RAMMELLZEE: ALPHABETA SIGMA – A TWO-PART EXHIBITION

EXPLORING THE WAR ON LANGUAGE

“MILITARY FUNCTION RAMMELEVATIONZ MILITARY FUNCTION FORMATION RAMMSIGMALLZSIGMA, SIGMA (E) THE FIRST SUMMATION OPERATOR FIRST L – LONGITUDE SECOND L – LATITUDE Z – Z-BAR E E – SUMMATION”

RAMM:ΣLL:ZΣΣ is not just a name—it’s an equation, a formula for elevation, detail, and perspective. His work exists at the crossroads of theory, performance, and materiality, forming a radical practice that turns language into a battlefield. His self-defined Gothic Futurism merges aeronautics, quantum mechanics, and the velocity of an electromagnetic transit system with the chemical aggression of spray paint and resin, turning symbols into weapons of resistance. Central to this equation is his cosmic array of characters—outlaws and antiheroes engaged in an endless wager on the domination of language, each representing a letter’s struggle to free itself from imposed structures. His creations, from his Letter Racers to his Garbage Gods, function as tactical entities in this ongoing linguistic war, transforming language into an active, combative force.

The Palais de Tokyo and CAPC join forces to unveil and present the cryptic work of RAMMELLZEE, an iconic figure of the 1980s American underground scene. This is the first large-scale European event dedicated to his legacy, conceived in two acts—like the sides of a vinyl record, each complementing and expanding upon the other.

Like the opposing yet interdependent forces in RAMMELLZEE’s own work, the two-part exhibition ‘ALPHABETA SIGMA’ at Palais de Tokyo (Paris) and CAPC Musée d’art contemporain (Bordeaux) captures both the energy and meticulous construction of his practice. Rather than attempting to decode the mystery behind his formulas and equations, it presents his works as objects of study—unresolved, but potent.

ALPHABETA SIGMA (Side A) – Palais de Tokyo (21 February – 7 September 2025)

The first chapter focuses on the sensitive surfaces of RAMMELLZEE’s work—writing, paint, spray, resin, black light, and textiles—while examining his founding motifs: the letter, the arrow, and the mask. These elements, transformed into armament, form the core of his battle against language’s imposed structures.

A detailed timeline in the exhibition maps RAMMELLZEE’s vast connections across art, music, and theory, illustrating how his ideas evolved across multiple disciplines. This is complemented by a curated selection of tracks from his music archive, creating an immersive listening experience.

An exclusive vinyl release, developed alongside the show, plays continuously in one of the main viewing rooms. Featuring an essential tracklist and rare archival recordings—including excerpts from RAMMELLZEE’s interview with Lotringer—the record offers a raw and unfiltered account of his theories. These songs are not merely compositions; they function as coded transmissions of his theories, where language, warfare, and autonomy materialize through performance and sound.

Additionally, a secret time capsule—one of RAMMELLZEE’s most enigmatic creations—is on display. This object is said to contain an equation he carefully hid and protected, revealing it only to a select few during his lifetime. Its contents remain a mystery, and it has not yet been decided whether it will ever be opened. The capsule is a sealed artifact of his coded universe—an enigma left unsolved, its meaning locked away, awaiting the right key.

ALPHABETA SIGMA (Side B) – CAPC Bordeaux (12 March – 20 September 2026)

The second act of the exhibition takes an X-ray approach, shifting from material to conceptual, presenting RAMMELLZEE’s work alongside other major fine artists to further elevate and contextualize his contributions. Rather than a straightforward retrospective, Side B assembles a constellation of influences and collaborations, placing RAMMELLZEE within a broader art-historical narrative while still maintaining the sense of intrigue that defines his practice.

The Rammellzee Estate is represented by Jeffrey Deitch Gallery (New York).

Curators: Hugo Vitrani et Cédric Fauq