Philippe Parreno rose to prominence in the 1990s among a group of artists later gathered under the rubric of Relational Aesthetics. Parreno has sought to redefine the exhibition experience as a coherent object rather than a collection of individual works. In this spirit, his recent exhibition at the Serpentine Gallery constitutes an environment through which the visitor is guided by an orchestration of sound and image. This catalogue for the exhibition examines Parreno’s films, including Invisibleboy (2010), the tale of a Chinese immigrant boy who sees imaginary monsters that are scratched onto the film stock; June 8, 1968 (2009) which revisits the train voyage that transported the corpse of Robert Kennedy from New York to Washington D.C.; and The Boy from Mars (2003), which partly focuses on the generator that supplies the power required to make the film.