The exhibition titles Chant d’Amour in 2022 and Mort Heureuse in 2025 chosen by Xie Lei, evidently bring to mind Jean Genet and Albert Camus, yet these discreet tributes emancipate themselves those tutelary figures, acting in a more general manner simply as a starting point for two series of paintings.3 The omission of the articles “un” and “la” is certainly of importance: Is it not the means Xie Lei wishes to use in order to lead us down the pathway of song(s) and death(s) that remain radically undefined?
