Peter Halley : HETEROTOPIA I (ep. 1)

On the occasion of the inauguration of Peter Halley’s solo exhibition in Paris, we are happy to dedicate our new two-episode Cinema Room program to a further exploration of his abstract universe. In this first episode, we would like to invite you on a journey that goes beyond Peter Halley’s iconic paintings into a complicated, labyrinthine and cryptic space. Space filled with hidden references and alchemical transformations.

In 2019, during the Venice Biennale, Peter Halley has created Heterotopia I, an architectural environment which, inspired by Michel Foucault’s text Espaces Autres, made multiple timelines and spaces coexist. The installation took a form of a temple-like House, with seven chambers inside. There were: an Egyptian chamber, referencing Nefertari’s tomb; a labyrinth chamber filled with colorful fireworks of explosions; a temple-like chamber with golden columns, a philosophical riddle and a pool; an eerie chapel of technology with multiple grids mysteriously glowing like thousands of screens – thousands of eyes of the Big Brother. Three remaining rooms were designed by the artists that Peter Halley has invited to participate in the project: a diagrammatic room imagined by Andrew Kuo, a marble palace with a cenotaph by Lauren Clay, and the last room, in which one would find a sci-fi sculpture by R.M. Fischer that could be as well a space ship, dug up in an archeological exploration. The show was produced by Flash Art magazine and curated by Gea Politi.

Xippas team has seized this opportunity to invite one of our favorite collaborators María Inés Arrillaga to document the show in a contemplative and immersive video. We are now happy to share with you its full version!

Stay tuned for the second episode and join us on our next time-travel mission, going even further in history!

Peter Halley : Heterotopia I (ep. 1)

En 2019, lors de la Biennale de Venise, Peter Halley avait créé Heterotopia I, un environnement architectural qui, inspiré du texte de Foucault Espaces autres, avait fait cohabiter des lignes temporelles et des espaces multiples. L’installation pris la forme d’une