A HUNDRED WAYS TO DISAPPEAR AT NO NAME PARIS | CRASH Magazine




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A HUNDRED WAYS TO DISAPPEAR AT NO NAME PARIS

By Iris JEANSON

No Name—the parisian art space initiated by Patricia Marshall, Léo Panico, and Catherine Ugols—presents A Hundred Ways to Disappear, a powerful, poetic counter-narrative. This group exhibition gathers artists whose works explore absence as a form of resistance, and disappearance as a way to breathe and reflect.

Featuring Alfredo Aceto, Pierre Allain, Jānis Avotiņš, Olga Balema, Martin Boyce, stanley brouwn, Tatjana Danneberg, Latifa Echakhch, Matthias Groebel, Stefana McClure, Paulo Nazareth, Matthias Odin, Berenice Olmedo, Michel Parmentier, Jerónimo Rüedi, and Nora Turato, the exhibition traces a collective thread through diverse practices—each of which engages, in its own way, with strategies of erasure, withdrawal, and fragmentation.

Far from being an escape, disappearance here is a form of critique. The artists question the relentless drive toward self-exposure and hyper-performance by turning away, stepping back, or fading into the background. These works are not declarations but suggestions—intermittent, evasive, and quietly radical.

As Paul Virilio wrote in The Aesthetics of Disappearance, “To look at what you wouldn’t look at, to hear what you wouldn’t listen to, to be attentive to the banal, to the ordinary, to the infra-ordinary.” That spirit guides this exhibition, where what is not immediately seen or heard becomes a site for deeper attention.

In a society shaped by algorithms and affirmation, A Hundred Ways to Disappear invites us to contemplate what it means to not be seen and what truths might be found in the margins, in the muted, and in the deliberately unfinished.

Dates: April 11 – June 24, 2025
Location: No Name, 3 Place de l’Alma, 75008 Paris

@nonamecreativeprojects

 

Last exhibitions at No Name:

The nine rules of tremulation here

Nobody is a stranger here

All important ideas must include the trees, the mountains, and the river here

A Spatial Manifestation here

Photographers: Chiara Bruschini & Thomas Lannes

 

ALFREDO ACETO Campanula VI, 2022 Polystyrene, polyurethane resin, acrylic paint and bells 185 × 20 × 20 cm 72.8 × 7.8 × 7.8 in

MARTIN BOYCE
Under the moon, at the end of the line, 2021
Acrylic on aluminum, painted silicone moulded vacuum cast resin, coiled telephone cable, steel
167.5 × 111.5 × 11 cm
65.9 × 43.8 × 4.3 in.

A HUNDRED WAYS TO DISAPPEAR – NO NAME

A HUNDRED WAYS TO DISAPPEAR – NO NAME

A HUNDRED WAYS TO DISAPPEAR – NO NAME

A HUNDRED WAYS TO DISAPPEAR – NO NAME

A HUNDRED WAYS TO DISAPPEAR – NO NAME

A HUNDRED WAYS TO DISAPPEAR – NO NAME

A HUNDRED WAYS TO DISAPPEAR – NO NAME

A HUNDRED WAYS TO DISAPPEAR – NO NAME

NORA TURATO
Walking on eggs? Don’t hop, 2023 Vitreous enamel on steel
Two elements
Overall dimensions:
192 × 120 cm x 3 cm
75.6 x 47.2 x 1.2 in.

JERÓNIMO RÜEDI
She makes a perfect system every day. she makes it work, 2022 Acrylic on canvas
200 × 150 cm
78.7 × 59 in.

MATTHIAS GROEBEL Untitled, 1987 Photo emulsion and oil on canvas 95 × 95 cm 37.4 × 37.4 in.

STEFANA McCLURE
Late spring: English subtitles to a film by Yasuhiro Ozu, 2010
Wax transfer paper mounted on dibond 59.7 × 75.6 cm
24 × 30 in

STEFANA McCLURE
Helen of Troy: closed captions to a film by Robert Wise, 2004
Blue transfer paper mounted on rag
7.62 x 12.7 cm
3 x 5 in.
STEFANA McCLURE
Read my lips: English subtitles to a film by Jacques Audiard, 2005
Wax transfer paper mounted on rag
7.62 × 12.7 cm
3 × 5 in.
STEFANA McCLURE
The Gold Rush: closed captions to a film by Charles Chaplin, 2004
wax transfer paper mounted on rag 10.79 x 13.97 cm
4 x 6 in.

MATTHIAS ODIN Présence, 2024 Postcard, clamps-glasses welded onto a steel frame, matt varnish, mirror, plywood, fridge shelf, wall lamp 38 × 45 × 9,5 cm 15 × 17.7 × 3.7 in.

TATJANA DANNEBERG Better lost than found, 2020 Gouache, ink-jet print gesso, paint primer and glue on canvas 75×50 cm 29.5×19.7 in

NORA TURATO Stay on the carpet, it has already taken off, 2023 Vitreous enamel on steel Two elements Overall dimensions: 192 × 120 × 3 cm 75.6 × 47.2 × 1.2 in

LATIFA ECHAKHCH
Erratum, 2004-2013
Broken tea glasses scattered on the floor Variable dimensions

LATIFA ECHAKHCH
Erratum, 2004-2013
Broken tea glasses scattered on the floor Variable dimensions

BERENICE OLMEDO
Zyanya, 2023
Thermolyn orthoprosthetics, suction valve for prosthesis, tom holders
115 × 45 × 25 cm
45.3 × 17.7 × 9.8 in

BERENICE OLMEDO
Zyanya, 2023
Thermolyn orthoprosthetics, suction valve for prosthesis, tom holders
115 × 45 × 25 cm
45.3 × 17.7 × 9.8 in

JERÓNIMO RÜEDI I’m texting to the vacuum and–obviously–the vacuum doesn’t text back, 2022 Acrylic on canvas 190 × 160 cm 74.8 × 63 in

JĀNIS AVOTIŅŠ Untitled, 2022 Oil on canvas

TATJANA DANNEBERG
Schlaraffenland (The Land of Cockaigne), 2021 Ink-jet print, gesso, glue on canvas
300 × 200 cm
118.1 × 78.7 in

JERÓNIMO RÜEDI Chora#1, 2022 Acrylic on canvas 50 × 40 cm 19.7 × 15.7 in

PIERRE ALLAIN Self-monitoring (I), 2023
Apromud P150, Aproflox, stainless steel, screws 45 × 4.5 × 5.2 cm I 17.7 × 33.3 × 2 in.

OLGA BALEMA Loop 870, 2024 Polycarbonate, solvent 118 × 45 × 31 cm 46.5 × 17.7 × 12.3 in

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