At the begining of the century, the perspectives were inverted by three artists: Kazimir Malevitch, with the monochrome, Marcel Duchamp, with the manufactured object, and Kurt Schwitters, with the living.

Other Art.In 1993, the second Lyon Biennial intitled “Et tous ils changent le monde” incarnates this esthetic of unboundedness.

In 1995 the third Biennial, with the computer and the moving image, appears monster-like. Other Art.

But art which is in relation with the world.
This is why, today, it seems more important to us than ever to favour an art that, paraphrasing Walter Benjamin, “keeps things from following their course” (otherwise, he added, they would lead up to a catastrophy).
An art, as Robert Filliou had it, that is, to begin with, “a principle of poetical economy”, a wande ring form which shelters ideas.

And this is why it also seems necessary to us that “l’Autre” should not be exclusively perceived as otherness, need and fear, but also as link.
Because he seems to us to be in harmony with all of this, we asked Harald Szeemann to create in the halle Tony Garnier a sensitive universe that would be, at the very least, “Autre”.

Thierry Prat, Thierry Raspail
Artistic Directors