Gyan Panchal Marcelle Alix
Gyan PanchalMarcelle Alix
Gyan Panchal, La semeuse, 2022, glove for hydrocarbons, castration ring , Marcelle Alix, Paris, photo by Aurélien Mole




Gyan Panchal

The Chaff

19.05 - 30.07.2022



« we have not heard about the thing to put things in, the container for the thing contained. That is a new story. That is news. »

Ursula K. Le Guin, “The Carrier Bag Theory of Fiction”, Dancing at the Edge of the World, Grove Press, 1986


you: hello to you, things are moving forward

could you remind me of the basement ceiling height?

below my notes about the upcoming exhibition


we read: rebounds, impressions

your words are supple, well chosen

what are we going to do with our words not yet flowing?


we recall 2018

« la coupure, l’apparentée »

suspended forms, receptacles

for dummy eggs, a false clutch

for an albino fern, or a buoy for other fluids

unveiled concupiscence


shadowy things that feed us, maintain the silence


here again, to separate

from where? from what? to what?

as one separates the wheat from the chaff

you measure for us the exhilaration generated by the world’s toxicity

you look out for what is concealed within beings

like the always hidden non-recyclable... tsss


forever children will love their bright colours


lightning will last




bring back what has been rejected, taken away from us

unerased, indelible

the intimacy of objects, their cooked souls, you say


ensure the eternal fertility held in the abandoned thing

that which can still signal

thanks to you

the first to see helps the others to gain sight

Arun Kolatkar’s dark gaze


open the objects like flickering bodies

the survivalist freezer, the other companions of exhilaration and unspeakable violence

for them to speak again without staying the same

what force yet to contain?


elusive signs, unraveled bond to be remade

how do we reach each other?

stomach rumble

stiffened legs dance, drained


a solitary dance

eel-like, drudgery, clumsy

loving intoxication with undefined wombs

bites the ceiling, falls back, gets discouraged

a long lament, the rumbling you sense will grow

you must wait, remain, under pressure

and by breathing state: I am decency

this is my name


beside, you, us, holding back, or not


Cécilia Becanovic


(the words in italics are Gyan’s)


translation: Callisto McNulty

















Gyan Panchal was born in 1973, he lives in Faux-la-Montagne (Limousin, FR). A graduate of the Jan Van Eyck Academie (Maastricht, NL), his work was part of many solo and collective shows: at the Contemporary Art Museum of Rochechouart (FR); Palais de Tokyo, Paris; Jhaveri Contemporary, Mumbai; Maison des Arts Georges Pompidou, Cajarc (FR); la Criée, contemporary art center in Rennes (FR); Thalie Art Foundation, Brussels (BE); CAN Neuchatel (CH); Plateau FRAC Ile de France, Paris; MaisterraValbuena, Madrid; Musée d'Art Moderne de la Ville de Paris; Rennes Biennial, Carré d’art Contemporary Art Museum in Nîmes (FR); Crédac, contemporary art center in Ivry-sur-Seine (FR); Villa Arson, Nice (FR); Maison Populaire in Montreuil (FR) and Ricard Foundation, Paris.

In 2019, the Modern and Contemporary art Museum in Saint-Etienne presented a solo exhibition of his work which was accompanied by a monographic publication, Au seuil de soi edited by snoek.


Gyan Panchal Biography.pdf
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