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Can’t Get Enough of FIAC? Go Outside

Sure, the works are sponsored by galleries, Mr. Leribault said, “But you’re at the Petit Palais, and not in the Gagosian booth.”

Thirty-five works in all are located in the Petit Palais and its gardens, and placed outside along the street.

“There’s no theme, as we were trying to show a variety of artworks,” Mr. Leribault said. “But there are a lot of heavy materials: Wood, stone and earth are all represented.”


Sheila Hicks’s “Se pencher vers la zone dangereuse,” on display at the Petit Palais.

Sheila Hicks/galerie frank elbaz

And for people who are baffled by the works — artists include Richard Nonas, Barry Flanagan and Sheila Hicks — there will be guides.

“Students from the Louvre will be there to answer questions about the sculptures,” Mr. Leribault said. “It’s interesting for the students, and it helps people who are not familiar with contemporary art.”

Not far away on the Avenue Winston Churchill is a 14-seat “nomad” movie theater, made from a shipping container, that will present the fair’s “Cinéphémère” series of artists’ films.

Each day of the fair from noon to 8 p.m. features a different program of films, some only two minutes long. The filmmakers range from the famous, like the Belgian director Chantal Akerman, who died in 2015, to the not-so, like the Amsterdam-based contemporary artist Aukje Dekker.

Expanding the circle even further, since 2006 FIAC has offered a program called Hors les Murs, which means “outside the walls” and certainly lives up to its name, spreading projects up to a mile or two away from the Grand Palais.

One component, a collaboration with the Louvre, takes place in the Tuileries Gardens. Although the museum eliminated one piece at the last minute for objectionable content — a sculpture called “Domestikator” by the Dutch art and design collective Atelier van Lieshout and was moved to the Centre Pompidou — there are 27 other pieces filling the allées.

With works by contemporary masters like Thomas Houseago and George Condo amid the fountains and traditional statuary, “We think new audiences will engage with art,” Ms. Flay said.

Maria Elvira Escallón’s “Nuevas Floras, Versailles” (2017) is a large sculpture made of a log that comments on humans’ attempt to shape nature. Some of the works are more playful, like “The Misthrown Dice” by Gilles Barbier, an outsize red die, and Mel Bochner’s text piece “The Joys of Yiddish” (both 2017). (No guides are planned, so if visitors need a translation of the term “nudnik,” it’s someone who’s a bore.)

The Hors les Murs program has two large single-project components, one in the Musée National Eugène Delacroix, devoted to the 19th-century painter, and the other at the Place Vendôme, long one of Paris’s most elegant town squares.


A sketch for Oscar Tuazon’s “Une Colonne d’Eau” at the Place Vendôme. The work plays on the landmark Vendôme Column, originally erected by Napoleon, and has large plastic tubes with tree trunks inside them.

Oscar Tuazon/Galerie Chantal Crousel, Paris

The Delacroix, a beloved small museum, may seem an unlikely place for the work of the German-born, Paris-based artist Katinka Bock, given that she makes slyly unassuming sculptures in what she called “an abstract vocabulary.”

But Ms. Bock is inspired by Delacroix’s last apartment before his death. “I’m fascinated by the way he shaped the space, even though he’s a painter and I’m a sculptor,” she said, adding that he built a place where “creativity can rise up.”

The six works she’s installing will be spread around the house. “Balance of O and I,” a round piece of fabric hanging from a long metal rod, will be in the staircase void. The blocky bronze floor piece “Nachthimmelhaus” will lurk in Delacroix’s studio. “Personne” — the most figural of the pieces, if you squint — will seem to be “relaxing,” Ms. Bock said, in the garden.

With his work “Une Colonne d’Eau” at the Place Vendôme, the Los Angeles-based artist Oscar Tuazon is explicitly riffing on the square’s most prominent landmark, the Vendôme Column, originally erected by Napoleon (it was torn down in 1871 and then rebuilt).

“I am doing horizontal columns in response to the vertical column,” said Mr. Tuazon, whose theme, water infrastructure, might be surprising to those who know the square for its history and the fancy shops that surround it.

The piece is made of large plastic tubes, whose diameter recalls the standing column, which will have tree trunks inside them.

The installation is oriented in the direction of the Seine, Paris’s iconic water feature, located on the other side of the Tuileries Gardens.

“The water system brings us all together,” Mr. Tuazon said. “Water is life.”

Visitors will be able to walk through the piece and interact with it, said Mr. Tuazon, who has made “dry” installations about water something of a specialty.

Beyond that theme, Mr. Tuazon said he wanted to complicate our ideas about traditional public art, metaphorically pulling down the Vendôme column so we can get a close-up look. As he put it, “It brings the idea to a human scale.”

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