It is also a rich inspiration for artists.
It is one of the greatest epics ever written - perhaps one of the last ones. It is a very extreme text, for sure, which marks extreme sexuality and brutality. Whether colonial oppression (Pierre was a soldier during the Algerian War, and he sided with the Algerians a lot of Eden was first composed in Algeria), sexual fluidity, or the challenge of male domination, this text saw it all. He did it fifty years ago, and Eden, Eden, Eden is as vibrant - arguably more vibrant now - than it was when it was published and then censored. Pierre saw and gathered all the suffering, the oppression, and, at times, the joy of humankind. For a book censored at birth, Grau’s challenge was to find a way to manifest Guyotat’s epic vision in a colossal way today, to restore the legacy of the book, and to break free from obscurantism.Īlexandre Stipanovich: What makes Pierre Guyotat’s Eden, Eden, Eden so important to you that you wanted to celebrate it with fifty readings in fifty different locations across the planet on September 9?ĭonatien Grau: Eden, Eden, Eden is a visionary text. Four years later, and following Guyotat’s death last February, his fascination is more alive than ever: because September 9, 2020, marks the fiftieth anniversary of the writer’s groundbreaking book Eden, Eden, Eden, Grau has organized fifty celebratory readings and performances in various locations around the world (Los Angeles, Paris, Tbilisi, Lusanga, Dakar, Chicago, etc.).
In 2016, Donatien realized the exhibition “Pierre Guyotat: The Matter of Our Works” in collaboration with Galerie Azzedine Alaïa. © Association Azzedine Alaia, Paris.ĭonatien Grau is faithful to his idols. Exhibition view at Azzedine Alaïa Gallery, Paris, 2016. “Pierre Guyotat, the Matter of Our Works”.
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