Having explored the natural world with precise and direct gestures for fifty years, Penone’s hands take center stage in this exhibition. From handprints preserved in casts of tree trunks and branches in Germinazione (Germination), 2005, to the small terra-cotta shapes in Avvolgere la terra (To Unfold the Earth), 2014—made with a simple squeeze—the works on view here are part of a larger and ongoing dialogue between man and nature.
Giueppe Penone Ebbi, Avró, Non Ho (J'eus, J'aurai, Je n'ai)
Bigger and grander than last year, the second edition of this fair, founded by four galleries from Paris’s Belleville neighborhood and one from Zurich, takes over a five-floor hôtel particulier near the Arc de Triomphe. A younger, hipper alternative to FIAC, Paris Internationale presents fifty-four galleries and seven nonprofit art spaces specializing in emerging artists from Europe, Asia, the Americas, and the Middle East.
Paris Internationale 2016
Paris’s grande dame contemporary art fair hosts 189 international modern and contemporary galleries under the soaring glass roof of the Grand Palais. With the addition of a new venue this year, select galleries have been invited to present works at the Petit Palais museum, just across the street from the Grand Palais, and the pedestrian esplanade between. Site-specific installations include works by Jacques Villeglé and Lawrence Weiner.
Like humanized and seductively penetrable versions of Frank Stella’s object-paintings, Lisa Beck’s compositions of concentric, slightly imperfect rectangles stand at the center of the gallery like sentinels. Pairing her paintings with Mylar “mirrors”—which meet each canvas at a right angle—Beck gives geometric abstraction a trippy through-the-looking-glass treatment.
Lisa Beck The House of Eternity
Crewdson’s latest series of elaborately staged photographs, which feel like Romantic paintings from the nineteenth century, were shot in the homes and forests of Becket, Massachusetts. Cinematic lighting and dramatic tableaux evoke a nightmarish state where the familiar seems strange and the strange is uncannily familiar.
Gregory Crewdson Cathedral of the Pines
The unlikely pairing of Duane Hanson’s hyperrealistic sculptures of the lumpenproletariat and Olivier Mosset’s minimalist paintings locates a weird common ground between two extreme approaches, as each artist strives to achieve his own vision of absolute reality.
Duane Hanson, Olivier Mosset
Menozzi de Rosa licorice and Murano glass are some of the Italian specialty products that Francesco Gennari uses to create minimalist works with maximum impact. Inspired by time spent in Paris, a gray concrete ring, suggesting stormy skies, contrasts beautifully with a luminous blue glass cube.
Francesco Gennari Vorrei essere me stesso, ma solo alla luce del Sole
Tibéri’s recent drawings and sculptures extend the viewer’s appreciation of the artist's humble materials by appealing to unexpected senses, like touch and sound. While his pencil drawings describe depth and physicality, a ceramic series represents thirteen different pieces of music.
Given carte blanche to have his way with the Palais de Tokyo’s sprawling multilevel exhibition space, Tino Sehgal presents a selection of his own works mixed in with pieces by other artists of his choosing, including a drippy basement installation by Pierre Huyghe and a colorful ceiling by Daniel Buren. Sehgal’s largest project to date weaves together old and new interactive performances pieces.
Featuring more than forty new works installed across Perrotin’s three Paris galleries, this expansive show confirms the artist’s talent for seamlessly weaving artistic styles, ranging from traditional Japanese painting and contemporary manga to Abstract Expressionism and Pop art. Grandiose and fun, the monumental panel painting A Picture of Lives
Wriggling in the Forest at the Deep End of the Universe, 2015, acts as a useful anthology of the recurrent themes and characters populating Murakami’s hypercharged “superflat” universe.
Confirming Rosenquist's longtime fascination with technology and popular culture, this impressive collection of paintings (many of which are loans from the artist himself) includes the explosive “Meteor” series, where space rocks crash into pillars of Modern Art from Picasso to Brancusi. Examples of the artist’s less well-known collages are concurrently on view at Ropac's flagship gallery in the Marais (through October 15).
James Rosenquist Four Decades, 1970–2010
Cattelan’s largest show since his 2011 retrospective at New York’s Guggenheim features his likeness throughout the eighteenth-century salons of La Monnaie. Conceived as a kind of post requiem five years after he gave us his “all” in New York, the Paris exhibition shows Cattelan re-presenting works that may have seemed funny before but which are now cast in a more serious light.
Maurizio Cattelan Not Afraid of Love