The first major exhibition in France of the American painter presents a phantasmagoria that is at once medieval, post-apocalyptic and eminently contemporary, shedding light on the human condition of the 21st century.
For painting, every new technical advance could be a boon. Photography has freed it from its mission to reproduce reality, artificial intelligence frees it from that of representing the collective unconscious. And yet, nothing is happening: we still have, and more than ever, a flatly naturalistic or, on the contrary, limply dreamlike painting. We therefore ask ourselves: what can painting do, if it is conceived in the present? How does it distinguish itself from the cohort of reproduced and generated images, with which it must coexist? Perhaps one element of the answer can be found in the painting of Dana Schutz.