Lili Reynaud-Dewar films, writes, speaks, dances, teaches, investigates, works with her friends, her family, her students. At the Palais de Tokyo, she questions the function of the artist, this hard-to-shape activity with blurred contours, both privileged and precarious, that acts between the exposure of private life and the subjectification of public life.
Her exhibition is divided into two parts. The first, open to the public, features the 19 episodes of a comedy between fiction and documentary: Gruppo Petrolio. Produced collectively and inspired by Pier Paolo Pasolini’s book Pétrole, this film evokes the evils of the oil industry, technological progress and gentrification, and questions the value of artistic production in the face of political activism.
The second exhibition reads like a diary, that of the artist herself, and reports, through new bodies of work, what happened inside and outside the Palais de Tokyo (in hotel rooms in Paris, in the emotional and professional relationships of the artist, in national and international news) during the time interval which separated the first intuitions from the final result, that is to say the exhibition.