ThePhilippe Miracle Parreno in Tensta (Theoria) A9.12 new 2018 film – 13.1by Magnus 2019 Bärtås 11.6My Room –28.9 is 2014 Another Fish Bowl 2016 Snow Dancing 1995 Anywhen 2018 Norra Sidan Norra

översätt Konica Minolta 1 Philippe Parreno in layered, parallel systems. At the 9.12 2018 – 13.1 2019 , this floating installation was part of a more complex whole, an My Room Is Another Fish Bowl, 2016 experience for all the senses, in which Mylar bar fish, tropical fish 1, tropical sound, light and movement changed fish 2, fantasy fish over time, never looping back to their starting point. Snow Dancing, 1995 Christmas bauble door handles During the exhibition period, there will be a screening of Anywhen (2018), Anywhen, 2018 also shown in conjunction with the Film, ca. 12 minutes. On loop Friday installation at the Tate, which took 28.12 14:00–18:00 in the Classroom its title from the film. Anywhen ex- plores the fragility of communication For a period this winter, Tensta kon- through the voice of comedian and sthall will be populated by over four ventriloquist Nina Conti. A monologue hundred metallic, glossy, free-floating written by Parreno emanates from exotic fish. This is Philippe Parreno’s within an octopus , embodying the My Room Is Another Fishbowl, a feeling that something within her is free-standing presentation of the being expressed through nonsymbolic artist’s installation that was displayed language. Communication is instead in the Turbine Hall at Tate Modern two accomplished through pattern, a years ago. Uncontrollability, natural trick of camouflage that inheres in cycles and impressions of wonder are this strange creature’s biology. Some the focus of this exhibition. species of octopus have an advanced neurological and hormone-driven Philippe Parreno’s suggestive, cryptic system wherein parts of the skin can films and installations that hint at transform in order to communicate. social criticism made him an influential The permeability of their cell walls artist in the contemporary art scene means that they can become one with from the ’90s onwards. His recognition their surroundings. The knowledge grew with the film Zidane: A 21st Cen- of this biological possibility acts as tury Portrait (2006). Parreno works a reminder of the limitations of our with film, video, sound, sculpture, human language. performance and information technol- ogy, and he readily collaborates with Another work by Philippe Parreno will other professionals such as musicians, be on display at Tensta konsthall, also academics, architects and authors. with a festive theme: Snow Dancing, Philippe Parreno is particularly in- from 1995, replaces all the art center’s terested in the exhibition as a mode door handles with Christmas baubles. of artistic expression, a place where Similarly to much of Parreno’s work, individual works of art—including Snow Dancing is the continuation of film, drawing, objects and photogra- an idea that has taken different forms, phy—interact in continually evolving with various connotations, over many sequences. years. It all started when Parreno de- scribed to his friends a party that had My Room Is Another Fishbowl not yet taken place. The description (2016) is an example of the artist’s turned into a book, and two months long-standing fascination with different following its publication, the party life-forms on earth. How life, both big actually took place at Le Consortium in and small, is affected by temperature, Dijon, attended by around one hundred light and sound. The installation is a guests. The party went on for the stand-alone continuation of Parreno’s same amount of time as it took to read exploration of how phenomena and oc- the description: one and a half hours. currences, feelings, technology, control Imprints left behind by the guests and wonder all exist simultaneously later became objects in an installation.

2 In December, when the exhibition at Hyundai Commission to exhibit in Tate Tensta konsthall opens, the door bau- Modern’s Turbine Hall, an assignment bles will be appreciated as Christmas that received the title Anywhen. decorations. As soon as the New Year passes, however, they will return to Parreno has had solo exhibitions at their context as part of an ‘artwork’. Gropius Bau, Berlin (2018); Museo The work thus undergoes a shift in Jumex, Mexico City (2017); Rock- meaning due to the passage of time, bund Art Museum, Shanghai (2017); rather than (in the classic Duchampian Serralves Museum of Contemporary sense) due to relocation. Art, Porto (2017); Australian Centre for the Moving Image, Melbourne Since the ’90s, Philippe Parreno has (2016/2017); HangarBicocca, Milan been redefining the exhibition as a (2015/2016), Park Avenue Armory, concept by using it as his medium, New York (2015); Palais de Tokyo, placing its model at the heart of the (2013/2014); Centro de Arte artistic process. In working with di- Contemporáneo Málaga (2014); Ga- vergent techniques, Parreno sets up rage Museum of Contemporary Art, his exhibitions in controlled spaces in Moscow (2013); Fondation Beyeler, which a series of occurrences develop Riehen/Basel (2012); Serpentine over time. He aims to transform the Gallery, (2010/2011); Center exhibition visit into a cohesive experi- for Curatorial Studies, Bard College, ence in which he plays with spatial and New York (2009/2010); Irish Museum temporal boundaries and stimulates of Modern Art, Dublin (2009/2010); the visitors’ senses, leading them Kunsthalle Zürich (2009) and Centre through rooms that are orchestrated Georges Pompidou, Paris (2009). by sound and image. For the artist, In 1999 he had a monographic film the exhibition is less a total work of screening in the contemporary film art than a necessary interdependence and video section at Moderna Museet. that offers an ongoing series of open In 2000 he took part in the group possibilities. exhibition What If: Art on the Verge of Architecture and Design at Moderna The Paris-based artist Philippe Parre- Museet, and in 2001 he made a new no has exhibited and been published film for Moderna Museet Project. internationally. He studied at the École des beaux arts in Grenoble from 1983 to 1988 and at Institut des hautes études en arts plastiques at Palais de Tokyo in Paris in 1988 and 1989. In 2013 he became the first artist to occupy the entire space of Palais de Tokyo in Paris with the exhibition An- ywhere, Anywhere Out of the World. In Dancing around the Bride (2012), curated by Carlos Basualdo and Erica F. Battle at the Philadelphia Museum of Art, Parreno acted as metteur en scène in order to activate the artistry of , , and . In 2014 Parreno collaborated with a number of artists and curators, among them , , Hans-Ulrich Obrist, Asad Raza and , for the exhibition Sola- ris Chronicles at LUMA Arles. In 2016 Parreno was commissioned by the

Konica Minolta 3 Tensta konsthall staff

Didem Yildirim production coordinator Fahyma Alnablsi reception and Language Café Fredda Berg host Hanna Nordell producer Henny Josefsson host Isabella Tjäder communication Makda Embaie assistant Maria Lind director Muna Al Yaqoobi assistant Womens Café Nawroz Zakholy assistant Nina Svensson mediation Paulina Sokolow communication and press Rasmus Sjöbeck host

Interns: Cecilia Harrison Ella Saar Leila Taalbi Ockie Basgül Dogan Sonja Hedenstrand Viktoria Andersson

Installation: Johan Wahlgren Ulrika Gomm

Many thanks to Marie Auvity and the entire studio of Philippe Parreno

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