In the hushed geometries of Paris’s Palais de Tokyo, amid the heavy silences of history and the noise of global turmoil, Chalisée Naamani's new exhibition Octogone opens like a quiet invocation. The Franco-Iranian artist, whose work consistently straddles the personal and the political, has composed a spatial and symbolic reverie—at once installation, procession, and arena—where bodies are sculpted, histories are contested, and clothing becomes both witness and weapon.
