Lili Reynaud-Dewar dances, teaches, writes, speaks, investigates, and works with her friends, family, and students. At the Palais de Tokyo, she reflects on the artist’s role, this activity with blurred boundaries, both privileged and precarious, between the exhibition of private life and the subjectification of public life.
Her exhibition is divided into two parts. The first, freely accessible, brings together the 19 episodes of a comedy between fiction and documentary: Gruppo Petrolio. Created collectively and inspired by Pier Paolo Pasolini’s book ‘Pétrole,’ this film discusses the harmful effects of the oil industry, technological progress, gentrification, and questions the value of artistic production in the face of political activism.
The second part reads like a diary and reports, through a new body of work, what happens inside and outside the Palais de Tokyo (in hotel rooms in Paris, in her emotional and professional relationships, in national and international current events) during the time interval that separated the initial insights from the final result, that is, the exhibition.