Exhibitions

"One Way: Peter Marino" explores the multifaceted relationship of renowned American architect Peter Marino with art. A pioneer of cross-disciplinary practices, Marino has been celebrated for more than four decades for his forward-thinking work, at the intersection of art, fashion and architectural design.

Curated by Jérôme Sans, this exhibition examines the interplay between Marino’s iconic architectural designs, his private contemporary art collection and his cast-bronze boxes. 

For this exhibition, Jean-Michel Othoniel created Black Rosaries (2014). A monumental rosary made of several rows of black and red beads, suspended vertically, this ambiguous artwork evokes all at once religious attire, a musical score and the erotic form.

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Black Rosaries, 2014
Mirrorred blown glass, metal
220 1/2 x 191 3/8 x 9 7/8 in.
Private collection

A “creative invasion” of artists will herald the return to life of a long-abandoned São Paulo landmark, the old Umberto Primo Hospital, known as the Hospital Matarazzo, a six-acre complex in the heart of the city, boasting historically significant 19th-century Italianate buildings that were in active use until 1993.

Once a center of city life-- the birthplace of half a million Paulistas and hailed as an important part of Brazil’s cultural patrimony-- the disused Hospital Matarazzo will be revitalized starting on September 9, when its pavilions, hallways, and gardens will be filled with the work of 100 artists taking part in a specially curated exhibition meant to re-infuse the site with new energy before its refurbishment as the Cidade Matarazzo, a landmark mixed-use cultural and tourist complex being created by the Groupe Allard. Founded and led by Alexandre Allard, Groupe Allard has previously sponsored major exhibitions including Basquiat at the Museum of Modern Art in Paris (2010), Veilhan Versailles at the palace of Versailles (2010), and Miró En Son Jardin at the Maeght Foundation in Saint-Paul de Vence (2009).


Curated by Marc Pottier, with special projects curated by Simon Watson, Nadja Romain, Gabriela Maciel and André Sheik, the “Invisible Museum” (Le Musée de l’Invisible) by Pascal Pique, Baixo Ribeiro, and 3rd Bahia Biennal, Feito por Brasieiros / Made by Brazilians was conceived to celebrate the energy and diversity of Brazil’s contemporary artistic scene. The curators invited 50 Brazilian artists and 50 non-Brazilian artists to occupy the hospital’s extensive indoor and outdoor spaces in an invasion that can be regarded as both an exhibition and a ritual concurrence of individual performances and installations. For Marc Pottier and Simon Watson, the exhibition is a reunion effort. In 1995 in New York, the two curators first collaborated on an historical show of the Brazilian artist Tunga, which they presented in an abandoned warehouse of SoHo as part of the “Art from Brazil in NY” festival.

Matarazzo is a small village within the city, a microcosm inside a big metropolis. Being considered as a national heritage site, the Allard project will turn Matarazzo into a welcome landmark for a city mostly characterized by the destruction of the past. The site is now living a new moment of its history and we are witnessing its rebirth.” Scheduled to run simultaneously with the Biennale of Sao Paulo, Feito por Brasieiros / Made by Brazilians will incorporate ephemeral works of painting, sculpture, installation, and video, as well as other short-lived installations and “interventions,” in which viewers can see artists confronting and cross-pollinating their visions, and “cannibalizing” each other’s work, in a process resonant with the influential 1928 “Cannibal Manifesto“ of the Brazilian poet Oswald de Andrade (1890-1954), which argued that Brazil's cannibalization of other cultures is one of its greatest strengths. The liveliness of Brazilian creativity exemplified in Feito por Brasieiros / Made by Brazilians will find an ongoing home at Cidade Matarazzo after the exhibition closes, in the about-to-launch Center for Creativity. The Center was created by Groupe Allard to showcase the importance of creativity to Brazil’s economy. Featuring residences, movie theatres, exhibition areas, and studios dedicated to art, music, film, handicrafts, fashion, and the culinary arts, the Center for Creativity will offer seminars, debates, workshops and other activities aimed at expanding the discussion about the importance of art and culture in Brazilian society and beyond. “Brazil is an immense spring of creativity,” says Alexandre Allard, “but we can still find more effective ways of pouring this creativity into a profusion of forms that can transform the economy and ultimately be exported.”

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The 9 necklaces of Freedom, 2014
Blown Murano glass, inox
Variable dimensions

The year 2014 celebrates the 90th anniversary of the cultural partnership between Japan and France. Coinciding with the inauguraton of Jean-Miichel Othoniel's sculptures at the Palace of Versailles, the Karuizawa New Art Museum will exhibit 5 of the artist’s most recent sculptures in Murano glass beads, as well as a permanent outdoor sculpture installed in the museum gardens, and a series of 15 watercolors.

Othoniel often creates works for historical places or gardens. His glass works, poetic and sensuous, play with light and reflexions, in harmony with the environment. This exhibition of works inside and outside the museum reveals both the sensitivity and the power of Othoniel’s artworks. Kokoro no mon, a permanent installation in the garden, and the Collier autoporté bleu dégradé miroir, exhibited on the museum's first floor, will provide an opportunity for many to discover contemporary art pieces that will surely come to symbolize art and culture in Karuizawa.

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Image 1/6
The Knot of the Imaginary, 2012
Mirrored glass, stainless steel
70 7/8 x 65 x 53 1/8 in.
Private collection

Image 2/6
Pink Kokoro, 2014
Mirrored pink glass, stainless steel
80 5/8 x 81 1/8 x 47 1/4 in.
Private collection

Image 3/6, foreground
Red Kokoro, 2014
Mirrored red glass, stainless steel
57 1/8 x 57 1/8  x 27 1/2 in.
Private collection

Image 4/6, foreground
Nœud alessandrita miroir, 2013
Mirrored alessandrita glass, stainless steel
27 1/2 x 25 5/8  x 13 3/4 in.
Private collection

Images 5 & 6
Kokoro No Mon, 2014
Aluminium beads, stainless steel
143 3/4 x 139 3/4 x 126 in.
Gardens of the Karuizawa New Art Museum

On July 5, 2014, the "Vivid Memories" exhibition takes on a new look for the summer with an installation revolving primarily around photography. With a major role in the history of the Fondation Cartier over the last 30 years, photography constitutes one of the building blocks of the Cartier collection.

The current selection, drawing on the works of around 30 photographers, bears witness to the Fondation Cartier's eclectic take on the art form, its openness to diverse practices and geographical contexts, and its curiosity in helping many artists to be discovered for the first time in Europe.

The exhibition also focused on sculpture, painting, cinema and video. While In Bed, Ron Mueck's monumental reclining woman, is still very much in evidence – eternally absorbed in her silent reverie – other works have been removed to make way for works like a stunning submarine by Panamarenko, sculptures by Jean-Michel Othoniel, and even a guitar-playing cat by Alain Séchas. Meanwhile, motion pictures still form an essential part of the exhibition journey, with nine hours of footage broadcast on an LED screen, based on a concept by David Lynch. This wall of images will feature a continuous series of films, slideshows and videos by artists from the Fondation Cartier collection as well as extracts from the archives, looking back on 30 years of patronage in support of contemporary art. September at the Fondation Cartier From the 1st to the 21st, in tandem with the presentation of The Monument To Language by James Lee Byars (1932-1997), scientists, thinkers and artists will enter into dialog with the sphere created by the American artist, the sole installation in the main space on the ground floor for three weeks. 

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Image 1/2
L'Unicorne, 2003
Le Cortège endormi
Cirva Glass, steel
70 7/8 x 59 x 23 5/8 in.
Collection Fondation Cartier pour l'art contemporain

Image 2/2
L'évidence même, 1989
Sulphur, mooring post, maps, sailor pompom
72 x 35 3/8 x 35 3/8 in.
Collection Fondation Cartier pour l'art contemporain

When Emmanuel Perrotin met Pharrell Williams in Miami in 2007 and asked him to come up with his very first design object, he never imagined that this musical genius, super-producer and fashion designer would continue to pursue their collaboration seven years later, as curator of an exhibition at the Perrotin gallery in Paris, marking the release of his album G I R L.

The exhibition « G I R L » brings together 48 artworks - including 10 specially produced for the show. The exhibition was presented in Galerie Perrotin’s new space, the Salle de Bal, a former ballroom at the Hôtel du Grand Veneur, a XVIIth century hôtel particulier in the Marais area of Paris. This selection of the gallery's artists and the musician Pharell Williams create together a kind of operatic opus that pay tribute to the idea of feminity.

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Double emerald necklace, 2013
Emerald Murano Glass, stainles steel
129 7/8 x 19 5/8 x 23 5/8 in.
Courtesy Gallerie Perrotin

In this solo exhibition at Galerie Perrotin, Hong Kong, the artist has collaborated with a Feng Shui Master in determining the forms and colors of his sculptures.

Othoniel creates forms that are inherently poetic by rooting his works in abstractness and contemplation. As an outcome of the artist’s psychology, the individualism and the sentiments invested in the forms originate in human life generally. While Feng Shui is a Chinese philosophical system of harmonizing the human existence with the surrounding environment, the idea conforms to the artistic approach of Othoniel, who constantly seeks to relate his works with regard to the nature, to the world and to the space they inhabit.

The rotation of the beads is the gesture and movement of these monumental glass and aluminum sculpture in the gallery room, through which the sculptor brings out the intrinsic beauty and variability of the knots he invented. Due to the abstract and minimal quality of these sculptures, we are confronted by a dialogue of visibility, of whether the space is adorned by the works or actually the works are celebrated by the space. Double Collier Autoporté Or, imposes its presence and orderliness over the entrance of the building. As for the forms of the three knots sculptures, Nœud rose miroir, Nœud rouge miroir and Nœud ambre miroir, that reside in the main space of the gallery, Othoniel has opted for a kind of emotional geometry.

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Image 1/3, left
Red mirrored knot, 2014
Mirrored glass, stainless steel
82 5/8 x 63 x 49 1/4 in.
Private collection

Image 1/3, center
Pink mirrored knot, 2014
Mirrored glass, stainless steel
82 5/8 x 70 7/8 x 49 1/4 in.
Courtesy Galerie Perrotin

Image 1/3, right
Amber mirrored knot, 2014
Mirrored glass, stainless steel
82 5/8 x 66 7/8 x 47 1/4 in.
Private collection

Image 3/3
Pink mirrored knot, 2014
Mirrored glass, stainless steel
82 5/8 x 70 7/8 x 49 1/4 in.
Courtesy Galerie Perrotin

The theme of the exhibition is the long-held relationship between Jean-Michel Othoniel’s work, spirituality and sacred artefacts. Since his early work, the artist has used religious, popular and scholarly references. The Veil of Veronica, reliquaries, ex-votos, and votive finery have all inspired his exploration of the real, the body and their relationship, in often enigmatic and coded forms.

Life’s most extreme emotions from birth to death are glorified and spiritualised in fragile artefacts of a troubling beauty. Through the poetics of intimacy, then  in his glass works, of décor and seduction, a world appears that confesses its wounds, reveals its ambivalence and resists wonderment. 

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Image 1/6, left
Cortège endormi: Bannière n°1, 2003
Blown glass, steel
380 x 61 x 61 cm  (149 5/8 x 24 x 24 in.)
Collection of the artist

Image 1/6, center left
Le Cortège endormi: Bannière n°13, 2003
Blown glass, steel
149 5/8 x 24 x 24 in.
Collection of the artist

Image 1/6, center
Le Cortège endormi: Bannière n°4, 2003
Blown glass, steel
137 3/4 x 39 3/8 x 23 5/8 in.
Collection CIRVA / Marseille

Image 1/6, center right
Le Cortège endormi: Bannière n°2, 2003
Blown glass, steel
149 5/8 x 24 x 24 in.
Collection of the artist

Image 1/6, right
Cortège endormi: Bannière n°9, 2003
Steel,  blown glass
159 1/2 x 24 x 24 in.
Collection of the artist

Image 2/6, left
Precious Stonewall, 2014
Indian mirrored glass, wood
28 3/8 x 21 5/8 x 9 in.
Courtesy Galerie Perrotin

Image 2/6, left
Precious Stonewall, 2014
Indian mirrored glass, wood
38 5/8 x 30 1/2 x 9 in.
Courtesy Galerie Perrotin

Image 2/6, gauche
Precious Stonewall, 2012
Indian mirrored glass, wood
29 7/8 x 21 5/8 x 8 5/8 in.
Courtesy Galerie Perrotin

Image 2/6, center
L'Hermaphrodite, 1993
Molded sulphur, snail shells
Variables dimensions
Collection Musée d'art moderne de Saint Etienne

Image 2/6, right
La Mandorle d'or, 2014
Murano glass, gold leaf, metal
59 x 23 5/8 x 5 7/8 in.
Courtesy Galerie Perrotin

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

Image 3/6, center
Blackstone, 2014
Obsidian
33 1/2 x 23 5/8 x 17 3/4 in.
Courtesy Galerie Perrotin

Image 3/6, right
Amant Suspendu, 2014
Murano glass, steel
26 x 5 7/8 x 5 7/8 in.
Courtesy Galerie Perrotin

Image 5/6
La Croix d’or, 2014
Murano glass beads, steel, golden leave
38 1/4 x 24 3/8 x 7 7/8 in.
Private collection

Image 6/6, left
Vierge de douleur, 1990
Wax, sulphur, plaster, phosphorus painting, star, clown nose, glass heart
47 1/4 x 47 1/4 x 5 7/8 in.
Private collection

Image 6/6, right
Le Glyphe des Anges, 2002
Framed watercolors on paper
14 1/8 x 18 1/8 x 1 3/8 in.
Collection of the artist

In 2010, Cézanne's studio in Aix-en-Provence, in the south of France, invited three contemporary sculptors working on volume and matter, to create works in the historic studio of this great artist who radically changed the course of art history. Jean-François Coadou, Vincent Beaurin and Jean-Michel Othoniel paid tribute to this painter, who initiated an artistic revolution in the twentieth century.

The artworks presenting by Othoniel, two sculptures named La Rose des vents and La Rose des sables, are both studies for a public commission for the Cité Beisson in Aix-en-Provence, La Rose des vents, a monumental sculpture that shifts as the wind passes through its golden blades.

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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

Right
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