Mesoamerica is a personal reflection inspired by Daniel Dezeuze's travels to Mexico and local Maya architecture. Daniel Dezeuze visited Mexico for the first time in the mid-1960s. The year he spent there proved to be a lasting influence.
His latest works, wall assemblages made using offcuts of painted wood, hark back to the pivotal experience in the jungle, home to long-gone civilisations. The ground floor of the exhibition features a "negotiating table" surrounded by an installation of "weapons" and "shields", evoking the tensions between nature and culture, indigenous people and colonisers. The simplicity of the artist's chosen materials - wood, mesh and corks - and the delicacy of the way he combines them offer a disturbing exploration of the frontiers between art and crafts, the untouched and the policed, as well as the fragility of civilisations and modernity.
In contrast, the gallery basement is inhabited by a collection of drawings Daniel Dezeuze has put together, a jungle of flowers, insects, mosquitoes and snails. Bordering on the abstract, the series of pieces depicts fragile yet untameable nature, illustrating the artist's obsession with "capturing the uncapturable”.
Daniel Dezeuze has spent almost fifty years deconstructing the notion of painting, exploring its traditional techniques and materials in a quest to delve into the role, history and practice of painting. The impulse to spurn the canvas began very early on his career: he flipped stretchers against the wall, playing with empty spaces and three-dimensionality to push the boundaries of artistic traditions. His work is steeped in craftwork practices and anthropology, reflecting his interest in nomadic and non-European cultures. His remarkable journey has led him to experiment with what are seen as “poor”materials—wood, gauze, net and fabric, as well as subverted objects. His oeuvre has heavily influenced new generations of European artists, and features in numerous public collections, including at the Centre Pompidou, Musée d’Art Moderne de la Ville de Paris, Musée Fabre in Montpellier, Carré d’Art in Nîmes and Musée d’Art Contemporain (MAC) in Marseille.
Born in 1942 in Alès, Daniel Dezeuze lives and works in the southern French port town of Sète. His work has been widely exhibited since the 1970s in France and internationally. The Musée de Grenoble held a retrospective of his art in 2017 while the FRAC Occitanie in Montpellier held an exhibition of his drawings in 2015. MAMAC in Nice (2012), Centrale Electrique in Brussels (2009) and the Musée Fabre in Montpellier (2009) have also shown his work. In 2008, he exhibited his entire oeuvre at the Musée Paul Valéry in Sète.

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The hardcore truth beyond &quot;The Hunchback of Notre Dame&quot;: 
The shocking aesthetics of the scaffolding church: the giant tower crane on the south side pierces the sky like a mechanical cross, and the unfinished flying buttresses expose the steel nerves. Through the gaps in the construction fence, you can see the new spire cast from **600 tons of recycled lead blocks after the disaster - this is the Gothic soul resurrected by humans with technology in the 21st century. 
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Bronze rooster weather vane (fallen to the ground in the fire and then recovered): It contains fragments of Paris, the crown of thorns and the remains of Saint Denis. The French regard it as the immortal totem of the ** country; 
South Rose Window (16th century): The colored glass tempered by high temperature in the flames is more colorful. When the midday sun penetrates, the rose projection like a blood diamond will appear on the ground; 
North transept stone column: The charred column is deliberately preserved and juxtaposed with the snow-white restoration stone - ** destruction and rebirth are in fierce dialogue here. 
Time capsule in the underground palace: The underground archaeological tomb (Crypte Arch&eacute;ologique) contains the ruins of the ancient Roman baths of the &Icirc;le de la Cit&eacute;. The stone swimming pool in the 4th century AD is intertwined with the foundation of the medieval Notre Dame. The two thousand years of accumulation of Paris are cut here. 
Ghost echoes on the riverside squatting on the Pont Neuf of the Seine until late at night. When the construction lights go out, the outline of the building floats in the moonlight. At this time, if you put your ear to the wall, you can hear the whimper of the wind blowing through the hollow holes of the scaffolding - that is the phantom sound of Quasimodo ringing the bell. 
Post-disaster pilgrimage survival guide: 
Touch rebirth up close: 
- Book a &quot;Chantier Tour&quot; (&euro;19) and enter the construction site wearing a helmet to watch robots carve new beams; 
- Go to the &quot;Atelier de la Reconstruction&quot; next door to assemble an oak dome model by hand and touch the charred original beam samples. 
Magic moment sniping: 
- Squat at the Pont Petit one hour before sunset, where the construction cranes and the remaining twin towers form a surreal picture in the reflection of the Seine; 
- Look up at the North Tower at the top of the hour, and when the temporary bells (newly cast in 2023) ring, the pigeons in the sky will be startled and fly back like ashes. 
Soul meal replacement plan: 
- Sainte-Chapelle (Sai

Time:	Mar 2–Apr 27, 2024 (UTC+1) ENDED
Location:	28 rue du Grenier-Saint-Lazare, 75003

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