didier faustino: the best of all worldscité de l’architecture & du patrimoine, galerie carlu, parison now until december 4, 2011



the misshapen and fragile form of the podium and each chair comprising ‘the best of all worlds’ by didier faustino is representative of a ‘micro-nation’ gathering.  the chairs join the conversation from a unique standpoint and with various imperfections; in the unified formation, the components seem ready to engage in expository discussion, though being quite apparently on the brink of collapse. the podium, typically the central point within a formal meeting space, seems entirely impermanent or unimportant– an afterthought to the gathering of various seating formations.

didier faustino: the best of all worlds

the side view of ‘the best of all worlds’ draws attention to the spindle like legs of each chair as well as the impermanence of the podiumimage by david boureau



in the use of differing leg heights and widths for each component of the installation, the artist draws attention to the underlying power dynamics that exist within a debate setting, calling into question the nature of honest dialogue and discussion. the sculpture was designed for the great hall as an idealized sitting room for visitors to engage in dialogue within the museum space. the positioning of the work within the hall proposes a central point within the gallery. visitors encircle the piece, becoming participatory in the function of the piece as spectators to this conversation.


the installation ‘the best of all worlds’ by french artist didier faustino is on display at the cité de l’architecture et du patrimoine in paris.

didier faustino: the best of all worldsview indicating human to installation height perspectiveimage ©CAPA/gaston f. bergeret

didier faustino: the best of all worlds

wide view of the installation, highlighting the overall shape and formation of the workimage by david boureau