{"id":1553,"date":"2026-10-20T02:14:26","date_gmt":"2026-10-19T22:44:26","guid":{"rendered":"https:\/\/honargardi.com\/en\/?p=1553"},"modified":"2026-10-20T15:07:49","modified_gmt":"2026-10-20T11:37:49","slug":"the-wings-of-peace-vers-la-paix-perpetu-ailes-paris-2026","status":"publish","type":"post","link":"https:\/\/honargardi.com\/en\/the-wings-of-peace-vers-la-paix-perpetu-ailes-paris-2026\/","title":{"rendered":"The Wings of Peace: ORLAN, Esther Ferrer, Oleg Kulik, L\u00e9a Le Bricomte and \u00c9meric Lhuisset Open in Paris"},"content":{"rendered":"

On Monday 19 October 2026, the group exhibition Vers la paix perp\u00e9tu-aile(s) \/ The Wings of Peace<\/em> opened at 84 rue de Turenne, in Paris\u2019s 3rd arrondissement, with a preview evening from 5 pm to 9 pm. Honargardi was there. The show brings together five artists of different generations \u2014 ORLAN, Esther Ferrer, Oleg Kulik, L\u00e9a Le Bricomte and \u00c9meric Lhuisset \u2014 around one question: how can war be spoken about, and peace imagined, today? It is on view until 31 October, from 11 am to 7 pm, and is presented alongside Art Basel Paris 2026.<\/p>\n\n

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ORLAN\u2019s sculpture Pour la paix perp\u00e9tu-aile(s)<\/em>, which gave the exhibition its name, in front of one of Oleg Kulik\u2019s photographs. Photograph: Kasra Aliha. Artworks \u00a9 the artists.<\/figcaption><\/figure>\n\n

A peace with wings<\/h2>\n

The title is a pun that resists translation. Paix perp\u00e9tuelle<\/em> (\u201cperpetual peace\u201d) is the phrase Kant used in his 1795 essay on ending war; here the French word aile<\/em> (\u201cwing\u201d) is folded into it. The result is a peace with wings \u2014 light, mobile, easily lost. ORLAN gave the title to one of her sculptures, and it then became the name of the whole exhibition.<\/p>\n

The organisers frame the show around conflict, power, violence, individual freedom and responsibility, explored through performance, photography, sculpture and conceptual work, with the body, memory, war symbols and political imagery at its centre.<\/p>\n

How the show came together<\/h2>\n

In a recorded conversation with Kasra Aliha of Honargardi, the exhibition\u2019s curator, Jean-Baptiste Chantoiseau, explained that the project began with ORLAN, chosen for her long-standing work in favour of peace; they felt that the sculpture that names the show carries a strong message for the present moment. While talking with her, the team decided to invite artists from other generations to add their own voices on how wars begin and how a real peace might be reached.<\/p>\n

The announcement published by ArtPil states that ORLAN invites the four other artists; the curator described the invitations as a decision the team took in conversation with her.<\/p>\n

ORLAN: the dove after the Louvre<\/h2>\n

ORLAN (born 1947 in Saint-\u00c9tienne) has used her own body as her raw material since the 1960s and is best known for what she calls \u201ccarnal art\u201d, set out in a 1989 manifesto. Her contribution continues her Le\u00e7ons d\u2019artiste<\/em> lecture series at the Louvre, with the dove as its motif. At its centre is the sculpture Pour la paix perp\u00e9tu-aile(s)<\/em> (2024), made of marble powder from a 3D scan and a cast of her own body. It is shown with a photographic version and with the lenticular photomontage L\u2019Origine de la guerre<\/em> (2023), whose title nods to Courbet\u2019s L\u2019Origine du monde<\/em>.<\/p>\n\n

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ORLAN, Pour la paix perp\u00e9tu-aile(s)<\/em> (2024). Photograph: Kasra Aliha. Artwork \u00a9 ORLAN.<\/figcaption><\/figure>\n\n

Esther Ferrer: toys and weapons<\/h2>\n

Esther Ferrer (born 1937 in San Sebasti\u00e1n, living in Paris) is a pioneer of performance art in Spain; she was a member of the Zaj group from 1967 until it dissolved in 1996, and received the Vel\u00e1zquez Prize in 2014. Her series Juguetes educativos<\/em> (\u201cEducational Toys\u201d) sets childhood associations beside the destructive purpose of weapons. The curator, Jean-Baptiste Chantoiseau, puts the idea in one line: from a child\u2019s toy to an instrument of mass destruction there is sometimes only a single step, once power is placed in childish and irresponsible hands.<\/p>\n

Oleg Kulik: images from the 1990s that still feel current<\/h2>\n

Oleg Kulik (born 1961 in Kyiv) was a defining figure of Moscow Actionism in the 1990s, best known for performances in which he took on the persona of a dog. In Paris he shows photomontages from the late 1990s, among them At Home<\/em> and At the Church<\/em> from the series The Russian<\/em> \u2014 digital prints on the contradictions, absurdity and kitsch of post-Soviet life. The curator described them as images of life in Moscow, of violence in the street and of hope for peace. Made more than a quarter of a century ago, they have been called almost prophetic today.<\/p>\n

L\u00e9a Le Bricomte: disarming the materials of war<\/h2>\n

L\u00e9a Le Bricomte works with the physical and symbolic materials of war and shifts what they mean. Her installation Dripping Medals<\/em> is made of original First World War military medals and ribbons that hang in streams, like an abstract drip painting. Nearby stand stepped structures built from ammunition cartridges, which at a glance read like temples. The curator described the gesture as ironic, even humorous: turning something violent into something else. The curator asks whether defusing war by subverting its means could be a first step towards peace.<\/p>\n\n

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L\u00e9a Le Bricomte: a stepped structure built from ammunition cartridges, with the ribbons of Dripping Medals<\/em> behind. Photograph: Kasra Aliha. Artwork \u00a9 L\u00e9a Le Bricomte.<\/figcaption><\/figure>\n\n

\u00c9meric Lhuisset: the Cossacks\u2019 reply<\/h2>\n

\u00c9meric Lhuisset (born 1983) studied art at the \u00c9cole des Beaux-Arts de Paris and geopolitics at Panth\u00e9on-Sorbonne and the \u00c9cole normale sup\u00e9rieure, and teaches contemporary art and geopolitics at Sciences Po. Since 2004 he has worked in conflict zones including Iraq, Afghanistan, Syria, Colombia and Turkey, and he has gone back to Ukraine regularly since 2014. In Paris he shows J\u2019entends au loin la r\u00e9ponse des cosaques<\/em> (From Far Away, I Hear the Cossacks\u2019 Reply<\/em>), a contemporary restaging of Ilya Repin\u2019s Reply of the Zaporozhian Cossacks<\/em>, made in Ukraine in 2023 with soldiers. The curator described him as a photographer committed to working in war zones and to bringing testimony through carefully composed images.<\/p>\n

It mattered to the team, the curator said, to have in the same show an artist who works in Ukraine and one tied to Moscow, so that the exhibition could hold something between two countries now at war.<\/p>\n\n

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A view of the exhibition at the opening: ORLAN\u2019s sculpture at the centre, \u00c9meric Lhuisset\u2019s large photograph behind it, and the medal ribbons of L\u00e9a Le Bricomte at left. Photograph: Kasra Aliha.<\/figcaption><\/figure>\n\n

Visiting<\/h2>\n