(Higher left) “Hate, Slaughter and Lies” 2006. (Higher right) “Gober partially buried sinks” (1997). (Lower) “Infinite exhaustion” wall writing 2007. Sturtevant’s “Raw Power” solo exhibition is on display at Thaddaeus Ropac gallery from March 3 to April 17. Born in 1930, educated at the School of the Art Institute of Chicago, through the University of Zurich, and graduating from Columbia University in New York, one can imagine how rare an artist with such an educational background is. An American contemporary artist living in Paris, we seem somewhat unfamiliar with this vigorous elderly artist. Judging by her works, you do not feel she is an aged artist; rather, she is full of youthful vitality and imagery, like many young artists today who see “art as an analytical tool for contemporary society and politics.” In this solo exhibition, four major works are presented under the theme “Raw Power,” addressing excessive manipulation, constraint, resistance, and appropriation in today’s world. Past outstanding power lay in knowledge, wisdom, and truth; now, outstanding power lies in hate and slaughter, hidden beneath the dangerous machinations of beautiful lies that conceal the truth. The striking work “Hate, Slaughter and Lies” (2006) features two figures dressed in black clothing and wearing black pointed high hats (Ku Klux Klan imagery associated with U.S. racial discrimination); one wears a black mask adorned with ironic long whiskers, juxtaposed with a bubble model object displaying a male torso and female sexual organs, clearly demonstrating domineering hate and murder, along with the naked truth of this lie. Another grand installation, “Gober partially buried sinks” (1997), occupies half the exhibition space, placing artist Gober’s sink-like sculptural installations on a large expanse of green plastic lawn, resembling two monumental white tombstones, appearing quite desolate in an extraordinary virtual world, seemingly telling people that death precedes life. These obviously positively satirize and critique America’s current international situation. Two other pieces are video art works, “Infinite exhaustion” and “Re-Run,” both new creations. “Infinite exhaustion” presents four flat-screen TVs side by side, recording a vigorous wolf-dog on a prairie with four video cameras; amidst the crossing images and varying speeds, between rough visuals and wildness, it reveals the unrestrained, lifelong squandering of human vitality through the dog. “Re-Run” is installed in the underground exhibition room, featuring a disk rotating projection of a wolf-dog running freely in the wilderness; during periods of speed variation and intermittent pauses, it reinforces non-temporal actions, metaphorically representing social manipulation and constraints, etc., making it one of the most eye-catching exhibitions in Paris.