Eshel Meir was born in Israel in 1964 and died at just 29. He took the name Absalon when he arrived in Paris in 1987. Influenced by a radical and orderly aesthetic, Absalon’s sculptures can be seen as reduced versions of the utopian aspirations of modern architecture. Absalon created ‘Cellules’, which were habitable units designed to house the artist during his moves. These small architectural forms evoke monastic cells and relate to the dimensions of the artist’s own body and mental space. The ‘Cellules’ white wooden maquettes reveal Meir’s obsession with order and rigour. Inspired by the early 20th-century artistic and architectural avant-garde and the modernist principles of De Stijl and Bauhaus, Absalon’s works represent a refuge from contemporary society, if not, in fact, a form of protest.

During his short career, Absalon exhibited in important institutions like the Centre Georges Pompidou in Paris (1991) and took part in dOCUMENTA IX (1992). The Musée d'art moderne de la Ville de Paris (1993) and Kunst-Werke in Berlin (2010) dedicated important exhibitions to him. One of his works was shown at Punta della Dogana in the exhibition “Accrochage”(2016).

Proposition d'objets quotidiens, – Accrochage