EDUCATION
1988-89 Institut des hautes études en arts plastiques (First Session), Palais de Tokyo, Paris
1983-88 École des beaux-arts de Grenoble
SOLO EXHIBITIONS / PROJECTS
2024
Philippe Parreno: Places and Spaces, Pola Museum, Hakone
Philippe Parreno: Voices, Leeum Museum of Art, Seoul
Philippe Parreno. Voices, Haus der Kunst, Munich
2023
Philippe Parreno, Cahiers d’Art, Paris
Zidane, Un Portrait Du XXIE Siècle, Philharmonie de Paris, Paris
Hertzian Tales, Gladstone Gallery, New York
A Recital of True Events, Pilar Corrias, London
2022
Echo2, with Arca, Nicolas Becker, and Tino Sehgal, Bourse de Commerce | Pinault Collection, Paris
La Quinta del Sordo, Museo Prado, Madrid
Philippe Parreno, Pilar Corrias, London
Philippe Parreno: Mineral Mutations, Gladstone Gallery, Seoul
2021
La Quinta del Sordo, Fondation Beyeler, Riehen/Basel
Danny/No More Reality, LUMA, Arles (permanent commission)
Philippe Parreno, Winsing Art Space, Taipei
2020
Manifestations, Esther Schipper, Berlin
2019
A Manifestation of Objects, WATARI-UM, Watari Museum of Contemporary Art, Tokyo
Echo, new commission for MoMA, New York
Elsewhen, Espace Louis Vuitton Venezia, Venice
Philippe Parreno, Gladstone Gallery, New York
2018
My Room is Another Fishbowl: Philippe Parreno, Tensta konsthall, Tensta
Marilyn, Espace Louis Vuitton, Beijing
Philippe Parreno, Pilar Corrias, London
Philippe Parreno, Martin-Gropius Bau, Berlin
Philippe Parreno: Two Automatons for One Duet, Art Institute of Chicago, Chicago
2017
La Levadura y el Anfitrión, Museo Jumex, Mexico City Synchronicity, Rockbund Art Museum, Shanghai
A Time Coloured Space, Serralves Museu de Arte Contemporânea, Porto
2016
Thenabouts, ACMI–Australian Centre for the Moving Image, Melbourne
My Room Is Another Fish Bowl, Brooklyn Museum, New York
My Room is Another Fish Bowl, Gladstone Gallery, New York
Anywhen, 2016 Hyundai Commission, Tate Modern, Turbine Hall, London
2015
Hypothesis, Pirelli HangarBicocca,Milan
H {N)Y P N(Y} OSIS, Park Avenue Armory, New York, NY
2014
Quasi-Objects, Esther Schipper, Berlin
With a Rhythmic Instinction to be Able to Travel Beyond Existing Forces of Life, Pilar Corrias, London
TV Channel, Contemporary Art Center of Malaga, Malaga
How Can We Tell the Dancers from the Dance, Schinkel Pavillon, Berlin
2013
Philippe Parreno: Drawings, Cahiers d'Art, Paris
Anywhere, Anywhere Out of the World, Palais de Tokyo, Paris
Philippe Parreno, Garage Center For Contemporary Culture, Moscow
Philippe Parreno: Fade to black, 1301PE, Los Angeles
2012
Philippe Parreno, Fondation Beyeler, Basel/Riehen
2010
Uncle Neaw, Pilar, Rirkrit then me, Pilar Corrias, London
Philippe Parreno, Serpentine Gallery, London
Philippe Parreno, Center for Curatorial Studies, Bard College, Annandale-onHudson, New York
From November 5 Until They Fall Down, Castello di Rivoli, Torino
2009
November, Irish Museum of Modern Art, Dublin
8 juin 1968 – 7 septembre 2009, Centre Pompidou, Paris
May, Kunsthalle Zürich, Zurich
2008
Suicide in Vermillon Sands, Friedrich Petzel Gallery, New York
October, Pilar Corrias, London
2007
Interior Cartoons, Esther Schipper, Berlin
What Do You Believe, Your Eyes Or My Words?, Haunch of Venison, London
Le cri ultrasonic de l’écureuil, Air de Paris, Paris
2006
Interior Cartoons, Esther Schipper, Berlin
Performance #3 (Le cri ultrasonic de lʼécureuil), with Ronn Lucas, Studio 28, Paris The Boy from Mars, CCA Kitakyushu, Kitakyushu
2005
The Boy from Mars, Friedrich Petzel Gallery, New York
Atlas of Clouds, 1301PE, Los Angeles
Philippe Parreno, Air de Paris, Paris
2004
Fade Away, Kunstverein München, Munich
Anna Sanders Films, World Wide Video Festival, Filmmuseum Amsterdam
2003
Aliens Seasons, Friedrich Petzel Gallery, New York
TV Channel, Le Studio, Galerie Yvon Lambert, Paris
The Sky of the Seven Colors, Center for Contemporary Art Kitakyushu, Kitakyushu
2002
Alien Seasons, ARC/Musée d’Art moderne de la Ville de Paris, Paris
El sueño de una cosa, Portikus, Frankfurt
Anywhere Out of the World, Kunstverein München, Munich
2001
Mont Analogue, Air de Paris, Paris
Mont Analogue, Friedrich Petzel Gallery, New York
Mont Analogue, Rirkrit Tiravanijaʼs Studio, Bangkok
MMP: Philippe Parreno, Moderna Museet Project, Moderna Museet, Stockholm
One Thousand Pictures Falling from One Thousand Walls, Friedrich Petzel Gallery, New York
No Ghost Just a Shell / Exploding Cinema – Cinema Without Walls, Museum
Boijmans, Van Beuningen, Rotterdam
Anywhere Out of the World, Institute of Visual Culture, Cambridge
2000
No Ghost Just A Shell: Anywhere Out of the World, Air de Paris, Paris
No Ghost Just A Shell: Anywhere Out of the World (with Pierre Huyghe), Schipper &
Krome, Berlin
One Thousand Pictures Falling from One Thousand Walls, MAMCO, Geneva
1998
Blue Almost Transparent, Kunstverein Ludwigsburg
Institute of Visual Art (INOVA), University of Wisconsin, Milwaukee
Listen to the Picture, Schipper & Krome, Berlin
1997
Postman Time, On Art and its Places Open to 21 C. Kunsthalle Nürnberg, Nuremberg
Philippe Parreno, Air de Paris, Paris
Vitrines d’artistes, Nina Ricci, Paris
Speech Bubbles, Galerie le Sous-Sol, Geneva
1996
Ou, Air de Paris, Paris
While, Snow Dancing, or the Merlin Disease, A Birthday Tree, Robert Prime Gallery,London
Happy Ending, Ynglingagatan 1, Stockholm
1995
Snow Dancing, Le Consortium, Dijon
Possessions, NZET Projects (Air de Paris), Ghent
While..., Kunstverein Hamburg, Hamburg
Werktische/Made on the 1st of May, Schipper & Krome, Köln
1994
Performance#2, with Yves Lecoq, FRAC Bourgogne, Dijon
Performance#1 (Lʼordre du discours), with Yves Lecoq, Musée d'Art Contemporain (MAC), Marseille
Cette Culture qui nous vient de la rue..., Galerie municipale, Vitry-sur-Seine La Nuit des héros, Salle Garance, Centre Pompidou, Paris
1993
Gegenüber von Buchholz & Buchholz, Galerie Daniel Buchholz, Köln Plädoyer, Esther Schipper, Köln
L’Imitateur, MA galerie, Paris
1992
Philippe Parreno, Galerie Claudine Papillon, Paris
1988
Fleurs, Canal +, France
COLLABORATIONS / CURATED EXHIBITIONS
2025
Postcards from the Future, Posten Moderne PoMo, Trondheim
Out of Frame: Works by Rineke Dijkstra and Philippe Parreno, CaixaForum, Barcelona
2024
Fall-Winter 2024 Louis Vuitton Fashion Show, Cour Carréedu Louvre, Paris
Euphoria. Art is in the Air, Balloon Museum, Rome
Ghost Dreams, Fondation Beyeler, Basel
Coming Soon. While waiting for tomorrow, Lafayette Anticipations, Paris
Improbable Anagrams. Works from the Serralves Collection, Serralves Museum, Porto
2023
Zidane: A 21st Century Portrait, with Douglas Gordon, Philharmonie, Paris
Philippe Parreno: Marilyn, Espace Louis Vuitton München, Munich
Fall-Winter 2023-2024 Louis Vuitton Fashion Show, Musée d'Orsay, Paris
Friends in the Arts, TANK, Shanghai
WORLDBUILDING Jeux video et art à l’ère digitale, Centre Pompidou-Metz, Metz
Topologies of the Real: Techne Shenzhen 2023, Shenzhen Museum of Contemporary Art and Urban Planning, Shenzhen
Los nuevos 90, Donostia Kultura, San Sebastián
Mouvement et Lumière #2, Fondation Villa Datris, Paris
Dream Machines, DESTE Foundation, Hydra
Un Lac Inconnu, Bally Foundation, Lugano
Reaching for the Stars. From Maurizio Cattelan to Lynette Yiadom-Boakye. Works from the Sandretto Re Rebaudengo Collection, Palazzo Strozzi, Florence
Sharjah Biennial 15: Thinking Historically in the Present, Sharjah
A Mind of Winter, Gladstone Gallery, New York
Let The Sunshine In, Pilar Corrias, London
2019
Becoming, Metro Pictures, New York
2018
Zidane: A 21st Century Portrait, with Douglas Gordon, PLAY, Kortrijk
2014
Solaris Chronicles, curated with Liam Gillick and Hans Ulrich Obrist, LUMA
Foundation, Parc des Ateliers, Arles
2013
The Bride And The Bachelors: Duchamp with Cage, Cunningham, Rauschenberg and Johns. Mis en scène by Philippe Parreno, Barbican Art Gallery, London
2012
To the Moon Via the Beach, organised by Liam Gillick and Philippe Parreno together with Beatrix Ruf, Hans Ulrich Obrist and Tom Eccles, LUMA Foundation, Arles Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp, staged by Philippe Parreno, Philadelphia Museum of Art, Philadelphia
2009
Zidane: A 21st Century Portrait, with Douglas Gordon, Plaza Theater, Calgary
Zidane: A 21st Century Portrait, with Douglas Gordon, Van Abbemuseum, Eindhoven
Il Tempo del Postino: A Group Show, curated by Philippe Parreno and Hans Ulrich
Obrist, Theater Basel, Basel
2008
Zidane: A 21st Century Portrait, with Douglas Gordon, Magasin 3, Stockholm, Konsthall, Stockholm
Zidane: A 21st Century Portrait, with Douglas Gordon, DoART, Beijing
Zidane: A 21st Century Portrait, with Douglas Gordon, DAAD Galerie, Berlin
2007
Zidane: A 21st Century Portrait, with Douglas Gordon, DHC/ART, Montréal
Zidane: A 21st Century Portrait, with Douglas Gordon, Institute of Modern Art, Brisbane
Il Tempo del Postino: A Group Show, curated by Philippe Parreno and Hans Ulrich Obrist, Opera House, Manchester
2006
Zidane: A 21st Century Portrait, with Douglas Gordon, Cannes Filmfestival, Cannes Philippe Parreno & Rirkrit Tiravanija, Friedrich Petzel Gallery, New York
Briannnnnn & Ferryyyyyy/Law and Creativity, with Liam Gillick, Kunsthalle Zürich,
Zürich; Konsthall Malmö, Malmö; Vamialiʼs, Athens; 06.00 pm, with Pierre Huyghe, San Fransisco Art Institute, San Francisco All Hawaii Entrées/Lunar Reggae, Irish Museum of Modern Art, Dublin
2005
You and Me, Me and You, with Douglas Gordon, Fondazione Davide Halevim, Milan Rirkrit Tiravanija: Une retrospective (Tomorrow Is Another Fine Day), Couvent des Cordeliers, Paris
No Ghost Just a Shell, Van Abbemuseum, Eindhoven
2004
Rirkrit Tiravanija: No Vitrines, No Museums, No Artists, Just a Lot of People, with Pierre Huyghe and Maurizio Nannucci, Telecom Italia Future Centre, Venice
Briannnnnn & Ferryyyyyy/Law and Creativity, with Liam Gillick, Lunds Konsthall, Lund
2003
Sodium Dreams, with Dominique Gonzales-Foerster & Pierre Huyghe, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
No Ghost Just a Shell, Les Abattoirs, Toulouse
Pardo/Parreno, Air de Paris, Paris
25th International Graphic Biennal, Ljubljana
No Ghost Just a Shell, Rosa de la Cruz, Miami
No Ghost Just a Shell, Van Abbemuseum, Eindhoven
2002
No Ghost Just a Shell, Pierre Huyghe and Philippe Parreno, Institute of Visual
Culture, Fitzwilliam Museum, Cambridge
No Ghost Just a Shell, Kunsthalle Zürich, Zurich
No Ghost Just a Shell, San Francisco Museum of Modern Art, San Francisco
A Smile Without a Cat, Philippe Parreno and Pierre Huyghe, Art Basel Miami Beach
Jorge Pardo, Philippe Parreno, 1301PE, Los Angeles
Canal Bourgogne, Pouilly-en-Auxois
2001
In Many Ways the Exhibition Already Happened, with Pierre Huyghe, M/M, R&Sie, Institute of Contemporary Arts, The Mall, London
Animations, PS1 Contemporary Art Center, Long Island City, New York
Café Étienne Marcel, with Pierre Huyghe and M/M, Paris
About, with Dominique Gonzales-Foerster and Pierre Huyghe, Contemporary Arts Center, Cincinnati
No Ghost Just a Shell / Exploding Cinema – Cinema Without Walls, with Pierre Huyghe & Dominique-Gonzales Foerster, Museum Boijmans, Van Beuningen, Rotterdam
2000
Dominique Gonzalez-Foerster, Philippe Parreno, Pierre Huyghe, Kunstverein in Hamburg
AnnLee in Anzen Zone, Galerie Jennifer Flay, Paris
1999
D’Apertutto, Venice Biennale, with Pierre Huyghe and Dominique Gonzalez-Foerster, 47th Venice Biennale, Venice
Le Pont du trieur, with Charles de Meaux, Cinéma 7 Parnassiens, Paris
1998
Le Procès de Pol Pot, with Liam Gillick, Magasin – CNAC, Grenoble
Dominique Gonzalez-Foerster, Philippe Parreno, Pierre Huyghe, ARC/Musée dʼArt moderne de la Ville de Paris, Paris
1996
Vicinato, with Carsten Höller and Rirkrit Tiravanija, Raum Aktueller Kunst, Vienna Temporary School, with Dominique Gonzalez Foerster and Pierre Huyghe (travelling project)
1995
Vicinato, with Carsten Höller & Rirkrit Tiravanija, Studio Guenzani, Milan
Volatile Colonies, with Rirkrit Tiravanija, Johannesburg Biennial, Johannesburg The Moral Maze, with Liam Gillick, Le Consortium, Dijon
1994
No More Reality versus Zukunft, with Carsten Höller, Galleri Nicolai Wallner, Copenhagen
Innocent et emprisonné: Mais ce que vous avez à me reprocher c’est que j’ai abandonné mon premier amour, with Carsten Höller, Air de Paris, Paris
1992
I, Myself and the Others, with Dominique Gonzales-Foerster, Pierre Joseph, and Philippe Perrin, MAGASIN – x, Grenoble
Try Snaking, with Pierre Joseph, Galerie Gio Marconi, Milano; Gallery Yaki Kornblit, Amsterdam; FRAC Poitou-Charentes, Angoulême; Tiefgarage, Köln
1991
La Vérité, with Dominique Gonzalez-Foerster, Bernard Joisten and Pierre Joseph, Biennale d’art contemporain de Lyon, Lyon
Try Snaking, with Pierre Joseph, Air de Paris, Nice
1990
Ozone, with Dominique Gonzalez-Foerster, Bernard Joisten and Pierre Joseph, FRAC Corse, Corte
Les Ateliers du Paradise, with Philippe Perrin and Pierre Joseph, Air de Paris, Nice
Once upon a time... in City Bild, with Pierre Joseph, Esther Schipper, Köln
How We Gonna Behave, with Bernard Joisten and Pierre Joseph, Galerie Max Hetzler, Köln
Galerie intelligente II, with Pierre Joseph, Galerie des Archives, Paris
Courts-métrages immobiles, with Bernard Joisten and Pierre Joseph, 44th Venice Biennale, Venice
1989
Ozone, with Dominique Gonzalez-Foerster, Bernard Joisten and Pierre Joseph, Association pour l'Art Contemporain (APAC), Nevers
Ozone, with Dominique Gonzalez-Foerster, Bernard Joisten and Pierre Joseph, Art
Cologne, Esther Schipper, Köln
Galerie intelligente, with Pierre Joseph, Galerie des Archives, Paris
Vidéo Ozone, with Dominique Gonzalez-Foerster, Bernard Joisten and Pierre Joseph: De l’instabilité, Centre national des arts plastiques, Paris
1988
Hyper Hyper, with Dominique Gonzales-Foerster, Bernard Joisten and Pierre Joseph, Salon de la jeune sculpture, Paris
Composit, with Bernard Joisten and Pierre Joseph: Situation, Centre d’art contemporain d’Ivry-sur-Seine
Siberia, with Bernard Joisten and Pierre Joseph: 19&&, Magasin – CNAC, Grenoble
SELECTED GROUP EXHIBITIONS
2024
15th Gwangju Biennale, Various Venues, Gwangju
I Can’t Tell If this Longing is my Own, Fondation Beyeler, Riehen
Private Dancer, Ringier Collection, Zürich
Museum grenzenlos. Kunst–Design / Dunkerque–Krefeld, Kunstmuseen Krefeld, Krefeld
Coming Soon, Lafayette Anticipations, Paris
Improbable Anagrams. Works from the Serralves Collection, Álvaro Siza Wing,
Serralves Foundation, Porto
2023
Sharjah Biennial 15: Thinking Historically in the Present, Kalba Kindergarten, Sharjah WORLDBUILDING: Gaming and Art in the Digital Age, Julia Stoschek Foundation, Düsseldorf
Friends in the Arts, Tank, Shanghai
Bright Side of the Desert Moon, Noor Riyadh, Riyadh
Reaching for the Stars, Palazzo Strozzi, Florence
Los Nuevos 90, San Telmo Museum, San Sebastián
Icônes, Punta della Dogana - Pinault Collection, Venice
Un lac inconnu, Bally Foundation, Lugano
Mouvement et Lumière #2, Fondation Villa Datris, L’Isle-sur-la-Sorgue
SHIFT. AI and a future community, Marta Herford Museum, Herford
2022
Moving in Stereo, Mercedes-Benz Museum, Stuttgart
Natasha: Singapore Biennale 2022, Singapore Art Museum, Singapore
Video at Large – Intimacy. A selection of videos from the collections of the Musée d'Art Moderne de Paris, Red Brick Art Museum, Beijing
Maja Hoffmann / LUMA Foundation Collection: The Impermanent Display II, LUMA Foundation, Arles
This Language that is every Stone, Institute of Modern Art, Brisbane
2021
New Rituals of the 21th Century, The Shed, New York
Monts Analogues, FRAC Champagne-Ardennes, Reims
Arcimboldo Face to Face, Centre Pompidou-Metz, Metz
The Paradox of Stillness: Art, Object, and Performance, Walker Art Center, Minneapolis
Trauma: Shooting the Pulitzer & 15 minutes, DaejeonMuseum of Art, Daejeon
I am Nature – Of Vulnerability. Survival in the risk society: ROHKUNSTBAU 26,
Schloss Lieberose, Liberose/Spreewald
Natureculture, Fondation Beyeler, Riehen
Ouverture, Bourse de Commerce – Pinault Collection, Paris
Age of You, Jameel Arts Center Dubai, Dubai
Light: Works from Tate Collection, Soul Museum of Art, Soul
2020
Drawing 2020, Gladstone Gallery, New York
Mourning. On Loss and Change, Kunsthalle Hamburg, Hamburg
Out of Order | Positions from the Haubrok Collection Part 2, Neues Museum | Staatliches Museum für Kunst und Design Nürnberg, Nuremberg
Tatsuo Ikeda & Philippe Parreno: Field Phase, Fergus McCaffrey, New York
2019
In the Spotlight of the Night - Life in the Gloom, Marta Herford, Herford
APMA, CHAPTER ONE- FROM THE APMA COLLECTION, Amorepacific Museum of Art, Seoul
Out of Order | Positions from the Haubrok Collection Part 1, Neues Museum | Staatliches Museum für Kunst und Design Nürnberg, Nuremberg
A New MoMA, The Museum of Modern Art, New York
Reborn Art Festival 2019, Ajishima
Age of You, Museum of Contemporary Art, Toronto
Other Champs. Art, Society and Football, CDAN - Centro de Arte y Naturaleza, Huesca
Luogo e Segni, Punta della Dogana, Venice
Life to come, Metro Pictures, New York
DAU, Théâtre du Châtelet, Théâtre de la Ville, Centre Pompidou, Paris
48th International Film Festival Rotterdam, Rotterdam
2018
Lydia Cabrera and Édouard Glissant: Trembling Thinking, Americas Society, New York
The Trick Brain, AïshtiFoundation, Beirut
The Artist is Present, Yuz Museum, Shanghai
SAFE, Gladstone 64, New York
Talk Show Festival, LA PANACÉE – MoCo, Montpellier
Take Me (I’m Yours), Villa Medici, Rome
General Rehearsal: A Show in Three Acts from the Collections of V-A-C, MMOMA
and Kadist, MMOMA–Moscow Museum of Modern Art, Moscow
Unexchangable, WIELS–Centre d’Art Contemporain, Brussels
In Tune with the World, Foundation Louis Vuitton, Paris
The Train: RFK’s Last Journey, SFMOMA, San Francisco
Art and Entertainment, MAMCO, Geneva
2017
Y he aquí la luz, MAMU–Museo de Arte Miguel Urrutia, Bogotá
The Trick Brain, Aïshti Foundation, Beirut
Field Guide, Remai Modern, Saskatoon
Minneapolis Sculpture Garden, Walker Arts Center, Minneapolis
Serpentine Marathon 2017, Serpentine Galleries, London
Schreibtischuhr, Galerie Meyer Kainer, Vienna
Season Opening, Volksbühne, Berlin
Summer in Shanghai, Pond Society, New Century Art Foundation, Shanghai
Y he aquí la luz (Et voici la lumière), MAMU–Museo de Arte Miguel Urrutia, Bogotá
Do We Dream Under The Same Sky, ARoS Triennial – The Garden, Aarhus Art Museum, Aarhus
What is not visible is not invisible, Bangkok Art & Culture Centre, Bangkok (touring)
Fall Is Cancelled, Gladstone 64, New York
Unpacking: The Marciano Collection, Marciano Art Foundation, Los Angeles
VIVA ARTE VIVA, La Biennale di Venezia – 57th International Art Exhibition, Venice
Infinite Garden. From Giverny to Amazonia, Centre Pompidou-Metz, Metz
What is not visible is not invisible, Song Eun Art Space, Seoul (touring)
Poïpoï, une collection privée à Monaco, Nouveau Musée National de Monaco - Villa Sauber, Monaco
Cinéma mon amour, Aargauer Kunsthaus, Aarau
Dizziness. Navigating the Unknown, Kunsthaus Graz, Graz
Toujours. The Museum as a Witness, Museo Amparo, Pueblo (touring)
2016
Carte Blanche to Tino Sehgal, Palais de Tokyo, Paris
Dreamlands: Immersive Cinema and Art, 1905–2016, Whitney Museum of American Art, New York
Development, Okayama Art Summit, Okayama
Decor, Boghossian Foundation, Villa Empain, Brussels
Images, Kunsthalle Fridericianum, Kassel
Take Me (I’m Yours), Kunsthal Charlottenborg, Copenhagen
An Imagined Museum. Works from the Centre Pompidou, the Tate and the MMK,
Museum für Moderne Kunst MMK2, Frankfurt am Main; Centre Pompidou-Metz, Metz (touring)
The Eighth Climate (What Does Art Do?), 11th Gwangju Biennial, Gwangju
Toujours. The Museum as a Witness, Museo de Arte Contemporáneo de Monterrey, Monterrey (touring)
Invisible Adversaries, Hessel Museum of Art, Bard College, Annandale-on-Hudson
Fora da ordem – Obras da Coleção Helga de Alvear, Pinacoteca de São Paulo, Sao Paulo
The Hole, Künstlerhaus Bremen, Bremen
Quand fondra la neige, ou ira le blanc, Palazzo Fortuny, Venice
Convergence, Stonescape, Calistoga
Accrochage, Punta della Dogana – François Pinault Foundation, Venice
Secret Surface, KW Institute for Contemporary Art, Berlin
Daniel Buren. A Fresco, BOZAR Centre for Fine Arts, Brussels
Brain Multiples at 25, 1301PE, Los Angeles
Life itself, Moderna Museet, Stockholm
Presently, neugerriemschneider, Berlin
2015
Double Take, Nature Morte, New Delhi
Pequod, Esther Schipper and Johnen Galerie at 11 Columbia, 11 Columbia, Monaco
A Republic of Art, French Regional Collections of Contemporary Art, Van Abbemuseum, Eindhoven
An Imagined Museum. Works from the Centre Pompidou, the Tate and the MMK, Tate Liverpool, Liverpool (touring)
All the World’s Futures, 56th Venice Biennale, Venice
From a poem to the Sunset, Daimler Art Contemporary, Haus Huth, Berlin
Marilyn, Vanhaerents Art Collection, Brussels
Sammeln für Morgen: Neue Werke im Museion, Museion, Bolzano
Collection Colette and Michel Poitevin, Galerie Lasécu, Lille
2014
1984–1999. La Décennie, Centre Pompidou-Metz, Metz
Fútbol: The Beautiful Game, LACMA, Los Angeles
The Illusion of Light, Palazzo Grassi – François Pinault Foundation, Venice
Lucius Burckhardt and Cedric Price – A Stroll Through a Fun Palace, Swiss Pavilion,
Venice Architectural Biennale, Venice
Man in the Mirror, Vanhaerents Art Collection, Brussels
Fotografie: International, Daimler Art Collection, Stuttgart
2013
Public Abstraction Private Construction VI, Kunstverein Arnsberg, Arnsberg
Collection Sandretto Re Rebaudengo: Have you seen me before?, Whitechapel Gallery, London
Prima Materia, Punta Della Dogana – François Pinault Foundation, Venice
The Light show, Hayward Gallery, London
To Be Continued…, Le Quartier, Quimper
2012
Reflecting on Reflection, Galeri Mana, Istanbul
Cage100: Opening Spaces for Action, Galerie für Zeitgenössische Kunst Leipzig,Leipzig
Un nouveau festival, Centre Pompidou, Paris
Print/Out, Museum of Modern Art, New York
The Sports Show, Minneapolis Institute of Arts, Minneapolis
Chronicles of a Disappearance, DHC/ART Foundation for Contemporary Art, Montréal
Merci Mercy, Vladimir Restoin Roitfeld, New York
2011
ILLUMinations, 54th Venice Biennale, Venice
Out of Storage/Provisoire et Définitif, De Timmerfabriek, Maastricht
2010
01-10, Esther Schipper Gallery, Berlin
Minimalism & Applied II, Daimler Contemporary, Haus Huth, Berlin
Creating space where there appears to be none, About Change Studio, Berlin
Van bij de Buren: Belgie, Kasteel Keukenhof, Lisse
Open Light in Private Spaces, 1. Biennale for International Light Art, Bergkamen, Bönen, Fröndenberg/Ruhr, Hamm, Lünen, Unna
4th Auckland Triennal: Last Ride in a Hot Air Ballon, Auckland
Spatial City: An Architecture of Idealism, Institute of Visual Arts (INOVA), Milwaukee; Hyde Park Art Center, Chicago; Museum of Contemporary Art, Detroit
Double Bind / Arrëtez d’essayer de me comprendre!, Villa Arson, Nice
Pictures about Pictures. Discursive painting, Museum Moderner Kunst, Vienna
ONE SHOT!: Football and Contemporary Art, B.P.S.22 Space for Contemporary Creation, Charleroi
Hard Targets, Wexner Center for the Arts, Columbus
Ibrido, Padiglione d’Arte Contemporanea, Milan
Art of Communication, National Museum of Contemporary Art, Korea
Para doxa, hétérodoxies de l’évènement, Galerie Villa des Tourelles, Nanterre
Le château, CAPC, Bordeaux
Festival of Contemporary Art and Poetry, Watou
Playtime, Lieu d’Art Contemporain (LAC), Sigean
Art & Stars & Cars: The Daimler Art Collection, Mercedes-Benz Museum, Stuttgart
Auf die Plätze. Die Sportausstellung, Deutsches Hygiene-Museum, Dresden Morality, Witte de With, Rotterdam
2009
Barock - Art, Science, Faith and Technology in the Contemporary Age, Museum MADRE, Naples
Gagarin: The Artists in their Own Words, S.M.A.K, Ghent
La Suite, Air de Paris, Paris
Vraoum!, La Maison Rouge, Paris
Avoir 20 ans à Voir, alerie Claudine Papillon, Paris
Top 10 Allegories, curated by Hard Hat, Galerie Francesca Pia, Zürich
Pas nécessaire et pourtant indispensable, Abbaye Saint-André, Meymac La recherche, Air de Paris, Paris
Entre-Temps: Lʼartiste narrateur, MIS Paço das Artes, São Paulo; Oi Futuro, Rio de Janeiro Fare Mondi / Making Worlds, 53rd Venice Biennale, Venice
Installations II: Video from the Guggenheim Collections, Guggenheim Museum, Bilbao
Un certain état du monde?, The Garage Center for Contemporary Culture, Moscow
Branded and on Display, Salt Lake Art Center, Salt Lake City eXotica, Lycée Charles Augustin Coulomb, Angoulême The Puppet Show, Contemporary Arts Museum, Houston
2008
Moscow on the Move, Garage Center for Contemporary Culture, Moscow
Larsen, FRAC Poitou-Charentes, Angoulême
Fade In/Fade Out, Bloomberg Space, London
Cover, Museu de Arte Moderna, São Paulo
Histoires de point dʼironie, galerie du jour Agnès b., Paris
theanyspacewhatever, Solomon R. Guggenheim Museum, New York
Is it tomorrow yet?, Singapore Art Museum, Singapore
Composites, La Galerie du Petit Chateau, Sceaux
SUPERTOYS: On Play, Affective Machines and Object Relations, Arnolfini, Bristol
Yokohama Triennale 2008: Time Crevasse – International Triennale of Contemporary Art, Yokohama
The picture is still, Regional Cultural Centre, Letterkenny Yesterday, Today, Tomorrow, Galerie Hans Mayer, Düsseldorf herz:rasen, Künstlerhaus Wien, Vienna
Pièces à vivre, FRAC Poitou-Charentes, Angoulême
Glanz und Globalisierung: Fussball, Medien und Kunst, PROGR Zentrum fur ̈
Kulturproduktionen, Bern
Pas dʼhistoires, South London Gallery, London
Pivot Points (Part 1), MOCA, Miami
Nouvelles Acquisitions (volet 2), FRAC Nord-Pas-de-Calais, Dunkerque
Vidéo et après, Centre Georges Pompidou, Paris
Branded and On Display, Tufts University Art Gallery, Medford, MA MAXImin: A Century of Abstraction, Fondacion Juan March, Madrid
Servitude et Simulacre en temps réel et flux constant, Agnès B activités, Paris
Group Show, 1301PE Brian D. Butler, Los Angeles
All-Inclusive: A Tourist World, Schirn Kunsthalle, Frankfurt
Le corps comme spectacle, FRAC Bourgogne, Dijon
A New Stance for Tomorrow, Sketch Gallery, London
The Puppet Show, ICA, Philadelphie; Santa Monica Museum of Art, Santa Monica;
Contemporary Museum, Honolulu, Hawaï
2007
Medio Dia - Media Noche, Palais de Tokyo, Paris; Centro Cultural Recoleta, Buenos
Aires
Collateral 2: When Art Looks at Cinema, SESC, Sao Paulo
Début de siècle, Musée Départemental de Rochechouart, Rochechouart
Stop & Go, Fondazione Sandretto Re Rebaudengo, Turin
Words Fail Me, Museum of Contemporary Art, Detroit
Tomorrow, Artsonje Center & Kumho Museum of Art, Seoul
Existencias, MUSAC, Leon
Everstill, Lorca's house, Granada (cur. by Hans Ulrich Obrist)
A History of Two Mountains/ One the Original/ Two a Copy/ Both Equally Heavy, Auto Italia South East, London
Antes y después del minimalismo, Museu dʼArt Espanyol Contemporani, Palma de Mallorca
(Iʼm Always Touched) By Your Presence, Dear - New Acquisitions, Irish Museum of Modern Art, IMMA, Dublin
(H)Eros, Musée dʼArt moderne et dʼArt Contemporain, Liège
Nuit Blanche, Mayenne
Versailles 2007, Nuit Blanche, Versailles
So Watt!, Espace Electra, Paris
Auto Emotion, The Power Plant, Toronto
Passage du temps, Collection François Pinault, Tri Postal, Lille
La nuit des musées, ARC/Musée dʼArt moderne de la Ville de Paris, Paris
Ateliers, lʼartiste et ses lieux de création, Centre Pompidou, Paris
Objectif Lunel, Espace Louis Feuillade, Lunel
Slash Fiction, Gasworks, London
Think with the Senses – Feel with the Mind Art in the Present Tense, 52nd Venice Biennale, Venice
Mood Swings, Galerie Micheline Szwajcer, Anvers
Dominique Gonzales-Foerster: Expodrome, ARC/Musée dʼArt moderne de la Ville de Paris, Paris
Trajectory 4, LCCA, Riga (cur. by Maria Lind)
Learn to Read, Level 2 Gallery, Tate Modern, London
E-Flux video rental, Carpenter for Center for the Visual Arts, Cambridge MA; Centre
Culturel, Suisse, Paris
Airs de Paris, Centre Pompidou, Paris
Collateral, Pirelli HangarBicocca, Milan
Comic Abstraction, Museum of Modern Art, New York
L'emprise du lieu, Domaine Pommery, Reims
2006
Eldorado, MUDAM, Luxembourg
Exploring Party, Wurttembergischer Kun̈ stverein Stuttgart, Stuttgart
New Space, Pinchuk Art Center, Kiev
E-Flux video rental, Extra City Center for Contemporary Art, Anvers; Arthouse at the
Jones Center-Contemporary Art for Texas, Austin
Thank You for the Music (London Beat), Sprüth Magers Lee, London
LʼAmbassade des Possibles, 40mcube, Rennes
Melancholia, Sommer Contemporary Art, Tel-Aviv
Lovely Shangai Music, Zendai Museum of Modern Art, Shangai
4th Liverpool Biennial, Liverpool
The Expanded Eye, Kunsthaus Zürich, Zurich
La Force de lʼart: Superdéfense, Grand Palais, Paris
Classical: Modern, Daimler Chrysler Collection, Berlin
Again for Tomorrow, Royal College of Art, London
Dʼentrée de jeu, La Chapelle Jeanne dʼArc, Thouars
Cinéma(s), Magasin, Grenoble
A Short History of Performance – Part IV, Whitechapel Gallery, London Tate Triennial, Tate Britain, London
2005
Light Art: From Artificial Light, ZKM, Karlsruhe
BEYOND: an extroardinary space of experimentation for modernization, 2nd Guangzhou Triennial
tank.tv, London (cur. by Hans Ulrich Obrist)
Thank you for the Music, Sprüth Magers Projekte, Munich
Strictement confidentiel, Centre international dʼart et du paysage, Vassivière
En corps, et encore!, Centre Régional de Documentation Pédagogique, Poitiers
Ambiance, K21 Kunstsammlung NRW, Düsseldorf
Mouvement, Museum Ludwig, Köln
War is Over, Galleria dʼArte Moderna e Contemporanea, Bergamo
Radio Days, De Appel, Amsterdam
Bidibidobidiboo, Fondazione Re Rebaudengo, Turin (cur. by Francesco Bonami)
Expérience de la durée, 8th Biennale de Lyon, Lyon
Air de Paris, Paris
Universal Experience: Art, Life and the Touristʼs Eye, Museum of Contemporary Art,
Chicago
Invisible Script (A letter to Morel), W 139, Amsterdam (cur. by François Piron)
Present Perfect, Friedrich Petzel gallery, New York
2004
Opportunity and Regret, Grazer Kunstverein, Graz
Hors dʼœuvre, CAPC, Bordeaux
El estado de las cosas, MARCO, Vigo
3" Condensed Information, Schirn Kunsthalle, Frankfurt
Utopia Station, Haus der Kunst, Munich
21st Century Museum of Contemporary Art, Kanazawa
Grotesque, Burlesque, Parodie, Abbaye Saint-André Centre dʼArt Contemporain, Meymac
Funny Cuts, Cartoons and Comics in Contemporary Art, Staatsgalerie, Stuttgart
Biennale de lʼart africain contemporain, DakʼArt 2004, Dakar
Across the border, Museum Dhondt-Dhaenens, Deurle
La Collection dʼ art contemporain dʼAgnès B, Les Abbattoirs, Toulouse
Establishing Shot, Artistʼs Space, New York
The Drawing Project, Vamialiʼs, Athens
Sportivement vôtre, Domaine départemental de Chamarande
My Way, Air de Paris, Paris
The Big Nothing, Institute of Contemporary Art, Philadelphia
Before the End, Le Consortium, Dijon
S.M.A.K. Grasduinen I - S.M.A.K.-at-the-sea, S.M.A.K., Gent
No More Reality, Nils Staerk Contemporary Art, Copenhagen
2003
Cʼest arrivé demain, Biennale de Lyon
Utopia Station, 50th Venice Biennale, Venice
Lee 3 (tau ceti central armory show), Villa Arson, Nice
Coollustre, Collection Lambert, Avignon
25th International Biennial of Graphic Arts, Ljubljana
The Daimler Chrysler Collection, Museum für Neue Kunst, Karlsruhe
Animations, Kunst-Werke, Berlin
JRP Editions, Galeria Javier Lopez, Madrid
Selected Multiples by JRP Editions, Galerie Edward Mitterand, Geneva
III Communication, Dundee Contemporary Arts, Dundee
Parcours de choix, Arsenal, Metz
2002
French Collection, MAMCO, Genève
Sans commune mesure, Musée dʼArt Contemporain Lille Métropole, Villeneuve dʼAsq
El aire es azul, casa museo Francisco Ramirez, Mexico City
Chapter V, Art Resources Transfer, New York
Récits Récits, Abbaye-Saitn-André, Meymac
Société perpendiculaire: la tapisserie, FRAC Provence-Alpes-Côte-dʼAzur
The Object Sculpture, The Henry Moore Institute, Leeds
Exchange and Transform, Kunstverein, Munich
Self/in Material Conscience, Palazzo Re Rebaudengo, Guarene d'Alba
Les vertus sont des titres, les souffrances sont des droits, Hôtel Saint-Simon, Angoulême
Stories, Haus der Kunst, Munich
(The World May Be) Fantastic, 13th Biennale of Sydney, Sydney
Friedrich Petzel Gallery, New York
2001
Tele(visions), Kunsthalle Wien, Vienna
7th International Istanbul Biennial, Istanbul
EGOFUGAL, from 7th International Istanbul Biennal, Tokyo Opera City Art Gallery, Tokyo
Intentional Communities, Centre d'Art Contemporain, Vilnius
Dévoler: vivent les FRACs (suite), Institute d'Art Contemporain, Villeurbanne
Dedalic Convention, MAK, Vienna
Animations, PS1, New York
Mouvements immobiles, Musée d'art moderne de Buenos Aires
Il Dono, Palazzo delle Papesse, Siena
Neue Welt, Frankfurter Kunstverein, Frankfurt am Main
Double life, Generali Foundation, Wien
Intentional Communities, Rooseum Center for Contemporary Art, Malmö
Let's Entertain, Kunstverein Wolfsburg, Ludwigsburg
Cinema Without Walls, Museum Boijmans Van Beuningen, Rotterdam
2000
Vivre sa vie, Tramway, Glasgow
Au-delà du spectacle, Centre Pompidou, Paris Cushy Job, ARTRA, Milano
Project #0004, Friedrich Petzel Gallery, New York
Air-Air, Grimaldi Forum, Monaco
Un monde dans une coquille de noix, FRAC-Provence-Alpes-Côte dʼAzur, Marseille
I love you too, but., Galerie für Zeitgenössische Kunst, Leipzig
Présumés Innocents, CAPC, Bordeaux
What if, Art on the Verge of Architecture and Design, Moderna Museet, Stockholm
Cette culture qui nous vient de la rue, Galerie municipale, Vitry-sur-Seine
EDIT, Badischer Kunstverein, Karlsruhe
Letʼs Entertain, Walker Art Center, Minneapolis; Portland Art Museum, Oregon;
Centre Pompidou, Paris; Museo Rufino Tamayo, Mexico; Miami Art Museum, Miami
1999
Culbutes, Oeuvre dʼimpertinence, Musée dʼart Contemporain de Montréal, Montréal Hypothèses de Collection, Musée du Luxembourg, Paris
1998
Bonne Année!, Air de Paris, Paris
May 98, Kunsthalle, Köln
Leibesübungen, Sport und Kunst, Kulturreferat, Munich
Weather Everything, Galerie für Zeitgenössische Kunst, Leipzig
La Table, Air de Paris, Paris
Dumbpop, Jerwood Gallery, London; Metropolitan University Gallery, Leeds
1997
Campo 6, Bonnefanten Museum, Maastricht
Images, objets, scènes, Magasin, Grenoble
Moment Ginza, Magasin, Grenoble
Enter, Artist/Audience/Institution. Kunstmuseum Luzern, Luzern
Connexions implicites, ENSBA, Paris
1 minute scénario, Le Printemps de Cahors, Cahors
Verson Originale, Musée d’Art Contemporain, Lyon
LʼAutre, 3rd Lyon Biennale, Lyon
X-squared, Wiener Secession, Vienna
Identité, Le Nouveau Musée, Villeurbanne
Post-Production, Forde, Geneva
1996
Traffic, CAPC, Bordeaux
More Time, Less History, Fundacio Serralves, Porto
Kunstverein Weimar, Weimar
Basilico Fine Arts, New York
Campo 6, Galleria Civica di Torino, Turin
FRAC PACA, Marseille
Found, Galerie Gasser Grunert, Köln
Schipper & Krome, Köln
Hide and Seek, Teddy Kollek Stadium, Malcha, Jerusalem (cur. by Ami Barak)
1995
A Voice Apron, Basilico Fine Arts, New York
Collection, fin XXe, FRAC Poitou Charentes, Poitiers
Histoires de l'infamie, 46th Venice Biennale, Venice
FRAC Auvergne, Montluçon
Ripple Across The Water. Aoyama, Tokyo
Rewind. City Racing, London
Passions privées, Musée d'Art moderne de la ville de Paris, Paris
1994
Don't Look Now, Thread Waxing Space, New York & CD-Rom
Surface de réparations, FRAC Bourgogne, Dijon
Backstage: Topologie zeitgenössischer Kunst, Kunstmuseum Luzern
FRAC Poitou-Charentes, Angoulême
Nouvelle vague, Musée d'Art Moderne et d'Art Contemporain, Nice
Sonne München, Daniel Buchholz, Köln
Monaco Grand Prix 94, Monte Carlo
Sogetto – Sogetto, Castello di Rivoli, Turin
Rudiments pour un musée possible, MAMCO, Geneva
Lost Paradise, Kunstraum, Vienna
Surface de réparations 2, FRAC Bourgogne, Dijon
1993
Domorama, La Criée, Rennes
Unité 1, Firminy
Aperto 93, 45th Venice Biennale, Venice
Le Principe de réalité, Villa Arson, Nice
Summer 93, Air de Paris, Nice
Backstage, Kunstverein in Hamburg Unplugged, Holyday Inn, Köln
Christmas Shop, Air de Paris, Paris
1992
Il faut construire l'Hacienda, C.C.C.Tours
Molteplici culture: Arte e Critica, Casa della Città, Rome
Tattoo Collection, Galerie Jennifer Flay, Paris; Galerie Daniel Buchholz, Köln;
Galerie Andrea Rosen, New York
Postcards from Alphaville, PS1, New York
1991
No Man's Time. Villa Arson, Nice
U-Vision, Wiener Festwochen, Vienna
Xmas Show, Air de Paris, Nice
Try Snaking, with P. Joseph, Air de Paris, Nice
1990
Ozone, FRAC Corse, Corte, France, with D. Gonzalez-Foerster, B. Joisten & P. Joseph
Les Ateliers du Paradise, with P. Perrin and P. Joseph, Air de Paris, Nice, France
Once upon a time in City Bild…, with P. Joseph, Esther Shipper, Cologne, Germany
How We Gonna Behave, with B. Joisten et P. Joseph, Galerie Max Hetzler, Cologne, Germany
Courts-métrages immobiles, B. Joisten & P. Joseph, XVILè Biennale, Prigioni, Venice, Italy
1989
Ozone, with D. Gonzalez-Foerster, B. Joisten and P. Joseph, APAC, Nevers, France
Ozone, Messe, with D. Gonzalez-Foerster, B. Joisten and P. Joseph, Esther Schipper, Cologne, Germany
SELECTED COLLECTIONS
21st Century Museum of Contemporary Art, Kanazawa
Allen Memorial Art Museum, Oberlin College
Centre Pompidou, Paris
CIRVA, Marseille
Collection Ishikawa, Okayama
Daimler Art Collection, Stuttgart/Berlin
EVN AG Collection, Vienna
Fondation LVMH, Paris
Fondazione Sandretto re Rabaudengo, Torino
Fonds National dʼArt Contemporain, Paris
Fonds Régional d'Art Contemporain Languedoc-Roussillon, Montpellier
Fonds Régional d'Art Contemporain Nord-Pas-de-Calais, Dunkerque
Fonds Régional d'Art Contemporain PACA, Marseille
Fonds Régional d'Art Contemporain Poitou-Charentes, Angoulême
Fonds Régional dʼArt Contemporain Corse, Corte
Irish Museum of Modern Art, Dublin
Landesbank Baden-Württemberg, Stuttgart
LACMA–Los Angeles County Museum of Art, Los Angeles
LUMA Foundation, Arles
Mudam, Luxembourg
Musée dʼArt Contemporain de Lyon
Musée dʼArt moderne de la Ville de Paris
Museo de Arte Contemporáneo de Castilla y León, León
Museum of Contemporary Art, Los Angeles
Museum of Modern Art, New York
National Gallery of Canada, Ottowa
Okayama Collection, Okayama
Pinault Collection
San Francisco Museum of Modern Art, San Francisco
Serralves Museum of Contemporary Art, Porto
Solomon R. Guggenheim Museum, New York
Tate, London
The Walker Art Center, Minneapolis
Thyssen-Bornemisza Contemporary Art Foundation
Van Abbemuseum, Eindhoven
Watari Museum of Contemporary Art, Tokyo
ARTIST'S WRITINGS
“Philippe Parreno”, in Drift, London: Penguin Books, 2013.
“After Effects”, in Above, Summer 2009, pp. 116 - 123.
“What do you believe”, in Gagarin, vol. 9 #2, No. 18, 2008, p. 2.
“Undergroundman”, in Playboy, No. 83, October 2007, p. 30.
“Are There possibilities To Unify Dispersed Fragments In A Coherent Narrative Framework?”, in Parkett, No. 40, Autumn 2007, pp. 88 - 92.
“Fantôme de Sitcom”, in Rirkrit Tiravanija, Paris musées (ed.), 2005, pp. 41 - 43.
“Phonoglutamate”, in Domus, No. 875, November 2004, pp. 70 - 72.
“After Affects #6: The Doppler Effect”, in Domus, No. 873, September 2004.
“After Affect #3: a journey through a infinite urban landscape”, in Domus, No. 868, March 2004. “The Underground Man (After a short Story by Gabriel Tarde)”, in Pacemaker No. 3, October 2003 and in Domus, No. 867, February 2004.
“After Effect”, in Domus, No. 866, January 2004.
“The Taste of Pink Flamingoes”, in Spoiled Climate, Ante Prima (ed.), Paris, 2003.
“Speech Bubbles”, Les Presses du Réel, Dijon, 2001.
“Björk”, in Little-i ltd , 2001, pp. 119 - 122.
“La séquence du spectateur”, in Art Press, No. 255, March, 2000.
“Pièces versées au contentieux relatif au temps libre (Evidences to be submitted to the free time litigation)” in Pierre Huyghe, Kunstverein München, Kunsthalle Zürich, Secession Wien, Le Consortium Dijon, 2001.
“Itʼs me and the system...”, in Jorge Pardo, Hatje Cantz Verlag (ed.), 2000, pp. 64 - 79. “My days are shorter than your t-shirt”, in Olafur Eliasson, Kunstmuseum Wolfsburg, Liam Gillick, Philippe Parreno, “Le Procès de Pol Pot”, in MAG, October 1999, pp. 4 - 5.
“Anna Sanders”, in Magazine No. 1 with Pierre Huygue, edition AFAA, 1997.
“Une exposition serait-elle un cinéma sans caméra?”, in Libération, May 27 -28, 1995.
(English version in Paletten No. 223, March 1996)
“I'm Not A Customer, I'm A Passenger”, in Documents No. 7, March 1995.
“Snow Dancing”, GW Press Ltd, London, 53 pages, 1995.
“Time Factor”, in Documents No. 6, October 1994, pp. 22 - 23.
“Ideal Place”, texts collected by Eric Troncy, Val de Reuil Centre d'Art et Jardin, November 1993.
“General idea”, interview in Documents No. 4, October 1993.
“Fear of Angels”, in Documents No. 1, October 1992.
“On ne peut plus s'installer devant une image comme au temps du 1er degré”, in Documents No. 0, March 1992.
CATALOGUES AND SELECTED PUBLICATIONS
Philippe Parreno. Fireflies, Heni Publishing, London, 2019
Philippe Parreno, Ed. by Thomas Oberender and Angela Rosenberg,Gropius Bau, Berlin 2018
H {N)Y P N(Y} OSIS / HYPOTHESIS, Ed. by Andrea Lissoni, Mousse Publishing, Milan, 2017
Parreno, Philippe and Adam Thirwell. Conversation: A Script with Philippe Parreno, Serralves Publishing, Porto, 2017.
Philippe Parreno: Anywhen, Ed. by Andea Lissoni, Tate Publishing, London, 2017.
TV Channel , CAC Malaga, 2014.
Philippe Parreno: Anywhere, Anywhere out of the World, Paris and Cologne: Palais de Tokyo and Verlag Walther Koenig, 2014.
Juliao Sarmento, Noites Brancas, in Retrospectiva, Fundacao de Serralves, Porto, 2013, p. 230.
Light Show, Hayward Gallery, 2013, pp. 139 - 144.
Béghin Cyril, “A Matter of Synchronization”, interview with Anri Sala and Philippe Parreno, in: Mousse, No. 37, February – March 2013, pp. 158 - 167.
Alice im Wunderland der Kunst. Hamburger Kunsthalle, 2012, p. 173.
Think Twice: Twenty Years of Contemporary Art from Collection Sandretto Re Rebaudengo.
Whitechapel Gallery, London, 2012.
Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp.
Philadelphia Museum of Art, Philadelphia, 2012.
Reflecting on Reflection, Galeri Mana, Istanbul, 2012.
Collection Vanmoerkerke, Rispoli Books, Brussels, 2011.
Entre-Temps, Minsheng Art Museum, Musée d’Art moderne de la Ville de Paris / ARC, 2011.
Minimalism & Applied II., Daimler Contemporary, Berlin, 2011.
Philippe Parreno: Films 1987-2010, Foreword by Julian Peyton-Jones and Hans Ulrich Obrist (ed.), Serpentine Gallery, London and Verlag der Buchhandlung Walther König, 2010.
Philippe Parreno, CCS Bard College, New York and Berlin, Sternberg Press, 2010.
Vanbijdeburen – Belgie, Kasteel Keukenhof, p. 41, 2010.
Open Light in Private Spaces, 1. Biennale für Internationale Lichtkunst, RUHR.2010, 2010.
Everstill – Siempretodavía, Huerta de San Vicente, Granada, 2010, pp. 54 - 55. Zidane, Un portrait du 21ème siècle, François Michaud in Entre-Temps, Futuro, 2009, pp. 98 - 105.
Pierre Huyghe, Hans Ulrich Obrist, Stefan Kalmár, Philippe Parreno, Beatrix Ruf, No Ghost Just a Shell: Dialogue, 2003, in Utopias, Whitechapel Gallery and MIT Press, 2009, pp. 162 - 168.
Paul Ardenne: Art, le present, Editions du Regard, Paris, 2009.
Jochen Volz, Philippe Parreno, Making Worlds Exhibition, cat.53. Biennale di Venezia, Marsilio (ed.), pp. 126 -127 and 246 - 247.
Bernard Marcadé, Mon nom est personne, in 53 Oeuvres qui m'ébranlèrent le monde, Beaux Arts éditions, Paris, 2009, pp.160 - 163.
Utopics. 11th Swiss Sculpture Exhibition, JRP Ringier, Zurich, 2009.
Angeline Scherf, Entre-Temps, MAMVP/ARC, Paris, 2009.
MIS & Paçp das Artes, Sao Paulo, 2009, pp. 122 - 127.
Collection 1991-2000 #2, FRAC Nord-Pas de Calais, Dunkerque, 2009, pp. 76 - 77.
Philippe Parreno and Johan Olander, Parade? Centre Pompidou, Paris, 2009.
Philippe Parreno, Centre Pompidou, Paris, 2009.
Michael Fried, Why Photography Matters as Art as Never Before, Yale University Press, London and New Haven, 2008.
Angeline Scherf, Musée d'Art Moderne de la Ville de Paris: La Collection, MAMVP/ARC/Paris Musées, Paris, 2008, pp. 418 - 419.
Alain Monvoisin, Dictionnaire International de la Sculpture Moderne et Contemporaine, Editions du Regard, Paris, 2008, pp. 418 and 420.
Hans Ulrich Obrist, Daniel Birnbaum, Dust, in theanyspacewhatever, Guggenheim Museum, New York, 2008, pp. 98 - 104.
Christine Macel, Philippe Parreno, French Connection. Black Jack éditions, Paris, 2008, pp. 560 - 567.
M/M (Paris), Live Recorded Delay, Sternberg Press, 2008.
Philippe Parreno, Suicide in Vermillon Sands, New York, 2008.
Eric Troncy, Philippe Parreno, in Qu'est-ce que l'art vidéo aujourd'hui? Beaux Arts éditions, Paris, 2008.
Philippe Parreno, Hans Ulrich Obrist, The Conversation Series, Verlag der Buchhandlung Walter König, Köln, 2008.
Jörg Heiser, All of a Sudden, Sternberg Press (ed.), Berlin, 2008, pp.178 - 179 and 196 - 199.
Christine Macel, Le Temps pris, Monografik/Centre Pompidou, Paris, 2008, pp. 41 - 55.
Lionel Richard, Art et énergies, Cercle dʼArt, Paris, 2008.
Lʼartiste, lʼatelier, le verre, CIRVA/Xavier Barral (ed.), Paris/Marseille, 2007.
Ina Blom, On the Style Site Art, Sociality, and Media Culture, Sternberg Press, Berlin/New York, 2007.
Stéphanie Moisdon, Stéphanie Moisdon, Les presses du réel/JRP/Ringier, Dijon/Zürich, 2007, pp. 221 - 242.
Hans Ulrich Obrist, Philippe Parreno and Tim Robinson, La musique des évènements, in Maps and Legends, BSI Art Collection, Genève/Lausanne, 2007.
Denis Gielen, Atlas de lʼart contemporain à lʼusage de tous, Musée des Arts Contemporains au Grand-Hornu, 2007.
Emmanuelle Lequeux, AF 21.1 Art France 1990-2007, Editions Particules, Paris, 2007, in Parkett, No. 80, 2007, pp. 154 - 155.
Hans Ulrich Obrist, ...dontstopdontstopdontstopdontstop, Les presses du réel/JRP/Ringier, Dijon/Zürich, 2007, pp. 125 - 129 and 135 - 143.
Daniel Birnbaum, Chronologie, Les presses du réel/JRP/Ringier, Dijon/Zürich, 2007, pp. 97 - 112.
Guillaume Desanges, Prédictions, une exposition concue par Trouble, Paris, 2007, p. 63. Luca Caioli, Zidane, Cent dix minutes pour partir, éditions Prolongations, 2007, Le Miroir, interview de Philippe Parreno, pp. 147 - 149.
Pascale Cassagnau, Future Amnesia, enquêtes sur un troisième cinéma, isthme éditions, Paris, 2007, pp. 87.
Frédéric Bonnet, Collection Nouveaux Médias Installations, Centre Pompidou, Paris, 2007, p. 238.
Dorothée Dupuis, Collection Art Contemporain, Centre Pompidou, Paris, 2007, p. 351. Daniel Birnbaum, Christine Macel, Airs de Paris, Centre Pompidou, Paris, 2007, pp. 26 - 27 and 106 - 107.
Phyllis Richardson, XS Green: Big Ideas Small Buildings, Thames & Hudson, London, 2007, pp. 162 - 165.
Roxana Marcoci, Comic Abstraction, MoMA, New York, 2007, pp. 24 - 25 and 102 - 107.
Claire Moulène, Art contemporain et lien social, Cercle dʼArt, Paris, 2007.
All Hawaii Entrées/Lunar Reggae, Charta, Milan, 2006.
Fresh Théorie II, Léo Scheer (ed.), Paris, 2006.
Hans Ulrich Obrist, …dontstopdontstopdontstop, Sternberg (ed.), New York/Berlin, 2006.
Jordi Vidal, Traité du combat moderne, Allia, Paris, 2006.
Daniel Birnbaum, Chronology, Lukas & Sternberg (ed.), New York, 2006.
Magasin 1986-2006, JRP Ringier, Grenoble, 2005.
François Piron, Prêts à prêter, isthme/Frac Paca, 2005.
Art Now 2, Taschen, 2005.
La ville au cinéma , Cahiers du cinéma/éditions de l'Etoile, Paris, 2005.
Xavier Douroux, Nouveaux commanditaires en Bourgogne, Les presses du réel, Dijon, 2005.
Jean-Marc Huitorel, La Beauté du geste, Editions du Regard, Paris, 2005.
Fade to Black, mfc-Michèle Didier, Bruxelles, 2005.
Lʼart contemporain mode dʼemploi, Elisabeth Couturier, Filipacchi (ed.), Paris, 2004.
Liam Gillick & Philippe Parreno, Law Creativity, Lunds Konsthall, Lund, 2004. Katy Siegel and Paul Mattick, Money, Thames & Hudson, London, 2004, pp. 84 - 85 and 158 - 159.
Turbulenz, Portikus, Frankfurt am Main, 2004.
The Boy from Mars, CCA Kitakyushu, Kitakyushu, 2004.
Point dʼironie, No. 33, Agnès B, Paris, 2004.
Replay, in Flash Art, No. 238, octobre 2004, p. 136.
Artists Space - Establishing Shot, New York, 2004.
Animations, Kunst-Werke, Berlin, 2003.
The In-Between, Forma / Les Presses du Réel, Dijon, 2003.
Le Livre de Roland, Walter König, Köln, 2003.
No Ghost Just a Shell, Walter König, Köln, 2002.
Philippe Parreno, Moderna Museet Projekt, Stockholm, 2002.
No Ghost Just a Shell, D. Bussel and S. Comer, 2002.
Art Now, Taschen, 2002, pp. 376 - 370.
EGOFUGAL, from 7th International Istanbul Biennal, March 2002.
Stories, Dumont, Munich, 2002, p. 150 - 152.
The Object Sculpture, Henry Moore Institute, 2002, p. 75.
Ann-Lee, in Diatxt. No. 06, Tokyo Art Center, March 2002, p. 57 - 64.
Mouvements immobiles, Les presses de Graphival, Ballan-Miré, 2001.
Fig-1, The art magazine (avec Tate Gallery), London, 2001.
Double Life, Sabine Breitwieser (ed.), Generali Foundation, Wien, 2001.
Nicolas Bourriaud, Postproduction, Lukas & Sternberg, New York, 2001, Les presses du réel, Dijon, 2004 49 3, No. 1, Summer 2001.
Monter-Sampler, Scratch & Les Éditions du Centre Georges Pompidou, 2000.
Anne Bony, Les années 90, Editions du Regard, 2000.
Edit, Badischer Kunstverein, Karlsruhe, 2000 (artists’ pages in the exh.cat.).
Fri-Art Kunsthalle, Fribourg, Centre d’Art Contemporain, 2000.
Cream, Phaidon, London, 1999. pp. 26 - 28.
Art at the Turn of the Millenium, Taschen, 1999. pp. 378 - 381.
Xsquared, Wiener Secession, Vienna, January 1999.
Dominique Gonzalez-Foerster / Pierre Huyghe / Philippe Parreno, ARC, Musée dʼArt Moderne de la Ville de Paris, Paris, October 1998.
ENTER, Kunstmuseum Luzern, May 1998, pp. 32 - 35.
Campo O6, Fondazione Sandretto Re Rebaudengo, Torino, 1997.
Projet 8, Total, Museum of Contemporary Art, September 1997 pp. 46 - 50.
More Time Less History, Fundaçao Serralves, Porto, 1996.
Surface de réparations, Frac Bourgogne, Dijon, September 1995.
Infamie, Hazan, Paris, Summer 1995, pp. 64 - 67.
Collection Xxème siècle, Frac Poitou Charentes, May 1995.
NICAF, Air de Paris & AFAA, March 1995.
Traffic, CAPC, Bordeaux, February 1995.
Video, Prime Time No. 0, Dijon, November 1994.
Sogetto - Sogetto, Charta, Milano, June 1994.
Video, No More Reality (the demonstration) in ZAPP No. 1, March 1994 (video magazine).
Nouvelle Vague, MAMAC Nice, Feb. 1994, pp.51 - 57.
Snaking, Zapp video magazine No. 0, Dec.1993.
Backstage, Kunstverein im Hamburg & Kunstmuseum Luzern, Hamburg, October 1993.
APERTO 93, Flash Art, Milano, Summer 1993.
Venice Biennale 1993. Summer 1993.
Principe de réalité, Villa Arson, Nice, Summer 1993.
Le Dimanche de la vie, Gio Marconi, Milano, March 1992.
Il faut construire l'Hacienda, C.C.C. Tours, Jan. 1992.
L'Amour de l'Art, Biennale de Lyon, September 1991.
No Man's Time, Villa Arson, Nice, July 1991.
Nachschub, The Köln Show, Spex, Köln, April 1991.
French Kiss, Halle Sud, Genève, May 1990.
Courts métrages immobiles, AFAA, May 1990.
SELECTED REVIEWS
"Philippe Parreno unveils new commission at the revamped MoMA," Wallpaper, 16 October 2019.
"Philippe Parreno combines 20 years of footage to create ‘film of films, a seance of cinema," Wallpaper, 6 February 2019.
“Exhibition Histories: ‘Les Ateliers du Paradise’, 1990, Air de Paris, Nice,” Spike Art, 59, Spring 2019, p. 34-37.
“Floating Fish, Living Exhibitions and Zinédine Zidane – The Strange World of Philippe Parreno”, fine artmultiple, June 2018.
Kamm, Joanna. “Philippe Parreno: The Creature is ready to Eat”, Spike Art Magazine, 4 June 2018.
Reber, Simone. Radio report on Philippe Parreno at Gropius Bau Berlin, Deutschlandfunkkultur, 30 May 2018.
Skupin, Bernd. “Interview feature with Philippe Parreno”, Vogue Germany, June 2018.
“Video interview feature with Philippe Parreno”, Arte Journal, 29 May 2018.
Buhr, Elke. “Philippe Parreno in Berlin: Die Biomaschine”, Monopol, 25 May 2018.
Walde, Gabriela. “Ausstellung: Fliegende Fische und ein Swimmingpool“, Berliner Morgenpost, 25 May 2018.
Kuhn, Nicola. “Ausstellung von Philippe Parreno: Hefezellen an die Macht”, Der Tagesspiegel,24 May 2018.
“Ausstellung: Philippe Parreno erstmals in Berlin“, Zeit Online, 24 May 2018.
Hegert, Natalie. ”Philippe Parreno: Two Automatons for One Duet // Art Institue of Chicago”, The Seen, 17 April 2018.
Eppley, Charles. “Philippe Parreno with Charles Eppley”, The Brooklyn Rail, 7 February 2018. “‘La levadura y el anfitrión’ by Philippe Parreno at Museo Jumex, Mexico City”, Blouin Artinfo, 2 February 2018.
Escobedo, Lee. “Automaton // ‘The Yeast and the Host’: Philippe Parreno at Museo Jumex”, Berlin Art Link, 8 December 2017.
Rodríguez, Carlos. “El Arte Como Intervención”, La Tempestad, 1 November 2017.
Lorch, Catrin. “Verschaukelt”, Süddeutsche Zeitung, 10 October 2017.
Ling, Gu. “Synchronicity: Philippe Parreno at Rockbund Art Museum”, Ocula, 11 September 2017.
“Philippe Parreno, Synchronicity”, Global Times, 3 Semptember 2017.
Hall, Casey. “Philippe Parreno’s Synchronicity rethinks art, as Shanghai exhibition space becomes immersive centrepiece”, South Chine Morning Post, 13 August 2017.
“Philippe Parreno ‘Synchronicity’ at Rockbund Art Museum, Shanghai”, Mousse Magazine, August 2017.
Exhibition focus on Philippe Parreno: Synchronicity at the Rockbund Art Museum, Shanghai, Apex Manual, 1 August 2017.
Exhibition focus on Philippe Parreno: Synchronicity at the Rockbund Art Museum, Shanghai, Xinmin Evening News, 28 July 2017.
Exhibition focus on Philippe Parreno: Synchronicity at the Rockbund Art Museum, Shanghai,
Shanghai Style Weekly, 26 July 2017.
Exhibition focus on Philippe Parreno: Synchronicity at the Rockbund Art Museum, Shanghai, 21st Century Business Herald, 17 July 2017.
Philippe Parreno: Synchronicity at the Rockbund Art Museum, Shanghai, Life Weekly, 18 July 2017.
Philippe Parreno: Synchronicity at the Rockbund Art Museum, Shanghai, Global Times, 17 July 2017.
News story on Philippe Parreno: Synchronicity at the Rockbund Art Museum, Shanghai, The Art Newspaper China, 17 July 2017.
Jansen, Charlotte. “Philippe Parreno transforms the Rockbund Art Museum in a perpetual motion of events”, Wallpaper, 12 July 2017.
Exhibition focus on Philippe Parreno: Synchronicity at the Rockbund Art Museum, Shanghai, Metro Express, 11 July 2017.
“Philippe Parreno at Serralves”, Contemporary Art Daily, 5 May 2017.
Jaeckle, Justin. “Philippe Parreno: A Time Coloured Space”, Art Review, April 2017.
“Philippe Parreno on ‘Brilliant Ideas’”, Episode 50, Bloomberg, 28 March 2017.
Caldana, Leonardo. “Philippe Parreno: Time Coloured Space”, Cura Magazine, March 2017.
Parreno, Philippe. “Sarah Morris”, Interview Magazine, 9 March 2017.
“Philippe Parreno ‘A Time Coloured Space’ at Serralves Museum of Contemporary Art, Porto”, Mousse Magazine, March 2017.
Birnbaum. Daniel. “Previews: Philippe Parreno”, Artforum, January 2017.
Robecchi, Michele. “Philippe Parreno: Anywhen, the 2016 Commission for the Turbine Hall at Tate Modern”, Modern Matter, no. 11, December 2016.
Cox, Will. “Thenabouts: The Strangeness of Philippe Parreno”, Broadsheet, 17 December 2016.
“The Most Influential Living Artists of 2016”, Artsy, 13 December 2016.
Badham, Van. “Philippe Parreno: ‘To apply art to political resistance is always a bit complicated’”, The Guardian, 8 December 2016.
Balsom, Erika. “Philippe Parreno: Tate Modern”, Artforum, December 2016.
Sumpter, Helen. ”Philippe Parreno: Anywhen”, Art Review, December 2016.
Bunbury, Stephanie. “Philippe Parreno at ACMI: a new dimension beyond film and art”, The Sydney Morning Herald, 30 November 2016.
Smith, Olga. “Philippe Parreno”, Art Monthly, 22 November 2016.
Schwarz, Gabrielle. “Philippe Parreno’s perfect response to the Turbine Hall”, Apollo Magazine, 18 November 2016.
Jobey, Liz. “Robert Rauschenberg: in the gap between art and life”, The Financial Times, 18 November 2016.
“Elemental Synchronisation”, Aesthetica Magazine, 31 October 2016.
Ings, Simon. “An enormous shape-shifting artwork – run by yeast”, New Scientist. 19 October 2016.
Nathan, Emily. “An Art of Loopholes”, The New Yorker, 15 October 2016.
Sherwin, Skye. “Inside Philippe Parreno’s Brave New World at the Tate Modern”, W Magazine, 11 October 2016.
Azimi, Roxanne. “Philippe Parreno, le mouvemnet perpétuel”, M le magazine du Monde, 10 October 2016.
Cumming, Laura. “Picasso Portraits; Philippe Parreno review – quickfire genius and inflatable fish”, The Observer, 9 October 2016.
Buck, Louisa. “Interview: Philippe Parreno goes with the flow”, The Art Newspaper, 6 October 2016.
Holmes, Kevin. “Floating Fish Invade Tate Modern’s Turbine Hall”, Creators, 5 October 2016. Wychowanok, Thibaut. “Rencontre avec Philippe Parreno, le Français qui investit la Tate Modern à Londres”, Numéro, 4 October 2016.
Parreno, Philippe. “Artists’ Artists – Philippe Parreno”, Frieze, 4 October 2016.
Masters, Tim. “Floating fish take over at philippe Parreno’s Tate Modern show”, BBC, 3 October 2016.
Pickford, James. “Beauty and the yeast: biology takes control in Tate’s Turbine Hall”, Financial Times, 3 October 2016.
Searle, Adrian. “Philippe Parreno’s Turbine Hall review – mesmerising and unmissable”, The Guardian, 3 October 2016.
Brown, Mark. “Balloon fish take flight in latest Turbine Hall Installation”, The Guardian, 3 October 2016.
Dex, Robert. “New Hyundai Commission in the Tate’s Turbine Hall brings the space alive with inflatable fish and ventriloquism”, Evening Standard, 3 October 2016.
Morris, Ali. “Master of ceremonies Philippe Parreno brigns the Turbine Hall to life”, Wallpaper, 3 October 2016.
Tucker, Emma. “Philippe Parreno turns Tate’s Turbine Hall into a giant fish tank”, The Spaces, 3 October 2016.
“Philippe Parreno and Liam Gillick”, Frieze, 3 October 2016.
Zahm, Olivier. “Philippe Parreno”, Purple Diary, AW16.
Burris, Jennifer. “El Arte y los Fantasmas”, Código 94, August 2016.
Florian, Federico. “Philippe Parreno”, in Art in America (online), 29 March 2016.
“Philippe Parreno and Carsten Höller in conversation”, Modern Matter, no. 9, 2015.
“’Take Me (I’m Yours)’ at Pirelli Hangar Bicocca, Milan”, Mousse Magazine, December 2015.
Lissoni, Andrea. “Philippe Parreno @ the Hangar Bicocca”, Vogue Italia, November 2015.
Birolli, Viviana. “Phillippe Parreno”, Flash Art, November 2015.
Bonami, Francesco. “Hypothesis at Pirelli Hangar Bicocca, Milan”, La Stampa, 14 November 2015.
Allsop, Laura. “Interview between Philippe Parreno, Tom Eccles, Maja Hoffmann, Liam Gillick, Hans-Ulrich Obrist and Beatrix Ruf about Luma Arles”, AnOther, Autumn/Winter 2015.
Ottavi, Marie. “Parreno Way”, Libération, 22 October 2015.
Ghezzi, Rosella. “Philippe Parreo: Hypothesis”, Corriere della Sera, ViviMilano, 14 October 2015.
Tom Eccles, “Philippe Parreno”, in Art Review, October 2015, pp. 78 - 85.
Mara Hoberman, “Philippe Parreno”, in Artforum (online), October 6, 2015.
Jeffrey Kastner, “Philippe Parreno”, in Artforum, October 2015, pp. 319 - 320. Barbara Steiner, “Was war das Wichtigste an der Kunst der 90er Jahre?”, in Spike Art Quarterly, No. 45, Autumn 2015, pp. 80 - 82.
Laura McLean Ferris, “Philipp Parreno, Park Avenue Armory, New York”, in frieze, No. 174, October 2015, p. 262.
Eleanor Heartney, “Philippe Parreno”, in artpress, 426, October 2015, p. 12.
Liz Yisun Kwon, “Philippe Parreno”, in BOB International Magazine of Space Design, #134, September 2015, pp. 121 - 125.
Harry Burke, “Philippe Parreno H {N)Y P N(Y} OSIS”, in Spike Art Quarterly, #45, Autumn 2015, pp. 170 - 171.
“Ten Artists who make Paris, A Conversation between Muriel Zagha and Camille Morineau”, in Elephant, Issue 24, Autumn, 2015, pp. 146 - 161.
Gabriel Coxhead, “Mix master”, in Wallpaper, July 2015, pp. 62 - 65.
Kathleen Massara, “Philippe Parreno’s Spectacular Show at Park Avenue Armory Hypnotizes Visitors”, in artnet.com, June 11, 2015.
“Philippe Parreno. Nur ein Löffel voll Licht”, in Monopol, June 2015, pp. 74 - 85.
Randy Kennedy, “In Philippe Parreno’s H {N)Y P N(Y} OSIS”, in The New York Times (online), June 4, 2015.
Heather Corcoran, “Outside the box”, in Time Out New York, June 24-30, 2015, p. 75. Ariella Budick, “Philippe Parreno, Park Avenue Armory, New York, review”, in Financial Times (online), June 21, 2015.
Antje Stahl, “Philippe Parreno”, in Monopol, June 2015, pp. 74 - 85.
Francesca Gavin, “Philippe Parreno”, in AnOther Magazine, Spring/Summer 2015, pp. 426 - 437.
Dominic Teja Sidhu, “Philippe Parreno”, in Neue Journal May 15, 2015, p. 264.
Molly Nesbit, “Philippe Parreno”, in Artforum, May 2015, p. 185.
Gauthier Lesturgie, “Les temps simultanés”, in mouvement.net (online), March 24, 2015. Hans Ulrich Obrist, “Rethinking the ritual of the exhibition”, in Mouse magazine, 47, February 2015, pp. 48 - 61.
Jordan Troeller, “Review: Philippe Parreno”, in ArtNews, February 2015.
Pablo Larios, “Philippe Parreno at Esther Schipper & Schinkel Pavillon, Berlin”, in Frieze No.
168, January-February 2015, p. 157.
Antje Stahl, “Alles macht weiter”, in Monopol (online), Januar 14, 2015.
Henry Andersen, “Philippe Parreno: Who Leads and Who Follows?”, in berlinartlink.com, January 12, 2015.
Pablo Larios, “Philippe Parreno at Esther Schipper & Schinkel Pavillon”, in Frieze, Nr 168, January 2015.
Ana Teixeira Pinto, Review: Philippe Parreno’s „quasi-objects“ and „How Can We Tell the Dancers from the Dance“, in art agenda (online), December 22, 2014.
Ingeborg Ruthe, “Philippe Parreno in der Galerie Esther Schipper: Ein Haifisch im Konzertflügel”, in Berliner Zeitung, November 24, 2014.
Mark Prince, “Wo Kommissar Zufall zum Tanz lädt”, in Die Welt, December 6, 2014.
Jens Müller, “Philosophierende Delfine”, in Der Tagesspiegel, Nr. 22 247, December 6, 2014, p. 30.
Christopher Moore, “Philippe Parreno at Esther Schipper”, in Randian, December 4, 2014. Annabelle Hirsch, “Wie seht Ihr denn aus?”, in Frankfurter Allgemeine Sonntagszeitung, November 23, 2014, p. 40.
Tobias Timm, “Lichterschlange: Philippe Parreno leuchtet uns den Weg”, in Die Zeit, Nr. 49, November 27, 2014.
“Philippe Parreno”, Interview, in The White Review, September 2014.
Camiel van Winkel, “Pierre Huyghe en Philippe Parreno”, in Metropolis M. April/May 2014, p.94.
Emma Palmer, “Field Trip: Philippe Parreno at the Palais de Tokyo”, in The Double Negative (online), January 24, 2014.
Amy Serafin, “Solaris Chronicles: an exhibition celebrating the ground breaking of a new building by Frank Gehry is a moveable feast”, in Wallpaper (online), July 14, 2014. Jao Lala, “A condição contemporânea por Philippe Parreno a Pierre Huyghe”, in Ipsilon, January 3, 2014, pp. 11 - 13.
“Anywhere, Anwhere Out of the World at the Palais de Tokyo”, Review, in Artforum, January 2014.
Review of Anywhere, Anywhere Out of the World at the Palais de Tokyo, Kunstforum International, January 2014.
Livia De Leoni, “Come ti transform il palais de Tokyo”, in Exhibart, No. 84, November.-Dec.
2013.
“Anywhere, Anywhere Out of the World”, Review, in Financial Times, November 22, 2013. Christopher Mooney, "Philippe Parreno" (Interview with Philippe Parreno), in Art Review, No. 11, November 2013. pp. 90 - 94.
“Anywhere, Anywhere Out of the World”, Review, in Le Monde, November 1, 2013.
Martin Herbert, “On Philippe Parreno’s practice”, in Kaleidoscope, November 2013.
Boris Pofalla, “Nicht von dieser Welt”, in FAZ Sonntagszeitung, October 27, 2013. p. 44.
Alice Pfeiffer, “Show and Tell”, in Wallpaper, No. 11, November 2013, pp. 128 - 130.
Elisabeth Wetterwald, “One Thusand Pictures Falling Frome One Thousand Walls”, in The Flesh, No. 6, 2013.
“Anywhere, Anywhere Out of the World”, Review, in The Guardian, October 30, 2013.
“Interview with Philippe Parreno”, in Art Info, October 26, 2013.
“Anywhere, Anywhere Out of the World”, Review, in La Libération, October 24, 2013.
“My influences”, Interview with Philippe Parreno, in frieze, October 2013.
“Interview with Philippe Parreno”, in Interview, October 2013.
Jeremy Millar, "The Bride and the Bachelors", in Frieze, No 155, May 2013, pp. 218 - 219. “Review of Marilyn at Garage Center for Contemporary Culture”, in The Moscow News, March 11, 2013.
“Review of The Bride and the Bachelors at the Barbican Art Gallery”, in Time Out London,
March 5, 2013.
“Review of The Bride and the Bachelors at the Barbican Art Gallery”, in The Sunday Times, February 17, 2013.
“Review of The Bride and the Bachelors at the Barbican Art Gallery”, Short Film Interview in The Guardian, February 15, 2013.
“Review of The Bride and the Bachelors at the Barbican Art Gallery”, in The Guardian, February 15, 2013.
“A Conversation between Philippe Parreno and Anri Sala”, in Mousse Magazine, February 2013.
“Review of Dancing Around the Bride at the Philadelphia Museum of Art”, in New York Times, December 7, 2012.
“Review of Dancing Around the Bride at the Philadelphia Museum of Art”, in New York Times, October 31, 2012.
André Akoun, “Les films de Godard sont des retrouvailles“, in Text - Revue, No.10, 2012, pp.
91 - 92.
Molly Nesbit, “Northern Light“, in Artforum, Vol. 51, No. 1, September 2012, pp. 512 - 513. Louisa Buck, “The uncanny world of Philippe Parreno“, in The Art Newpaper (online), June 15, 2012.
Louisa Buck, “Warning: this art will self-destruct“, in The Art Newspaper, June 15-17, 2012, p. 8.
Éric Troncy, “Philippe Parreno”, in Frog, Numéro 11, 2012, pp. 102 - 109.
Francisco Piqueiro, “Philippe Parreno”, in Frog, Numéro 11, 2012, pp. 150 - 159.
Charlotte Burns, “Marilyn Monroe comes back to life in Philippe Parreno’s latest work”, in www.theartnewspaper.com, March 29, 2012.
Christine Macel, “Best of 2011”, in Artforum, December 2011, p. 199.
Mark Prince, “Philippe Parreno - The Serpentine”, in Art in America, May 2011, pp.175 - 176.
“Wo stehst du Kollege?”, in Texte zu Kunst, Heft 81, März 2011.
Hans Ulrich Obrist, “Die Zukunft ist…” Collection of quotes, in Monopol, März 2011, p. 33.
“Review of Philippe Parreno at the Serpentine Gallery”, in Art Review, March 2011.
“Review of Philippe Parreno at the Serpentine Gallery”, in Artforum, March 2011. Colin Perry, “Philippe Parreno”, in Art Monthly, February 2011, pp. 22 - 23.
“Review of Philippe Parreno at the Serpentine Gallery”, in Daily Telegraph, November 30, 2010.
“Interview with Philippe Parreno”, in The Guardian, November 15, 2010.
“Interview with Philippe Parreno”, in Modern Painters, October 201.
Rutger Pontzen, “Adel eruit, kunst erin”, in De Volkskrant, July 23, 2010, p. 43.
Daniel Kunitz, “Flying Solo”, Modern Painters, October 2010, p. 63.
Anna van Leeuwen, “Noblesse oblige”, in Kunstbeeld, Nr. 7/8, 2010, p. 40.
Ben Luke, “Hear your umbilical cord”, in Art Newspaper, November 2010,
Ben Luke, “Dreams Haunted by Elusive Visions”, Evening Standard, November 25, 2010.
Stuart Jeffries, “Timing is everything”, in The Guardian, November 8, 2010, pp. 19 - 21.
Nancy Durrant, “In the Eye of the beholder”, in The Times, November 25, 2010.
Roberta Smith, “Art? Life? Must we choose?”, in The New York Times, July 2, 2010, p. 25.
Pascale Cassagnau, “Un pays supplémentaire”, in Beaux-arts de Paris, 2010, pp. 84 - 85, 109. Philippe Parreno, "Do you believe in ghosts?" (A Column), in Kaleidoscope, Issue 8, 2010. pp. 188 - 189.
Adrian Searle, “Philippe Parreno at the Serpentine”, The Guardian (online), December 12, 2010. Cummings, Laura, “Silent witness to a fallen hero”, supplement to The Observer, December 5, 2010.
Joanne Dreyfus, “Philippe Parreno “8 Juin 1968 – 7 September 2009”, in Frog, No. 9, 2010, pp. 55 - 57.
Paul Sztulman, “Qu'est-ce qu'une mauvaise exposition?”, in May, No. 3, March 2010, pp. 54 - 102.
Stéphanie Moisdon, “La redéfinition de la notion d'auteur et de la propriété intellectuelle, Ce qui a changé en 2000/2010”, in Beaux Arts Magazine, No. 309, March 2010, p. 57.
Philippe Parreno, Terence Malick, in Cahiers du cinéma, No. 652, January 2010, pp. 40 - 41.
Cyril Béguin, Top Ten 2009, in Cahiers du cinéma, No. 651, December 2009. Liam Gillick, “A Single Piano Note and a Giant Snowflake”, in Parkett, No. 86, 2009, pp.146 - 155.
"Alles eine Frage der Zeit" (a round-table conversation about "Il Tempo del Postino", in Texte zur Kunst, No. 75. September 2009, pp. 94 - 104.
Zoe Stillpass, “Back to Her Future”, in Parkett, No. 86, 2009, pp.156 - 168.
Philippe Parreno & Hans Ulrich Obrist (with Carlo Ratti & Grant Morrison), “A Polyphonic Conversation”, in Parkett, No. 86, 2009, pp.162 - 173.
Luc Lagier, “A Sensation of Asphyxia”, in Parkett, No. 86, 2009, pp. 174 - 187.
Christine Macel, “Best of 2009”, in Artforum, December 2009, p. 174.
Joanna Fiduccia, “Theanyspacewhatever”, in MAP, Issue 17, Spring 2009, pict. p. 80. Laure Jaumouillé, “Philippe Parreno un art de l'étrangeté”, in 02, No. 51, Autumn 2009, pp. 36 -40.
Tom McDonough, “Philippe Parreno”, in Artforum, November 2009, pp. 220 - 221. Martin Herbert, “Philippe Parreno 's Moving Targets”, in Kaléidoscope, No. 3, September October 2009, pp. 66 - 70.
J.J. Charlesworth, “Philippe Parreno”. October, (Review), in Art Review, Issue 29, January- February, 2009, pp. 75 - 76.
Marine Hugonnier, “Philippe Parreno”, in Top Five, pp. 36.
Chris Sharp, Reviews, in Art Review, No. 34, September 2009, p. 135.
Cyril Béghin, “Train d'images”, in Les Cahiers du Cinéma, No. 648, September 2009, pp. 58 - 59.
Nicolas Fourgeaud, “L'hypothèse du spectacle émancipateur”, in Art 21, No. 23, Summer 2009, pp. 12 - 19.
Elke Buhr, “Philippe Parreno beschäftigt in Zürich Monster, um Licht und Materie zu jagen”, in Monopol, July 2009, pp. 8005 - 8006.
Nicolas Trembley, “Les jeux de l'art”, in Numéro, August 2009, pp. 40 - 43.
Dominique von Burg, “Philippe Parreno”, in Kunstbulletin, July-August/2009, pp. 70 - 71.
Aude de Bourbon Parme, “Autres Codes”, in Art Actuel, No. 63, July-August 2009, pp. 24 - 25. Régis Durand, “Brouillage des limites”, in Art Press, No. 358, July- August 2009, pp. 42 - 49.
Olivier Reneau, “Electron libre”, in Air France Madame, No. 130, June-July 2009, pp. 155 - 157.
Bartholomé Girard, “Parreno suit son train”, in Libération, June 29, 2009, p. 32.
“Une expérience d'art”, in L'Express Styles, June 25 2009, p. 27.
Emmanuelle Lequeux, “Philippe Parreno s'invente une biographie en images”, in Le Monde, June 12, 2009, p. 21.
Jean-Max Colard, “Intelligence collective”, in Les Inrockuptibles, No. 706, June 9-15 2009,
pp. 34 - 37.
Samuel Keller, “Top Five”, in Art Review, No. 33, Summer 2009, p. 36.
Myriam Boutoulle, “Parreno remixé par lui-même”,in Connaissance des Arts, June 2009, p. 24.
Bénédicte Ramade, “Voyage dans le temps”, in L'Oeil, June 2009, p. 86.
Roxana Azimi, “Philippe Parreno”, in Le Journal des Arts, No. 304, May 29 to 11 June 11, 2009, p. 39.
Joanna Fiduccia, “Philippe Parreno: Relational Retrospective”, in Kaleidoscope, No. 2, Summer 2009, p. 36.
April Lamm, “Review: Il Tempo del Postino”, in Monopol No. 9, September 2007, p. 121. Stéphanie Moisdon, “Une exposition comme un voyage initiatique”, in Beaux-Arts, May 2009, pp. 66 - 71.
Tim Griffin, “Preview”, in Artforum, May 2009, p. 167.
Nancy Tousley, “The artistic side of a soccer star”, in Calgary Herald, January 21, 2009. Florence Ostende, “Show Control, Philippe Parreno expose”, in 20/27, No. 3, 2009, pp. 129 - 147.
“Work in progress”, in V Magazine, No. 57, Spring Preview 2009, p. 52.
J.J. Charlesworth, “Review”, in Art Review, No. 29, January-February 2009, p. 75.
Christine Macel, Best of 2008, Artforum, December 2008, pp. 268
Claus Gunti, “La réalité remise en question: le statut de l'image dans l'oeuvre de Philippe Parreno”, in Décadrages, No. 13, Fall 2008, pp. 31 - 40.
Douglas Gordon “Zidane: A 21st Century Portrait”, in Monopol, Nr. 6, June 2008, p. 45.
Peio Aguirre, “Modelos de cine”, in Art&Co, No. 3, Verano 2008, pp. 23 - 25.
Jennifer Doyle, “Fever Pitch”, in Frieze, No. 116, June-July-August 2008, pp. 29 - 30. Emmanuelle Lequeux, “Cet « opéra » que le Châtelet ne verra pas”, in Le Monde, February 14, 2008.
Elisabeth Lebovici, “Autant en emporte le temps”, in Art Press, No. 342, February 2008, pp. 57 - 60.
Douglas Gordon, Philippe Parreno, in Sleek, No. 19, Summer 2008, p. 66.
Stephanie Moisdon, “theanyspacewhatever”, in Art Press, Nr. 349, October 2008, pp. 22 - 26. “Knowledge and its commercionalisation” (exh. Publication), in Radio Sick, Nr. 2, 2008, p. 5.
Elisabeth Wetterwald, “What Do You Believe, Yours Eyes or My Words?”, in Semaine, No. 156, November 23, 2007.
Jennifer Eymère, “Temps fort”, in Jalouse, No. 105, November 2007, pp. 112 - 116.
Nancy Spector, “Time Frame”, in Frieze, No. 110, October 2007, p. 27.
Neil Mulholland, “News”, in Flash Art, No. 256, October 2007, p. 67.
Martin Herbert and Daniel Birnbaum, “The Postman Rings Twice”, in Artforum, September 2007, pp. 97 - 101.
Jonathan Griffin, “Reviews”, in Frieze, No. 109, September 2007, pp. 176 - 177.
Olivier Zahm, “Philippe Parreno”, in Purple Fashion, No. 8, Fall Winter 2007/08, pp. 120 - 133. “Review of Il Tempo del Postino at the Manchester International Festival”, in The Guardian Blog (online) July 5, 2007.
Philippe Parreno and Rirkrit Tiravanija, in The New Yorker, April 16, 2007, p. 24.
Alex Kitnick, Philippe Parreno and Rirkrit Tiravanija, in Time Out New York, April 12–18, 2007, p. 87.
Luke Clancy, “Reviews”, in Art Review, No. 9, March 2007, p. 147.
Bérénice Bailly, “Philippe Parreno marionnette dʼun ventriloque”, in Le Monde, February 17, 2007, p. 27.
Hans Ulrich Obrist, “Portrait of the artist as a blogger”, in Janus, No. 21, January 2007, pp. 16 – 21.
“So Foot”, No. 40, in Hors-Série Photos, January-February 2007, pp. 66 - 67.
Didier Vivien, “Lʼeffet média comme méduim-de Warhol à Zidane”, in Particules, No. 17, December 2006-January 2007, p. 16.
Ina Blom, Lamps, “Televisuality and Biopolitics: Introductory comments to another history of video art”, in Verksted, No. 8, 2006, pp. 167 - 183.
Éric Troncy, Philippe Parreno, “Quʼest-ce que lʼart contemporain en France? 100 Artistes”, in Hors “Série Beaux Arts”, Paris, 2006, pp. 142 - 143.
Chrissie Iles, “Best of 2006”, in Artforum, December 2006, pp. 272 - 273.
Florence Derieux, “Parrenoʼs puppet”, in Flash Art, No. 251, November-December 2006, p. 46.
Harald Fricke, “König der Königlichen”, in Die Tageszeitung, December 29, 2006.
Heike Föll, “Lʼ odeur de cinéma”, in Texte zur Kunst, No. 64, November 2006.
Stéphanie Moisdon, Eden Roc, in Frog, No. 4, Fall/Winter 2006, pp. 200 - 201.
Hans Ulrich Obrist, “Interview”, in MAP, No. 7, Fall 2006, pp. 28 - 33.
“21st Century Portrait”, in Fa-Film Appreciation Journal, No 129, 2006, pp. 92 - 97.
Dorothée Dupuis, “Entretien,” in Les Cahiers du MNAM, No 97, Fall 2006, pp. 84 - 93.
Jean–Marc Huitorel, Art Press, No. 326, September 2006, pp. 90-91
Tim Griffin, “The Job Changes You”, in Artforum, September 2006, pp. 336-339 Michael Fried, “Absorbed in the Action”, in Artforum, September 2006, pp. 332-335 Aurélien Mole, “Cahier critique”, in Art 21, No. 8, Summer 2006, p. 56.
Marie de Brugerolle, “Review”, in Flash Art, No. 249, July-September 2006, p.114.
Walter Robinson, “Weekend Update”, in artnet.com, July 18, 2006.
Hans Ulrich Obrist, “21th Century Portrait”, in Spike, Summer 2006, pp. 52 - 59.
Sébastien Pluot, “Mind control(ed)”, in Trouble, No. 6, Summer 2006, pp. 66 - 96.
Marc Spiegler, “Zidane: Portrait of the Star as a Working Man”, in The Art Newspaper, June 15, 2006, p. 6.
Heike Föll, “L’ Odeur du Cinéma”, in Texte zur Kunst, December 2006, Issue 64, p. 173.
Alessandra Mammi, Kolossal Zinédine, in Lʼ espresso, June 15, 2006.
Frédéric Bonnet, “Interview”, in Le Journal des Arts, No. 239, June 9-16 2006, p. 15.
Stéphane Delorme, “Le roi tauto”, in Cahiers du cinéma, No. 613, June 2006, p. 19.
Cyril Neyrat, “Rêverie dʼun solitaire”, in Cahiers du cinéma, No. 613, June 2006, pp. 29 -30. Thomas Baurez and Thierry Cheze, “Zoom sur Zinedine Zidane”, in Studio, No. 224, June 2006, pp. 114 - 117.
Thomas Urban, “Glorifiziert und entzaubert”, in Süddeutsche Zeitung, Nr. 134, June 13, 2006. Christopher Clarey, “Soccer: Closeup International Herald Tribune”, in International Herald Tribune, May 31, 2006.
Peter Bradshaw, “Zizou! Zizou!”, in The Guardian, May 30, 2006, p. 20.
Jean-Luc Douin, “Zidane seul, sans match”, in Le Monde, May 24, 2006, p. 30.
Renaud Moncla, “Zizouʼs got game”, in Metro, May 23, 2006, pp. 2 - 3.
Jean-Max Colard, “Films de la semaine”, in Les Inrockuptibles, No. 547, du 23 - 29 May 2006, p. 54.
Olivier Séguret, “« Zidane » à lʼépreuve du son”, in Libération, Tuesday May 23, 2006.
Valérie Duponchelle, “Etre ou ne pas être Zidane”, in Le Figaro, May 23, 2006.
Bérenice Bailly, “Avec Zidane, le foot sʼinvente dans le match télé-cinéma”, in Le Monde, supplément spécial Cannes, May 18, 2006, p. 9.
Olivier Villepreu x, “La performance « Zidane »”, in Libération, May 17, 2006.
Dominic Molon, “Reality Football”, in Art Review, May 2006, pp. 106 - 109.
Fabien Menguy, Philippe Parreno, “Zinedine zidʼart”, in A Nous Paris, No. 312, du 15 - 21 May 2006, p. 18.
Frédéric Chapon, “Interview”, in Frog, No. 3, Spring/Summer 2006, pp. 118 - 119.
Jean-Max Colard and Serge Kaganski, “Zidane en oeuvre dʼart”, in Les Inrockuptibles, No. 545, May 9-15, 2006, pp. 28 - 35.
Jean-Max Colard, “Peut-on exister sans produire de récit?”, in 02, No. 37, Spring 2006, pp. 16 - 17.
Alexandre Alfonsi, “Dans la peau de Zizou”, in Télé 7 jours, February 25, to March 03, 2006, pp. 92 - 93.
Lionel Vella, Ronan Folgoas, Bruno Clément, “Zidane et le projet fou”, in Sport, No. 79, February 3, 2006, pp. 10 - 13.
“Dans la peau de Zinedine Zidane”, in Première, No. 348, February 2006.
Karel Cisar, Sila Vakua, in Labyrint Revue, No. 17-18, 2005, pp. 110 - 125.
Jean-Max Colard, “Portrait de Zidane en oeuvre dʼart”, in Les Inrockuptibles, No. 510, September 2005, pp. 16 - 17.
Daniel Birnbaum, “The lay of the land”, in Artforum, Summer 2005, pp. 270 - 274.
Ben Davis, Reviews, in Art Review, June 2005, p.107.
Walter Robinson, Weekend update, in Artnet.com, June 2005.
Jessica Lack, Philippe Parreno, in I-D, No. 254, May 2005.
Rémy Fière, “ZZ en cinémascope”, in LʼEquipe, No. 18563, April 21, 2005, p. 9.
Philippe Parreno, in I-D, April 2005.
Stéphanie Moisdon, Frog, No. 1, Spring/Summer 2005, pp. 56 - 58.
Verini, James, Gossip, “It Seems Now Is Unprintable”, in The New York Times, February 27, 2005.
Jennifer Allen, “1000 words”, in Artforum, February 2005, pp. 144 - 145.
Daniel Birnbaum, “Best of 2004”, in Artforum, December 2004, pp. 160 - 161.
“The artistsʼ artists”, in Artforum, December 2004.
Hans Ulrich Obrist, “Post-Apocalyptic now”, in Flash Art, No. 238, October 2004, pp. 110 - 112.
Hans Ulrich Obrist and Philippe Parreno, interview de Clément Rosset, in Flash Art, No. 238, October 2004, pp. 73 - 74.
Bruce Sterling, “The Boy From Paris”, in Domus, No. 870, May 2004, pp. 42 - 50.
Maria Lind, “Fade away”, in Kunstverein München, Spring 2004, pp. 2 - 8. Tom Morton, “Team Spirit”, in Frieze, March 2004, pp. 49 and 80 - 85.
Joe Hill, “Reviews”, in Contemporary, No. 55, Fall 2003, pp. 111 - 112.
“Une batterie organique pour le Land de Rirkrit Tiravanija”, in Archistorm, No. 7, February 2004, pp. 10 - 11.
Alex Rühle, “Krieg mich, wenn du kannst”, in Süddeutsche Zeitung, No. 17, January 18, 2004. Samuel Menin, Valentina Sansone, “Focus video and film”, in Flash Art, No. 229, March-April 2003, p. 96.
Hans Ulrich Obrist, “Parreno”, in Boiler, January-March 2003, pp. 16 - 23.
Kate van den Boogert, “Alien, Philippe Parreno”, in Tate international arts and culture, JanuaryFebruary 2003, pp. 48 - 53.
Meghan Dailey, “Philippe Parreno, (Review)”, in Artforum, XLII, No. 2, October 2003, p. 170.
Philip Nobel, “Sign of the time”, in Artforum, January 2003, pp. 104 - 111.
Bernard Marcelis, “Réouverture du Van Abbemuseum”, in Art Press, No. 286, January 2003, pp. 64 - 66.
Daniel Birnbaum, “Best of 2002, a special issue”, in Artforum, December 2002, pp.118 - 119.
“No Ghost Just a Shell”, in Accrochages, No. 41, October 2002.
Elisabeth Wetterwald, “Annlee, signe en expansion”, in 02, No. 22 (3ème trimestre 2002), pp.8 - 9.
Nicolas Bourriaud, “Plage dʼoeuvres”, in Beaux Arts Magazine, No. 220, September 2002, p. 35.
“No Ghost, Just a Shell: The Ann Lee Project”, in Artforum, September, 2002.
Els Fiers, Philippe Parreno, “Aliens Season, in Metropolis M, No. 4, August/September 2002.
Anaïd Demir, in Lʼoeil, No. 537, June 2002, pp. 26/27.
Michel Nuridsany, Philippe Parreno, “artiste du 3ième type”, in Le Figaro, No. 17986, Friday 27 June, 2002.
Elisabeth Lebovici, Philippe Parreno, “maître du temps”, in Libération, June 13, 2002 , p. 33.
Emmanuelle Lequeux, in Aden, No. 210, May 29, - June 4, 2002 (cover).
Éric Troncy, “Quʼest-ce que lʼart (aujourdʼhui)?”, in Beaux Arts, numéro spécial, ed 2002, p. 188 - 190.
Portikus Frankfurt, in La Lettre de Cologne, No. 14, May 2002.
Martin Bethenod, Alien café, Vogue, No. 887, p. 34.
Philippe Parreno, in Inrockuptible, No. 339, May 2-28, 2002, p. 3.
Jean-max Colard, “Philippe Parreno”, in Artforum, XL, No. 9, p. 80.
“Entretien avec Philippe Parreno” in Frame, No. 11, April, May 2002, p. 145.
Sébastien Rongier, “Ann Lee, Image rebelle”, in Art Presence, No. 42, April-May-June 2002, pp.16-25 (cover)
Gislind Nabakowski, “Fréquences espaces audiovisuels”, in Art Press, No. 278, April 2002.
E. Lequeux, “Philippe Parreno : Petits contes modernes, ADEN”, in Le Monde, December 19, 2001 - January 1, 2002.
A. Rivoire, “Produire une idée à partir de l'image”, in Libération, August 7./8.2001, p.38.
H. Cotter, “Philippe Parreno”, in New York Times, April 27 2001, p. E31.
S. Basilico, Philippe Parreno, "One Thousand Pictures Falling from One Thousand Walls", Time Out New York, May 3-10 2001, p. 69.
G. Jetzer, “Tausend Bilder zum guten Geschmack”, in Frame, No. 6, March-April 2001, p. 120. O. Reneau, “Une star est née”, in Le Journal 14, Centre National de la Photographie, March 7 - August 27, 2001.
M-T Perret, Philippe Parreno, in Frieze, March 2001.
E. Mahoney, “Vivre sa vie”, in Art Monthly, February 2001, No. 243, pp. 31 - 33.
J. Lindgaard, “La métamorphose”, in Les Inrockuptibles, No. 274, January 23-29, 2001.
P. Régnier, “Un manifeste encore en devenir”, in Le journal des arts, No. 118, January 5-18, 2001.
P. Vergne, Philippe Parreno, “la représentation en question, Speech Bubbles”, in Art Press, No. 264, January 2001, pp. 22 - 28 (cover).
S. Beaumont, “Living to the full”, in The Scotsman, November 21, 2000.
C. Mitchell, “Vivre sa vie: installation, Pierre Huyghe and Philippe Parreno”, in The List, November 30 - December 14, 2000.
E. Wetterwald, “Philippe Parreno, L'exposition comme pratique de liberté”, in Parachute, No. 102, April - June 2000, pp. 32 - 43.
M. Copeland, “Le multimedia & l'art contemporain”, in Studio multimedia No. 28, November 2000, pp. 36 - 37.
“Die Bilder denken Sie sich jetzt bitte selbst dazu”, in Die Welt, October 10, 2000.
D. Paini, “The Return of the Flaneur”, in Artpress, March 2000, pp. 36
N. Büsing & H. Klaas, “Der Künstler als Produktpirat”, in Neue Osnabrücker Zeitung, October 11, 2000.
N. Büsing & H. Klaas, “Wem gehört eigentlich die Mona Lisa?”, in Kieler Nachrichten, October 28, 2000.
Dominique Gonzalez-Foerster, Phillipe Parreno, Pierre Huyghe & Fokus - Philippe Parreno, in La Lettre de Cologne, No. 11, Fall, 2000.
D. Inkster, Défense de la lecture le procès de Pol Pot, in Artpress, No. 21, 2000. Éric Troncy, hors champ, Les Inrockuptibles, November 14-20, 2000.
F. Poli, Philippe Parreno, “Air de Paris”, in tema celeste, 82/2000, p. 90.
Beaux Arts Hors Série / special issue: “Air-Air”, July 2000
Éric Troncy, “No Ghost, Just a Shell”, in Art Press #260, September 2000, pp. 82 - 83
P. Restany, “If, on « the other side of art », in Domus # 822, January 2000, pp. 81 - 86.
Liam Gillick, “Le Procès de Pol Pot”, in MAG, October 1999, pp. 4 - 5.
P. Ardenne, “Le Procès de Pol Pot selon Gillick & Parreno”, in Visuel(s), 07/08/99, pp. 11 - 15. Éric Troncy, “La fabrique du reel/ the reality factory”, in Beaux Arts, numéro spécial, Qu’est-ce que l’art (aujourd’hui)/What is art (today), December 1999, pp. 102 - 105.
Éric Troncy, “Gonzalez-Foerster, Huyghe and Parreno”, in Beaux Arts #174, November 1998, pp. 46 - 51.
J. Lindgaard, “Billard à trois bandes à part”, in Aden, October 28 - November 3, 1998. “Avant-première”, in Les Inrockuptibles, October 14 -20, 1998.
Heinz Prantner, “Philippe Parreno/ Pierre Joseph”, in Area, Sport und Kunst, No. 5/6, 1998, p. 15.
Nicolas Bourriaud, “Le réalisme opératoire”, in Parachute 85, January-March 1997, p. 8/10.
P. Restany, “New Orientations in Art”, in Domus 788, December 1996, pp. 88 - 92.
B. Larsen, “Traffic”, in Flash Art, No. 189, Summer 96, pp. 126 - 127.
C. Hahn, Review, Bloc Notes, No. 13, June 96, p. 101.
Philippe Parreno & Nicolas Bourriaud, letters, in Paletten No. 223, March 1996.
N. Bourriaud, “Interview, Philippe Parreno: Virtualité Réelle”, in Art Press No. 208, December 1995.
G. Verzotti, “Review: Philippe Parreno / Schipper & Krome”, in Artforum, Fall 1995.
Nicolas Bourriaud, “Correspondence: Nicolas Bourriaud. Philippe Parreno”, in Paletten, 4/1995, Nr. 223, pp. 26 - 36.
H. Liebs, “Trink 4, Kunst in a Post-Kurt-World”, in Spex, Juli 1995, No. 7. p. 47.
Éric Troncy. Philippe Parreno (Le Consortium / NZET Projekt) Art Press No. 201, April 1995, p. 77.
F. Roche, Philippe Parreno, in Documents sur l’art, No. 7, Spring 1995, p. 11.
C. Jarton, Philippe Parreno, “éduquer et subvertir”, in Beaux Arts Magazine No. 131, February 1995, p. 102.
H. Schiff, “Traum von Kunst”, in TAZ-Hamburg, May 4,1995, p. 23.
Éric Troncy, “Inter-activity”, in Documents, Fall 1994, p. 24.
Éric Troncy, Carsten Höller / Philippe Parreno / Air de Paris, in Flash Art, Fall 1994, p. 104.
Éric Troncy, It is Alive !, Flash Art Int., Summer 1994.
G. Mollet Viéville, “La nuit des héros”, in Sans titre No. 26.
P. Magda, “La nuit des héros”, in Art Press No. 191, May 1994, p. 75.
D. Perreau, “Les années 90, expositions paradoxales”, in Artefactum, March 1, 1994, pp. 12 - 15.
Éric Troncy, “Disengagement”, in Art Monthly 174, cover ill. & p. 15.
C. Saint-Jacques. C.Höller, Philippe Parreno, in Le journal des expositions No. 13, February, 1994.
F. Perrin, Le Principe de réalité, Flash Art 173, November-December 1993, p.108. Éric Troncy, “Project Unité”, in Flash Art Int. No. 172, October 1993.
O. Zahm, Philippe Parreno, “Dante et”, in Purple Prose No. 4, October 1993, pp. 54 - 59.
C. Blasé, “Philippe Parreno”, in Kunstbulletin, July, 1993.
Trends der Neunziger, in Focus, July 1993, p. 66.
J.Y. Jouannais, “Unité”, in Art Press No. 182, July-August, 1993, p. 80.
Dominique Gonzalez-Foerster & B.Joisten, “It's more like Post-Art”, in Purple Prose, No. 3, Summer 1993, p. 24.
M. Nuridsany, “Adoré hier, insulté aujourd'hui, l'art contemporain est-il détestable?”, in Le Figaro, 26, January 26, 1993.
Nicolas Bourriaud, “The work of art in the age of ecological recycling”, in Flash Art No. 167, November-December, 1992.
J-Y. Jouannais, Philippe Parreno - Galerie Claudine Papillon, in Art Press, No. 168, April, 1992. Philippe Parreno in interview, “One ne peut plus s’installer devent une image comme au temps du premier degré”, in Documents sur l’art contemporain, March 1992, No. 0.
Nicolas Bourriaud, Philippe Parreno, in Galeries Magazine, No. 47, February-March, 1992.
C. Blase, Snaking, in Kunstbulletin No. 9, September, 1991.
Éric Troncy, “Air de Paris, galerie modèle”, in Halle Sud, No. 26, 1st Trim, 1990.
Éric Troncy, “French Models”, in Artscribe, No. 83, September-October, 1990. J.M. Foray, “Philippe Parreno”, in Art Press, No. 150, September, 1990.
L. van den Abeele, “French Kiss”, in Artefactum, No. 35, September, 1990. Éric Troncy, “The Köln Show”, in Art Press No. 149, July-August, 1990. N. Smolik, “The Köln Show”, in Kunstforum No. 108 June-July 1990.
Nicolas Bourriaud, “French Kiss, la gifle”, in Globe No. 48 June, 1990.
Nicolas Bourriaud, “Nouvelle vague”, in Beaux Arts No. 78 April, 1990.
Nicolas Bourriaud, “Philippe Parreno”, in Globe, No. 44, February, 1990, p. 96. D. Daniels, “ De l'instabilité”, in Kunstforum, No. 105, February, 1990. Nicolas Bourriaud, “Ozone”, in Art Press, No. 143, January, 1990.Nicolas Bourriaud, “Galerie intelligente”, in Flash Art, No. 149, November-December, 1989.
Nicolas Bourriaud, “The Trailer Effect”, in Flash Art No. 149, November-December, 1989.
Éric Troncy, “Vers une écologie du regard”, in Halle Sud, 4th Trim, 1989.
Nicolas Bourriaud, De l'air!, in Globe, November 1989.