Born in Oran, Algeria, and brought up in Grenoble, one of France’s most tech-savvy cities, Mr Parreno, now 57, first came to the notice of the art world in the early 1990s, just as the internet was taking off. Hans Ulrich Obrist, artistic director of the Serpentine Gallery in London, remembers a work he created in a summer garden in Villa Arson in Nice. It was made entirely of artificial fireflies which, by day, no one could see; they were visible only at night when the museum was closed.
The energy created was used to subtly change the atmosphere in the hall. Visitors found themselves subjected to clanging roars, recordings of the whoosh of the nearby river and the slap of boats on the shore, while assorted films by Mr Parreno were projected on screens that moved up and down on cables suspended from the ceiling. “It was a space within a space,” he says now, “and within that space you had another space.” He insists the sounds and screens were controlled by the yeast.
The film, meanwhile, is made from re-edits of several earlier pieces. Out of a sequence on the biology of the cuttlefish, for example, or on the journey taken by the train carrying Robert Kennedy’s body from Los Angeles to the east coast after he was assassinated, Mr Parreno presents a completely new narrative that appears to be nothing less than the story of life.
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