A
What's Up Doc? (2017) Installation view. Courtesy the artists + New Galerie, Paris.
B
What's Up Doc? (2017) Installation view. Courtesy the artists + New Galerie, Paris.
C
What's Up Doc? (2017) Installation view. Courtesy the artists + New Galerie, Paris.
D
Aguirre Schwarz 'That's All Folks!' (2017) Installation view. Courtesy the artist + New Galerie, Paris.
E
Cédric Fargues, 'Tout Est Aspiré' (2017) Installation view. Courtesy the artist + New Galerie, Paris.
F
Dora Budor, 'Year Without a Summer (Morgue)' (2017) Installation view. Courtesy the artist + New Galerie, Paris.
G
Jasper Spicero, 'Left Arm Ten' (2017) Installation view. Courtesy the artist + New Galerie, Paris.
H
Mark Prent 'For Harry' (1984) Installation view. Courtesy the artist + New Galerie, Paris.
I
Max Ernst, 'L'esprit De Locarno' (1929) Installation view. Courtesy the artist + New Galerie, Paris.
J
Meret Oppenheim, 'Affiche Avant La Lettre, Exposition À La Galerie Claude Givaudan' (1969) Installation view. Courtesy the artist + New Galerie, Paris.
K
Michael Salerno, 'Untitled' (2016) Installation view. Courtesy the artist + New Galerie, Paris.

That’s All Folks! The convoluted hypothesis of What’s Up Doc? group show at New Galerie

, 2 January 2018

The What’s Up Doc? group exhibition at Paris’ New Galerie opened October 19 and ran to December 16, 2017.

Mark Prent, ‘For Harry’ (1984). Installation view. Courtesy the artist + New Galerie, Paris.
 
 
Curated by Pierre-Alexandre Mateos and Charles Teyssou, the show included work by Darja Bajagić, Hans Bellmer, Dora Budor, Claude Cahun, Max Ernst, Cédric Fargues, Adam Gordon, Meret Oppenheim, Mark Prent, Sean Raspet, Michael Salerno, Aguirre Schwarz, Li Shurui, Peter Sotos, Jasper Spicero and Artie Vierkant
 
The exhibition brings together artists across generations and geographies responding to “simple questions with convoluted hypotheses, watered-down actions [and] post-oedipal associations.” The internals of mind and body are re-structured and brought to the surface from behind the fog or ‘thick layer of grease’ and held in a cradle of voyeurism.**