Philippe Parreno

[5] The press release from his 2009 show at Kunsthalle Zurich notes that apart from his extended concept of exhibitions, "an outstanding feature of Parreno's work is the transformation of genres, in particular film, into visual art".

In June 2006, Universal released a feature-length documentary directed by Parreno and Scottish artist Douglas Gordon entitled Zidane: A 21st Century Portrait, which premiered out of competition at the 2006 Cannes Film Festival.

Using 17 cameras, this unique football film follows legendary French midfielder Zinedine Zidane throughout an entire Real Madrid vs Villarreal match in front of 80,000 fans at the Santiago Bernabéu Stadium.

In 2007 Parreno directed and co-curated with Hans Ulrich Obrist, a group exhibition, Il Tempo del Postino (Postman Time)[7] for the Manchester International Festival, which then showed at Art Basel, 2009.

More than fifteen artists collaborated in this project including Doug Aitken, Matthew Barney & Jonathan Bepler, Tacita Dean, Trisha Donnelly, Olafur Eliasson, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Koo Jeong-A, Philippe Parreno, Anri Sala, Tino Sehgal, Rirkrit Tiravanija, Thomas Demand, and Peter Fischli / David Weiss.

Over four days, this "beach" area was transformed by sand sculptors into a moonscape, which formed a constantly changing backdrop to a series of 22 artists' projects.

The exhibition Solaris Chronicles[9] at the LUMA Foundation Arles Campus was presented in two phases and examined, through a series of artistic interventions and projects, the creative vision of architect Frank Gehry.

Centred on large-scale models of many of Gehry's seminal works, the constantly shifting mise-en-scène created by the artists formed a bridge between art and architecture, transforming the usual relationship and collaborative processes between the two practices.

In 2019, Parreno, Arca and Nicolas Becker used a generative music technology called Bronze to create a new work which will occupy the lobby of MoMA in New York for two years.

Parreno turned the building itself into a living constantly evolving organism using sound, image and performance to guide the visitor on a journey through his works, both old and new.

The exhibition was orchestrated along the lines of a dramatic composition where the spectral presence of objects, music, lights, and films guide and manipulated the visitor's experience transforming this monologue into a polyphony.

[13] Marilyn was subsequently shown at Parreno's first solo exhibition in Russia at the Garage Center for Contemporary Culture, Moscow [14] and at the 55th Venice Biennale at François Pinault's museum, Palazzo Grassi.

The show, curated by Andrea Lissoni, was inhabited by a series of key pieces together with recent works and music according to a mise en scène devised by Parreno.

The forty-minute audiovisual work uses advanced technology to recreate the ambience of Goya's house, known as the Quinta del Sordo, based on a 3D computer model Parreno created of the architecture.