Fin de Party

Music often lingers after the party ends — the final echo of a carefree moment before silence sets in. Fin de party dwells in that fragile in-between space, where the soundscape collapses into quiet, suspended between fading euphoria and the calm that follows.

The exhibition approaches music not as entertainment, but as a residue — an enduring murmur, a breath that refuses to vanish completely.

And then, gradually, the music fades. A lone turntable by Davide Balula - relic of a party already past -spins beneath a drifting balloon, like the last pulse of a vanished tumult. We cling to fragments: replaying phone videos, scrolling through YouTube, leaving a wistful comment with Kamilya Kuspanova, before calling it a night. The party may be over, but its echo endures.

The party may be over, but its echo endures.

Here, music sheds its ties to academic rigor and the myth of virtuosity. What emerges is a raw, instinctive form—somewhere between joy and disillusionment. Camille Blatrix’s Petit Lu-shaped music stage becomes a playground for spontaneous, unburdened expression. Echoes ripple through the space: Ziad Antar’s children repeat a gleeful “Wa,” Meriem Bennani’s anthropomorphic architectures burst into song, Charlemagne Palestine’s stuffed animals pile up in a jubilant mess, and Pipilotti Rist wrecks Chris Isaak’s Wicked Game in a cathartic, irreverent gesture.

Photo credits : Léa Eouzan Pieri

Ziad Antar
Meriem Bennani
Davide Balula
Camille Blatrix
Jeremy Deller
Charles Hascoët
Kamilya Kuspanova
Hanne Lippard
João Onofre
Charlemagne Palestine
Pipilotti Rist
Christine Sun Ki

Curated by Cyrus Goberville and Fabien Danesi - Curatorial assistant: Alix Plancade