眼的目光，并将他们挂起来，使43对眼睛水平地对齐。他们的出现是由格拉索的霓虹灯在对面的墙壁，这表明划时代的日期(其中包括庞贝城的破坏和1755年里斯本地震)。

更多的眼睛仔细观察观众在整个节目。从Fesch的肖像中借来的无体对，在新的画布上充满了谜团。也有幽灵圣徒的形象，从更大的绘画转移到镀银的木块上。格拉索扭转了通常的艺术展览的力量动力，使他的观众成为艺术品注视的对象。

新旧作品与搅拌效果并重。一个房间里摆着17世纪宗教肖像的肖像，与格拉索的大理石雕塑相提并论，展示的是一只鸟，它的嘴被一个鸡蛋挡住了。标题为S.T.(在拉丁文中，意思是“保持沉默”)，它向梵蒂冈内的标志点点头，更广泛地说，是教会对默许服从的要求。这种对宗教的批判观点后来被格拉索在梵蒂冈天文台工作的一位牧师和天文学家的照片复杂化了。

另一个房间将Napoleon的父亲、兄弟、姊妹、姐夫和侄女的历史残骸与格拉索的一部电影结合在一起，以意大利维泰尔博波马佐花园的怪兽雕塑为特色，这是拿破仑传奇的持久力量的异想天开的寓言。

进一步评论时间权力的吸引力，格拉索推出了一部新的电影，爱丽舍，在博物馆的格兰德加莱丽。这张照片是在法国总统的办公室里拍摄的，它吸引了人们对家具、配件和被镀金的日常物品的关注，并将镀金行为作为对一位国家元首投资大国的比喻。

在其他地方，Grasso的最著名的电影《太阳城》（Soleil）也在观看。
在罗马，孪生太阳在壮观的MuseoDellaCiviltàRomana上空盘旋，针对复仇女神的传说，一颗流星将与我们的太阳系发生碰撞，并导致其毁灭。
由两个重叠的黄色霓虹灯组成的雕塑作品照亮了隔壁的房间。
它与一群古老的山水画分享了这一空间，格拉索为他们的年迈、泛黄的外貌选择了这幅画。
在“霓虹灯圈”的“金色光辉”下，这幅画似乎复兴了——正如费斯奇在Grasso的杰作下对新生活所采取的行动一样。

The film draws its name from the Palais de l'Élysée, where the French president resides. Shot in the president's personal office (called the Salon Doré), it draws attention to furniture, fittings and day-to-day objects that have been gilded with gold, simultaneously allegorising and questioning the act of investing great power in a head of state

One wall in the long central gallery has been lined with 43 paintings from the Italian Renaissance. Grasso selected them based on the sharpness of each subject's gaze, and hung them so that each pair of eyes would be on the same horizontal line. The effect is made eerier by Grasso's neon works on the opposite wall

Dotting the exhibition are silver canvases, painted with eyes taken from the portraits of the museum's collection. By omitting the rest of their faces, Grasso forces the viewer to confront the sitters' penetrating gaze

Grasso examines religious virtue and oppression by pairing four ecclesiastical portraits with a marble sculpture of his own. Depicting a heron whose beak has been obstructed by an egg, it seems to suggest both the ennobling and suffocating effects of silence

A pair of oils on gold foil. Pictured left: one of Grasso's studies, Into the Past, showing a rout of knights staring at a dark sun. Right: Christ Blessing, by early Italian Renaissance painter Antoniazzo Romano

Grasso has shown himself as a master at the art of anachronism. Pictured left: the present-day Salon Doré is realised in a painting style of the 19th century. Right: the Hand of Justice (commonly found at the tip of French sceptres) is given a contemporary treatment in marble

A still from Grasso's 2014 film, Soleil double shows twin suns blazing down on the magnificent Museo della Civiltà Romana in Rome. The unnerving sight alludes to Nemesis, a hypothesised dwarf star that would one day collide with the solar system and cause its destruction

Grasso's Éclipse, a pair of overlaid neon circles, casts its golden glow on a room full of Italian landscape paintings which had yellowed over the years

keywords:France, Galerie Perrotin, Exhibitions

关键词：法国，加莱丽·佩罗廷，展览