The Biennale de Paris was launched in 1959 by Andr� Malraux with the purpose of creating a meeting place for those who would define the art of the future.
After a hiatus of several years, the Biennale was reactivated in 2000.
Since then it has not ceased in its efforts to unleash art from its institutions. The Biennale de Paris does not admit the use of art objects, which are too alienated by the market. It does not confine itself to any kind of framework that would hinder its present actions nor its political economic, and ideological evolutions.

By acting upon everyday life and the unfolding of its realities, the Biennale seeks to redefine art by using criteria that rejects the idea of the artist as the sole protagonist under its influence. Simply stated, the Biennale refuses to participate in today�s conventional art world. By mixing up genres, exploiting the porosity of frontiers, and practicing the redistribution of roles, the Biennale de Paris allows art to appear precisely where it�s not expected.

A practical workshop in which distorsions to exhibition spaces will be imagined.

Distorsions are a series of subtle interventions that are realized in spaces diffusing actual art* (galleries, museums, other exhibition spaces). Distorsions are ephemeral, typically unauthorized, and do not leave any permanent traces. The proposed interventions aim to briefly modify the visitors� usual perception of exhibition spaces. The materials used to realize them are also ephemeral. For example, a �mediation� document describing an artwork and designed for the public, is replaced by another one that perfectly imitates the institution�s particular presentational style but which contains different information. Distorsions question the mode of constitution of artworks which are created in a context of actuarial production.
They also question the spaces that exhibit that kind of artwork, and the process of mediazation that protects them.
* �Actuarial art � comes from the notion of �actuaries� (statistical operations whose objective is to estimate risks in the fields of finance and insurance) and describes the production of art works that refuse symbolic risk-taking or actions that are culturally transgressive.

The Biennale de Paris promotes invisual practices which do not need to be seen to exist. The invisual can be said to the visible but does not not obey to the attributes of expected art.

An art which operates in the everyday reality
The Biennale de Paris promotes practices that relegate art to the background in order to conquer the real life's ground.

A public of indifference
With the Biennale de Paris there is no more art's spectacle. The Biennale talks towhat It names �a public of indifference� : persons who, consciously or accidentaly interfere with propositions that can not be identified as artistic anymore.

An unified criticism
Organised as a network, the Biennale de Paris constitutes a critical mass composed of hundreds of initiatives, which would have been isolated and without any impact, without It.

A horizontal institution
The Biennale de Paris sets itself up at the horizontal. To participate means to become partner. As such each partner decides of the conditions that are linked to the activities he proposes. This decision-making power acts on the structure and state of mind of the biennial.

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