The French contemporary artist Philippe Parreno was handed free rein to curate a show at the Palais de Tokyo. The result is the mutli-disciplinary: 'Anywhere, Anywhere out of the World' exhibition. Photography: Jonathan de Villiers

东京万国宫经过数年的修复工作，于2012年重新开放，展出了一个2.2万平方米的展览-几乎是原版的三倍-博物馆的新馆长让·德·洛西(Jean De Losie)决心利用展览的理念和形式进行实验。他认为，把整个空间交给一位艺术家，将是一场“巨大的对抗”。

这也就不足为奇了，有史以来第一位有创意的随心所欲的人被交给菲利普·帕雷诺(PhilippeParreno)。这位法国当代艺术家-我们在11月刊(W*176)中对这位艺术家进行了详细介绍-在过去的20年里，他一直致力于审视艺术是如何与观众通过一系列的媒体(一些古典的，一些非传统的和洛菲派的)，他倾向于把展览本身看作是一件艺术作品。其结果是纪律处分：“世界上任何地方，任何地方”。

面对迷宫般的房间，隐藏的口袋和走廊的万国宫(以前是一个档案空间，一所艺术学校，甚至是蹲)，帕雷诺做了他做的最好的，从不同的视觉领域的专家，模糊了艺术和娱乐之间的界限。

帕雷诺与电影背景设计师兰德尔·孔雀和摄影导演达里乌斯·孔吉携手合作，对他的一些最著名的作品进行了重新洗牌，并在这个过程中创造了一些全新的东西。

游客受到巨大的，令人眩目的明亮的霓虹灯板和闪烁的灯光在走廊上的欢迎。附近的一个大屏幕显示了一部关于新生儿“安娜”(1993)的电影，当你走近它的时候，它变得越来越抽象-这是一种推动，也许是印象派的杰作。

借用游乐园的密码，他把他喜欢的“孩子们的廉价魔术”填满了其余的空间。一部电动钢琴装置演奏伊戈尔·斯特拉文斯基的“佩特鲁奇卡”。下面的房间里充满了LED照明的“丹尼拉鲁”(丹尼拉鲁)(2013)，它从天花板上突然打开和关闭，暗示着一个神秘的鬼城，让人想起，也许是宫崎骏的孩子般的宇宙。旋转门把空间一分为二，创造了秘密的闺房，在一个房间里展示了伴随着默斯·坎宁安舞蹈团的声音的作品。另一个房间的一角的天花板上飘出了假雪。

对肖像画的探索，也是Parreno所珍视的另一个主题，也是显而易见的。艺术家一直对通过替代媒体产生人的平行表现的想法很着迷，而且这次展览也证明了这一点没有什么不同。虽然机器人复制了玛丽莲·梦露的声音和笔迹(“玛丽莲”，2012)，但在黑暗中发光的肖像突然暴露出隐藏的面孔(“消失到黑色”，1995年)，迫使观众在墙上寻找隐藏的信息。

“菲利普·帕雷诺给我们的是一次实时体验，一次探险而不是一次展览，一次穿越东京万国宫的诗意之旅，”让·德·洛西说。

Working with movie set designer Randall Peacock and director of photography Darius Khondji, Parreno has reshuffled some of his most famous works and created something entirely new in the process. Pictured is 'The Writer', 2007, which shows an 18th century Jaquet Droz automaton…

…writing, 'What do you believe, your eyes or my words'. Photography: Aurélien Mole

A film of a newborn child, 'Anna', 1993, grows abstract as one walks closer, perhaps a nudge at impressionist art. Photography: Aurélien Mole

The piece 'Marilyn', 2012, conjures Marilyn Monroe through a phantasmagoric seance at the Waldorf Astoria, where she lived in the 1950s. Courtesy of the Pilar Corrias Gallery. Photography: Aurélien Mole

The temperature in the room has been lowered and a snow drift represents Parreno's impression of the point of view of the deceased Marilyn Monroe. Photography: Aurélien Mole

In the piece 'How Can We Know The Dancer From The Dance?', 2012, footsteps of the ghosts of Merce Cunningham's dancers can be heard on a stage in the rotunda. Courtesy of the Esther Schipper Gallery. Photography: Aurélien Mole  

'Automated Doors', 2013, open and close to reveal sounds of the city, the banks of the Seine and nearby streets. Photography: Aurélien Mole

'Danny La Rue', 2013, features 16 marquees suspended from the ceiling that provide visual accompaniment to Stravinsky's 'Petrouchka' which acts as the score to the exhibition and can be heard throughout. Photography: Aurélien Mole

Glow-in-the-dark posters depict Parreno's abandoned works that fade away and only reappear once exposed to light in 'Fade to Black', 2013. Photography: Aurélien Mole

First commissioned by Parreno and Hans Ulrich Obrist for an exhibition in Manchester, Liam Gillick's 'Factories in the snow', 2007 acts as a temporal marker, providing a musical score. Playing Stravinsky's 'Petrouchka', the pianos are used as an instrument for measuring time and change sequence according to each display. Photography: Aurélien Mole

Performed by Mikhail Rudy, the only living pianist able to play the piece with two hands as opposed to the usual four, the music is echoed throughout the exhibition. Photography: Aurélien Mole

keywords:Palais de Tokyo, Philippe Parreno

关键词：东京万国宫，菲利普·帕雷诺