Exhibitions

In late 2013, the Musée Granet (Aix-en-Provence) welcomed Marc Couturier and Jean-Michel Othoniel. For one year, these two internationally recognized artists took part in the event «quartier créatif» (« creative neighborhood »), organized for the urban renovation project in Beisson, a district in northern Aix-en-Provence in the south of France.

In the exhibition, entitled "Trésors de Beisson" ("Beisson’s treasures"), Jean-Michel Othoniel presents some of his most recent works, which reveals his increasing interest in abstract forms.

In parallel, Othoniel created a monumental sculpture for the Beisson belvedere observatory. The Rose des vents, this public commission in Aix-en-Provence, represents an infinite and abstract knot, circling the absent form of a Sahara gypsum flower. This mobile, in the tradition of Calder, stands in the city as a lighthouse, a sign of pride and dignity.

The exhibition also shows the richness of Marc Couturier’s work, who patiently collected, for the musée Granet, some 'treasures' from day-to-day life, unveiling the true spirit of the Beisson neighborhood and involving local inhabitants in this artistic project.

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Image 1/6, left
La Rose des sables, 2013
Gypsum flower, steel
19 5/8 x 9 7/8 x 9 7/8 in. (covered)
Collection of the artist

Image 1/6, center
La Rose des vents, 2013
Steel, resin, painting
29 1/2 x 13 3/4 x 13 3/4 in. (covered)
Collection of the artist

Image 1/6, right
Three Bottle of Tears, 2012
Murano glass, demineralized water
21 5/8 x 9 7/8 x 9 7/8 in.
Private collection

Image 2/6, left
Nœud vert et ambre, 2012
Green and amber mirrored glass, stainless steel
60 1/4 x 66 1/8 x 39 3/8 in.
Courtesy Galerie Perrotin

Image 2/6, right
La Rose des Vents, 2013
Four preparatory watercolors
Watercolors on paper
14 1/8 x 18 1/8 x 1 3/8 in. (framed)
Collection of the artist

Image 2/6, left
Nœud gris dégradé miroir, 2012
Mirrored glass, steel
51 1/8 x 59 x 39 3/8 in.
Courtesy Galerie Karsten Greve

Image 3/6, to the right, in the backgroud
Noeud bleu miroir, 2013
Mirrored blue glass, stainless steel
27 1/2 x 25 5/8 x 13 3/4 in.
Private collection

Image 4/6
L'In Noir, 2010
Mirrored glass, metal
116 7/8 x 472 1/2 x 4 3/4 in.
Courtesy Galerie Perrotin

Image 6/6,center
Precious Stonewall, 2013
Indian mirrored glass, wood, metal
29 7/8 x 21 5/8 x 8 5/8 in.
Courtesy Galerie Perrotin

Image 6/6, right
Pink Lasso, 2008
Murano glass, metal
114 1/8 x 55 7/8 x 25 1/4 in.
Courtesy Galerie Perrotin

The « Grand finale » of the Le Nôtre year celebrating the 400th anniversary of the King’s gardener birth, this exhibition shows, contrary to common beliefs, a new and surprising image  of the man, his art and his influence in landscape designing. Gardener, designer, architect, engineer and water engineer, landscape designer and town planner, collector, wizard of the space, André Le Nôtre, Louis XIV intimate friend, transformed the princes dreams into reality. On this occasion, we also discover his fascinating modernity.

Contemporary artists’s works invited by the château de Versailles play a large part in taking a fresh look at Le Nôtre’s heritage. Thus, further an international contest launched in 2011 to world wild landscape designers for the Water Theatre grove’s refurbishing, the landscape designer Louis Benech and the contemporary artist Jean-Michel Othoniel have been chosen for their project.

A model of Othoniel’s fountain sculptures, drawings and explanatory panels recount the genesis of this project. The Water Theatre grove will open to the public on May the 12th of 2015.

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Image 1 to 3
Le Rigaudon de la Paix, 2013
Gold aluminium model, blue Murano glass bead, stainless steel structure.
12 1/4 x 74 3/4 x 81 1/8 in.
Courtesy Galerie Perrotin

Image 4/4
Les Belles Danses, 2011
Eight preparatory watercolors
Watercolors on paper
13 3/8 x 17 3/8 x 1 3/8 in. (framed)
Collection of the artist

Following in the dynamic of the invitations extended to large collections, lille3000 is hosting the Galerie Perrotin for an exhibition at the Tripostal. This event is an opportunity to take stock of the vision of French gallery owner Emmanuel Perrotin through a selection of works by artists he has exhibited throughout his 25-year career.

The large open spaces of the Tripostal will accommodate more than one hundred works: the monumental sculptures and installations of Wim Delvoye, Daniel Firman, Gianni Motti and Tatiana Trouvé, the mobiles of Lionel Estève, Sophie Calle’s Vingt ans après, Maurizio Cattelan’s INRI and works specially designed for the venue by Gelitin, Guy Limone, Pieter Vermeersch and JR. Other rooms will present a selection of Japanese artists such as Aya Takano, Mr and Chiho Aoshima. Many French artists will be represented, such as Bernard Frize, Kolkoz, Ange Leccia, Jean-Michel Othoniel, Philippe Parreno, Xavier Veilhan and Jean-Luc Vilmouth. 

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Image 1/5, left
Le Nœud de Babel, 2012
Mirrored amber glass, stainless steel
76 3/4 x 51 1/8 x 49 1/4 in.
Private collection

Image 1/5, center
The Knot of the Real, 2012
Black and grey mirrored glass, stainless steel
78 3/4 x 82 5/8 x 57 1/8 in.
Private collection

Image 1/5, right
Nœud miroir et rouge, 2012
Mirrored glass, stainless steel
55 1/8 x 78 3/4 x 25 5/8 in.
Private collection

Image 3/5, left
The Knot of the Imaginary, 2012
Mirrored glass, stainless steel
70 7/8 x 65 x 53 1/8 in.
Private collection

Image 3/5, center
Nœud miroir, gris et alessandrita, 2012
Mirrored glass, steel
46 1/8 x 61 3/8 x 39 3/8 in.
Courtesy Galerie Perrotin

Image 4/5
Le Grand Ricochet bleu, 2008
Verre miroité, inox
210 x 369 x 136 cm
Courtesy Karsten Greve

Image 4/5
Le Grand Ricochet bleu, 2008
Mirrored glass, inox
82 5/8 x 145 1/4 x 53 1/2 in.
Courtesy Karsten Greve

Image 5/5
Le Nœud de Babel, 2012
Mirrored amber glass, stainless steel
76 3/4 x 51 1/8 x 49 1/4 in.
Private collection

For the exhibition « Science of dreams », The Arsenal contemporary art complex shows fifteen international artists whose works thematically revolve around the science of dreams. Inspired by Michel Gondry’s feature film, The Science of Sleep (2006), this exhibition brings together sculptures, photographs and paintings which, aesthetically and conceptually, stem from dream-like visions and dream creation. Artworks were sourced primarily from the private collection belonging to François Odermatt and are complemented by select pieces from a private European collection.

At its core, this group show bears a likeness to the unique process of dream creation with that of the creation of contemporary art. Works by David Altmejd, Farhad Moshiri, Anselm Kiefer, and Franz West, to name but a few artists, merge to open an array of outer-worldly windows onto the Kingdom of Morpheus. The viewer thus gains insight into a scientific blend of personal inspirations, socio-historical views and dream-like poems. The temporary coexistence of these monumental works evokes a gentle feeling of awe that is further emphasized by the industrial elegance of The Arsenal’s architecture. 

For this exhibition, Mon lit (My bed) and Black hearts, red tears by Jean-Michel Othoniel respond to each other, the canopy bed invite the visitor to dive into a waking dream, whereas the disturbing landscape of black and red Murano beads catches the eye as if in a nightmare.

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Image 1/2
Black Hearts, Red Tears, 2007
Murano blown glass, metal
153 7/8 x 170 1/8 x 5 7/8 in.
Private collection

Image 2/2, left
Le Nœud de Lacan, 2009
Mirrored glass and steel
59 x 53 1/8 x 19 5/8 in.
Private collection

Image 2/2, right
Salon Ottoman, 2008
Murano glass, aluminium, steel
114 1/8 x 94 1/2 x 74 3/4 in.
Private collection

As part of Marseille-Provence 2013, the Centre des monuments nationaux has given carte blanche to Christian Lacroix, that seeks to recreate a "Treasure Island", "L’île de Montmajour" ("The Montmajour Island ») of his childhood and his imagination.

He has chosen to show a selection of contemporary art pieces from CIRVA (International Agency for Research on Glass and Visual Arts) and galleries, along with clothing and religious objects. Thus, he creates a timeless-factory monastery, a "conservatory-laboratory" of the imaginary, between personal memories and memory.

For this exhibition, Christian Lacroix installed in the tower of the abbey Othoniel’s Cortege endormi. This work, created in 2003 at the "Crystal Palace" exhibition at the Fondation Cartier, then took place both in the foundation and in the gardens. The procession is seen as a path that leads from Mon Lit (My bed) to Ma tombe (My tomb), two other works of the artist.

Here, at Montmajour, what is interesting and innovative in the will of Christian Lacroix to expose this artwork is to show it as a gathered procession. Banners presented along L’Unicorne (The Unicorn), are found in the former weapon room of the tower, as if the procession had ended and the holders gathered in the tower before going to sleep, making echo to the tale of The Sleeping Beauty (Charles Perrault, 1697): "The moment she had touched them they all fell asleep, to awaken only at the same moment as their mistress".

The procession is asleep and the movement stops, giving way to rest, love, and wonder. The work refers to the fantasy genre. Everything is done as if the procession, holders glass banners, scepters and other palanquins were all lulled by the spell, leaving off this enchanting procession. The term "endormi" ("asleep") also refers to dreams and dream worlds we all face in our sleep.

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Image 1/5, foreground
L'Unicorne, 2003
Le Cortège endormi
CIRVA blown glass, steel
70 7/8 x 59 x 23 5/8 in.
Collection Fondation Cartier pour l'art contemporain

Image 1/5, left
Bannière n°10, le Cortège endormi, 2003
CIRVA blown glass, steel
137 3/4 x 11 3/4 x 51 1/8 in.
Collection CIRVA / Marseille

Image 1/5, center
Bannière n°4, le Cortège endormi, 2003
CIRVA blown glass, steel
137 3/4 x 39 3/8 x 23 5/8 in.
Collection du CIRVA / Marseille

Image 1/5, right
L’Affolante: Bannière n°16, 2003
Le Cortège endormi
CIRVA blown glass, steel
137 3/4 x 11 3/4 x 51 1/8 in.
Collection du CIRVA / Marseille

Image 2/5
Bannière n°15, 2003
Le Cortège endormi
CIRVA blown glass, steel
137 3/4 inches high.
Collection du CIRVA / Marseille

Raymond Roussel has finally celebrated in Paris. That's late justice for this writer who holds a century in the imagination of artists a central place, embodying the figure of the artist entirely dedicated to his work, until the borders of reason, that of the creative artist of a "full world", "only following the slope of his imagination" (André Breton). "Nouvelles impressions de Raymond Roussel" is a suite and a complement to the exhibition "Impressions de Raymond Roussel" which was held at the Museo Reina Sofia (Madrid) in 2011 and the Museu Serralves (Porto) in 2012. The exhibition drew a diagonal in art history of the twentieth century, connecting the dots between artists and creators who said they have been influenced by the author and his writings in their work.

The writings of Raymond Roussel, Locus Solus especially, profoundly marked the artistic practice of Jean-Michel Othoniel and released in him the desire to explore the wonderful, the strange, the enigmatic.

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Image 1/3
Locus Solus, 1992-2012
Photographic Installation for the Palais de Tokyo, Paris
Variable dimensions
Collection of the artist

Image 2/3
Autoportrait of Jean-Michel Othoniel in front of the villa Locus Solus, 1992
Black and white photograph
5 1/8 x 7 1/8 in.
Published by the artist in Le Parisien's small ads on June the 12th, 1992
Collection of the artist

This exhibition shows iconic large-scale steel and glass sculptures by prominent contemporary French artist Jean-Michel Othoniel. Befittingly selected for the Jewel Boxes of the SCAD Museum of Art, Othoniel’s fluid forms and lustrous surfaces resemble objects of adornment that dually reference the opulence of Italian Baroque and the elegance of American Minimalism.

The exhibition also features some Precious Stonewalls, Othoniel’s most recent series that is inspired by brick-lined streets in India and shaped to resemble hand-cut jewels in the artist’s signature style evoking the wonderful World of Oz.

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Image 1/4
Precious Stonewall, 2013
Indian mirrored glass, wood, metal
29 7/8 x 21 5/8 x 8 5/8 in.

Image 2/4
Nœud miroir et alessandrita, 2012
Mirrored glass, metal
140 x 200 x 64 cm  (55 1/8 x 78 3/4 x 25 1/4 in.)

Image 3/4
Double collier ambre mica, 2012
Murano glass, mica, steel
151 5/8 x 17 3/4 x 11 3/4 in.
Private collection

For this exhibition, Jean-Michel Othoniel presents four new monumental sculptures and watercolour sketches inspired by Brancusi as well as the colours and forms of Italian Mannerism to the Baroque, developping “the question of the lost body. It’s a matter of creating a volume of absence, constructions with variable dimensions where bodies could nest... There is the idea that there is a body at the center... This refers to the idea of the haloes and aureoles of my earlier sculptures. In my last sculptures, there is something like a body at the center and a knot around; the knot organises itself around an axis and defines a void”, says Othoniel. These artworks materialized the psychoanalytic theory of the Borromean rings that structures a subject with a fragile equilibrium between Reality, Symbolic and Imaginary but seem to have been distorted here by an invisible dynamic, capturing the abstract essence of the movement.

Echoed by five mural pieces made of glassbricks, Precious Stonewalls also refers to minimal art by metonymy of the eponymous monumental work shown recently during the retrospective “My Way” at the Centre Pompidou and the Brooklyn Museum. These were produced in India at Firozabad and suggest at the same time the visible pile of bricks on the Indian roads and the numerous altars covered with gifts, jewelry and flower necklaces... They also refer to the Stonewall riots of 1969 in Greenwich Village that led to the birth of the Gay Rights Movement. The silence emanating from these works renders them eloquent pieces. The ambiguity of the artist’s works also lays in the equivocal nature of the glass, sacred, refracting a divine light, as stained-glass would in a church, or a secular one, symbolizing the transparency of desire when it becomes a mirror.

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Image 1/5, left
Precious Stonewall, 2012
Indian mirrored glass
41 x 30 3/8 x 8 5/8 in.
Courtesy Galerie Perrotin

Image 1/5, centre
R.S.I. Knot, 2012
Mirrored Blue Glass, Stainless Steel
57 1/8 x 55 1/8 x 27 1/2 in.
Private collection

Image 1/5, right
Precious Stonewall, 2012
Indian mirrored glass, wood
23 1/4 x 21 5/8 x 8 5/8 in.
Private collection

Image 2/5
The Knot of the Imaginary, 2012
Mirrored glass, stainless steel
70 7/8 x 65 x 53 1/8 in.
Private collection

Image 3/5
Le Nœud de Babel, 2012
Mirrored amber glass, stainless steel
76 3/4 x 51 1/8 x 49 1/4 in.
Private collection

Image 4/5
The Knot of the Real, 2012
Black and grey mirrored glass, stainless steel
78 3/4 x 82 5/8 x 57 1/8 in.
Private collection