CRASH Magazine

Film producer and director Charlotte Dauphin ( ) invited Daniel Buren to transform a historic Parisian hôtel particulier with his in-situ work “D’une maison deux”, continuing a practice that began with his radical “Affichages sauvages” in the 1960s.
In Crash 108, they discuss the dialogue between past and present, the role of context and perception in his work, and how this intervention brings a historic blind wall to life while reflecting on the artist’s decades-long exploration of public and private space.

Read the full interview of Daniel Buren in Crash 108.

https://www.instagram.com/p/DZpq1wfDU_e/?img_index=3&igsh=MWZvcjZmMW1ubm5sNQ==

Film producer and director Charlotte Dauphin (@dauphinofficial ) invited Daniel Buren to transform a historic Parisian hôtel particulier with his in-situ work “D’une maison deux”, continuing a practice that began with his radical “Affichages sauvages” in the 1960s. In Crash 108, they discuss the dialogue between past and present, the role of context and perception in his work, and how this intervention brings a historic blind wall to life while reflecting on the artist’s decades-long exploration of public and private space. Read the full interview of Daniel Buren in Crash 108. Link in bio. 1&2- Daniel Buren by Charlotte Dauphin, 2024 3&4- Daniel Buren, Photos-souvenirs: Affichage sauvage (“Photo-Memories: Wild Postering”), in situ-work, in “July, August, September 1969”, Paris, 1969. Details. ©️ DB-ADAGP Paris 2026 #crashmagazine #crash108 #danielburen #charlottedauphin

We are deeply saddened by the passing of Julio Le Parc ( ), a pioneering figure of kinetic art, light, movement and color, and a longtime friend of the Crash family. His vision transformed the way audiences experience art, turning spectators into participants and proving that beauty, experimentation and emotion could coexist. His luminous works will continue to inspire generations to come.

In Crash 66, we had the privilege of speaking with him about his childhood in Argentina, his artistic journey, and his critique of an art world too often driven by money, status and individualism. He spoke instead of curiosity, collective creation, experimentation and the importance of questioning established structures within the art world. Today, we look back on that conversation and celebrate the legacy of an artist who never stopped questioning, creating and imagining new possibilities.

Read the full interview in Crash 66.

https://www.instagram.com/p/DZC9mzNjSAF/?igsh=MTBuMzh6dnB4NTBlbQ==

We are deeply saddened by the passing of Julio Le Parc (@julio_le_parc_official ), a pioneering figure of kinetic art, light, movement and color, and a longtime friend of the Crash family. His vision transformed the way audiences experience art, turning spectators into participants and proving that beauty, experimentation and emotion could coexist. His luminous works will continue to inspire generations to come. In Crash 66, we had the privilege of speaking with him about his childhood in Argentina, his artistic journey, and his critique of an art world too often driven by money, status and individualism. He spoke instead of curiosity, collective creation, experimentation and the importance of questioning established structures within the art world. Today, we look back on that conversation and celebrate the legacy of an artist who never stopped questioning, creating and imagining new possibilities. Read the full interview in Crash 66. Link in bio. 4- Continuel Mobil, 1962-1996, Plaques en Plexiglas translucide de 20x20cm, fils nylon, Daros-latinoamerica, 2005 5- Continuel Lumière Mobil, 1960-1966, Daros-latinoamerica, 2005, Collection Daros-latinoamerica, Zurich 6- Sphère Rouge, 2001-2012, 2913 Plaques en Plexiglas translucide de 20x20, fils d‘acier 7- Surface 190, Série 50 n10, 1970, Collage sur carton 8- Surface Couleur Série 23 N14-11, 1970-2012, Acrylique sur toile #crashmagazine #julioleparc #rip

FRAC Occitanie-Montpellier and the Musée d’Art Contemporain Occitanie (Sérignan) are jointly presenting an exhibition by Brice Dellsperger ( ) that has taken shape over the course of two and a half years of preparation. The FRAC is focusing on a presentation of four videos featuring remakes of scenes from Brian De Palma’s films, while the MRAC is dedicating its first exhibition space to a large-scale installation—the latest work filmed at the FRAC, which has been transformed into a film studio.

Read the full article by on our website.

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FRAC Occitanie-Montpellier and the Musée d’Art Contemporain Occitanie (Sérignan) are jointly presenting an exhibition by Brice Dellsperger (@dellsperger ) that has taken shape over the course of two and a half years of preparation. The FRAC is focusing on a presentation of four videos featuring remakes of scenes from Brian De Palma’s films, while the MRAC is dedicating its first exhibition space to a large-scale installation—the latest work filmed at the FRAC, which has been transformed into a film studio. Read the full article by @liseguehenneux on our website. Link in bio. Photos by Christian Perez. 1, 3, 4- Brice Dellsperger : Body Double 41, 2026. Video stills, avec Jean Biche et Sara Forever, 5 films synchronisés 2K, couleur, son. 2- Brice Dellsperger, Body Double 39 (2024), avec Alessandro de Marinis et François Chaignaud, video still, installation vidéo à trois canaux, 12‘44‘‘, boucle, couleur, son.Courtesy Brice Dellsperger, Air de Paris @adagp #crashmagazine #frac #bricedellsperger

On the occasion of Agnès Varda’s birthday on May 30, we look back at our interview by with the filmmaker, photographer, and artist published in Crash 84.

Across a practice that moved fluidly between cinema, photography, and installation, she reflected on memory as material, film as recyclable matter, and storytelling as a form of political and emotional engagement. From the sculptural reuse of ’Le Bonheur‘ in her exhibition ’Une Cabane de cinéma‘ to her enduring explorations of feminism, female solidarity, and social reality in films such as ’L’une chante‘, ’l’autre pas‘ and ’Sans toit ni loi‘, she outlined a body of work defined by radical curiosity, formal invention, and a constant rethinking of how images can be lived, shared, and transformed.
Her legacy continues to resonate in the way we look at images today.

Read the full interview in Crash 84.

https://www.instagram.com/p/DY97NlMDf2G/?igsh=bjByeGw5aDFqZ2Nv

On the occasion of Agnès Varda’s birthday today, we look back at our interview by @armelleleturcq with the filmmaker, photographer, and artist published in Crash 84. Across a practice that moved fluidly between cinema, photography, and installation, she reflected on memory as material, film as recyclable matter, and storytelling as a form of political and emotional engagement. From the sculptural reuse of ’Le Bonheur‘ in her exhibition ’Une Cabane de cinéma‘ to her enduring explorations of feminism, female solidarity, and social reality in films such as ’L’une chante‘, ’l’autre pas‘ and ’Sans toit ni loi‘, she outlined a body of work defined by radical curiosity, formal invention, and a constant rethinking of how images can be lived, shared, and transformed. Her legacy continues to resonate in the way we look at images today. Read the full interview in Crash 84. Link in bio. Photos by @pierreseiter inside her installation “La cabane du film Le Bonheur” in 2017 at Galerie Nathalie Obadia in Paris. Fashion @gucci #crashmagazine #agnesvarda #unecabanedecinéma

Thirty years ago, David Cronenberg’s ( ) ‘Crash’ featuring James Spader ( ), Holly Hunter, Elias Koteas ( ), Deborah Kara Unger, Rosanna Arquette ( ), and Peter MacNeill premiered at the Cannes Film Festival, where it immediately became one of the most controversial films of the decade. Adapted from J.G. Ballard’s novel, the film shocked audiences with its provocative exploration of desire, technology, and the body, sparking intense debate following its premiere on the Croisette. Despite polarising reactions and censorship controversies surrounding its release, ‘Crash’ went on to become one of his most iconic works.

On this occasion, we‘re looking back at our conversation with David Cronenberg in Crash 105 held around the release of his film ’The Shrouds‘, starring Vincent Cassel and Diane Kruger and co-produced by Saint Laurent Productions. He has long been a cult filmmaker, redefining genres through iconic works such as ’Scanners‘, ’Videodrome‘, and ’Dead Ringers‘. Masterfully blending horror, technology, and reflections on the body, David Cronenberg has inspired a whole new generation of filmmakers. A pioneer of independent cinema and a visionary mind, his exploration of the human condition through deeply personal narratives has earned him worldwide recognition.

https://www.instagram.com/p/DYzvCfeDZYg/?igsh=eGg0bHRzc242cWY2

Thirty years ago, David Cronenberg’s (@davidpaulcronenberg ) ‘Crash’ featuring James Spader (@spaderjamesofficial ), Holly Hunter, Elias Koteas (@eliaskoteas ), Deborah Kara Unger, Rosanna Arquette (@rosannaarquette ), and Peter MacNeill premiered at the Cannes Film Festival, where it immediately became one of the most controversial films of the decade. Adapted from J.G. Ballard’s novel, the film shocked audiences with its provocative exploration of desire, technology, and the body, sparking intense debate following its premiere on the Croisette. Despite polarising reactions and censorship controversies surrounding its release, ‘Crash’ went on to become one of his most iconic works. On this occasion, we‘re looking back at our conversation with David Cronenberg in Crash 105 held around the release of his film ’The Shrouds‘, starring Vincent Cassel and Diane Kruger and co-produced by Saint Laurent Productions. He has long been a cult filmmaker, redefining genres through iconic works such as ’Scanners‘, ’Videodrome‘, and ’Dead Ringers‘. Masterfully blending horror, technology, and reflections on the body, David Cronenberg has inspired a whole new generation of filmmakers. A pioneer of independent cinema and a visionary mind, his exploration of the human condition through deeply personal narratives has earned him worldwide recognition. Read the full interview in Crash 105. Link in bio. Polaroïds by Helmut Newton (@helmut_newton_photos ). #crashmagazine #davidcronenberg #festivaldecannes #crash

As Félix Lefebvre ( ) arrived at the Cannes Film Festival this week for the premier of his new film ’Moulin‘ directed by László Nemes, we revisit our conversation in Crash 94. At the time, the actor was emerging as one of the defining new faces of French cinema following his breakout performance in François Ozon’s ’Summer of 85‘.

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As Félix Lefebvre (@felix_flp ) arrived at the Cannes Film Festival this week for the premier of his new film ’Moulin‘ directed by László Nemes, we revisit our conversation in Crash 94. At the time, the actor was emerging as one of the defining new faces of French cinema following his breakout performance in François Ozon’s ’Summer of 85‘. Photographed by Jérôme Sessini (@jeromesessini ) at @magnumphotos - known for his raw, documentary-style imagery shaped by years of conflict reporting - Félix was captured with the same intensity and sensitivity that runs through the interview itself. Speaking about his unexpected journey into acting, his deep attachment to emotion-driven storytelling, and the experience of filming ’Summer of 85‘, he revealed a sincerity and quiet confidence that continue to influence his rise today. Read the full interview by @der_maxime in Crash 94. Link in bio. Photographer @jeromesessini at @magnumphotos Styling @armelleleturcq Fashion @dior Hair @nicophilippon Makeup @fredfarrugia Styling assistant Hugo Ehret #crashmagazine #felixlefebvre #dior #cannesfilmfestival #moulin

Another actor of this year’s Festival de Cannes we had the chance to speak with is Bastien Bouillon ( ), whose latest film ’Histoires de la nuit‘ directed by Léa Mysius premiered this week on the Croisette. In Crash 106, the actor reflected on the unpredictable realities of an acting career between auteur cinema and larger-scale productions.

https://www.instagram.com/p/DYpYiBQjdLk/?igsh=bXk3YmUwcHU0cTk%3D

Another actor of this year’s Festival de Cannes we had the chance to speak with is Bastien Bouillon (@bastienbouillon ), whose latest film ’Histoires de la nuit‘ directed by Léa Mysius premiered this week on the Croisette. In Crash 106, the actor reflected on the unpredictable realities of an acting career between auteur cinema and larger-scale productions. Bastien talks about the years spent working in relative anonymity before ’The Night of the 12th‘ became a turning point, opening the door to larger productions without abandoning auteur cinema. From physical transformations to radically different roles, he speaks about the importance of remaining unpredictable, taking risks with young directors, and resisting the industry’s tendency to confine actors to a single image. Between commercial films and intimate projects, his trajectory reveals an actor more interested in challenge and reinvention than in visibility alone. Read the full interview in Crash 106. Link in bio. Photos by @chrisshawprints Interview @armelleleturcq Styling @chiaraficola Fashion @dior Grooming @alexandrinepiel Photo assistant Fabien Dubois Styling assistant @leanaenj #crashmagazine #bastienbouillon #dior #festivaldecannes

Gucci unveils “The Original Sinner” campaign with Jannik Sinner

In his first solo exhibition in Paris, Max Coulon (.coulon ) immediately asserts a singular visual language that challenges the conventions of contemporary sculpture. At the Romero Paprocki Gallery ( ), the young artist unveils a series of delightfully uncanny sculptures in which the familiar slips into a subtly disquieting fantasy—hovering somewhere between amusement and unease.

At first glance, everything appears familiar: garments, masks, humble objects gathered here and there. Yet very quickly, something begins to shift. These ordinary elements become the raw material for an unexpected bestiary. By casting them in concrete, Max Coulon preserves their folds, textures, and patterns, transforming these fragments into hybrid beings. Silhouettes gradually emerge: children with melancholic bear heads, oxen with winged arms, dogs with boot-clad paws. Nothing is entirely predetermined; the forms reveal themselves progressively, through an ongoing dialogue with the material itself.

Read the full text by on our website. Link in bio.

https://www.instagram.com/p/DYm2cCVjU2X/?igsh=b2Z5azIwdTM0bWx6

In his first solo exhibition in Paris, Max Coulon (@max.coulon ) immediately asserts a singular visual language that challenges the conventions of contemporary sculpture. At the Romero Paprocki Gallery (@romeropaprocki ), the young artist unveils a series of delightfully uncanny sculptures in which the familiar slips into a subtly disquieting fantasy—hovering somewhere between amusement and unease. At first glance, everything appears familiar: garments, masks, humble objects gathered here and there. Yet very quickly, something begins to shift. These ordinary elements become the raw material for an unexpected bestiary. By casting them in concrete, Max Coulon preserves their folds, textures, and patterns, transforming these fragments into hybrid beings. Silhouettes gradually emerge: children with melancholic bear heads, oxen with winged arms, dogs with boot-clad paws. Nothing is entirely predetermined; the forms reveal themselves progressively, through an ongoing dialogue with the material itself. Read the full text by @berlandalain on our website. Link in bio. Pictures by Allison Borgo. #crashmagazine #maxcoulon #galerieromeropaprocki

Iconic photographer Bruce Gilden captures the Lower East Side and the best of Fall fashion. With the never less iconic Brillant bags by Delvaux.

https://www.instagram.com/p/DO6H258iAcX/?igsh=MWVqc3JjOHl4aGc1Ng%3D%3D

CRASH 106 - ’NEW HORIZONS’ ISSUE “In the autumn of 2025, it’s as if we had to stay the course at all costs and look to new horizons. To take inspiration from the artists of the past at their most radical and exemplary: Nicola L., Lorraine O’Grady, major artists of extraordinary courage and resolution. Observe the artists of today who are imbued with the beauty that is possible: Frida Orupabo and her radical, poetic collages, as well as cult artist Raymond Pettibon. Cham Lavant, Camille Dagen, Helen Marten, artist-directors with approaches as sharp as they are committed. Bastien Bouillon, a chameleon actor who invents a new masculinity. Bruce Gilden and his sharp yet benevolent take on American society. Noée Abita and Emily Fairn, young free-spirited actresses. Will art, culture, beauty and intelligence be able to continue to emerge? Can they break the deadlock? As Annie Lebrun said, ‘Beauty is a breakthrough that opens up a horizon that allows us to escape from what is’. It is this beauty that will allow us to open up new horizons and prevent us from believing that we can’t get out of this world and that there is no alternative.” A.L ____ Cover 1: ‘East Village’ by Bruce Gilden Iconic photographer Bruce Gilden captures the Lower East Side and the best of Fall fashion. With the never less iconic Brillant bags by Delvaux. Discover the full story in Crash 106. Photographer @bruce_gilden at @magnumphotos Talent @isabellaemmack at @thesocietynyc Styling @armelleleturcq Fashion @delvaux & @miumiu Hair Lauren Berrones @lbhair Make up @rio_kinosh*ta_01 Casting Timoer Nulens  @timoern at @thecastlog Graphic designer @manon__pigeon Photo assistant Caleb Henderson  Styling assistant @radisyourdad #crashmagazine #crash106 #newhorizons #brucegilden #delvaux #miumiu #nicolal #lorraineogrady #fridaorupabo #raymondpetitbon #chamlavant #camilledagean #helenmarten #bastienbouillon #brucegilden #noeeabita #emilyfairn #annielebrun