The Institute of Contemporary Arts (ICA) presents the first UK solo exhibition by French artist Loris Gréaud, entitled "Cellar Door (Once is Always Twice)." Gréaud, one of the most innovative and distinctive artists to emerge on the international art scene in recent years, is presenting a new installation which consists of three almost identical rooms, and which draws on his interweaving interests in art, architecture and music. This installation is a continuation of a large-scale ongoing project by Gréaud, entitled Cellar Door.

As the anniversary of the protests of May 1968 in Paris approaches, a young Frenchman is taking the artworld by storm. With simultaneous shows at the Palais de Tokyo and the ICA at the age of 29, this artist is nothing but precocious. His name is Loris Greaud. He has a rare musical talent, having studied at the Conservatoire de Musique, set up his own record label and created DGZ Research -with architects Marc Doelger and Damien Ziakovic- a multidisciplinary production studio involved in the realisation this show, Cellar Door (Once Is Always Twice). The installation is a wonderful fusion of art, architecture and music inspired by the symbol of the studio - a space designed for perpetual creativity. Designed with three identical rooms, separated by high-speed automatic doors, it encourages us to reflect on the uncanny notion of doubling. Stepping into each room is like entering a parallel universe, with patterns derived from stars and architectural geometry, distinctly reminiscent of the geodesic dome of Buckminster Fuller. And you can try sweets from a vending machine, named Celador. Invented by DGZ, they too are a source of illusion, because they have no taste. Like the installation, they encourage you to project yourself into an imaginary world. Visit the show and, to borrow from Greaud's mirrored wall text, "You will see for yourself..."

Gréaud's practice is characterised by a desire to fuse different fields of knowledge and activity, in a manner which is both futuristic and utopian. His modus operandi is comparable to that of cinematic production (involving collaboration and co-authorship), and he often works with experts from diverse disciplines (including architects and scientists). Gréaud's work is orientated to ideas and processes rather than finished form, and his projects are liable to manifest themselves in different ways over time, and to move between rumour and fact.

Cellar Door is an ambitious artistic experiment that has a range of manifestations. One is Gréaud's installation at the ICA; another is a recent exhibition at Palais de Tokyo; a third is an opera which will be staged at the Paris Opera at the end of the year; and a fourth is an actual studio space which Gréaud is building for himself on the outskirts of Paris. The notion of an artist's studio is fundamental to Cellar Door: operating as a symbol of imagination and potential, and as the starting point of a perpetual cycle of activity.

Gréaud's installation at the ICA, with its three almost identical rooms, reveals another of the artist's key preoccupations - the notion of doubling and repetition. The repeating elements within the rooms include: high-speed automatic doors which open like shutters; special light-emitting speakers designed by the artist; and a carpet with a pattern derived in part in part from architect Buckminster Fuller's experiments with the geodesic dome. Finally, Greaud's installation at the ICA will be subject to a number of periodic interruptions, one of which is the arrival of three identical figures serving black champagne.

Gréaud's Cellar Door project is developed further in Celador - a bag of sweets available from a vending machine in the ICA's bar. The twist is that the sweets have absolutely no taste, and the artist's intention is that whoever eats them can project whatever flavour they like onto them - thus reflecting the open-ended and collaborative nature of the Cellar Door project as a whole.