At the Pompidou Center, Gréaud had constructed a 14-meter-high spiral staircase that turned slowly on its own axis. Every 40 seconds without fail a diver climbed up this strange totem pole and jumped into the void. The classical metaphor of falling was kept at bay by the repetition and the looped effect, which works to symbolically annul the idea of deterioration or an end. It starts all over and over again. Perpetual motion replaces time’s flight. Offered up to our view are bodies whose fall resembles choreography in a celebration of dynamism.
The other part of [I], set up under the Pyramid at the Louvre, takes a very different form, that of a monumental sculpture. Gréaud explains, « My starting point was Michelangelo’s masterpiece The Rebellious Slave. I made a 3D scan and the draped it in a functional fashion using a flat black canvas. Then I had it enlarged. At more than 10 meters tall, it is too high for the Pyramid. Like a solitude in space. I also wanted it to be dirty and asked that it not be cleaned, as if it had always been there. » Once again a celebration, of the static this time, the time traced when the products of human beings, even those as sacred at artworks, stagnate and become immobile. With [I], Gréaud makes us experience time in two different ways. As literal as it may be, he makes us euphoric as well as melancholy. We can breathe, but not easily: the world will come to an end but it will continue.