Spring Moon, by Ugo Rondinone, 2011. Courtesy of Galerie Eva Presenhuber, Zurich; Barbara Gladstone Gallery, New York /Brussels; Sadie Coles HQ, London; Galerie Esther Schipper, Berlin and Gallery Kukje, Seoul

巴黎的国际当代艺术博览会(FIAC)通常围绕着巨大的万国宫博物馆，在整个城市举办卫星活动。然而，今年的情况略有不同。FIAC的第43版(一直持续到10月23日)是迄今为止规模最大的一次，共有来自27个国家的186家画廊，以及包括当代舞厅和Petit Palais和Palais de la DéCouverte博物馆在内的各种展览。

博览会主任詹妮弗·弗莱解释说：“在1900年世博会的大万国宫同时建造的Petit Palais是一个很有声望的场地，这是许多参展商表达的愿望。”“比如，在古斯塔夫·库贝特(Gustave Courbet)的画作中展出的当代雕塑，比如达米恩·赫斯特(Damien Hirst)的白色大理石”天使解剖“，有助于以一种新的、不同的方式看待事物。”

埃尔姆格林的安装视图

弗莱也渴望看到温斯顿·丘吉尔大道，它位于两座博物馆之间-那里将展出几件艺术品-恢复到一个步行街，就像上世纪那样。此外，该活动还将重新开放(十年后)被遗忘的大万国宫和德拉·德库弗特科学博物馆之间的走廊，强调建立空间和时间之间的联系，而不是竖起墙壁。

事实上，大万国宫以外的许多设施都将探索乌托邦这个非官方的主题。Flay说，虽然这不是对目前正在发生的事情的蓄意反应，但这是有联系的。

另一个必须在Flay的名单上看到的是Ugo Rondinone安装了10个5米高的雕塑，上面有粗糙的橄榄树和凡多姆的人形石像。弗莱说，这不是一个容易占据的空间，这是迄今为止我们在广场上留下的最大的足迹。

“6x6灵活，可交付的房子”，Jean Nouvel著，2016年

在TuiRies花园，Pezo Von Ellrichshausen进一步探索非官方主题与模拟灯塔，他计划在兰佩杜萨建设，以帮助引导移民船，从破旧的木材碎片从沉船建造。附近，建筑师吉恩普鲁维埃和努维尔贡献他们的全地形应急住房，对无家可归的自然灾害和政治灾害造成的反应。对Flay来说，FIAC比以往更有意义。我们很高兴在这方面展示这些作品，因为它让我们想到移民们的可怕处境。还要考虑可能的解决方案。

'The Tapestry', by Pierre-Alain Cornaz, for Orient Express, from the series Manifest Pieces. Courtesy of Maud Remy Lonvis

'The Secretary', by Pierre-Alain Cornaz, for Orient Express, from Manifest Pieces. Courtesy of Maud Remy Lonvis

Pictured (from left): Broken Suite 1, by Philippe Decrauzat, 2014; and A Lighthouse for Lampedusa!, by Thomas Kilpper, 2016. Courtesy of Thomas Kilpper and Galerie Nagel Draxler Berlin/ Cologne. Photography: Youssef Meftah, Bruxelles

Rogue, by Bernard Frize, 2015; and Untitled, by Pieter Vermeersch, 2016. Courtesy of Galerie Perrotin

Partner to this year's edition of FIAC, Orient Express is showing its first series of products (and visual travel inspiration, pictured) in a special exhibition area in the Grand Palais. Courtesy of Maud Remy Lonvis

Tondo N°XH 5, by Daniel Buren, 2016. Courtesy of the artist and Xavier Hufkens, Brussels; and Dreamtime, by Stanley Whitney, 2016

Woman Crying #9, by Anne Collier, 2016. Courtesy of the artist and Anton Kern Gallery, New York; and Bharat Pehchane (Fatim Diop), by Aurélien Froment, 2016. Courtesy of Marcelle Alix, Paris

Untitled, David Altmejd, 2014; and Anatomy of an Angel, Damien Hirst, 2008. Courtesy of Damien Hirst and Science Ltd. All rights reserved, DACS 2016. © White Cube (Prudence Cuming Associates Ltd)

Meret Oppenheim à la presse, by Man Ray, 1933

Study for Seascape #29, by Tom Wesselmann, 1967. Courtesy of the Estate of Tom Wesselmann, New York / Licensed by VAGA, New York, NY, Mitchell Innes & Nash, NY; and Deviceless, 2, by Jana Euler, 2015

Concetto Spaziale, Attesa, by Lucio Fontana, 1967. Courtesy of Tornabuoni Art

Diary of a Long Year, by Edmund de Waal, 2016. Photography: Mike Bruce. Courtesy of Galerie Max Hetzler

En route, Pszczóki, by Marie Bovo, 2016. Courtesy of the artist and Kamel Mennour, Paris; and Smentire il bianco, by Carol Rama, 1972. Courtesy of Archivio Carol Rama, Torino and Galerie Isabella Bortolozzi, Berlin

Metamorphism XXVI, by Julian Charrière, 2016. Courtesy of Philippe De Putter; and Series II Cube, by Larry Bell, 1985

Magi© Bullet, by General Idea, 1992. Courtesy of the artist and Esther Schipper, Berlin. Photography: A Burger, Kunsthalle Zürich

Ecole de Bouqueval, by Jean Prouvé, 1949. Courtesy of Galerie Patrick Seguin; and Untitled, by Emil Michael Klein, 2015. Courtesy of Gaudel de Stampa, Paris

Untitled, by Landon Metz, 2015. Photography: Bloomlab.it

'The Lanterns', by Pierre-Alain Cornaz, for Orient Express, from Manifest Pieces. Courtesy of Maud Remy Lonvis

Emma Schönflies, by Raphaël Zarka, 2016. Courtesy of the artist and Michel Rein, Paris/Brussels; and Deci, by Pezo Von Ellrichshausen, 2016. Photography: Marc Domage

Untitled (Machine Painting), by Daniel Lefcourt, 2016. Courtesy of the artist and Mitchell-Innes & Nash, New York; and Silent Listen, by Iván Navarro, 2016. Courtesy of Galerie Daniel Templon, Paris et Bruxelles

Manifest Pieces collection, by Pierre-Alain Cornaz, for Orient Express. Courtesy of Maud Remy Lonvis

The hand of god (table placée sur l’action), by Anri Sala, 2008. Courtesy of Galleria Alfonso Artiaco, Napoli

Gypsum Flower, by Dove Allouche, 2016

keywords:Global Fair Guide 2016, Paris exhibitions

关键词：2016年全球博览会指南，巴黎展览