Prouvost, who is 40 this year, has gained attention for object-filled installations of sculpture, video, and paintings that conjure disassociated, often humorous stories that are amalgams of autobiography, fiction, and real-world events. Her recent show at Lisson Gallery in New York featured a kind of madcap deserted travel agency that housed, among other things, an array of computers, travel advertisements, maps, and a fountain made up of plastic breasts. (She is also repped by Nathalie Obadia in Paris and Brussels, and Carlier Gebauer in Berlin.)
It is a major moment for Prouvost, who will have a show at the Palais de Tokyo in Paris this summer, opening June 22. She also currently has a solo show at the Bass Museum in Miami Beach, and has had recent one-person shows at the Walker Art Center in Minneapolis (2017), the Museum Für Moderne Kunst Frankfurt Am Main (2016), and the Kunstmuseum Luzern in Switzerland (2016). And that’s barely scratching the surface of her lengthy CV.
Jean-Yves Le Drian, the French minister of foreign affairs, and Françoise Nyssen, the country’s minister of culture, heralded Prouvost career in a news release as evidence of the “dynamisme de la scène artistique française”—the dynamism of the French art scene.
Other artists to represent France in Venice over the past few years include Xavier Veilhan (2017), Céleste Boursier-Mougenot (2015), Anri Sala (2013), Christian Boltanski (2011), and Claude Lévêque (2009), meaning that Prouvost will end an essentially decade-long streak of males in the pavilion.