The Palais de Tokyo is also an open contemporary educational space, with children gathered around Matt D'Onofrio's electric tower, 2008-09
In the background is Ken Gonzales-Day's "The Wonder Gaze - St James Park" (2006-08), and in the foreground is Tony Smith's "For V.T." (1969)
An extraordinary environmental installation by Felix Schramm, "Omission" (2009)

Text and photos by Chen Chi-Hsiang. The place I most eagerly want to visit upon returning to Paris is naturally the Palais de Tokyo in Paris. From its contemporary art exhibitions, one can almost glimpse the climate of Western contemporary art; here it is like a meteorological station for today's art, pointing to the territories currently explored or attempted to be expanded by art in both the present and the future. I have always been curious about peering into this atmosphere, seeking to deeply understand current trends and possible directions, because contemporary art is the most sensitive link in all societies. People can attempt to grasp various perceptions of the moment and possibilities for the future through it.

As soon as my friend left, I immediately went straight to the Palais de Tokyo. Indeed, I did not know what exhibitions were currently on display there, but regardless, I had to go and investigate. Every viewing of an exhibition is an intellectual journey. Although we mostly know the exhibition theme, that is merely the theme; the content is another matter entirely. Each surprise and each curiosity brings new experiences and perspectives, entering unknown visual or spiritual realms to explore various possibilities of existence or art.

In this era where contemporary art assets are commodified, mainstream operations lean towards commercial mall management. When the mainstream becomes the art system and degenerates into commodities, it is precious that a clear stream of consciousness still exists. In recent years, special exhibitions at the Palais de Tokyo in Paris have leaned towards non-mainstream art exhibitions. Amidst this fullness of sovereignty and mainstream consciousness, it refreshes the senses and helps people understand that the world is not only filled with crows but also other colorful flying birds, soaring freely in the vast world. It is obvious that under the strong power of mainstream consciousness attempting to impose commercial interests, diversity and marginality become even more precious. This summer, the Palais de Tokyo's "Spy Numbers" special exhibition (May 28 to August 30) continues to highlight this non-mainstream consciousness. Exhibitions such as "From One Revolution to Another," from "Gakona" to today's "Enemy Codes," are obvious examples. (For an art critique article regarding the "Spy Numbers" special exhibition, please refer to the Art section.)