Lives and works in Cotonou and Hamburg\u003C/p>",[667],{"id":668,"url":669,"jpg16":670,"jpg800":671,"jpg1600":672,"jpg2400":673,"jpg3200":674,"alt":420,"title":675,"width":676,"height":677,"caption":420,"mobile":678,"__typename":679},"272650","https://dev-admin.mennour.com/uploads/img/2024-Portrait-Georges-Adeagbo-Photo.-Archives-mennour.jpg","mCH2N9_3_M9F#jRh00t5MwIUIoaext_3_3s:tRtRD$9FIpE1MyoJ","https://dev-admin.mennour.com/uploads/img/_jpg800/2024-Portrait-Georges-Adeagbo-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/2024-Portrait-Georges-Adeagbo-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/2024-Portrait-Georges-Adeagbo-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/2024-Portrait-Georges-Adeagbo-Photo.-Archives-mennour.jpg","2024 Portrait Georges Adeagbo Photo Archives mennour",4082,6123,[],"images_Asset",[681],{"title":682,"slug":683,"type":684,"extra":685},"Collaboration","collaborations","artistCategory",true,"artist",{"url":688,"slug":689,"title":690,"firstName":691,"lastName":692,"customFullName":420,"tagline":693,"coverImage":694,"artistCategory":707,"type":686},"https://www.mennour.com/artist/mohammad-alfaraj","mohammad-alfaraj","Mohammad AlFaraj","Mohammad","AlFaraj","Born in 1993 in Saudi Arabia\u003Cbr />\nLives and works in Al-Ahsa, Saudi Arabia",[695],{"id":696,"url":697,"jpg16":698,"jpg800":699,"jpg1600":700,"jpg2400":701,"jpg3200":702,"alt":420,"title":703,"width":704,"height":705,"caption":420,"mobile":706,"__typename":679},"4320","https://dev-admin.mennour.com/uploads/img/d2ac0d56-8e16-45ce-90fc-f8eb496b94e5-2.jpg","nCJZ}7?_JW0OeZ..].tSElw0.9EeRPROt8RiIn~VE2Ekxus.MzM_Nxx]D%x]=|jX","https://dev-admin.mennour.com/uploads/img/_jpg800/d2ac0d56-8e16-45ce-90fc-f8eb496b94e5-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/d2ac0d56-8e16-45ce-90fc-f8eb496b94e5-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/d2ac0d56-8e16-45ce-90fc-f8eb496b94e5-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/d2ac0d56-8e16-45ce-90fc-f8eb496b94e5-2.jpg","Mohammad alfaraj",1200,1600,[],[],{"url":709,"slug":710,"title":711,"firstName":712,"lastName":713,"customFullName":420,"tagline":714,"coverImage":715,"artistCategory":728,"type":686},"https://www.mennour.com/artist/lucie-antoinette","lucie-antoinette","Lucie Antoinette","Lucie","Antoinette","Born in 1993, lives and works in Paris, France.",[716],{"id":717,"url":718,"jpg16":719,"jpg800":720,"jpg1600":721,"jpg2400":722,"jpg3200":723,"alt":420,"title":724,"width":725,"height":726,"caption":420,"mobile":727,"__typename":679},"125200","https://dev-admin.mennour.com/uploads/img/LucieBascoul_Jan_-50.jpg","W7F$684T~qSc?b?G0JM~?GD*IX%g4T?aNH0LM_w]XnIoVr%2g2IV","https://dev-admin.mennour.com/uploads/img/_jpg800/LucieBascoul_Jan_-50.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/LucieBascoul_Jan_-50.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/LucieBascoul_Jan_-50.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/LucieBascoul_Jan_-50.jpg","Lucie Bascoul Jan 50",3024,2005,[],[729],{"title":730,"slug":731,"type":684,"extra":732},"Emergence","emergence",false,{"url":734,"slug":735,"title":736,"firstName":737,"lastName":738,"customFullName":420,"tagline":420,"coverImage":739,"artistCategory":752,"type":686},"https://www.mennour.com/artist/eugène-atget","eugène-atget","Eugène Atget","Eugène","Atget",[740],{"id":741,"url":742,"jpg16":743,"jpg800":744,"jpg1600":745,"jpg2400":746,"jpg3200":747,"alt":420,"title":748,"width":749,"height":750,"caption":420,"mobile":751,"__typename":679},"272655","https://dev-admin.mennour.com/uploads/img/Atget-Eugene.jpg","n38E3tIU_3-;t7%M~qD%IU?b~WD%9FRiD%t7RjM{xuog4n%MxuIV%M%MM{xb%ME1","https://dev-admin.mennour.com/uploads/img/_jpg800/Atget-Eugene.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Atget-Eugene.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Atget-Eugene.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Atget-Eugene.jpg","Atget Eugene",1544,2000,[],[753],{"title":682,"slug":683,"type":684,"extra":685},{"url":755,"slug":756,"title":757,"firstName":758,"lastName":759,"customFullName":420,"tagline":760,"coverImage":761,"artistCategory":774,"type":686},"https://www.mennour.com/artist/neil-beloufa","neil-beloufa","Neïl Beloufa","Neïl","Beloufa","Born in 1985 in Paris, France\u003Cbr />\nLives and works in Paris, France",[762],{"id":763,"url":764,"jpg16":765,"jpg800":766,"jpg1600":767,"jpg2400":768,"jpg3200":769,"alt":420,"title":770,"width":771,"height":772,"caption":420,"mobile":773,"__typename":679},"7769","https://dev-admin.mennour.com/uploads/img/Portrait-%C2%A9Polly-Thomas.jpg","nZGuapWC%Nt7Ri?wWBozkCR*-UjZROjsofIVj[RjayxbxCayofjZkCIoWBofWBR*","https://dev-admin.mennour.com/uploads/img/_jpg800/Portrait-©Polly-Thomas.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Portrait-©Polly-Thomas.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Portrait-©Polly-Thomas.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Portrait-©Polly-Thomas.jpg","Neil beloufa",2667,4000,[],[],{"url":776,"slug":777,"title":778,"firstName":779,"lastName":780,"customFullName":420,"tagline":781,"coverImage":782,"artistCategory":795,"type":686},"https://www.mennour.com/artist/hicham-berrada","hicham-berrada","Hicham Berrada","Hicham","Berrada","Born in 1986 in Casablanca, Morocco \u003Cbr />\nLives and works in Paris and Roubaix, France",[783],{"id":784,"url":785,"jpg16":786,"jpg800":787,"jpg1600":788,"jpg2400":789,"jpg3200":790,"alt":420,"title":791,"width":792,"height":793,"caption":420,"mobile":794,"__typename":679},"8351","https://dev-admin.mennour.com/uploads/img/HICHAM_PORTRAIT%C2%A9TETARD.jpg","nqMG@loe-:%LM{~pWVR*WBWCoLoeM{V@xaofj]j[a}j[ayaxt6oeWBayfRayWVfQ","https://dev-admin.mennour.com/uploads/img/_jpg800/HICHAM_PORTRAIT©TETARD.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/HICHAM_PORTRAIT©TETARD.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/HICHAM_PORTRAIT©TETARD.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/HICHAM_PORTRAIT©TETARD.jpg","4 S9 A5796",2606,3475,[],[],{"url":797,"slug":798,"title":799,"firstName":800,"lastName":801,"customFullName":420,"tagline":802,"coverImage":803,"artistCategory":815,"type":686},"https://www.mennour.com/artist/mohamed-bourouissa","mohamed-bourouissa","Mohamed Bourouissa","Mohamed","Bourouissa","\u003Cp>Born in 1978 in Blida, Algeria\u003Cbr />Lives and works in Paris, France\u003C/p>",[804],{"id":805,"url":806,"jpg16":807,"jpg800":808,"jpg1600":809,"jpg2400":810,"jpg3200":811,"alt":420,"title":812,"width":813,"height":750,"caption":420,"mobile":814,"__typename":679},"288154","https://dev-admin.mennour.com/uploads/img/230724_NA_MB_06_0474_1.jpg","npI|ICuO=|%M%M}[pIozxGS3RPWBS#aKRPWBj[f+WBnixuofWVbboJoLj[bIkCae","https://dev-admin.mennour.com/uploads/img/_jpg800/230724_NA_MB_06_0474_1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/230724_NA_MB_06_0474_1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/230724_NA_MB_06_0474_1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/230724_NA_MB_06_0474_1.jpg","230724 NA MB 06 0474 1",1500,[],[],{"url":817,"slug":818,"title":819,"firstName":820,"lastName":821,"customFullName":420,"tagline":822,"coverImage":823,"artistCategory":836,"type":686},"https://www.mennour.com/artist/marie-bovo","marie-bovo","Marie Bovo","Marie","Bovo","Born in 1967 in Alicante, Spain\u003Cbr />\nLives and works in Marseille, France",[824],{"id":825,"url":826,"jpg16":827,"jpg800":828,"jpg1600":829,"jpg2400":830,"jpg3200":831,"alt":420,"title":832,"width":833,"height":834,"caption":420,"mobile":835,"__typename":679},"4326","https://dev-admin.mennour.com/uploads/img/4S9A7589.jpg","WgJ8Lvxt?ct7IAoL~qogogs:RiaykDt8t6RjozM{M{ayRjoeflay","https://dev-admin.mennour.com/uploads/img/_jpg800/4S9A7589.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/4S9A7589.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/4S9A7589.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/4S9A7589.jpg","Marie bovo",5760,3840,[],[],{"url":838,"slug":839,"title":840,"firstName":841,"lastName":842,"customFullName":420,"tagline":843,"coverImage":844,"artistCategory":857,"type":686},"https://www.mennour.com/artist/daniel-buren","daniel-buren","Daniel Buren","Daniel","Buren","\u003Cp>Born in 1938 in Boulogne-Billancourt, France\u003Cbr />Lives and works \u003Ci>in situ\u003C/i>\u003C/p>",[845],{"id":846,"url":847,"jpg16":848,"jpg800":849,"jpg1600":850,"jpg2400":851,"jpg3200":852,"alt":420,"title":853,"width":854,"height":855,"caption":420,"mobile":856,"__typename":679},"4328","https://dev-admin.mennour.com/uploads/img/Daniel-Buren-EMMA-2022-%C2%A9Ari-Karttunen-EMMA-Espoo-Museum-of-art-0313.jpg","nKDcU7~o-.tRkq?ut1si%Kt7MhMzn4bFWUIcT2bfJEN{M|o|%Mt6oL=X-5xswbn#","https://dev-admin.mennour.com/uploads/img/_jpg800/Daniel-Buren-EMMA-2022-©Ari-Karttunen-EMMA-Espoo-Museum-of-art-0313.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Daniel-Buren-EMMA-2022-©Ari-Karttunen-EMMA-Espoo-Museum-of-art-0313.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Daniel-Buren-EMMA-2022-©Ari-Karttunen-EMMA-Espoo-Museum-of-art-0313.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Daniel-Buren-EMMA-2022-©Ari-Karttunen-EMMA-Espoo-Museum-of-art-0313.jpg","Daniel buren",2134,3200,[],[],{"url":859,"slug":860,"title":861,"firstName":862,"lastName":863,"customFullName":420,"tagline":864,"coverImage":865,"artistCategory":878,"type":686},"https://www.mennour.com/artist/haguette-caland","haguette-caland","Huguette Caland","Huguette","Caland","\u003Cp>Born in 1931 in Beirut, Lebanon\u003Cbr />Died in 2019 in Beirut\u003C/p>",[866],{"id":867,"url":868,"jpg16":869,"jpg800":870,"jpg1600":871,"jpg2400":872,"jpg3200":873,"alt":420,"title":874,"width":875,"height":876,"caption":420,"mobile":877,"__typename":679},"138260","https://dev-admin.mennour.com/uploads/img/Huguette-Photo-by-Jacques-Prayertiff.jpg","fWNTwJof~qM{ayxt-;Rjj]ofRjofxuWBRjxtofWBs:fQWVWBRjj[xujtWBt7ofof","https://dev-admin.mennour.com/uploads/img/_jpg800/Huguette-Photo-by-Jacques-Prayertiff.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Huguette-Photo-by-Jacques-Prayertiff.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Huguette-Photo-by-Jacques-Prayertiff.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Huguette-Photo-by-Jacques-Prayertiff.jpg","Huguette Photo by Jacques Prayertiff",542,375,[],[879],{"title":682,"slug":683,"type":684,"extra":685},{"url":881,"slug":882,"title":883,"firstName":737,"lastName":884,"customFullName":420,"tagline":885,"coverImage":886,"artistCategory":899,"type":686},"https://www.mennour.com/artist/eugene-carriere","eugene-carriere","Eugène Carrière","Carrière","Born in 1849 in Gournay-sur-Marne, France\u003Cbr />\nDied in 1906 in Paris, France",[887],{"id":888,"url":889,"jpg16":890,"jpg800":891,"jpg1600":892,"jpg2400":893,"jpg3200":894,"alt":420,"title":895,"width":896,"height":897,"caption":420,"mobile":898,"__typename":679},"4332","https://dev-admin.mennour.com/uploads/img/portrait-CARRIERE.jpg","n3ATi%9F01-;00xu_3xuM{M{_2~q9F%M-;a{9Goe?bfQ~pM{Rj%Mt700ofay-;%M","https://dev-admin.mennour.com/uploads/img/_jpg800/portrait-CARRIERE.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/portrait-CARRIERE.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/portrait-CARRIERE.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/portrait-CARRIERE.jpg","Eugene carriere",3071,4016,[],[900],{"title":901,"slug":902,"type":684,"extra":732},"Estates","estates",{"url":904,"slug":905,"title":906,"firstName":907,"lastName":908,"customFullName":420,"tagline":909,"coverImage":910,"artistCategory":921,"type":686},"https://www.mennour.com/artist/valentin-carron","valentin-carron","Valentin Carron","Valentin","Carron","Born in 1977 in Martigny, Switzerland\u003Cbr />\nLives and works there",[911],{"id":912,"url":913,"jpg16":914,"jpg800":915,"jpg1600":916,"jpg2400":917,"jpg3200":918,"alt":420,"title":919,"width":750,"height":771,"caption":420,"mobile":920,"__typename":679},"4334","https://dev-admin.mennour.com/uploads/img/KamelMennour-ValentinCarron-portraits-JulienGremaud-074-web.jpg","nTL;dF-=%N%MD*~qt7M|t8ae?Ht8IUWAxuxuWBWAV@WBR*j]ofofj[Rjofxut7kC","https://dev-admin.mennour.com/uploads/img/_jpg800/KamelMennour-ValentinCarron-portraits-JulienGremaud-074-web.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/KamelMennour-ValentinCarron-portraits-JulienGremaud-074-web.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/KamelMennour-ValentinCarron-portraits-JulienGremaud-074-web.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/KamelMennour-ValentinCarron-portraits-JulienGremaud-074-web.jpg","Valentin carron",[],[],{"url":923,"slug":924,"title":925,"firstName":926,"lastName":927,"customFullName":420,"tagline":928,"coverImage":929,"artistCategory":942,"type":686},"https://www.mennour.com/artist/ymane-chabi-gara","ymane-chabi-gara","Ymane Chabi-Gara","Ymane","Chabi-Gara","Born in 1986 in Paris, France\u003Cbr />\nLives and works in Montreuil, France",[930],{"id":931,"url":932,"jpg16":933,"jpg800":934,"jpg1600":935,"jpg2400":936,"jpg3200":937,"alt":420,"title":938,"width":939,"height":940,"caption":420,"mobile":941,"__typename":679},"288991","https://dev-admin.mennour.com/uploads/img/Ymane-Chabi-Gara-048.jpg","fDF68^X9%Mj[9G-;~qs;%MkCt6a|?v?bIVf8tQM{8{M{xv%LWVWAtRa~a}oft7WB","https://dev-admin.mennour.com/uploads/img/_jpg800/Ymane-Chabi-Gara-048.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Ymane-Chabi-Gara-048.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Ymane-Chabi-Gara-048.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Ymane-Chabi-Gara-048.jpg","Ymane Chabi Gara 048",1920,1281,[],[],{"url":944,"slug":945,"title":946,"firstName":947,"lastName":948,"customFullName":420,"tagline":949,"coverImage":950,"artistCategory":962,"type":686},"https://www.mennour.com/artist/jean-degottex","jean-degottex","Jean Degottex","Jean","Degottex","Born in 1918 in Sathonay-Camp, France \u003Cbr />\nDied in 1988 in Paris",[951],{"id":952,"url":953,"jpg16":954,"jpg800":955,"jpg1600":956,"jpg2400":957,"jpg3200":958,"alt":420,"title":959,"width":960,"height":960,"caption":420,"mobile":961,"__typename":679},"4338","https://dev-admin.mennour.com/uploads/img/Portrait-Keiichi-Tahara.jpg","oBD,4W~qD%_2t64nD%-p?aWBoyay%MofRjt7%Mt7aya|WBWBIURkRjfjkBRjt7%Layfkayj[ofRj","https://dev-admin.mennour.com/uploads/img/_jpg800/Portrait-Keiichi-Tahara.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Portrait-Keiichi-Tahara.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Portrait-Keiichi-Tahara.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Portrait-Keiichi-Tahara.jpg","Jean degottex",2250,[],[963],{"title":901,"slug":902,"type":684,"extra":732},{"url":965,"slug":966,"title":967,"firstName":968,"lastName":969,"customFullName":420,"tagline":970,"coverImage":971,"artistCategory":984,"type":686},"https://www.mennour.com/artist/liam-everett","liam-everett","Liam Everett","Liam","Everett","Born in 1973 in Rochester, New York\u003Cbr />\nLives and works in California, USA",[972],{"id":973,"url":974,"jpg16":975,"jpg800":976,"jpg1600":977,"jpg2400":978,"jpg3200":979,"alt":420,"title":980,"width":981,"height":982,"caption":420,"mobile":983,"__typename":679},"8152","https://dev-admin.mennour.com/uploads/img/8.jpg","nkM7rxD$~qxtay?bofIURjt7%NkCM|t7R*bIazoeaxkCt8kCR*j?WBxuofWWWBf6","https://dev-admin.mennour.com/uploads/img/_jpg800/8.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/8.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/8.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/8.jpg","8",922,1382,[],[],{"url":986,"slug":987,"title":988,"firstName":989,"lastName":990,"customFullName":420,"tagline":991,"coverImage":992,"artistCategory":1005,"type":686},"https://www.mennour.com/artist/sidival-fila","sidival-fila","Sidival Fila","Sidival","Fila","Born in 1962 in the state of Parana, Brazil\u003Cbr />\nLives and works in Rome, Italy",[993],{"id":994,"url":995,"jpg16":996,"jpg800":997,"jpg1600":998,"jpg2400":999,"jpg3200":1000,"alt":420,"title":1001,"width":1002,"height":1003,"caption":420,"mobile":1004,"__typename":679},"42935","https://dev-admin.mennour.com/uploads/img/DSC2639-Recuperato.jpeg","fWHxZ*M|9F9Gt6%M~VoLRjoeRjR*%Lj?axxaRkWBt7jsoLj@j[ofozWBjZfks:oL","https://dev-admin.mennour.com/uploads/img/_jpg800/42935/DSC2639-Recuperato.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/42935/DSC2639-Recuperato.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/42935/DSC2639-Recuperato.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/42935/DSC2639-Recuperato.jpg","Sidival fila",7580,5054,[],[],{"url":1007,"slug":1008,"title":1009,"firstName":1010,"lastName":1011,"customFullName":420,"tagline":1012,"coverImage":1013,"artistCategory":1026,"type":686},"https://www.mennour.com/artist/dan-flavin","dan-flavin","Dan Flavin","Dan","Flavin","Born in 1933 in Jamaica, New York\u003Cbr />\nDan Flavin died in 1996 in Riverhead, New York",[1014],{"id":1015,"url":1016,"jpg16":1017,"jpg800":1018,"jpg1600":1019,"jpg2400":1020,"jpg3200":1021,"alt":420,"title":1022,"width":1023,"height":1024,"caption":420,"mobile":1025,"__typename":679},"270254","https://dev-admin.mennour.com/uploads/img/49717_portrait_de_l_artistedanflavin_high.jpeg","WXIhplRjj[IUof%M~qxuayxuj[RjIUxuj[ofj[WBIUt7j[Rjt7of","https://dev-admin.mennour.com/uploads/img/_jpg800/270254/49717_portrait_de_l_artistedanflavin_high.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/270254/49717_portrait_de_l_artistedanflavin_high.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/270254/49717_portrait_de_l_artistedanflavin_high.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/270254/49717_portrait_de_l_artistedanflavin_high.jpg","49717 portrait de l artistedanflavin high",3000,1888,[],[1027],{"title":682,"slug":683,"type":684,"extra":685},{"url":1029,"slug":1030,"title":1031,"firstName":1032,"lastName":1033,"customFullName":420,"tagline":1034,"coverImage":1035,"artistCategory":1048,"type":686},"https://www.mennour.com/artist/claire-fontaine","claire-fontaine","Claire Fontaine","Claire","Fontaine","Founded in 2004 in Paris\u003Cbr />\nWorks and lives in Palermo, Italy",[1036],{"id":1037,"url":1038,"jpg16":1039,"jpg800":1040,"jpg1600":1041,"jpg2400":1042,"jpg3200":1043,"alt":420,"title":1044,"width":1045,"height":1046,"caption":420,"mobile":1047,"__typename":679},"4342","https://dev-admin.mennour.com/uploads/img/1-2024-Portrait-Claire-Fontaine.-Archives-mennour.jpg","mSJ8V1%M?b%L~qRjoft6_3t7D$WBt7t7RjWCt7WAofayIoWBaeay","https://dev-admin.mennour.com/uploads/img/_jpg800/1-2024-Portrait-Claire-Fontaine.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/1-2024-Portrait-Claire-Fontaine.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/1-2024-Portrait-Claire-Fontaine.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/1-2024-Portrait-Claire-Fontaine.-Archives-mennour.jpg","Claire fontaine",939,1409,[],[],{"url":1050,"slug":1051,"title":1052,"firstName":1053,"lastName":1054,"customFullName":420,"tagline":1055,"coverImage":1056,"artistCategory":1069,"type":686},"https://www.mennour.com/artist/ryan-gander","ryan-gander","Ryan Gander","Ryan","Gander","Born in 1976 in Chester\u003Cbr />\nLives and works in London, United Kingdom",[1057],{"id":1058,"url":1059,"jpg16":1060,"jpg800":1061,"jpg1600":1062,"jpg2400":1063,"jpg3200":1064,"alt":420,"title":1065,"width":1066,"height":1067,"caption":420,"mobile":1068,"__typename":679},"4346","https://dev-admin.mennour.com/uploads/img/4S9A9540.jpg","mfFP83t7-;xu~poKkDof%1RjM{V@R*t7RPofR*oLjFaeozWBn%af","https://dev-admin.mennour.com/uploads/img/_jpg800/4S9A9540.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/4S9A9540.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/4S9A9540.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/4S9A9540.jpg","Ryan gander",940,1410,[],[],{"url":1071,"slug":1072,"title":1073,"firstName":1074,"lastName":1075,"customFullName":420,"tagline":1076,"coverImage":1077,"artistCategory":1090,"type":686},"https://www.mennour.com/artist/alberto-garcia-alix","alberto-garcia-alix","Alberto Garcia Alix","Alberto","Garcia Alix","Born in 1956 in León, Spain\u003Cbr />\nlives and works in Madrid, Spain",[1078],{"id":1079,"url":1080,"jpg16":1081,"jpg800":1082,"jpg1600":1083,"jpg2400":1084,"jpg3200":1085,"alt":420,"title":1086,"width":1087,"height":1088,"caption":420,"mobile":1089,"__typename":679},"4348","https://dev-admin.mennour.com/uploads/img/Autorretrato.-Mi-lado-femenino.-2002_2024-10-15-105642_todw.jpg","oCDl{3_3?bRjIUof~qM{RjWBM{ofD%WBoft7RjRjM{ofofofxuWBxuofM{RjofofxuayRjofayWB","https://dev-admin.mennour.com/uploads/img/_jpg800/Autorretrato.-Mi-lado-femenino.-2002_2024-10-15-105642_todw.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Autorretrato.-Mi-lado-femenino.-2002_2024-10-15-105642_todw.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Autorretrato.-Mi-lado-femenino.-2002_2024-10-15-105642_todw.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Autorretrato.-Mi-lado-femenino.-2002_2024-10-15-105642_todw.jpg","Alberto garcia alix",3080,3126,[],[],{"url":1092,"slug":1093,"title":1094,"firstName":1074,"lastName":1095,"customFullName":420,"tagline":1096,"coverImage":1097,"artistCategory":1110,"type":686},"https://www.mennour.com/artist/alberto-giacometti","alberto-giacometti","Alberto Giacometti","Giacometti","Born in 1901 in Borgonovo, Switzerland \u003Cbr />\nDied in 1966 in Chur, Switzerland",[1098],{"id":1099,"url":1100,"jpg16":1101,"jpg800":1102,"jpg1600":1103,"jpg2400":1104,"jpg3200":1105,"alt":420,"title":1106,"width":1107,"height":1108,"caption":420,"mobile":1109,"__typename":679},"7786","https://dev-admin.mennour.com/uploads/img/1957-Isaku-Yanaihara-Alberto-Giacometti-travaillant-dans-son-atelier-2003-3382-coll.-Fondation-Giacometti-Paris.jpg","nDI#x_009F?bxu~qt7xuIURj00%M-;M{M{D%xuRjt7WBxuxuM{M{%Mt7IU%MxuM{","https://dev-admin.mennour.com/uploads/img/_jpg800/1957-Isaku-Yanaihara-Alberto-Giacometti-travaillant-dans-son-atelier-2003-3382-coll.-Fondation-Giacometti-Paris.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/1957-Isaku-Yanaihara-Alberto-Giacometti-travaillant-dans-son-atelier-2003-3382-coll.-Fondation-Giacometti-Paris.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/1957-Isaku-Yanaihara-Alberto-Giacometti-travaillant-dans-son-atelier-2003-3382-coll.-Fondation-Giacometti-Paris.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/1957-Isaku-Yanaihara-Alberto-Giacometti-travaillant-dans-son-atelier-2003-3382-coll.-Fondation-Giacometti-Paris.jpg","Alberto giacometti",2340,3438,[],[1111],{"title":901,"slug":902,"type":684,"extra":732},{"url":1113,"slug":1114,"title":1115,"firstName":1116,"lastName":1117,"customFullName":420,"tagline":1118,"coverImage":1119,"artistCategory":1132,"type":686},"https://www.mennour.com/artist/douglas-gordon","douglas-gordon","Douglas Gordon","Douglas","Gordon","Born in 1966 in Glasgow, Scotland\u003Cbr />\nLives and works in Berlin, Glasgow and Paris",[1120],{"id":1121,"url":1122,"jpg16":1123,"jpg800":1124,"jpg1600":1125,"jpg2400":1126,"jpg3200":1127,"alt":420,"title":1128,"width":1129,"height":1130,"caption":420,"mobile":1131,"__typename":679},"4350","https://dev-admin.mennour.com/uploads/img/2019-06-05-15.00.56.jpg","feMQq+Rj-pRjIUxu~qRjIUofozWBxaayRjkCogWBofj@t6WBWBj[j[ayj[fjWCfQ","https://dev-admin.mennour.com/uploads/img/_jpg800/2019-06-05-15.00.56.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/2019-06-05-15.00.56.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/2019-06-05-15.00.56.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/2019-06-05-15.00.56.jpg","Douglas gordon",3046,2400,[],[],{"url":1134,"slug":1135,"title":1136,"firstName":1137,"lastName":1138,"customFullName":420,"tagline":1139,"coverImage":1140,"artistCategory":1153,"type":686},"https://www.mennour.com/artist/dhewadi-hadjab","dhewadi-hadjab","Dhewadi Hadjab","Dhewadi","Hadjab","Born in 1992 in M’Sila, Algeria\u003Cbr />\nLives and works in Paris, France",[1141],{"id":1142,"url":1143,"jpg16":1144,"jpg800":1145,"jpg1600":1146,"jpg2400":1147,"jpg3200":1148,"alt":420,"title":1149,"width":1150,"height":1151,"caption":420,"mobile":1152,"__typename":679},"289052","https://dev-admin.mennour.com/uploads/img/3-2024-Portrait-Dhewadi-Hadjab-Photo.-Archives-mennour.jpg","nZK_B[D%_2t7D%~qt7WBofj[jrRjIUWBxuNGIUWBofWBM{RjogayWBRkWCt7ayRj","https://dev-admin.mennour.com/uploads/img/_jpg800/3-2024-Portrait-Dhewadi-Hadjab-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/3-2024-Portrait-Dhewadi-Hadjab-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/3-2024-Portrait-Dhewadi-Hadjab-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/3-2024-Portrait-Dhewadi-Hadjab-Photo.-Archives-mennour.jpg","3 2024 Portrait Dhewadi Hadjab Photo Archives mennour",3571,4762,[],[],{"url":1155,"slug":1156,"title":1157,"firstName":1158,"lastName":1159,"customFullName":420,"tagline":1160,"coverImage":1161,"artistCategory":1174,"type":686},"https://www.mennour.com/artist/petrit-halilaj","petrit-halilaj","Petrit Halilaj","Petrit","Halilaj","Born in 1986 in Kostërrc, Kosovo\u003Cbr />\nLives and works between Germany, Kosovo, and Italy",[1162],{"id":1163,"url":1164,"jpg16":1165,"jpg800":1166,"jpg1600":1167,"jpg2400":1168,"jpg3200":1169,"alt":420,"title":1170,"width":1171,"height":1172,"caption":420,"mobile":1173,"__typename":679},"8289","https://dev-admin.mennour.com/uploads/img/MT_PETRIT-HALILAJ_David-Cruz-Puebla-small.jpg","nHM%ZPtTt8-pE100NIWnn~M}=;WCM|s.kC~q%MM{ogt7NfxuxZW=RjM^NG%2RjNG","https://dev-admin.mennour.com/uploads/img/_jpg800/MT_PETRIT-HALILAJ_David-Cruz-Puebla-small.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/MT_PETRIT-HALILAJ_David-Cruz-Puebla-small.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/MT_PETRIT-HALILAJ_David-Cruz-Puebla-small.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/MT_PETRIT-HALILAJ_David-Cruz-Puebla-small.jpg","MT PETRIT HALILAJ David Cruz Puebla small",1000,1477,[],[],{"url":1176,"slug":1177,"title":1178,"firstName":1179,"lastName":1180,"customFullName":420,"tagline":420,"coverImage":1181,"artistCategory":1194,"type":686},"https://www.mennour.com/artist/heidsieck-bernard","heidsieck-bernard","Bernard Heidsieck","Bernard","Heidsieck",[1182],{"id":1183,"url":1184,"jpg16":1185,"jpg800":1186,"jpg1600":1187,"jpg2400":1188,"jpg3200":1189,"alt":420,"title":1190,"width":1191,"height":1192,"caption":420,"mobile":1193,"__typename":679},"269609","https://dev-admin.mennour.com/uploads/img/ob_9cd4b7_mlp051138.jpg","msHLl1%M%Mxu~qt7ofayj[WBM{WBRjj[RjofofayWBayxuj[ayay","https://dev-admin.mennour.com/uploads/img/_jpg800/ob_9cd4b7_mlp051138.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/ob_9cd4b7_mlp051138.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/ob_9cd4b7_mlp051138.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/ob_9cd4b7_mlp051138.jpg","Ob 9cd4b7 mlp051138",682,1024,[],[1195],{"title":682,"slug":683,"type":684,"extra":685},{"url":1197,"slug":1198,"title":1199,"firstName":1200,"lastName":1201,"customFullName":420,"tagline":1202,"coverImage":1203,"artistCategory":1216,"type":686},"https://www.mennour.com/artist/camille-henrot","camille-henrot","Camille Henrot","Camille","Henrot","Born in 1978 in Paris, France\u003Cbr />\nLives and works in New York, United States",[1204],{"id":1205,"url":1206,"jpg16":1207,"jpg800":1208,"jpg1600":1209,"jpg2400":1210,"jpg3200":1211,"alt":420,"title":1212,"width":1213,"height":1214,"caption":420,"mobile":1215,"__typename":679},"4354","https://dev-admin.mennour.com/uploads/img/camille-henrot-josep-fonti-2019_146_2024-04-10-130937_ieba.jpg","WBHLr7Dh*0={IV.9%#IA?uSi%#-o0LkXMdIU?uoy4:i^-;S5xt%g","https://dev-admin.mennour.com/uploads/img/_jpg800/camille-henrot-josep-fonti-2019_146_2024-04-10-130937_ieba.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/camille-henrot-josep-fonti-2019_146_2024-04-10-130937_ieba.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/camille-henrot-josep-fonti-2019_146_2024-04-10-130937_ieba.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/camille-henrot-josep-fonti-2019_146_2024-04-10-130937_ieba.jpg","Camille henrot",5102,3401,[],[],{"url":1218,"slug":1219,"title":1220,"firstName":1221,"lastName":1222,"customFullName":420,"tagline":1223,"coverImage":1224,"artistCategory":1236,"type":686},"https://www.mennour.com/artist/david-hominal","david-hominal","David Hominal","David","Hominal","Born in 1976 in France\u003Cbr />\nLives and works in Berlin, Germany",[1225],{"id":1226,"url":1227,"jpg16":1228,"jpg800":1229,"jpg1600":1230,"jpg2400":1231,"jpg3200":1232,"alt":420,"title":1233,"width":1234,"height":750,"caption":420,"mobile":1235,"__typename":679},"8409","https://dev-admin.mennour.com/uploads/img/Portrait-c-Alexandra-Khazina-small.jpg","mIH2G*-po|_N~pRiIUoeRjIpxvMxM|kD?Gj[oNIAWAt7ozR+xaa#","https://dev-admin.mennour.com/uploads/img/_jpg800/Portrait-c-Alexandra-Khazina-small.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Portrait-c-Alexandra-Khazina-small.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Portrait-c-Alexandra-Khazina-small.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Portrait-c-Alexandra-Khazina-small.jpg","Portrait c Alexandra Khazina small",1125,[],[],{"url":1238,"slug":1239,"title":1240,"firstName":1241,"lastName":1242,"customFullName":1240,"tagline":1243,"coverImage":1244,"artistCategory":1257,"type":686},"https://www.mennour.com/artist/huang-yong-ping","huang-yong-ping","Huang Yong Ping","Yong Ping","Huang","Born in 1954 in Xiamen, China\u003Cbr />\nLived in Paris until his death in 2019",[1245],{"id":1246,"url":1247,"jpg16":1248,"jpg800":1249,"jpg1600":1250,"jpg2400":1251,"jpg3200":1252,"alt":420,"title":1253,"width":1254,"height":1255,"caption":420,"mobile":1256,"__typename":679},"138521","https://dev-admin.mennour.com/uploads/img/HYP-in-Grand-Palais-Paris-2016-Photo.-Archives-Mennour.jpg","o7DcXTM{-;D%00t7~qxu00t7t7ofIU-;D%%M%MM{M{IU_3M{WBay4nRj-;RjIUt700%MxuRjt7WB","https://dev-admin.mennour.com/uploads/img/_jpg800/HYP-in-Grand-Palais-Paris-2016-Photo.-Archives-Mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/HYP-in-Grand-Palais-Paris-2016-Photo.-Archives-Mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/HYP-in-Grand-Palais-Paris-2016-Photo.-Archives-Mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/HYP-in-Grand-Palais-Paris-2016-Photo.-Archives-Mennour.jpg","HYP in Grand Palais Paris 2016 Photo Archives Mennour",1151,1328,[],[1258],{"title":901,"slug":902,"type":684,"extra":732},{"url":1260,"slug":1261,"title":1262,"firstName":1263,"lastName":1264,"customFullName":420,"tagline":1265,"coverImage":1266,"artistCategory":1279,"type":686},"https://www.mennour.com/artist/elizabeth-jaeger","elizabeth-jaeger","Elizabeth Jaeger","Elizabeth","Jaeger","Born in 1988 in San Francisco, USA\u003Cbr />\nLives and works in New York, USA",[1267],{"id":1268,"url":1269,"jpg16":1270,"jpg800":1271,"jpg1600":1272,"jpg2400":1273,"jpg3200":1274,"alt":420,"title":1275,"width":1276,"height":1277,"caption":420,"mobile":1278,"__typename":679},"8217","https://dev-admin.mennour.com/uploads/img/Photo-Credit.Qiaosen-Yang-02.JPG","mPHed.Di-;~q?bIUt7NH-pxuM{jY-;t7V@t7_3V@xaof-;Rjt7oe","https://dev-admin.mennour.com/uploads/img/_jpg800/8217/Photo-Credit.Qiaosen-Yang-02.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/8217/Photo-Credit.Qiaosen-Yang-02.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/8217/Photo-Credit.Qiaosen-Yang-02.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/8217/Photo-Credit.Qiaosen-Yang-02.jpg","Photo Credit Qiaosen Yang 02",3712,5568,[],[],{"url":1281,"slug":1282,"title":1283,"firstName":1284,"lastName":1285,"customFullName":420,"tagline":1286,"coverImage":1287,"artistCategory":1299,"type":686},"https://www.mennour.com/artist/cameron-jamie","cameron-jamie","Cameron Jamie","Cameron","Jamie","Born 1969 in Los Angeles, United States\u003Cbr />\nLives and works in Paris, France",[1288],{"id":1289,"url":1290,"jpg16":1291,"jpg800":1292,"jpg1600":1293,"jpg2400":1294,"jpg3200":1295,"alt":420,"title":1296,"width":1297,"height":1297,"caption":420,"mobile":1298,"__typename":679},"295094","https://dev-admin.mennour.com/uploads/img/MGL7314_%C2%A9SilvioWaser.jpeg","o6J8Y6A8~p_300IU00x]ImI-~qs=00s=_3oNouoyr#9G_3%g00D~^,xc00t8%1t7_4%MIVRW^,s;","https://dev-admin.mennour.com/uploads/img/_jpg800/295094/MGL7314_©SilvioWaser.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/295094/MGL7314_©SilvioWaser.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/295094/MGL7314_©SilvioWaser.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/295094/MGL7314_©SilvioWaser.jpg","MGL7314 Silvio Waser",1772,[],[],{"url":1301,"slug":1302,"title":1303,"firstName":1304,"lastName":1305,"customFullName":420,"tagline":1306,"coverImage":1307,"artistCategory":1320,"type":686},"https://www.mennour.com/artist/ann-veronica-janssens","ann-veronica-janssens","Ann Veronica Janssens","Ann Veronica","Janssens","Born in 1956 in Folkestone, United Kingdom\u003Cbr />\nLives and works in Brussels, Belgium",[1308],{"id":1309,"url":1310,"jpg16":1311,"jpg800":1312,"jpg1600":1313,"jpg2400":1314,"jpg3200":1315,"alt":420,"title":1316,"width":1317,"height":1318,"caption":420,"mobile":1319,"__typename":679},"8343","https://dev-admin.mennour.com/uploads/img/Portrait-2-%C2%A9-Colombe-Clier-Centre-des-monuments-nationaux.jpg","nAE.%}?b0000010L~pD%4.oJs79GIWoL?a?ct7xZxuR+01RjxuxuWBWBR*WDRjjY","https://dev-admin.mennour.com/uploads/img/_jpg800/Portrait-2-©-Colombe-Clier-Centre-des-monuments-nationaux.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Portrait-2-©-Colombe-Clier-Centre-des-monuments-nationaux.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Portrait-2-©-Colombe-Clier-Centre-des-monuments-nationaux.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Portrait-2-©-Colombe-Clier-Centre-des-monuments-nationaux.jpg","Portrait 2 Colombe Clier Centre des monuments nationaux",4004,6000,[],[],{"url":1322,"slug":1323,"title":1324,"firstName":1325,"lastName":1326,"customFullName":420,"tagline":1327,"coverImage":1328,"artistCategory":1341,"type":686},"https://www.mennour.com/artist/nina-jayasuriya","nina-jayasuriya","Nina Jayasuriya","Nina","Jayasuriya","Born in 1996 in Paris, France\u003Cbr />\nLives and works between Paris and Sri Lanka",[1329],{"id":1330,"url":1331,"jpg16":1332,"jpg800":1333,"jpg1600":1334,"jpg2400":1335,"jpg3200":1336,"alt":420,"title":1337,"width":1338,"height":1339,"caption":420,"mobile":1340,"__typename":679},"294769","https://dev-admin.mennour.com/uploads/img/Nina-Jayasuriya-Portrait-1_2025-02-20-134956_ayuh.jpeg","m8CPhY~q.S~W~p-pE2D*-pRP4.4oXA9aV@s.9uIonNslIpV?VsRj","https://dev-admin.mennour.com/uploads/img/_jpg800/294769/Nina-Jayasuriya-Portrait-1_2025-02-20-134956_ayuh.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/294769/Nina-Jayasuriya-Portrait-1_2025-02-20-134956_ayuh.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/294769/Nina-Jayasuriya-Portrait-1_2025-02-20-134956_ayuh.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/294769/Nina-Jayasuriya-Portrait-1_2025-02-20-134956_ayuh.jpg","Nina Jayasuriya Portrait 1",3456,5184,[],[1342],{"title":730,"slug":731,"type":684,"extra":732},{"url":1344,"slug":1345,"title":1346,"firstName":1347,"lastName":1348,"customFullName":420,"tagline":1349,"coverImage":1350,"artistCategory":1362,"type":686},"https://www.mennour.com/artist/anish-kapoor","anish-kapoor","Anish Kapoor","Anish","Kapoor","Born in 1954 in Bombay, India\u003Cbr />\nLives and works in London, England",[1351],{"id":1352,"url":1353,"jpg16":1354,"jpg800":1355,"jpg1600":1356,"jpg2400":1357,"jpg3200":1358,"alt":420,"title":1359,"width":1360,"height":939,"caption":420,"mobile":1361,"__typename":679},"4382","https://dev-admin.mennour.com/uploads/img/Photographs-by-Alex-Majoli-Magnum-for-The-New-Yorker-Art-works-%C2%A9-Anish-Kapoor-ARS.jpg","fG9@VE4oRk%MRPaz~q8_Mx%Mt6t7-;ocM{oyofRPM|ogM{WCxuj@WBt7ofRjj[j?","https://dev-admin.mennour.com/uploads/img/_jpg800/Photographs-by-Alex-Majoli-Magnum-for-The-New-Yorker-Art-works-©-Anish-Kapoor-ARS.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Photographs-by-Alex-Majoli-Magnum-for-The-New-Yorker-Art-works-©-Anish-Kapoor-ARS.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Photographs-by-Alex-Majoli-Magnum-for-The-New-Yorker-Art-works-©-Anish-Kapoor-ARS.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Photographs-by-Alex-Majoli-Magnum-for-The-New-Yorker-Art-works-©-Anish-Kapoor-ARS.jpg","Anish kapoor",2560,[],[],{"url":1364,"slug":1365,"title":1366,"firstName":1367,"lastName":1368,"customFullName":420,"tagline":1369,"coverImage":1370,"artistCategory":1383,"type":686},"https://www.mennour.com/artist/tadashi-kawamata","tadashi-kawamata","Tadashi Kawamata","Tadashi","Kawamata","Born in 1953 in Hokkaidō, Japan\u003Cbr />\nLives and works in Tokyo and Paris",[1371],{"id":1372,"url":1373,"jpg16":1374,"jpg800":1375,"jpg1600":1376,"jpg2400":1377,"jpg3200":1378,"alt":420,"title":1379,"width":1380,"height":1381,"caption":420,"mobile":1382,"__typename":679},"4384","https://dev-admin.mennour.com/uploads/img/2023-Portrait-TK-couleur-Photo.-Archives-mennour.jpg","mIDc2S00_ND%^+00-=IU_49Fx]j@NHkBs.t7Ipt7VsxuRls:t7fk","https://dev-admin.mennour.com/uploads/img/_jpg800/2023-Portrait-TK-couleur-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/2023-Portrait-TK-couleur-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/2023-Portrait-TK-couleur-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/2023-Portrait-TK-couleur-Photo.-Archives-mennour.jpg","Tadashi kawamata",980,1470,[],[],{"url":1385,"slug":1386,"title":1387,"firstName":1388,"lastName":1389,"customFullName":420,"tagline":1390,"coverImage":1391,"artistCategory":1404,"type":686},"https://www.mennour.com/artist/idris-khan","idris-khan","Idris Khan","Idris","Khan","Born in 1978 in Birmingham, United Kingdom\u003Cbr />\nLives and works in London",[1392],{"id":1393,"url":1394,"jpg16":1395,"jpg800":1396,"jpg1600":1397,"jpg2400":1398,"jpg3200":1399,"alt":420,"title":1400,"width":1401,"height":1402,"caption":420,"mobile":1403,"__typename":679},"4386","https://dev-admin.mennour.com/uploads/img/idris-2-copy-Cr%C3%A9dit-Steven-White-and-Company.jpg","nPLW*BD%-p%1rp~VELbw-p%0W-IUIp$zxGIURPofr=oMRjDibFRko|IUIAs+Rkxt","https://dev-admin.mennour.com/uploads/img/_jpg800/idris-2-copy-Crédit-Steven-White-and-Company.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/idris-2-copy-Crédit-Steven-White-and-Company.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/idris-2-copy-Crédit-Steven-White-and-Company.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/idris-2-copy-Crédit-Steven-White-and-Company.jpg","Idris khan",4368,5824,[],[],{"url":1406,"slug":1407,"title":1408,"firstName":1409,"lastName":1410,"customFullName":420,"tagline":1411,"coverImage":1412,"artistCategory":1425,"type":686},"https://www.mennour.com/artist/alicja-kwade","alicja-kwade","Alicja Kwade","Alicja","Kwade","Born in 1979 in Katowice, Poland\u003Cbr />\nLives and works in Berlin, Germany",[1413],{"id":1414,"url":1415,"jpg16":1416,"jpg800":1417,"jpg1600":1418,"jpg2400":1419,"jpg3200":1420,"alt":420,"title":1421,"width":1422,"height":1423,"caption":420,"mobile":1424,"__typename":679},"8126","https://dev-admin.mennour.com/uploads/img/2017-%C2%A9Luise-M%C3%BCller-Hofstege.jpeg","nKC?v1RPyDof%2~qWBIUa|RPR-xuaKozWBIpoexuWVbbadj[t7j@WBs-WCR*j[ae","https://dev-admin.mennour.com/uploads/img/_jpg800/8126/2017-©Luise-Müller-Hofstege.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/8126/2017-©Luise-Müller-Hofstege.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/8126/2017-©Luise-Müller-Hofstege.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/8126/2017-©Luise-Müller-Hofstege.jpg","4 S9 A9350",3543,5308,[],[],{"url":1427,"slug":1428,"title":1429,"firstName":1430,"lastName":1431,"customFullName":420,"tagline":420,"coverImage":1432,"artistCategory":1445,"type":686},"https://www.mennour.com/artist/françois-xavier-lalanne","françois-xavier-lalanne","François-Xavier Lalanne","François-Xavier","Lalanne",[1433],{"id":1434,"url":1435,"jpg16":1436,"jpg800":1437,"jpg1600":1438,"jpg2400":1439,"jpg3200":1440,"alt":420,"title":1441,"width":1442,"height":1443,"caption":420,"mobile":1444,"__typename":679},"269616","https://dev-admin.mennour.com/uploads/img/Lalanne-Hero-Option-1.jpg","WeJkl#4nj[xuRjM{~qWBWBofWBM{t7t7RjWBt7WBt7j[Rjayofof","https://dev-admin.mennour.com/uploads/img/_jpg800/Lalanne-Hero-Option-1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Lalanne-Hero-Option-1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Lalanne-Hero-Option-1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Lalanne-Hero-Option-1.jpg","Lalanne Hero Option 1",2650,1650,[],[1446],{"title":682,"slug":683,"type":684,"extra":685},{"url":1448,"slug":1449,"title":1450,"firstName":1451,"lastName":1452,"customFullName":420,"tagline":1453,"coverImage":1454,"artistCategory":1466,"type":686},"https://www.mennour.com/artist/bertrand-lavier","bertrand-lavier","Bertrand Lavier","Bertrand","Lavier","Born in 1949 in Châtillon sur Seine, France\u003Cbr />\nLives and works between Paris and Aignay‐le‐Duc, France",[1455],{"id":1456,"url":1457,"jpg16":1458,"jpg800":1459,"jpg1600":1460,"jpg2400":1461,"jpg3200":1462,"alt":420,"title":1463,"width":1381,"height":1380,"caption":1464,"mobile":1465,"__typename":679},"7995","https://dev-admin.mennour.com/uploads/img/4S9A1841.jpg","WOJ89O00?Es,D*Ne~TtSI=S5s;axx^x^E1Rjxus:?aIUt7s:V?oe","https://dev-admin.mennour.com/uploads/img/_jpg800/4S9A1841.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/4S9A1841.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/4S9A1841.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/4S9A1841.jpg","Portrait Bertrand Lavier Photo Archives mennour","Photo. Archives Mennour",[],[],{"url":1468,"slug":1469,"title":1470,"firstName":1471,"lastName":1472,"customFullName":1470,"tagline":1473,"coverImage":1474,"artistCategory":1486,"type":686},"https://www.mennour.com/artist/lee-ufan","lee-ufan","Lee Ufan","Ufan","Lee","Born in 1936 in Haman-gun, Korea\u003Cbr />\nLives and works in Paris and Kamakura, Japan",[1475],{"id":1476,"url":1477,"jpg16":1478,"jpg800":1479,"jpg1600":1480,"jpg2400":1481,"jpg3200":1482,"alt":420,"title":1470,"width":1483,"height":1484,"caption":420,"mobile":1485,"__typename":679},"7810","https://dev-admin.mennour.com/uploads/img/1-Lee-Ufan-Photos.-archives-kamel-mennour.jpg","m+K_5u~qxuRjj@ofWBfQRjM{RjofRjj[ofayRjRjj[j[WBayoej[","https://dev-admin.mennour.com/uploads/img/_jpg800/1-Lee-Ufan-Photos.-archives-kamel-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/1-Lee-Ufan-Photos.-archives-kamel-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/1-Lee-Ufan-Photos.-archives-kamel-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/1-Lee-Ufan-Photos.-archives-kamel-mennour.jpg",3744,5616,[],[],{"url":1488,"slug":1489,"title":1490,"firstName":1491,"lastName":1492,"customFullName":420,"tagline":1493,"coverImage":1494,"artistCategory":1507,"type":686},"https://www.mennour.com/artist/matthew-lutz-kinoy","matthew-lutz-kinoy","Matthew Lutz-Kinoy","Matthew","Lutz-Kinoy","Born in 1984 in New York, United States\u003Cbr />\nLives and works in Paris, France",[1495],{"id":1496,"url":1497,"jpg16":1498,"jpg800":1499,"jpg1600":1500,"jpg2400":1501,"jpg3200":1502,"alt":420,"title":1503,"width":1504,"height":1505,"caption":420,"mobile":1506,"__typename":679},"8170","https://dev-admin.mennour.com/uploads/img/IMG_6521.jpg","fDMt2DwJ_N_NPC%g~q%gWVWZ?Hfk_NROM{x]-oR+t7E2xvnhM{xutmDiV?x]bctR","https://dev-admin.mennour.com/uploads/img/_jpg800/IMG_6521.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/IMG_6521.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/IMG_6521.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/IMG_6521.jpg","IMG 6521",1225,865,[],[],{"url":1509,"slug":1510,"title":1511,"firstName":420,"lastName":1511,"customFullName":420,"tagline":1512,"coverImage":1513,"artistCategory":1526,"type":686},"https://www.mennour.com/artist/the-estate-of-maryan","the-estate-of-maryan","Maryan","Born in 1927 in Nowy Sacz, Poland\u003Cbr />\nDied in 1977 in New York, United States",[1514],{"id":1515,"url":1516,"jpg16":1517,"jpg800":1518,"jpg1600":1519,"jpg2400":1520,"jpg3200":1521,"alt":420,"title":1522,"width":1523,"height":1524,"caption":420,"mobile":1525,"__typename":679},"7817","https://dev-admin.mennour.com/uploads/img/Maryan-in-his-New-York-Chelsea-Hotel-apartment-studio-1974.-Photo-courtesy-of-Susan-Wiley.jpg","fSF={%~qM{RjM{IUxuWBt7t7of%MWBRjoft7WBayWBWBofWBRjWBM{M{j[j[fQof","https://dev-admin.mennour.com/uploads/img/_jpg800/Maryan-in-his-New-York-Chelsea-Hotel-apartment-studio-1974.-Photo-courtesy-of-Susan-Wiley.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Maryan-in-his-New-York-Chelsea-Hotel-apartment-studio-1974.-Photo-courtesy-of-Susan-Wiley.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Maryan-in-his-New-York-Chelsea-Hotel-apartment-studio-1974.-Photo-courtesy-of-Susan-Wiley.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Maryan-in-his-New-York-Chelsea-Hotel-apartment-studio-1974.-Photo-courtesy-of-Susan-Wiley.jpg","The estate of maryan",1320,892,[],[1527],{"title":901,"slug":902,"type":684,"extra":732},{"url":1529,"slug":1530,"title":1531,"firstName":1532,"lastName":1533,"customFullName":420,"tagline":1534,"coverImage":1535,"artistCategory":1548,"type":686},"https://www.mennour.com/artist/pierre-molinier","pierre-molinier","Pierre Molinier","Pierre","Molinier","Born in Agen (France)\u003Cbr />\n1900 — 1976",[1536],{"id":1537,"url":1538,"jpg16":1539,"jpg800":1540,"jpg1600":1541,"jpg2400":1542,"jpg3200":1543,"alt":420,"title":1544,"width":1545,"height":1546,"caption":420,"mobile":1547,"__typename":679},"138528","https://dev-admin.mennour.com/uploads/img/Capture-d%E2%80%99%C3%A9cran-2024-11-21-%C3%A0-17.25.56.jpg","n89aBQj[_3j[~q?bofRjWBayD%ofayj[9Ft7ofj[t7M{%MofRjt7j[%MofWBj[ay","https://dev-admin.mennour.com/uploads/img/_jpg800/Capture-d’écran-2024-11-21-à-17.25.56.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Capture-d’écran-2024-11-21-à-17.25.56.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Capture-d’écran-2024-11-21-à-17.25.56.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Capture-d’écran-2024-11-21-à-17.25.56.jpg","Capture décran 2024 11 21 à 17 25 56",1240,1552,[],[1549],{"title":901,"slug":902,"type":684,"extra":732},{"url":1551,"slug":1552,"title":1553,"firstName":1554,"lastName":1555,"customFullName":420,"tagline":1556,"coverImage":1557,"artistCategory":1570,"type":686},"https://www.mennour.com/artist/francois-morellet","francois-morellet","François Morellet","François","Morellet","Born in 1916 in Cholet, France\u003Cbr />\nDied in 2016 in Cholet, France",[1558],{"id":1559,"url":1560,"jpg16":1561,"jpg800":1562,"jpg1600":1563,"jpg2400":1564,"jpg3200":1565,"alt":420,"title":1566,"width":1567,"height":1568,"caption":420,"mobile":1569,"__typename":679},"138510","https://dev-admin.mennour.com/uploads/img/Capture-d%E2%80%99%C3%A9cran-2024-11-21-%C3%A0-17.10.06.jpg","WcJ*uAIUxuWBRjay~qRjRjxuRjofxut7WBWBt7ofIURjxuM{ofj[","https://dev-admin.mennour.com/uploads/img/_jpg800/Capture-d’écran-2024-11-21-à-17.10.06.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Capture-d’écran-2024-11-21-à-17.10.06.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Capture-d’écran-2024-11-21-à-17.10.06.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Capture-d’écran-2024-11-21-à-17.10.06.jpg","Capture décran 2024 11 21 à 17 10 06",2364,1566,[],[1571],{"title":901,"slug":902,"type":684,"extra":732},{"url":1573,"slug":1574,"title":1575,"firstName":1576,"lastName":1577,"customFullName":420,"tagline":1578,"coverImage":1579,"artistCategory":1592,"type":686},"https://www.mennour.com/artist/louise-nevelson","louise-nevelson","Louise Nevelson","Louise","Nevelson","\u003Cp>Born in 1899 in Kiev.\u003Cbr />Died in 1988 in New York.\u003C/p>",[1580],{"id":1581,"url":1582,"jpg16":1583,"jpg800":1584,"jpg1600":1585,"jpg2400":1586,"jpg3200":1587,"alt":420,"title":1588,"width":1589,"height":1590,"caption":420,"mobile":1591,"__typename":679},"138644","https://dev-admin.mennour.com/uploads/img/Nevelson-C2-4a-1440px.jpg","n58qNg9F00?bM{00-;_3M{%M_3Rjt7D%D%9Ft7j[xuWB~qIUD%%M-;4n%MxuM{M{","https://dev-admin.mennour.com/uploads/img/_jpg800/Nevelson-C2-4a-1440px.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Nevelson-C2-4a-1440px.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Nevelson-C2-4a-1440px.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Nevelson-C2-4a-1440px.jpg","Nevelson C2 4a 1440px",972,1440,[],[1593],{"title":682,"slug":683,"type":684,"extra":685},{"url":1595,"slug":1596,"title":1597,"firstName":1598,"lastName":1599,"customFullName":420,"tagline":1600,"coverImage":1601,"artistCategory":1615,"type":686},"https://www.mennour.com/artist/christodoulos-panayiotou","christodoulos-panayiotou","Christodoulos Panayiotou","Christodoulos","Panayiotou","Born in 1978 in Limassol, Cyprus\u003Cbr />\nLives and works between Limassol and Paris",[1602],{"id":1603,"url":1604,"jpg16":1605,"jpg800":1606,"jpg1600":1607,"jpg2400":1608,"jpg3200":1609,"alt":420,"title":1610,"width":1611,"height":1612,"caption":1613,"mobile":1614,"__typename":679},"7983","https://dev-admin.mennour.com/uploads/img/Portrait-Christodoulos-Panayiotou-by-Nikita-Shubnyi.jpg","nROgB0WB.8%MD%_3j[kDofV@M{kCM{WBt7~qofMxWBt7IofQjsj[j[oMWBt7ofaz","https://dev-admin.mennour.com/uploads/img/_jpg800/Portrait-Christodoulos-Panayiotou-by-Nikita-Shubnyi.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Portrait-Christodoulos-Panayiotou-by-Nikita-Shubnyi.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Portrait-Christodoulos-Panayiotou-by-Nikita-Shubnyi.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Portrait-Christodoulos-Panayiotou-by-Nikita-Shubnyi.jpg","Portrait Christodoulos Panayiotou by Nikita Shubnyi",4784,6378,"Photo: Nikita Shubnyi",[],[],{"url":1617,"slug":1618,"title":1619,"firstName":1620,"lastName":1621,"customFullName":420,"tagline":1622,"coverImage":1623,"artistCategory":1636,"type":686},"https://www.mennour.com/artist/gina-pane","gina-pane","Gina Pane","Gina","Pane","Born in 1939 in Biarritz, France\u003Cbr />\nDied in 1990 in Paris, France",[1624],{"id":1625,"url":1626,"jpg16":1627,"jpg800":1628,"jpg1600":1629,"jpg2400":1630,"jpg3200":1631,"alt":420,"title":1632,"width":1633,"height":1634,"caption":420,"mobile":1635,"__typename":679},"138502","https://dev-admin.mennour.com/uploads/img/Capture-d%E2%80%99%C3%A9cran-2024-11-21-%C3%A0-17.15.27.jpg","WXK1%fj[9FM{t7%M%MWBj[ofWBWB~qWBt7xuRjM{9Fj[WBWBt7of","https://dev-admin.mennour.com/uploads/img/_jpg800/Capture-d’écran-2024-11-21-à-17.15.27.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Capture-d’écran-2024-11-21-à-17.15.27.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Capture-d’écran-2024-11-21-à-17.15.27.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Capture-d’écran-2024-11-21-à-17.15.27.jpg","Capture décran 2024 11 21 à 17 15 27",2740,1806,[],[1637],{"title":901,"slug":902,"type":684,"extra":732},{"url":1639,"slug":1640,"title":1641,"firstName":1642,"lastName":1643,"customFullName":420,"tagline":1644,"coverImage":1645,"artistCategory":1658,"type":686},"https://www.mennour.com/artist/philippe-parreno","philippe-parreno","Philippe Parreno","Philippe","Parreno","Born in 1964 in Oran, Algeria\u003Cbr />\nLives and works in Paris, France",[1646],{"id":1647,"url":1648,"jpg16":1649,"jpg800":1650,"jpg1600":1651,"jpg2400":1652,"jpg3200":1653,"alt":420,"title":1654,"width":1655,"height":1656,"caption":420,"mobile":1657,"__typename":679},"7830","https://dev-admin.mennour.com/uploads/img/PhilippeParreno2014PhotoCreditAndreaRossetti-imagemaitre.jpg","mMD0Z3^-.QMzbWM|X4V]4UD$IBtQaxayf6j[x]%M%Mt7Rkf$n*j[","https://dev-admin.mennour.com/uploads/img/_jpg800/PhilippeParreno2014PhotoCreditAndreaRossetti-imagemaitre.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/PhilippeParreno2014PhotoCreditAndreaRossetti-imagemaitre.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/PhilippeParreno2014PhotoCreditAndreaRossetti-imagemaitre.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/PhilippeParreno2014PhotoCreditAndreaRossetti-imagemaitre.jpg","Philippe parreno",1872,2808,[],[],{"url":1660,"slug":1661,"title":1662,"firstName":1663,"lastName":1664,"customFullName":420,"tagline":1665,"coverImage":1666,"artistCategory":1677,"type":686},"https://www.mennour.com/artist/adam-pendleton","adam-pendleton","Adam Pendleton","Adam","Pendleton","\u003Cp>Born in 1984 in Richmond, United States\u003Cbr />Lives and works in New York\u003C/p>",[1667],{"id":1668,"url":1669,"jpg16":1670,"jpg800":1671,"jpg1600":1672,"jpg2400":1673,"jpg3200":1674,"alt":420,"title":1675,"width":1023,"height":750,"caption":420,"mobile":1676,"__typename":679},"303282","https://dev-admin.mennour.com/uploads/img/Pendleton_010824_0021_Matthew-Septimus.jpg","WOKdlBIA_4-;IAt7.9MxM{ofRiof-pWVW9RjRjWBE2%MWBoftQj[","https://dev-admin.mennour.com/uploads/img/_jpg800/Pendleton_010824_0021_Matthew-Septimus.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Pendleton_010824_0021_Matthew-Septimus.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Pendleton_010824_0021_Matthew-Septimus.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Pendleton_010824_0021_Matthew-Septimus.jpg","Pendleton 010824 0021 Matthew Septimus",[],[],{"url":1679,"slug":1680,"title":1681,"firstName":1682,"lastName":1683,"customFullName":420,"tagline":1684,"coverImage":1685,"artistCategory":1698,"type":686},"https://www.mennour.com/artist/judit-reigl","judit-reigl","Judit Reigl","Judit","Reigl","Born in 1923 in Kapuvár, Hungary\u003Cbr />\nDied in 2020 in Marcoussis, 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Gegenwartsdauer","Gegenwartsdauer","https://www.mennour.com/exhibition/gegenwartsdauer",[1905],{"id":1906,"url":1907,"jpg16":1908,"jpg800":1909,"jpg1600":1910,"jpg2400":1911,"jpg3200":1912,"alt":420,"title":1902,"width":1913,"height":1422,"caption":420,"mobile":1914,"__typename":679},"38779","https://dev-admin.mennour.com/uploads/img/gegenwartsdauer.jpg","mKLXSr^*~q%M_4IpWBoe9ExuITbI4mxufRWCWVWCogae-;off6j?","https://dev-admin.mennour.com/uploads/img/_jpg800/gegenwartsdauer.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/gegenwartsdauer.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/gegenwartsdauer.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/gegenwartsdauer.jpg",2362,[],[1916],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":1921,"city":1933,"mapLocation":1935},"Mennour, 47 rue Saint-André-des-Arts","mennour-47-rue-saint-andré-des-arts","location","{\n \"html_attributions\" : [],\n 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\"OK\"\n}",[1922],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":1932,"__typename":679},"136113","https://dev-admin.mennour.com/uploads/img/1-2017-fa%C3%A7ade-47-rue-saint-andre-des-arts-Photo.-archives-kamel-mennour.jpg","obHx]IIpxUaeWYWA%%%NM_oeWERjNNt8acWBj]Rjx^xuV@WBWCf5bdxuRjayayWCtRWBofofWBj[","https://dev-admin.mennour.com/uploads/img/_jpg800/1-2017-façade-47-rue-saint-andre-des-arts-Photo.-archives-kamel-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/1-2017-façade-47-rue-saint-andre-des-arts-Photo.-archives-kamel-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/1-2017-façade-47-rue-saint-andre-des-arts-Photo.-archives-kamel-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/1-2017-façade-47-rue-saint-andre-des-arts-Photo.-archives-kamel-mennour.jpg","1 2017 façade 47 rue saint andre des arts Photo archives kamel mennour",3082,[],[1934],{"title":350,"slug":351},{"parts":1936},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[1938],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present Gegenwartsdauer, Alicja Kwade’s first solo exhibition at the gallery.\n\nThe German language has a well-known advantage: it allows infinite combinations of words to illustrate an idea that no single word can encapsulate. One of those words, which cannot be precisely translated, is Gegenwartsdauer. Its meaning is somewhere between “duration of the present” and “persistence of the moment”.\nAlicja Kwade primarily treats the term in its more scientific sense. The duration of the present is determined by international norms: it is an infinitely small fraction of a second – imperceptible and fleeting. What is before it is already the past, and what is after is still the future.\n\nThe programme of this exhibition (and there certainly is one) lies in the desire to disrupt our definitions and perceptions of reality, and more precisely, to play with the appearance and codifying of temporality.\n\nIt all begins, perhaps, with the 1930s clock on the wall (Alicja Kwade is a great collector of objects), which at first glance appears to have gone berserk, the second hand continually sticking in the same place, while the numbers keep changing places. And yet it is possible to tell the time, for those who want to see it. The object, through a transformation performed on it by the artist, offers a troubling representation of the customs and conventions of perception – one of Alicja Kwade’s many hallmarks.\n\nHow do we gain awareness of the way in which time acts? Under what conditions can we make it tangible? How do we understand its impact on the real world? Is the only solution, perhaps, to understand the impact of our reality – in particular, our construction of reality – on time?\nWith these questions, Alicja Kwade has developed a new form: 15.02.13, the portrait of a single moment on a special day. Taking the questions of values and the weight of collective decisions as fundamental markers of our perception of the world, the artist has produced a construction – a sort of abstract monument – out of the eight most important metals on the raw materials markets, be they\nindustrial (nickel, iron, copper, lead, zinc and aluminium) or benchmark precious metals (gold and silver). Using their respective prices on 15th February 2013 at 6:51 pm, as her basis, the artist has determined the proportion of each element of the sculpture. The particular arrangement of ingot-layers corresponds to how much of each metal can be bought for the same amount of money on 15.02.13 at 6:51 pm. And so it is that a possible answer to the questions above starts to take shape – a form that depends on the decisions of a single day, a way of revealing their concrete impact on reality: a momentary reality.\n\nWhy the 15 February 2013? You may recall that on that particular day, an asteroid came passed in close proximity to the Earth. Alicja Kwade likes to switch scales, cleverly interweaving the references between her pieces. Sixty-five million years ago, an asteroid did actually crash into the Earth, ending the Cretaceous era. All that remains from that distant time are fossils, including fragments of petrified trees, found notably in the northern Sahara – at that time a lush forest. Having collected some of these fragments, Alicja Kwade has used them in an attempt to reconstitute trees. She then pulverised them, turning them back into sand – the same sand (silicon dioxide) that penetrated and transformed them, as if time were repeating itself, deliberately going backwards and forwards, and then backwards again. Once again, we are made to doubt our own perception, because the comparison is troubling: are they trees, or is it sand, or stone? How can the same thing change its appearance so\ndramatically over time? Above all else, Alicja Kwade loves any question for which there is no obvious or immediate answer… The third piece on show in the exhibition takes up a model that Alicja Kwade has developed previously, notably at the Düsseldorf Kunsthalle, the Johann König gallery or during the 2012 ArtBasel Unlimited. This consists of a large centrifugal installation of diverse objects, most of them considered standard materials, which all follow the same\nsupernatural angle of inclination, following a distortion whose secret we struggle to unearth. But this time, while still disregarding their physical\nproperties, the objects appear to be liberated from the circle, launching\nthemselves into a spiral – an elegant, natural construction that opens the doors to the infinite.\n\nA dive into a waking dream, into this moment suspended in the present, a world where magic and illusion (Are you looking at your reflection in a simple mirror? Take a closer look at the label to find out) sit side by side with physical problems and questions that are beyond us: welcome to the enchanted world of Alicja Kwade.\n\nBorn in 1979 in Katowice, Poland, Alicja Kwade lives and works in Berlin. Her work was exhibited in multiple solo shows in institutions such as the Zentrum für Kunst und Medientechnologie in Karlsruhe, the Polnisches Institut in Berlin, the Würth Haus Berlin, the Oldenburger Kunstverein, the Kunstverein Bremerhaven, the Westfälischen Kunstverein, the Kestnergesellschaft in Hanover and the Hamburger Bahnhof – Museum für Gegenwart in Berlin. Alicja Kwade also took part of numerous group shows all around the world: at the Museum of Contemporary Art in Detroit, the Palazzo Strozzi in Florence, the KW Institute for Contemporary Art in Berlin, the Kunsthalle in Bielefeld, the Witte de With in Rotterdam, the\nSculptureCenter in Long Island, the Domaine Pommery in Reims, the Palais de Tokyo in Paris, the Museum of Contemporary Art in Tokyo, the Den Frie in Copenhagen, and the MUMOK in Vienna. The artist will exhibit at the Kunstmuseen in Krefeld soon.","2013-04-02T22:00:00+00:00","2013-05-08T09:50:00+00:00",[],"defaultExhibition_Entry",{"id":1945,"slug":1946,"title":1947,"customTitle":799,"defaultTitle":1948,"overrideHeading":420,"url":1949,"tagline":420,"thumbImage":1950,"locations":1961,"category":1970,"description":1972,"startDate":1973,"endDate":1974,"type":236,"showForm":732,"form":1975,"__typename":1943},"115056","all-in","Mohamed Bourouissa - ALL IN","ALL IN","https://www.mennour.com/exhibition/all-in",[1951],{"id":1952,"url":1953,"jpg16":1954,"jpg800":1955,"jpg1600":1956,"jpg2400":1957,"jpg3200":1958,"alt":420,"title":1959,"width":1484,"height":1483,"caption":420,"mobile":1960,"__typename":679},"38793","https://dev-admin.mennour.com/uploads/img/all-in.jpg","WMIX~tV@Di%gD$%2~qt8Rjj?ofof00%M?bM{.8WB4nM{-;%Mofof","https://dev-admin.mennour.com/uploads/img/_jpg800/all-in.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/all-in.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/all-in.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/all-in.jpg","All in",[],[1962],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":1963,"city":1966,"mapLocation":1968},[1964],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":1965,"__typename":679},[],[1967],{"title":350,"slug":351},{"parts":1969},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[1971],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present Mohamed Bourouissa second solo exhibition at the\ngallery.\nMohamed Bourouissa describes contemporary society implicitly, by its contours. With a\ncritical take on the mass media image, the subjects of his photographs and videos are\npeople left behind at the crossroads of integration and exclusion. In the photographic\nseries ‘Périphérique’, he presents the daily life of young men from the Paris suburbs,\ntaking his inspiration from history paintings. However, he breaks with his polished\naesthetic in two videos: ‘Temps mort’ [Dead time] a personal exchange with a prisoner\nvia mobile telephone; and ‘Légende’, in which sellers of counterfeit cigarettes, whom he has equipped with hidden cameras, film their activity. More recently, with ‘L’Utopie d’August Sander’ [The Utopia of August Sander], a project carried out in Marseille and Gennevilliers, he immersed himself in the world of job seekers. He asked them to become a monument, creating a statue of them with the help of 3D printers.\nFor his second solo exhibition at galerie kamel mennour, Mohamed Bourouissa tackles the theme of money. Entitled ‘All-in’ – a title borrowed from a video created as part of Nuit Blanche [a Parisian art festival] for the Paris Mint, filmed in the reception rooms of its Quai Conti headquarters in Paris and the factory at Pessac where euro coins are minted. Put together in the style of a music video, the work is accompanied by the song ‘Foetus’ by Booba, one of the key figures in French rap. Its tempo is also dictated by the different stages of the making of a coin bearing the rapper’s effigy, and finishes with the coins being poured onto the detritus of a party. The video, a one-off collaboration between the institution and one of the faces of urban counter-culture, refers, according to Mohamed Bourouissa’s own terms, to a ‘liberal anarchism’, where individual success is measured by money, in a paradigm of western societies.\nThe images of the factory at Pessac introduce the representation of power into\nMohamed Bourouissa’s work, albeit in a cryptic way. They constitute the nodal point of a juxtaposition of relationships with money on which the exhibition is based. A perfect example is the mobile ‘Un poids deux measures’ [One weight, two measures], the result of a collaboration with the artist David Hominal. Two images, hanging from the ends of a revolving arm, face each other. Alternating with the coldness of a photograph of a minting machine, and forming a visual pun, is an image of a potato [patate is French slang for 1000 Francs], painted in brown tones with large, deliberately crude brushstrokes. A variant of the popular expression ‘deux poids, deux mesures’ [meaning ‘double standards’], the title is significant, emphasising that the value of money is relative. In the adjoining room, the two photographs on display, ‘Stock 1’ and ‘Agnès’, re-enact the violence of this duality. The panoramic and monumental view of the stocks of money at the Pessac factory, from which all human presence is banished, is met head-on by the portrait of a young woman, poorly dressed, counting her money in an outdated interior.\nIn the video ‘La valeur du produit’ [The value of the product] stands a man wearing a\nsuit and tie, leaning on a desk. He is closely framed; his face is not visible. He explains the ins and outs of his business, the selling of organic products. We quickly realise that he is talking about illicit trade as a means of bringing in ‘wheat’ [French slang for money].His strategy – selling a quality product at the right price, finding the balance between offer and demand – is common to all commercial activity.\nMohamed Bourouissa does not pretend to deal with the immense and complex\nnetwork that binds us to money. First and foremost, he seeks to emphasise its\nattractiveness and its power as a motor and model of integration and success, but also, in a significant dichotomy, the force and violence of its capacity to exclude. With the token bearing the effigy of Booba, sold for two euros during Nuit Blanche, encased here in a metal plate and made rarer by a limited edition, he does not exempt art from this dilemma. Managing to avoid the pitfalls of the moral disapproval that often accompany this taboo subject, he has drawn up a host of situations that leave us with the sense that something much wider is being expressed.","2013-02-01T23:00:00+00:00","2013-03-16T10:25:00+00:00",[],{"id":1977,"slug":1978,"title":1979,"customTitle":1240,"defaultTitle":1980,"overrideHeading":420,"url":1981,"tagline":420,"thumbImage":1982,"locations":1995,"category":2004,"description":2006,"startDate":2007,"endDate":2008,"type":236,"showForm":732,"form":2009,"__typename":1943},"115072","bugarach","Huang Yong Ping - Bugarach","Bugarach","https://www.mennour.com/exhibition/bugarach",[1983],{"id":1984,"url":1985,"jpg16":1986,"jpg800":1987,"jpg1600":1988,"jpg2400":1989,"jpg3200":1990,"alt":420,"title":1991,"width":1992,"height":1993,"caption":1991,"mobile":1994,"__typename":679},"8161","https://dev-admin.mennour.com/uploads/img/Bugarach.jpg","WVL4sbV=flx]M|a}_NtRRjaxayWBbIt7t6M{jZt6jZjZt7R%offl","https://dev-admin.mennour.com/uploads/img/_jpg800/Bugarach.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Bugarach.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Bugarach.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Bugarach.jpg","Museo nazionale delle Arti del XXI secolo, Rome, 2014",2050,1306,[],[1996],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":1997,"city":2000,"mapLocation":2002},[1998],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":1999,"__typename":679},[],[2001],{"title":350,"slug":351},{"parts":2003},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2005],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present the Chinese artist Huang Yong Ping’s second solo exhibition at the gallery.\n\nBugarach is the name of a village in the French Pyrenees and of the mountain\npeak that dominates upon it, called “the upside-down mountain” because of the\ngeological feature that has made it a natural curiosity: its lower layers are more recent than its upper ones. Since the 1970s, Bugarach – a hamlet with barely 200 inhabitants – has been a place of pilgrimage for numerous followers of New Age esotericism. The site has recently become an extremely popular destination due to a belief that the peak is the only place that will be spared when the ‘end of the world’ comes. According to certain readings of the Mayan calendar, this is supposed to occur on 21st December 2012. This apocalyptic prophesy – or rather the numerous theories of the ‘great transformation’ or the end of the cycle, put forward by the esoteric or ‘fringe science’ theorists – has largely been refuted by Mayanists. However, it has gained ground thanks to the regular influx of new inhabitants, pilgrims or the simply curious who come from all over the world. The peak of Bugarach has been duly credited with various extraordinary powers. In particular, it is considered to be much frequented by aliens. It supposedly contains a central cavity – a hiding-place for UFOs, or even the matrix of a supernatural electromagnetic field that supposedly prevents planes from flying over it. The different mystical practices observed recently at Bugarach allow us to glimpse the syncretism of eastern, pre-Columbian or Amerindian wisdom and rituals, mixed in with a few conspiracy theories. The international media are now flocking to Bugarach in search of images of the weird, and are volubly spreading rumours about the threat of deranged sects, happily fuelling them in turn.\n\nIn our globalised society, where the loss of religious feeling has coincided with the rise of new extremisms, the resurgence of these New Age spiritualities as a fantasised cataclysm approaches is not insignificant. It is not surprising that Huang Yong Ping has seized on this phenomenon, having spent several years pertinently highlighting the ambivalent role of all religions in his monumental installations (Les Mains de Bouddha [The Hands of Buddha], 2006; Construction Site, 2007; Caverne 2009, 2009). The present exhibition has been conceived in conjunction with another installation, Cirque, being shown simultaneously at the Barbara Gladstone gallery in New York. Connected in time, they are also close to each other in theme: the end of time, or, more precisely, the time of the end.\nOn entering the gallery, we are immediately struck by the emptiness of the first\nroom. There is an alarm system hanged on the roof, a defensive object, but also a threatening one, which we fear will go off unexpectedly. It is once we have\nentered the second room that we discover the bodies of numerous animals –\nsixteen in total – of various different species, which have the dual peculiarity of being completely white, and headless. Spread out, walking in all different\ndirections, they are evidently disorientated.\n\nBy a strange effect of imbalance, the smaller room, contrary to the first space,\nhas been invaded by an enormous nine-metres-long mass, like a giant rock that has violently emerged from the earth. Walking around this ‘miniature’ replica of the Bugarach peak, we discover a large white plate, four metres diameter that\nseems to have lodged in, or is perhaps emerging from the mountain. Partially\nembedded in the rock, on its sloping surface we find the heads of the sixteen\nwandering animals, all raised towards the sky. With eyes wide open, their gaping\nmouths seem to be contemplating, defying, or perhaps pleading with a\nhelicopter flying overhead, positioned directly above them. It appears to be\nsearching for a place to land, something it us unable to do, the whole landscape\nbeing steep and uneven. A cruel drama is played out in this interminable\nconfrontation between the animals, seeking salvation, and the helicopter, which\ncould either represent a threat to them, or a source of hope.The animals’ white coats recall the colour religious groups or cults often choose for their habits; it is the colour of purity and indoctrination. The helicopter is a machine symbolic of surveillance and control – corollaries of the need for protection that pervades the whole of society. It also recalls the American spyplane\nthat was the subject of Projet chauve-souris [Bat project] (2000-2005),\nwhich Huang Yong Ping compared to a large, empty shell 1, thereby denouncing\nthe illusory nature of all systems of control. So it is that the entire exhibition hints at a scene of chaos, where references of scale are continually thwarted, and the balance of power between the natural and the artificial, the wild and the social, is disrupted. Here, it is not the mountain that is turned upside down, but instead the bedrock on which the earthly creatures rest, powerless. The ‘flying saucer’ captured mid-flight, frozen in its instability, invites us to see this scene as the apogee of the drama, the paroxysmal\ntipping-point.\n\nIn Huang Yong Ping’s work, animals repeatedly take on the metaphorical role of\nhuman behaviour. Here, the headless animals doubtless have the same role as the\nliving insects in Théâtre du monde [World theatre] (1993) – that is to say they\nplay out the final act of a comedy of cruelty, of which we are simultaneously the subject and the audience.\nIn Arche 2009 [Ark 2009] (2009), stuffed animals are placed at the heart of a\nset-up where the notion of protection is merely an illusion, as the artist explains in the catalogue written for the occasion: “as soon a crisis arises, we always have the delusion that there is an ‘ark’ (…)” 2, in other words, an intact haven, while all the time the real danger comes precisely from within society itself, from its irreducible share of chaos. So it was that, while researching the current exhibition, Huang Yong Ping noted: ‘Bug-arach / Bug-ark’.\n\nIf the theories of the ‘end of time’ and the belief in Bugarach as a haven can seem anecdotal or risible, Huang Yong Ping here reminds us that reality is nonetheless unstable. By elevating this contemporary event to the level of monument, he reduces the inherent temporal differences between the political event and the work of art, thereby suggesting that one is never far from the other. By conferring on the subject a wider symbolic bearing, symptomatic of a generalized loss of direction, he seems to indicate to us that the world as we know it is more uncertain than ever, and that the disarray is entirely real, as much on a social level as an environmental one., The myth concerning the ‘end of the world’ here resonates as the symptom, the visible part of a destructive venture of which we are unable to determine either the cause or the remedy, at least while the body and the head remain separated.\n\nBorn in 1954 in Xiamen (China), Huang Yong Ping lives and works in Paris since\n1989.\nHuang Yong Ping was part of the exhibition “Magiciens de la Terre” at Centre\nPompidou, Paris in 1989. He represented France at the 1999 Venice Biennale. In\n2006, the Walker Art Center in Minneapolis organized and premiered his retrospective “House of Oracles,” which traveled to Mass MoCA in North Adams, Massachusetts; Vancouver Art Gallery; and Ullens Center, Beijing. Other solo exhibitions include: CCA Kitakyushu, Japan; De Appel, Amsterdam; Fondation\nCartier pour l’Art Contemporain, Paris; Astrup Fearnley Museum, Oslo; Barbican\nArt Gallery, London; New Museum of Contemporary Art, New York; Chapelle des Petits-Augustins des Beaux-Arts, Paris; Musée Océanographique, Monaco; Nottingham Contemporary, Nottingham.\n\nOn the occasion of lille3000, Huang Yong Ping is currently the subject of a solo\nexhibition at the Musée de l’Hospice Comtesse (until January, 13th); and a further solo exhibition will take place in the MAC – Musée d’art contemporain de Lyon from February 15th to April 14th.","2012-12-04T23:00:00+00:00","2013-01-26T10:05:00+00:00",[],{"id":2011,"slug":1618,"title":2012,"customTitle":1619,"defaultTitle":1619,"overrideHeading":420,"url":2013,"tagline":420,"thumbImage":2014,"locations":2027,"category":2036,"description":2038,"startDate":2039,"endDate":2040,"type":236,"showForm":732,"form":2041,"__typename":1943},"115085","Gina Pane - Gina Pane","https://www.mennour.com/exhibition/gina-pane",[2015],{"id":2016,"url":2017,"jpg16":2018,"jpg800":2019,"jpg1600":2020,"jpg2400":2021,"jpg3200":2022,"alt":420,"title":2023,"width":2024,"height":2025,"caption":420,"mobile":2026,"__typename":679},"115074","https://dev-admin.mennour.com/uploads/img/gina-pane.jpg","fOM7r#xv?wxut7t7j=f5WAayt7f64njrocWVj]f6xvj]t7j[ofkCD%a#s:fPofoL","https://dev-admin.mennour.com/uploads/img/_jpg800/gina-pane.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/gina-pane.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/gina-pane.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/gina-pane.jpg","Gina pane",1363,911,[],[2028],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2029,"city":2032,"mapLocation":2034},[2030],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2031,"__typename":679},[],[2033],{"title":350,"slug":351},{"parts":2035},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2037],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present the gallery’s first exhibition dedicated to the work of Gina Pane.\n\n\nA key figure in body art in France, Gina Pane established her reputation in the 1970s with strongly symbolic ‘actions’. From the emotion provoked by the injury to which she subjected her body while the ‘anaesthetised’ viewer looked on, to the enthusiastic critics who followed her radical acts, Gina Pane constructed a myth.\n\nThe exhibition at the kamel mennour gallery presents works chosen from every period of the artist’s œuvre, allowing us to comprehend in its entirety the conceptual coherence of its ambition, well beyond body art. The question of the sacred, one of the essential underlying threads, far from belonging to the final period alone, has fed every formal variation of a career punctuated by inventive proposals: geometric paintings and ‘Structures affirmées’ [Confirmed structures] (completed 1967), in situ installations and outdoor actions (1968-70), public actions (1971-79), and ‘Partitions’ (1980-89). The omnipresence of the cross as a motif, the giving of the self, the suffering body of the martyr, the geography of wounds and the precise codification of body gestures form a whole collection of references and signs at a place where the religious and the questioning of identity meet. \n\nFew artists have invested the realm of the flesh with so much force and vigour, in all the strata of its significance: social body, biological body, transubstantiated body, cosmic body. Whether the body is put centre stage, or better invoked through its absence, Gina Pane’s sculptural language is without precedent. The emotional and spiritual charge that runs through the work does not position it in an epoch or a current, in a reductive manner, but rather in a universal style that renders it timeless. It is hardly surprising that today she is regarded and cited by younger generations as a fascinating and exemplary reference, as much through the message she transmits as by her formal qualities.\n\n\nGina Pane was born in Biarritz in 1939, of an Austrian mother and an Italian father. In 1961 she left Italy for Paris, to study at the Ecole des Beaux-Arts, and remained there for the rest of her life. She died in 1990 following a long illness. Alongside her work as an artist, she taught painting at the Ecole des Beaux-Arts in Le Mans.","2012-10-11T22:00:00+00:00","2012-11-24T17:10:00+00:00",[],{"id":2043,"slug":2044,"title":2045,"customTitle":1199,"defaultTitle":2046,"overrideHeading":420,"url":2047,"tagline":420,"thumbImage":2048,"locations":2061,"category":2070,"description":2072,"startDate":2073,"endDate":2074,"type":236,"showForm":732,"form":2075,"__typename":1943},"115130","is-it-possible-to-be-a-revolutionary-and-like-flowers","Camille Henrot - Is it possible to Be a Revolutionary and Like Flowers?","Is it possible to Be a Revolutionary and Like Flowers?","https://www.mennour.com/exhibition/is-it-possible-to-be-a-revolutionary-and-like-flowers",[2049],{"id":2050,"url":2051,"jpg16":2052,"jpg800":2053,"jpg1600":2054,"jpg2400":2055,"jpg3200":2056,"alt":420,"title":2057,"width":2058,"height":2059,"caption":420,"mobile":2060,"__typename":679},"38831","https://dev-admin.mennour.com/uploads/img/is-it-possible-to-be-a-revolutionary-and-like-flowers.jpg","mELXD7_3Mwxv~pM{Rjax00RktRWA%NxufRazxvM{WAa~M^xuxvj[","https://dev-admin.mennour.com/uploads/img/_jpg800/is-it-possible-to-be-a-revolutionary-and-like-flowers.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/is-it-possible-to-be-a-revolutionary-and-like-flowers.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/is-it-possible-to-be-a-revolutionary-and-like-flowers.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/is-it-possible-to-be-a-revolutionary-and-like-flowers.jpg","Is it possible to be a revolutionary and like flowers",1123,1685,[],[2062],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2063,"city":2066,"mapLocation":2068},[2064],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2065,"__typename":679},[],[2067],{"title":350,"slug":351},{"parts":2069},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2071],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present Camille Henrot’s second solo exhibition at the gallery.\n\nBouquets carrying the names of books, an ideal library as an artificial garden… what lies behind such an incongruous juxtaposition? This space through which we walk, as though in a library, radically problematizes the relationship of books to flowers through its thorny title: ‘Is it possible to be a revolutionary and love flowers?’ With the third part of this equation, we get to the heart of the work. Camille Henrot cites Marcel Liebman’s account of one of Lenin’s colleagues saying, “You start by loving flowers and soon you want to live like a landowner, who, stretched out lazily in a hammock, in the midst of his magnificent garden, reads French novels and is waited on by obsequious footmen.” The love of flowers would appear to be a slippery slope towards the practice of something no less counter-revolutionary: literature. Just as the freshness of flowers revives the colour of a dead body, literature soothes our troubles. Must we, in fact, choose between revolution and consolation?\nTranslating her books into flowers in a single gesture, Camille Henrot perpetuates, in her own way, the Japanese art of the bouquet, where the arrangement of flowers is supposed to reflect the state of mind of the person who creates it. From April 2011 to April 2013, Camille Henrot decided to make nothing but ikebana based on her personal library, thereby giving her books a purely material existence, a return to their primal element: the vegetal.\nHer practice of ikebana is linked to the idea of ‘art as autotransformation,’ as imagined by John Cage in a book (How to Improve the World (You Will Only Make Matters Worse)) which is here embodied in a single organic endigia planted on a kenzan, the traditional tool used in Japanese ikebana, which oddly echoes one of Cage’s recurring preoccupations cited by the artist: “days spent searching for non-synthetic food.” \nLike a book, the ikebana concentrates in one object the entirety of a thought, brings together disparate fragments, and reconciles opposites in a whole of global dimensions. \nIf, as Jean-Christophe Bailly wrote in Le propre du langage, the library is a polyphony, the environment of ikebana becomes a cosmogony where heterogeneous thoughts form a harmonious whole based on the principle of the bouquet itself – an assemblage of uprooted elements, cut off from their context and brought together in synthetic unity. Whether they play on taxonomy, their ‘palimpsestic’ power, the vulgarisation of the language of flowers or the history of their origins, the mysterious forces that come together to create the bouquet practice an ultra-lucid language. In reinterpreting the ancestral art of the bouquet, Camille Henrot literally sweeps away the rigid hierarchy between the sensory and the intellectual arts, situating the practice in both cyclical time (natural time) and historical time (revolutionary time). “In my view, the thoughts produced by literature, philosophy or anthropology form an integral part of daily life; in a way, they are also ‘decorative objects,’ displayed here to create a stimulating and calming environment”, she explains. In this sense, she perpetuates her perspective by placing herself in an ahistorical vision of time and by reintegrating rationality into all human behaviour. \nIn this literature transcribed into flowers, spirit and substance give birth to one another. Just as values are embodied in natural things, supposedly innocuous flowers take on the aura of powerful and destructive weapons in the hands of the artist. Camille Henrot puts in place a lapidary language whose phrasing liberates. Now we understand why revolutions appropriate the names of flowers: the Carnation Revolution in Portugal, the Hundred Flowers Campaign in China, the Rose Revolution in Georgia, that of the Tulip in Kirgizstan, Saffron in Burma, and Jasmine in Tunisia. In reality, these ikebana lead us to the heart of a principal of resistance violently opposed to all forms of power and authority: the pleasure principal.\n\nCamille Moulonguet, July 2012\n\n_\n Marcel Liebman, extract from Leninism under Lenin, the Conquest of Power, 1973.\n\nBorn in 1978, Camille Henrot lives and works in Paris. Her work has been shown in numerous group and solo exhibitions in France: at the Louvre, the Centre Pompidou, the Palais de Tokyo, the Musée d’Art Moderne de la Ville de Paris, the Espace Culturel Louis Vuitton, the Jeu de Paume, the Fondation Cartier; as well as abroad: at MOCAD in Detroit, Bold Tendencies in London, the National Museum of Contemporary Art in Seoul, the Centre pour l’Image in Geneva, the Hara Museum and the Mori Art Museum in Tokyo.\nSeveral of her films have also been shown and awarded prizes at festivals such the Moving Images biennial at the ICA in London, the Rotterdam International Film Festival, the Clermont-Ferrand International Film Festival, the Quinzaine des Réalisateurs at Cannes and the Hors Piste Festival at the Centre Pompidou.\nCamille Henrot will exhibit her work in September at New York’s Sculpture Center, and in November at the Slought Foundation in Philadelphia. Her work will also be the subject of a solo exhibition, “Jewels from the Personal Collection of Princess Salimah Aga Khan,” at Rosascape in Paris, from 7 to 23 September.\nShe was one of four finalists shortlisted for the 2010 Marcel Duchamp prize.","2012-09-05T22:00:00+00:00","2012-10-06T16:10:00+00:00",[],{"id":2077,"slug":2078,"title":2079,"customTitle":840,"defaultTitle":2080,"overrideHeading":420,"url":2081,"tagline":420,"thumbImage":2082,"locations":2095,"category":2105,"description":420,"startDate":2107,"endDate":2108,"type":236,"showForm":732,"form":2109,"__typename":1943},"117081","daniel-buren-monumenta","Daniel Buren - Excentrique(s), travail in situ","Excentrique(s), travail in situ","https://www.mennour.com/exhibition/daniel-buren-monumenta",[2083],{"id":2084,"url":2085,"jpg16":2086,"jpg800":2087,"jpg1600":2088,"jpg2400":2089,"jpg3200":2090,"alt":420,"title":2091,"width":2092,"height":2093,"caption":420,"mobile":2094,"__typename":679},"40667","https://dev-admin.mennour.com/uploads/img/daniel-buren-monumenta.jpg","WGEMLCI94oxarW=|PqIAwHI=S~kpxvs:Rjrqw]Rj.TbYM_T0Iorr","https://dev-admin.mennour.com/uploads/img/_jpg800/daniel-buren-monumenta.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/daniel-buren-monumenta.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/daniel-buren-monumenta.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/daniel-buren-monumenta.jpg","Daniel buren monumenta",4320,2880,[],[2096],{"title":2097,"slug":2098,"url":2099,"type":1919,"getDataFromGooglePlaceAPI":732,"googlePlaceAPI":420,"thumbImage":2100,"city":2101,"mapLocation":2103},"Grand Palais Monumenta, Paris","grand-palais-monumenta-paris","https://www.mennour.com/location/grand-palais-monumenta-paris",[],[2102],{"title":350,"slug":351},{"parts":2104},{"number":1867,"address":1867,"city":350,"postcode":384,"county":357,"country":375,"state":359},[2106],{"title":1890,"slug":1889,"type":1885},"2012-05-09T22:00:00+00:00","2012-06-21T13:15:00+00:00",[],{"id":2111,"slug":2112,"title":2113,"customTitle":2113,"defaultTitle":2113,"overrideHeading":420,"url":2114,"tagline":420,"thumbImage":2115,"locations":2126,"category":2135,"description":2137,"startDate":2138,"endDate":2139,"type":236,"showForm":732,"form":2140,"__typename":1943},"115143","lux-perpetua","Lux Perpetua","https://www.mennour.com/exhibition/lux-perpetua",[2116],{"id":2117,"url":2118,"jpg16":2119,"jpg800":2120,"jpg1600":2121,"jpg2400":2122,"jpg3200":2123,"alt":420,"title":2124,"width":1483,"height":1484,"caption":420,"mobile":2125,"__typename":679},"38845","https://dev-admin.mennour.com/uploads/img/lux-perpetua.jpg","m99QKx%K009I-ToLIqWW00M|_4%eIVaz%LkBXpkCn1i_S$Wor=n*","https://dev-admin.mennour.com/uploads/img/_jpg800/lux-perpetua.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/lux-perpetua.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/lux-perpetua.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/lux-perpetua.jpg","Lux perpetua",[],[2127],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2128,"city":2131,"mapLocation":2133},[2129],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2130,"__typename":679},[],[2132],{"title":350,"slug":351},{"parts":2134},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2136],{"title":1893,"slug":528,"type":1885},"Photos-souvenirs","2012-03-25T22:00:00+00:00","2012-05-16T15:15:00+00:00",[],{"id":2142,"slug":2143,"title":2144,"customTitle":2144,"defaultTitle":2144,"overrideHeading":420,"url":2145,"tagline":420,"thumbImage":2146,"locations":2157,"category":2166,"description":2168,"startDate":2169,"endDate":2170,"type":236,"showForm":732,"form":2171,"__typename":1943},"115154","tkaf","TKAF","https://www.mennour.com/exhibition/tkaf",[2147],{"id":2148,"url":2149,"jpg16":2150,"jpg800":2151,"jpg1600":2152,"jpg2400":2153,"jpg3200":2154,"alt":420,"title":2155,"width":2059,"height":2058,"caption":420,"mobile":2156,"__typename":679},"38857","https://dev-admin.mennour.com/uploads/img/tkaf.jpg","WkLgncxDofogozt7~qjsj[ofayofIot7ayoLV@WBIUozt7ofj?ay","https://dev-admin.mennour.com/uploads/img/_jpg800/tkaf.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/tkaf.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/tkaf.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/tkaf.jpg","Tkaf",[],[2158],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2159,"city":2162,"mapLocation":2164},[2160],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2161,"__typename":679},[],[2163],{"title":350,"slug":351},{"parts":2165},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2167],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present “TKAF”, the artist Latifa Echakhch’s second solo exhibition at the gallery.\n“Tkaf” is a term taken from a North African dialect called “darija”. The word denotes a sort of curse given, supposedly, by someone close to you... In this exhibition, the evil eye seems to work its way into an array of signs, symbols and clues, but also into empty spaces. In fact, none of Latifa Echakhch’s works is without a complex interweaving of significations or a polysemic approach, where the cultural dimension is but one of many strata of meaning. Although the artist has given the name to the exhibition as a whole, Tkaf (2011-2012) is first and foremost the title of an installation made of smashed and pulverised bricks, spread directly across the floor and walls of the gallery. It was near d’El Jadida in Morocco, in a sanctuary where witchcraft is still practised, that the artist came across the prints and marks of hands made straight onto the walls with reddish clay extracted from the earth. Inspired by this vision, Latifa Echakhch performs a hybridisation in her work between sacred ancestral practices and certain customs of contemporary art that have themselves become sacred. It is worth mentioning the famous exhibition at the Berne Kunsthalle organised by Harald Szeeman, and noting that Tkaf is not unconnected to the works, in particular, of Joseph Beuys, Richard Serra, or even Lawrence Weiner. Latifa Echakhch deliberately sets out to combine the systems of presentation related to these “attitudes” with other worlds, other methodologies whose expressive charge proves to be as direct as it is complex. That the dedication of the artist’s body, as well as its dimensions, can be discerned here is borne of that strange tension between, on the one hand, a radical, brutal and manifest energy, and on the other, a form of sobriety, subtlety and restraint. While adhering to an aesthetic of destruction, even ruin, a piece such as Tkaf also brings us back to the material itself and its symbolic dimensions: the powdered red brick, like traces of blood – reminiscent of that pigment called “Sanguine” – is combined with the sensation of an obliterated, eviscerated architecture.\n\nOn an equally iconoclastic note, the tondi (Tambours [Drums], 2012) present us with an unusual genealogy. Created through the carefully orchestrated dripping of black ink, this concept attempts to turn the very idea of a tondo, originally placed on the ceiling to symbolise the sky, on its head. The drips that make up the work are dropped onto its centre for a pre-determined length of time: ink as projectile, the canvas as target... One may be tempted to see a reference to 1950s abstract expressionism, but the wholly dissimilar protocol takes us decidedly elsewhere. It is up to us to guess the tempo of this black ink, again with the continual notion of declaration – a recurrent theme in the exhibition, as is the repeated presence of circular motifs and empty spaces, ghosts, here and there, placed by the artist. A stick, a shirt, some necklaces made from jasmine, whose scent will gradually disappear over the course of the exhibition, evoke a furtive figure glimpsed during a trip to Beirut – the “inimage” of a travelling jasmine seller, to borrow a concept from René Passeron (Fantômes [Ghosts], 2012).\nTime passes, and rhythm governs the temporality of the exhibition, hence the twenty-four bowler hats lying on the floor and filled with black ink (Mer d’encre [Sea of ink], 2012). Should we imagine an improbable quest that will result in this somewhat melancholic cosmology? Faithful to the principle of plurivocity, this piece could also be dedicated to the figure of the poet, to those dreamers of words, who here might see themselves transformed into clumsy, ink-splattered clowns...\n\nBorn in El Khnansa (Morocco) in 1974, Latifa Echakhch lives and works between Paris and Martigny (Switzerland).\nHer work has been shown in France as well as abroad, in numerous solo exhibitions: at the Museum Haus Esters in Krefeld, the MACBA in Barcelona, FRI ART in Fribourg, the GAMeC in Bergamo, the Basel Kunsthalle, the Bielefelder Kunstverein in Bielefeld, the Kunsthalle Fridericianum in Kassel, the Frac Champagne Ardenne in Reims, the Swiss Institute in New York, the Kunsthaus in Zürich, and Magasin in Grenoble; also in group shows: as part of the last Venice Biennale, at the GAM – Civic Gallery of Modern and Contemporary Art – in Turin, the Beirut Art Centre, the CAC in Vilnius, as part of the Jerusalem Biennale ArtFocus and Manifesta 7 in Bolzano, at the Museum Anna Norlander in Skellefteå and at the Studio Museum in Harlem, New York.\nShe is currently the subject of a solo exhibition at the Columbus Museum of Art (Ohio), and three further shows will take place during the year: in Mexico, at MUAC – the Museo Universitario Arte Contemporáneo, at the Portikus in Frankfurt and at the Kunsthaus in Zurich.\nLatifa Echakhch will also be showing her work at the Contemporary Arts Museum in Houston, and will feature at the 18th Sidney Biennale.","2012-02-06T23:00:00+00:00","2012-03-10T17:05:00+00:00",[],{"id":2173,"slug":2174,"title":2175,"customTitle":1366,"defaultTitle":2176,"overrideHeading":420,"url":2177,"tagline":420,"thumbImage":2178,"locations":2189,"category":2198,"description":2200,"startDate":2201,"endDate":2202,"type":236,"showForm":732,"form":2203,"__typename":1943},"115170","under-the-water","Tadashi Kawamata - Under the water","Under the water","https://www.mennour.com/exhibition/under-the-water",[2179],{"id":2180,"url":2181,"jpg16":2182,"jpg800":2183,"jpg1600":2184,"jpg2400":2185,"jpg3200":2186,"alt":420,"title":2176,"width":2187,"height":1297,"caption":420,"mobile":2188,"__typename":679},"38867","https://dev-admin.mennour.com/uploads/img/under-the-water.jpg","fAD]YlD$~qWBM{oK^*xt-;s:%Ls:00^,D%xu%Nxt4nogIBt8IUxu_NIUoLoMD$Rk","https://dev-admin.mennour.com/uploads/img/_jpg800/under-the-water.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/under-the-water.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/under-the-water.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/under-the-water.jpg",2657,[],[2190],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2191,"city":2194,"mapLocation":2196},[2192],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2193,"__typename":679},[],[2195],{"title":350,"slug":351},{"parts":2197},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2199],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present “Under the Water”, Tadashi\nKawamata’s second solo exhibition at the gallery.\nMade, in part, using reclaimed timber, the Japanese artist Tadashi\nKawamata’s works sometimes give the impression of pouring forth\nlike a river bursting its banks. This is true, most notably, for the\nGandamaison project at the Maréchalerie art center in Versailles\nin 2008, for which the artist assembled more than 5000 wooden\ncrates that appear to be tumbling down from the roof of the\nJules Hardouin Mansart building.\nFor his second solo exhibition at galerie kamel mennour, Tadashi\nKawamata is putting together a project destined to unsettle.\nWalking into the courtyard of no. 47 rue Saint-André des arts,\nvisitors will be startled to see the sky blotted out by a kind of\nperforated ceiling, made up of pieces of wood put together in\nanarchic fashion. Throughout their journey around the gallery’s\nthree ground-floor spaces, they will be towered over by this\nstrange and disturbing hanging pergola, which appears to be\nanimated in places by a slight swell.\nThe artist has already created environments similar in form, one of\nthem being at Munich’s Haus der Kunst in 1998. However, this new\nTadashi Kawamata sculpture marks a departure from his previous\nworks due to its dramatic dimension. Affected by the\ncatastrophes that have wreaked havoc in Japan this year, the artist\nhas conceived of his structure as a motionless and deadly wave, in\na reference to all those bits of broken wood carried along by the\nreceding tsunami, which saturated the ocean surface with their\nsheer quantity. These remains of coastal houses and villages, which\nare faintly reminiscent of votive offerings, are also fragments of\nbroken lives – departed souls destined to roam the edges of the\nPacific Ocean forever. Which is why, in this new installation\nentitled Under the Water, the artist turns the world upside\ndown, so that the surface of the water becomes, very simply, a\nsky.","2011-12-09T23:00:00+00:00","2012-01-18T18:05:00+00:00",[],{"id":2205,"slug":2206,"title":2207,"customTitle":2208,"defaultTitle":2209,"overrideHeading":420,"url":2210,"tagline":420,"thumbImage":2211,"locations":2221,"category":2233,"description":2235,"startDate":2236,"endDate":2237,"type":236,"showForm":732,"form":2238,"__typename":1943},"115177","muses","Nobuyoshi Araki - Muses","Nobuyoshi Araki","Muses","https://www.mennour.com/exhibition/muses",[2212],{"id":2213,"url":2214,"jpg16":2215,"jpg800":2216,"jpg1600":2217,"jpg2400":2218,"jpg3200":2219,"alt":420,"title":2209,"width":2059,"height":2058,"caption":420,"mobile":2220,"__typename":679},"38882","https://dev-admin.mennour.com/uploads/img/muses.jpg","WWLN=CWAWAj]%LM{~qxvoeofoeWBxaRjflofM{xu-;Rja}s:Rjt7","https://dev-admin.mennour.com/uploads/img/_jpg800/muses.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/muses.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/muses.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/muses.jpg",[],[2222],{"title":2223,"slug":2224,"url":2225,"type":1919,"getDataFromGooglePlaceAPI":732,"googlePlaceAPI":420,"thumbImage":2226,"city":2227,"mapLocation":2229},"60 rue Mazarine","60-rue-mazarine","https://www.mennour.com/location/60-rue-mazarine",[],[2228],{"title":350,"slug":351},{"parts":2230},{"number":2231,"address":2232,"city":350,"postcode":356,"county":357,"country":375,"state":359},"60","Rue Mazarine",[2234],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present Nobuyoshi Araki’s “Muses”, the artist’s fourth solo exhibition at the Gallery (60 rue mazarine). The exhibition presents a new serie of painted black and white photographies of his muses, such as Kaori and Lady Gaga.\n\nNobuyoshi Araki was born in 1940 in a working-class area of Tokyo. At the age of 12, he received a “baby pearl” camera from his father, an amateur photographer, with which took his first snapshots. He worked as a cameraman for 10 years with the Dentsu agency, before deciding to take his work in a more personal direction at the\nbeginning of the 1970s. In 1971, he married Yoko Aoki and published “A sentimental journey”, a compilation of photographs taken during his honeymoon.\n\nFascinated by the fundamental and inextricable triangle of sex, life, and death (it is to him we owe the words “I was no sooner out of my mother’s womb than I turned around and photographed her vagina”), Nobuyoshi Araki is tireless as a photographer, obsessed by women, often bound, and flowers, captured in the all the intimacy of their coloured folds.\n\n“I want to tie up reality, because I can’t tie up anything else. Not the heart of Yoko, the woman I love, nor that of anyone else. You can’t tie up the soul. It’s untouchable. And it’s because the soul is untouchable that I want to tie up the visible; to take possession of it for myself. “Today, there are too many robots, and fewer voices which come from the flesh. What I want to photograph is disappearing. When the world is in bad shape, the same is true for photographs. They become\nuninteresting. This is my epitaph for the end of the world.”","2011-10-13T22:00:00+00:00","2011-11-26T10:55:00+00:00",[],{"id":2240,"slug":2241,"title":2242,"customTitle":1744,"defaultTitle":2243,"overrideHeading":420,"url":2244,"tagline":420,"thumbImage":2245,"locations":2256,"category":2265,"description":2267,"startDate":2268,"endDate":2269,"type":236,"showForm":732,"form":2270,"__typename":1943},"115198","beneath-the-surface","Zineb Sedira - Beneath the Surface","Beneath the Surface","https://www.mennour.com/exhibition/beneath-the-surface",[2246],{"id":2247,"url":2248,"jpg16":2249,"jpg800":2250,"jpg1600":2251,"jpg2400":2252,"jpg3200":2253,"alt":420,"title":2254,"width":2059,"height":2058,"caption":420,"mobile":2255,"__typename":679},"38888","https://dev-admin.mennour.com/uploads/img/beneath-the-surface.jpg","W42ZGUR1Hqx{tUS8niWUW-t9adRiH;tUx|RNV=s7S%ofsoMvkXx^","https://dev-admin.mennour.com/uploads/img/_jpg800/beneath-the-surface.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/beneath-the-surface.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/beneath-the-surface.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/beneath-the-surface.jpg","Beneath the surface",[],[2257],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2258,"city":2261,"mapLocation":2263},[2259],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2260,"__typename":679},[],[2262],{"title":350,"slug":351},{"parts":2264},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2266],{"title":1893,"slug":528,"type":1885},"For her third solo exhibition at the galerie kamel mennour, Zineb Sedira presents a new body\nof works, Lighthouse in the Sea of Time (2011), for the first time in France. This series, which\ngathers video installation, single-screen projections and photographs, takes as starting point\ntwo lighthouses on the Algerian coast: the Cape Sigli’s lighthouse, perched on a rough stretch\nof shoreline in Kabila, and the Cape Caxine’s lighthouse, in the suburbs of Algiers. These lonely\nplaces of surveillance allow the artist to navigate simultaneously Algeria’s past and its\ncontemporary reality.\nThe four-screen installation Lighthouse in the Sea of Time pays homage to the lighthouses’\nmajestic beauty, and to the nature acting as their backdrop. One can easily imagine that this is\nhow the lighthouses appeared to the artist when she first went there in 2009. In any case, it is\nhow she wants us to discover them: superb, “miraculous”, writes poet Tahar Djaout in the\nCape Sigli’s lighthouse’s visitors’ book. But the artist isn’t only concerned with landscape\naesthetic. The history she presents is first and foremost a human one. The furtive shadow of a\nhand briefly comes into view, a door opens. The keeper of the Cape Sigli’s lighthouse, Karim\nOurtemach, known as Krimo, patiently polishes the lantern’s great glass surface. Later, we see\nhim writing in the lighthouse’s logbook, with meticulous, almost sacerdotal attention.\nKrimo is given a voice in the film The Life of a Lighthouse Keeper. His eyes sparkle as he\nexplains his daily activities: beginning of the watch, verification of the machines, meal, watch\nproper, short night, painting in his idle time. Krimo is a sailor of terra firma, and the lighthouse is his home base of which he talks about with deference and tenderness. In an age of\nmechanisation and radio-controlled lighthouses, Sedira portrays a man happy to accomplish a\nsimple but vital task. With nostalgia, she records the last days of a trade doomed to disappearance.\nThis series of works also allows the artist to continue her research on Algeria’s colonial past.\nAll of the country’s lighthouses were built during the period bookended by the invasion of\nAlgeria by the French in 1830 and the independence in 1962. The lighthouses are, for the\nartist, the witnesses of this history. And when, in the film La Montée…, she slowly goes up the\nstairs of the Cape Caxine’s lighthouse, Sedira enacts her own creative process: she goes up the\nstairs like, in her work, she goes back in time. Calm and determined, she walks in the steps of\nher foregoers.\nNames Through Time: A Keeper’s Logbook and Handwriting Through Time: A Visitors’ Book are\npart of the same historical process. The keepers’ logbook is an administrative document where\nkeepers record the tiny events essential to the lighthouse’s good functioning. Page after page\nthe years unravel: the column headings – “light-on and light-off” times, “lamp consumption” and\n“supplies received” – are invariable, but come independence in 1962 and the names Duclaud,\nBonnefont, and Fischer are replaced by their Algerian counterpart names: Mehleb, Sidane, and\nChouqui. The names in the visitors' book also change, and not only people’s name. Guyotville,\nBougie, and Philippeville become Ain Benian, Béjaïa, Skikda. The cities that they represent are\nthe same but their reality has just been transformed.\nThe last chapter of this series of films, A Museum of Traces, is perhaps the most unsettling\nbecause it subtly highlights the ambivalence of the relationship Algeria maintains with the\ncolonial period. The camera films the Cape Caxine’s lighthouse’s small museum, which gathers\nold measure instruments as well as objects that once belonged to the daily life of the keepers\nduring “French Algeria”: ornate crockery, crystal carafes – each item carefully labelled in\nFrench, as if it was still the country’s official language. Sedira’s work permeates history’s\ninterstices so often excluded from official discourses.","2011-09-07T22:00:00+00:00","2011-10-08T15:30:00+00:00",[],{"id":2272,"slug":2273,"title":2274,"customTitle":1346,"defaultTitle":2275,"overrideHeading":420,"url":2276,"tagline":420,"thumbImage":2277,"locations":2288,"category":2297,"description":2299,"startDate":2300,"endDate":2301,"type":236,"showForm":732,"form":2302,"__typename":1943},"115205","almost-nothing","Anish Kapoor - Almost Nothing","Almost Nothing","https://www.mennour.com/exhibition/almost-nothing",[2278],{"id":2279,"url":2280,"jpg16":2281,"jpg800":2282,"jpg1600":2283,"jpg2400":2284,"jpg3200":2285,"alt":420,"title":2286,"width":1484,"height":1483,"caption":420,"mobile":2287,"__typename":679},"38908","https://dev-admin.mennour.com/uploads/img/almost-nothing.jpg","WYM7oqofRP%Ma$t7~qRjRia#ofoL9Fj[t7kCayWBD%a#t8kBj]ae","https://dev-admin.mennour.com/uploads/img/_jpg800/almost-nothing.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/almost-nothing.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/almost-nothing.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/almost-nothing.jpg","Almost nothing",[],[2289],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2290,"city":2293,"mapLocation":2295},[2291],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2292,"__typename":679},[],[2294],{"title":350,"slug":351},{"parts":2296},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2298],{"title":1893,"slug":528,"type":1885},"This spring (2011), the British artist Anish Kapoor is overseeing several\nambitious projects in Paris. As part of the Monumenta programme, his large\nsculpture Leviathan will fill the space beneath the glass roof of the Grand\nPalais (11 May - 23 June). Simultaneously, in the chapel of the Paris École\nnationale supérieure des beaux-arts, the artist will be exhibiting a series of\nhis recent sculptures in cement: tall grey towers generated by software\nand built by a machine (12 May - 11 June)..\nFor his first solo exhibition at galerie kamel mennour, Anish Kapoor is\nshowing a series of works based on the idea of the void and immateriality\n– concepts that have been recurring since the middle of the 1980s.\nFollowing Pigment Pieces, which brought him to prominence, the artist\nbegan to hollow out stone with the aim of lining the interior with dark\npigment. He soon realised that the void was not empty: that it opened\nonto an unfathomable obscurity, full of whatever terror each of us might\nimagine there.\nEach one of the sculptures brought together in this exhibition tackles a\nspecific aspect of Anish Kapoor’s work, which employs a very wide range\nof techniques and materials: there are works in resin, polished steel,\npigments and fibreglass. Some of them are of true historic significance for\nthe turning points they represent in the artist’s career. One such example is\nThe Healing of St Thomas, shown at the Venice Biennale in 1990, where\nKapoor represented Great Britain. It was the first of the artist’s works to\nactually incorporate architecture. It consists of an incision in the wall, a gash\nwhose interior has been lined with red pigment. It constitutes a reference\nto the Catholic theme of the Incredulity of Saint Thomas: the gaping\nwound in Christ’s body here becomes a wound in the skin of the building.\nSister (2005) takes the form of a gentle and discreet concavity hollowed\nout of the wall, which seems as if it were breathing. Evoking a sort of\numbilicus mundi (navel of the world), it comes from a series of whitetoned\nworks inspired by the site of Uluru in Australia: pregnant forms that,\nto be perceived, require the viewer to move around due to their quasi\ninvisibility.\nThe artist has been creating concave and convex mirrors since the middle\nof the 1990s. The surface of Untitled (2011) appears at first glance to be\nempty, but it is full of all the possibilities of a world that it swallows and\nthrows back out again. This inverted gaze constitutes what the artist calls\nthe “modern sublime”.","2011-05-11T22:00:00+00:00","2011-07-23T16:45:00+00:00",[],{"id":2304,"slug":2305,"title":2306,"customTitle":1553,"defaultTitle":2307,"overrideHeading":420,"url":2308,"tagline":2309,"thumbImage":2310,"locations":2323,"category":2332,"description":2334,"startDate":2335,"endDate":2336,"type":236,"showForm":732,"form":2337,"__typename":1943},"115211","carrement","François Morellet - Carrément","Carrément","https://www.mennour.com/exhibition/carrement","KAZIMIR MALÉVITCH & FRANÇOIS MORELLET",[2311],{"id":2312,"url":2313,"jpg16":2314,"jpg800":2315,"jpg1600":2316,"jpg2400":2317,"jpg3200":2318,"alt":420,"title":2319,"width":2320,"height":2321,"caption":420,"mobile":2322,"__typename":679},"38914","https://dev-admin.mennour.com/uploads/img/carrement.jpg","WEGu%Z~q~qWBDitR_3t7t7fkRjay00IU9FkC-;WBD%RjM_aytRay","https://dev-admin.mennour.com/uploads/img/_jpg800/carrement.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/carrement.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/carrement.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/carrement.jpg","Carrement",1329,886,[],[2324],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2325,"city":2328,"mapLocation":2330},[2326],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2327,"__typename":679},[],[2329],{"title":350,"slug":351},{"parts":2331},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2333],{"title":1893,"slug":528,"type":1885},"François Morellet’s relationship with the work of Kazimir Malévitch, while thoroughly ambiguous, is nevertheless squarely explicit at the same time.\nOne immediately thinks of F.M.’s two large ‘intégrations’ [site-specific\ninstallations] in public spaces, Le Fantôme de Malévitch, on the façade of the Musée des Beaux-arts in Chambéry, from 1982, and Le Naufrage de\nMalévitch, by the edge of the lake at the Domaine de Kerguéhennec,from 1987. More than anything else, what these two artists essentially have in common is the square. F.M. cites this “(forced) love match that has\nforever joined the conformist quadrilateral with transcendental leanings\nto a non-believing artist with frivolous leanings”. For if F.M. has,since\n1952, opted for square-shaped canvasses, it is more in the context of his\n“inexorable and systematic search that can be summed up as: “How to do as little as possible with it”, than through love for this “emblem of the\nAbsolute”, which K.M.’s famous Black Square of 1915 constitutes.\nCarrément attempts to put this paradox into perspective, through a selection of works by the two artists that in a single stroke relativises the difference in their points of view. In 1915, Malévitch’s ‘alogical’ (also called his transrational/zaum) period ended and his ‘Suprematist’ period began. The humorous nature of his alogical works is obvious. They express a caustic humour in the spirit of Gogol. One such example is the handdrawn square in which he writes, “Boulevard brawl”, which has echoes of the famous “Negro fight in a tunnel, during the night”, by Alphonse Allais, one of François Morellet’s major influences.\nF.M. likes to underline that Strzeminski considered K.M.’s squares to be\n‘portraits’. “Let us first of all remind ourselves that his satirical portraits of the quadrilateral occupy only a brief period, itself preceded and followed by normal paintings. What humour, what ferocity in these mutilated squares!” F.M. has, of course, observed (and even verified) that K.M.’s squares are not square. The Black Quadrilateral (circa 1915), shown in this exhibition, confirms this fact. It is with this same sweet irony that Morellet highlights Mondrian’s ‘malice’, “utterly denaturing square paintings by transforming them into grotesque lozenges”. It is thus entirely logical that Morellet belongs “to this prestigious lineage of enemies of the square”. For if Morellet’s squares, unlike those of Malévitch, are absolutely square, it nonetheless remains the case that they are never presented in a sacral position, but always subject to the vagaries of the (more often than not lopsided) context of the exhibition (3 squares: the 1st inclined at 90°, the 2nd at 75°, and the 3rd at 60°, their upper edges aligned).\nFrançois Morellet’s ‘Sous-prématismes’ series makes explicit reference to\nthe Russian artist’s three emblematic works of 1915 (the cross, the circle, and the square). Simply by adjusting their contours, white neon tubes reinforce the spectral character of the geometric figures, these ‘icons’ of modernity.\nMorellet’s approach allows us, perhaps, to consider Malévitch’s works in a less absolutist, even a less religious way than is generally accepted. (Did K.M. not write Laziness – the real truth of mankind?). By the same token,do Morellet’s works not seem to us less ‘frivolous’ than he himself would have us believe?\n\nBernard Marcadé, February 2011\nTranslation: James Curwen","2011-03-16T23:00:00+00:00","2011-04-30T11:05:00+00:00",[],{"id":2339,"slug":2340,"title":2341,"customTitle":2342,"defaultTitle":2343,"overrideHeading":420,"url":2344,"tagline":420,"thumbImage":2345,"locations":2358,"category":2367,"description":2369,"startDate":2370,"endDate":2371,"type":236,"showForm":732,"form":2372,"__typename":1943},"115215","three-women","Alfredo Jaar - Three Women","Alfredo Jaar","Three Women","https://www.mennour.com/exhibition/three-women",[2346],{"id":2347,"url":2348,"jpg16":2349,"jpg800":2350,"jpg1600":2351,"jpg2400":2352,"jpg3200":2353,"alt":420,"title":2354,"width":2355,"height":2356,"caption":420,"mobile":2357,"__typename":679},"38919","https://dev-admin.mennour.com/uploads/img/three-women.jpg","fFIOkMM|D*%NNGRi~qt7oft7RjRj00?H%MWARjWCIU-qt7RjRjog9Fjrt6M{fkof","https://dev-admin.mennour.com/uploads/img/_jpg800/three-women.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/three-women.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/three-women.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/three-women.jpg","Three women",3264,2448,[],[2359],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2360,"city":2363,"mapLocation":2365},[2361],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2362,"__typename":679},[],[2364],{"title":350,"slug":351},{"parts":2366},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2368],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present Alfredo Jaar’s Three women, the artist’s first solo exhibition at the Gallery.\n_\nAlfredo Jaar ’s Art of Illumination\nLet us begin with light and luminosity, transparency and illumination. When we think of these terms, we tend to relate them to the way things appear—to the quality of objects, spaces, images, and the like. But on a basic level, these associations are merely supplementary to the more fundamental, reactive, and metabolic sensations; that is, their somatic effects on the body, on the eye: the way we look, how we see, and what we see.\nTo a large degree, these reflexes have one thing in common: the nature of appearances and the process of image reception. However, once we cross the threshold of how the body processes and the eyes absorb their surroundings, we arrive at a second juncture: the role of contemplating, reflecting, judging, and making sense of what we have seen. In short, how we see, read, and think the image.\nAlfredo Jaar’s current exhibition avers a surplus of these frames of perception. In bringing the present group of works together, Jaar has purposely placed before the viewer, within certain regimes of seeing and perception, a series of sculptures, photographic images, graphic prints, and a video that focus intently on the way what is seen is illuminated, both in the sense of the visuality and the visibility of forms and images. In a profound sense, what he offers the viewer becomes an enlightening and probing mechanism that digs into the deeper truth of the subject. In this exhibition, Jaar presents us with an inventory of his critical procedures in which protocols of reading, viewing, and analysis are the principal mechanisms of engagement.\nThat inventory is comprised of appropriated covers of global newsmagazines and newspapers, and includes his monumental Searching for Africa in LIFE (1996), a framed\ninstallation consisting of five vertical panels on which he assembled 2,158 covers of Life magazine, which span every edition published, up to the date when the work was\ncomposed. Jaar’s array of visual stimuli also includes other appropriated magazine covers, such as From Time to Time (1996), a panel of nine Time magazine covers: three images showcase wild African animals—lion, leopard, and gorilla—the other six feature\nmalnourished or starving Africans. To the Western media, apparently such images are two sides of the same currency of reportage on African-related stories. Along this same line are other examples of Afro-pessimism, in which Africa is played out in the global unconscious, in extremis, as the world’s basket-case of abuse and deprivation. As such, Greed (2007), displaying a single BusinessWeek cover from December 10, 2007, opens with the headline: “Can Greed Save Africa?”. […]\nBeyond Africa is Business Week Magazine Cover, December 24, 1984 (1984), a seminal\nwork that is also one of the most important in Jaar’s then-evolving critique of the\nconvergence of global media and global capital. This work is in two parts: the first is a single display of a color image of the magazine cover with two photographs. On the top left corner, just below the magazine’s logo, is a small image of a crouched young Indian woman, resting her head on the palm of her left hand; her eyes are bandaged shut.\nCentered on the lower portion of the cover is the face of a pensive-looking European\nman, photographed with soft lighting and chiaroscuro shadows, providing an even softer\nbackdrop to his seemingly contrite expression. The man is Warren Anderson, then chairman of the American chemical conglomerate Union Carbide. His company’s pesticide factory in Bhopal, India, had caused one of the world’s most catastrophic industrial disasters when, on the night of December 2-3, 1984, its plant leaked fumes of toxic chemicals into the atmosphere, killing thousands of people, permanently impairing and disabling thousands more, and sickening tens of thousands. Between these two photographs is a headline in thick black letters that dominate the cover: “Union Carbide Fights for Its Life.” The other part of this work is a vertical stack of the same cover, this time rendered in black white and divided into its four components: magazine logo, Indian woman, cover headline, and European man. The dissonance between the cataclysmic loss of life and the cold-hearted concern for the survival of Union Carbide is one of shocking ambivalence. The analysis of such ambivalence has become a signature of Jaar’s retinue of visual and textual rhetoric.\n\nIn a second inventory, Jaar presents the front pages of newspapers, such as Humanité et Coeur (1996) from the front page of the August 1996, issue of Libération which shows the French police storming a sanctuary church where sans papiers (migrants without legal papers) had taken refuge from expulsion. The central concern of both newspaper features spotlights the question of immigration and the plight of immigrants. Both are directly linked to the only video in the show, Du Voyage, Des Gens (2011). […] In the video, an aged female fiddler, a Roma, is playing a fugue-like tune on her ancient instrument in front of the hulking industrial armature that is the Centre Pompidou in Paris. The contrast between post-industrial architecture and its postmodern rationalism is hard to square with the rabid nationalism with which the political far right has stigmatized so-called foreigners, and in 2010 targeted the Roma for brutal expulsion from France. The plaza in front of the museum is a civic space where diverse publics converge and the fact that performances such as the one recorded by Jaar are daily occurrences somehow undoes the nativism of nationalism. […] But against the backdrop of virulent police attacks against the Roma in France, and the expulsion of many of them (no doubt prompted by President Sarkozy’s attempt to criminalize immigration and his general antipathy towards immigrants), the simple, uninflected image of this woman playing her instrument in open view in Paris, places a nimbus of light—like the ones used to spotlight the portraits of Graça Machel, Aung San Sui Kyi, and Ela Bhatt in Three Women—around the inextinguishable presence of the beleaguered Roma in the French public imagination. […]\nHis final inventory focuses on works whose technical mechanisms deploy the use of light— fluorescent tube, strobe lights, and spotlights—as metaphorical and physical apparatuses. In Jaar’s repertoire of installations and sculptures, Three Women (2010) and The Sound of Silence (2006) –presented in the Cour vitrée of the Ecole nationale supérieure des beauxarts de Paris- draw a direct correlation between images, text, and illumination through the use of light sources as technical support in the production of narrative. Between all these works lie two central preoccupations in his practice: on the one hand are the status of the image and the pictorial regimes of its sensible distribution, reception, and absorption; on the other is the social perception of the representation of humanism in art.\n\nOkwui Enwezor, February 2011\nFragments from upcomming monograph.","2011-02-10T23:00:00+00:00","2011-03-12T16:55:00+00:00",[],{"id":2374,"slug":2375,"title":2376,"customTitle":2377,"defaultTitle":2377,"overrideHeading":420,"url":2378,"tagline":420,"thumbImage":2379,"locations":2392,"category":2401,"description":2403,"startDate":2404,"endDate":2405,"type":236,"showForm":732,"form":2406,"__typename":1943},"115228","michel-francois","Michel François - Michel François","Michel François","https://www.mennour.com/exhibition/michel-francois",[2380],{"id":2381,"url":2382,"jpg16":2383,"jpg800":2384,"jpg1600":2385,"jpg2400":2386,"jpg3200":2387,"alt":420,"title":2388,"width":2389,"height":2390,"caption":420,"mobile":2391,"__typename":679},"237457","https://dev-admin.mennour.com/uploads/img/CHD0982.jpg","W6FPKcA0NG~XxZ-;-p-:%Lxu%Mt700^*?bRjo}M{WZRj%MWBaet7","https://dev-admin.mennour.com/uploads/img/_jpg800/CHD0982.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/CHD0982.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/CHD0982.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/CHD0982.jpg","CHD0982",6048,4032,[],[2393],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2394,"city":2397,"mapLocation":2399},[2395],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2396,"__typename":679},[],[2398],{"title":350,"slug":351},{"parts":2400},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2402],{"title":1893,"slug":528,"type":1885},"Paris, 21 December 2010\n\nDear Michel,\n\nI am very pleased that you suggested I write the press release for your first solo\nexhibition at galerie kamel mennour. At the time of writing these lines, with the private view a few days away, I sense that nothing is quite decided yet as to which works you will be showing, and that does not surprise me. I know, since we have already worked together*, that everything can shift, be modified, and moved around, right up until the last minute. For your work is never definitively fixed – on the contrary, it is in constant flux, dynamic, proliferating; being naturally recycled and permanently reconfigured. And this, for me, is precisely where its force lies; its organic, biological, wild character that is, in a word, alive.\nIt will, of course, consist of sculpture, since that is what determines the arrangement of all your work: by this, I mean – despite a great diversity of media – a primary and formative preoccupation with questions of space, matter, volume and balance, playing on a series of tensions. Lightness and heaviness, void and filling, compressions and proliferation, everything in a register of permanent contradiction, within each work as well as at the exhibition scale. And it is thus, I believe, that everything with you is paradoxically linked: through these fundamental dissensions. Unity in disorder. Chronic desynchronizations.\nSo, yes, some sculpture, but which could be defined as conceptual, or more or less ideal, in its material substance. Metaphorical sculptures with a general blurring of meanings and reason in gratuitous expenditure, contemporary consumption and dispersal. An opportunity, also, to approach notions such as that of contamination, destructive energy, transformation, claustrophobia, confinement, order and chaos, entropy. What has always struck me with you is the way in which each form is irrigated by a network of references, by intimate and universal narratives, yet it remains deliberately underground, nondiscursive and indeterminate; recurrent, obsessive motifs, the result of travel, meetings, reading, reflections and other personal experiences – in short, of an insatiable curiosity for the world. Invisible, but appreciable. All these hybrid images and heterogeneous forces that you bring together and crystallise, as if you wished to embrace, with love and determination, the whole world, and – in the same movement – desire and violence, distance and emotion, beauty and cruelty.\nFor example? A transfigured skeleton, “reincarnated” with extravagance to the point of\nabstraction, which progresses from the organic to the sculptural, from morbidity to\ncelebration, whilst becoming the basis for free, wild and spontaneous expression, echoing certain festive traditions of Central America. Elsewhere, this cubic structure, the basis for a tangle of metal rods, like an industrial spider’s web, the unlikely progeny of Spiderman and Ironman. Here again, its sculptural qualities play on tensions, between the radical and pure silhouette of the whole and a subtle and complex interior motif, but also in its character, both imposing and fragile, since the whole is held together by magnetic ball-bearings. A paradox, also, between randomness and necessity, ornament and brutality, in the moulded coloured plasticine displayed on the sides of a glass cube. \nIn short, I am convinced that this selection of recent works will remain, as always with you, a double-edged sword, in its form and in its deeper meaning. And I like nothing more than when the apparent simplicity of your pieces – their character at first sight minimal, apparently harmonious – hides a formal, sensitive and conceptual complexity that never ceases to pierce through the surface.\n\nWith all my admiration, and my best wishes for your success, \n\nGuillaume Désanges, Exhibition curator and art critic \n\n* In particular « Plans d’évasion », solo exhibition at the SMAK of Ghent in 2009, curators: Guillaume Désanges & Philippe Van Cauteren","2011-01-06T23:00:00+00:00","2011-02-05T14:25:00+00:00",[],{"id":2408,"slug":2409,"title":2410,"customTitle":840,"defaultTitle":2411,"overrideHeading":420,"url":2412,"tagline":420,"thumbImage":2413,"locations":2425,"category":2434,"description":2436,"startDate":2437,"endDate":2438,"type":236,"showForm":732,"form":2439,"__typename":1943},"115231","quand-les-carres-font-des-cercles-et-des-triangles-hauts-reliefs-situes-2010","Daniel Buren - Quand les carres font des cercles et des triangles: Hauts-reliefs situés. 2010","Quand les carres font des cercles et des triangles: Hauts-reliefs situés. 2010","https://www.mennour.com/exhibition/quand-les-carres-font-des-cercles-et-des-triangles-hauts-reliefs-situes-2010",[2414],{"id":2415,"url":2416,"jpg16":2417,"jpg800":2418,"jpg1600":2419,"jpg2400":2420,"jpg3200":2421,"alt":420,"title":2422,"width":2423,"height":2390,"caption":420,"mobile":2424,"__typename":679},"38935","https://dev-admin.mennour.com/uploads/img/quand-les-carres-font-des-cercles-et-des-triangles-hauts-reliefs-situes-2010.jpg","nDGlS8IT?bxuIU_4M{oJt7WB^+tR00a#M{bGxuM{WUj[00ay_3Ri_3M_j[xuRjxu","https://dev-admin.mennour.com/uploads/img/_jpg800/quand-les-carres-font-des-cercles-et-des-triangles-hauts-reliefs-situes-2010.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/quand-les-carres-font-des-cercles-et-des-triangles-hauts-reliefs-situes-2010.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/quand-les-carres-font-des-cercles-et-des-triangles-hauts-reliefs-situes-2010.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/quand-les-carres-font-des-cercles-et-des-triangles-hauts-reliefs-situes-2010.jpg","Quand les carres font des cercles et des triangles hauts reliefs situes 2010",2772,[],[2426],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2427,"city":2430,"mapLocation":2432},[2428],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2429,"__typename":679},[],[2431],{"title":350,"slug":351},{"parts":2433},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2435],{"title":1893,"slug":528,"type":1885},"Photos-souvenirs \n\nEntitled “Quand les Carrés font des Cercles et des Triangles: Hauts-reliefs situés. 2010”, Daniel Buren’s third solo exhibition at galerie kamel mennour heralds a programme whose dominant themes are those of metamorphosis and of a combination at once geometric and colourful.\nThe three new groups of works on show are based on the principle of the fragmenting of a square form, using this means to generate other elementary forms. Once installed on the walls, the latter restore the original quadrilateral, but developed in space. Thus, according to the homothetic sets frequently utilised by the artist, these squares, in their closed position, have sides that measure 2 metres; when they are opened up they can stretch to over 5 metres, incorporating the surface of the host wall.\nBegun approximately four years ago, these works seem to be situated between earlier works produced at the end of the sixties (1968 and 1969, then 1975) and the Cabanes Eclatées created from 1975 onwards. The first group appeared to suggest the explosion of a canvas painting, with scattered elements of fabric, whose installation on the walls nevertheless restored the original form. Playing itself out in accordance with the x and y coordinates of the picture rails, the Cabanes Eclatées progressively took over the space and architecture: geometric forms were cut out from the walls of these elementary cubic constructions (the cabins), and found themselves projected against the surrounding walls, following a scrupulous translation.\nIf fragmenting or exploding seems to be a recurring motif in Daniel Buren’s work – if not his main tool – it is because his original project, in respect of art, and more specifically painting, aims to break with a system of representation that makes the picture dependent on a single point of view, in its manufacture as much as when it is interpreted. Thus, following in the footsteps of Piet Mondrian, Theo van Doesburg or even Pollock, he seeks to give equal importance to the whole surface of the canvas, without favouring any one point of view over another. It is through his powerful reflection on these subjects in particular that Daniel Buren has affirmed himself as an artist of our time.\nIn an interview, Jérôme Sans has asked him if he regards his work as being “open”, in the sense set out by Umberto Eco: a visual work that seems to be completed – undoubtedly summing up the philosopher’s thinking too briefly – by the viewer, a book by the reader, music by the interpreter. To which the artist responds that this is undoubtedly one of the main ambitions of his work. And indicates that it can only be open once he has established the rules of his game, his restrictions. (Au sujet de... Entretien avec Jérôme Sans, 2000, Flammarion). Paradoxically, therefore, Daniel Buren reminds us how much the setting out of his outil visuel from 1965 onwards allowed him to work without fear of repeating himself, divested of the quest for identification (the recognition of his hallmark), which sometimes pervades an œuvre and impedes its creator.\nWith the Cabanes Eclatées, Daniel Buren undertook innumerable experiments, as much in the configuration of the spaces he took over as by the abundant palette of materials he utilised, the work thereby becoming its own site, modified by its host architecture, which it had, at the same time, re-characterised. Above all else, the Cabane is the place of a multiplicity of points of view – as many as the spectator can activate by moving between its interior and exterior, and through the intervention of surface reflections.\nSo, what is it that interests Daniel Buren in this offering installed on the walls, these high-reliefs (which do not, you will have gathered, constitute in any sense the dominant direction of his work today, but merely one of his innumerable projects)? It is pleasing to think that the moment he left the picture rails in order to take over the space, he opened up a breach in the scheme of art; he sought to highlight the limits of a work’s autonomy and the neutralising role of the museum. Launching an attack on architecture was, therefore, a political and ideological quest. Thirty-five years later, the breach has become a four-lane, ditch-lined highway, and in a sense, Daniel Buren can explore other avenues. For example, that of walls. The very great diversity of materials he experiments with in the Cabanes Eclatées, the infinite list of supports used in his public commissions or in the private sphere, allow him to consider this location with a renewed approach. To such an extent that wandering through the gallery space among these exploded and mirrored forms can set off a powerful, chromatic vortex, shaking our certitude that these high-reliefs are truly fastened to the walls...\nMarie-Cécile Burnichon, October 2010.","2010-10-20T22:00:00+00:00","2010-12-18T14:35:00+00:00",[],{"id":2441,"slug":2442,"title":2443,"customTitle":799,"defaultTitle":2444,"overrideHeading":420,"url":2445,"tagline":420,"thumbImage":2446,"locations":2458,"category":2467,"description":2469,"startDate":2470,"endDate":2471,"type":236,"showForm":732,"form":2472,"__typename":1943},"115241","temps-mort","Mohamed Bourouissa - Temps Mort","Temps Mort","https://www.mennour.com/exhibition/temps-mort",[2447],{"id":2448,"url":2449,"jpg16":2450,"jpg800":2451,"jpg1600":2452,"jpg2400":2453,"jpg3200":2454,"alt":420,"title":2455,"width":1822,"height":2456,"caption":420,"mobile":2457,"__typename":679},"38938","https://dev-admin.mennour.com/uploads/img/temps-mort.jpeg","W9KBH@-;00R:_4RO-;R*bIRjRjRi00W;_3t54mWE_NogozofRjog","https://dev-admin.mennour.com/uploads/img/_jpg800/38938/temps-mort.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/38938/temps-mort.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/38938/temps-mort.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/38938/temps-mort.jpg","Temps mort",853,[],[2459],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2460,"city":2463,"mapLocation":2465},[2461],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2462,"__typename":679},[],[2464],{"title":350,"slug":351},{"parts":2466},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2468],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present Mohamed Bourouissa’s Temps mort, the artist’s first solo exhibition at the Gallery. \n\nProduced between 2008 and 2009, and recently shown as part of the Dynasty exhibition at the Palais de Tokyo in Paris, as well at the most recent Berlin Biennale, the Temps mort project is reminiscent of the imagery associated with photo journalism or with social documentary conveyed by the media. And yet the process by which it has come about distances it decisively from a journalistic aesthetic. \nMohamed Bourouissa has, for a long time, employed sophisticated procedures to compose his shots, as illustrated by the series Périphérique and Écrans... Following these, Temps mort represents a complete break. It introduces a new development in the artist’s research, a development marked by recourse to low-tech procedures and simple and functional ways of operating. These are better suited to projects in real situations, in other words projects based on the immersion in genuine social reality, in a real-life experience shared to a varying degree. At the fringes of legality, the means used to capture real life have become the keystone of an unusual and poetic arrangement. \nTemps mort is the result of a year of exchanging stills and videos, using mobile telephones, made up of more than 300 SMSs and MMSs, between the artist and two acquaintances detained at a penal establishment.\nIn exchange for phone credit, Mohamed Bourouissa directs from the outside how these productions are to be put together within the walls of the prison itself. He indicates and sets out, with the help of sketches and instructions, the type of shots he wishes to receive, which he then prints and re-photographs before enlarging them to life size in order to get as close as possible to the graininess of the original images. \nDisplayed in Room 3 of the gallery, the photographic installation, which constitutes the first phase of this project, thus exhibits fragments of daily life behind bars. Hung at “real height”, in other words in such a way that each object, figure or element of the scene lies at roughly the same height it occupied at the moment the shot was taken, the nine photographs of the series engage the viewer’s body in the very process of exposition. We are left free to reconstruct a complete representation of this prison universe, to mentally fill the blanks between the image, the spaces that exist between the bed, the saucepan, the radio, the barred window, the lamp, etc...\nOffering, as its title indicates, a reflection on time, on time suspended, it was natural to enrich the project by branching out into video. \nPresented in the tube, the film Temps mort is the product of a reciprocal exchange of short video clips, spliced one after the other. Remotely controlled views of daily life behind bars: the ordinariness of a washbasin, a green plant or a plate of pasta with butter; set against scenes of life outside: the streets of Paris, a night of lovemaking, or coastal landscapes. There is no sensationalism or pathos – merely a nakedness and a simplicity which place the viewer/voyeur in a situation of humility.\nAnd yet, how is possible not to think of those who struggle behind these walls? How is it possible to refrain from expressing our indignation concerning France’s prisons, their famous exercise yards, those lawless zones, their insalubrious showers and the four rolls of toilet paper a month... All this gives rise to an unspoken tension. Whilst juxtaposing the two viewpoints, the film retains a sobriety that paradoxically reveals a truly violent human situation. The subjects being discussed and the affinity of language, which the artist reveals to us through the incorporation of a few text message conversations, consequently give rise to a contradiction and give this stereoscopic exchange a sociological density and reality.\n\n\n\nWithout pretence, Mohamed Bourouissa succeeds in establishing a situation of sharing, of living together with a person deprived of his freedom. Here, the poetic is interlaced with pain. The social control of the body is carried out through detention, and this reality is made to seem almost strange. Strangeness as understood by Camus – in other words absurd, owing to a certain reciprocity between the two actors, whose thoughts and exchanges develop like those of free men. Here, as in the final pages of The Stranger, there a way of breaking down the rules of incarceration and submission, a way of surpassing manmade justice through a human relationship of the most humane and sensitive kind. Obviously, this brings to mind the principle which, if one believes Max Weber2, lays down violence as one of the conditions necessary for the organisation of the state...\n\nEmma-Charlotte Gobry-Laurencin and John Cornu\n\n\n--\n Cf. Albert Camus, The Stranger [or The Outsider]: First published in French Paris, Gallimard,1942, republished 2009, p. 183-184\n2 Max Weber, Economy and Society, University of California Press, Berkeley and Los Angeles, California, 1978, p. 206","2010-09-08T09:10:00+00:00","2010-10-09T09:10:00+00:00",[],{"id":2474,"slug":2475,"title":2476,"customTitle":1220,"defaultTitle":2477,"overrideHeading":420,"url":2478,"tagline":420,"thumbImage":2479,"locations":2490,"category":2499,"description":2501,"startDate":2502,"endDate":2503,"type":236,"showForm":732,"form":2504,"__typename":1943},"115245","pour-finir-encore-et-autres-foirades","David Hominal - Pour finir encore et autres foirades","Pour finir encore et autres foirades","https://www.mennour.com/exhibition/pour-finir-encore-et-autres-foirades",[2480],{"id":2481,"url":2482,"jpg16":2483,"jpg800":2484,"jpg1600":2485,"jpg2400":2486,"jpg3200":2487,"alt":420,"title":2477,"width":2488,"height":2390,"caption":420,"mobile":2489,"__typename":679},"38947","https://dev-admin.mennour.com/uploads/img/pour-finir-encore-et-autres-foirades.jpg","oXMjm%=|~qI;.T%gpIXSbbV@r?i_nji{aeSLX6W;afoLofV[oLof.8X7M{t7V@Rj$ji_WBozbbW;","https://dev-admin.mennour.com/uploads/img/_jpg800/pour-finir-encore-et-autres-foirades.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/pour-finir-encore-et-autres-foirades.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/pour-finir-encore-et-autres-foirades.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/pour-finir-encore-et-autres-foirades.jpg",4720,[],[2491],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2492,"city":2495,"mapLocation":2497},[2493],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2494,"__typename":679},[],[2496],{"title":350,"slug":351},{"parts":2498},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2500],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present «Pour finir encore et autres foirades» David Hominal’s first solo exhibition at the Gallery.\n\nExt ract f rom a conver sa t ion about David Hominal\nNiels Oslsen: The works do not deliver any automatic response.\nFredi Fischli: An automatic response as a proposal of the modifications of\nthe possibilities of art. What do you know about, and what have you\nalready seen on this subject?\nNO: In fact, we can take as our basis the principle that a concept of art\nexists. This corresponds not only with the thematic of art; above all else, it\nalso defines its language, through whose form art manifests itself. Impossible\nfor the artist to sidestep that. His only way out lies in the transformation of\nthe concept of art that is contemporary with him.\nFF: Hominal, however, does not perform any transformation of the concept\nof art; he projects it.\nNO: Art cannot function in a universal manner. It cannot remove itself\nautomatically from the formal language that is contemporary with it. The\nresult is a demand specific to art: it always leans towards a new form of\nlanguage.\nFF: Hominal, on the contrary, presents the first visible signs – already present,\non show – of a concept of art about to wither.\nNO: One asks oneself next: “What does he do? Where is the author?”\nFF: The author is the one who works out a definition of the concept of art.\nNO: Hominal is not an author in the sense that he takes a stance, announces\nsomething himself, but he becomes one by gravitating towards the first\nvisible signs of definitions.\nFF: He tests the boundaries of the possible. His works function as simple\nexperiments. How far can one go?\nNO: The individual pieces, seen separately from each other, do not give us a\nrepresentative picture of his work. They operate like points, signs. They are\nmarkers that define the concept of art.\nFF: He refuses to follow a particular line. The links between the different\nmarkers manifest themselves much more closely in the form of a circle.\nBased on the circle, the profile of the concept of art is constructed.\nNO: The individual works are simply repositioned throughout the updating\nof the concept of art. The answer is to be found in the defining of the\nboundaries.\nFF: That is why one is suspicious of the process of legitimising the works.\nThey articulate not the “New” but “that-which-is-withering”\n[Verwelkende].\nNO: Exactly like a still life. That which is withering in the future returns us to\nthe finiteness of the present moment.\nFF: That also explains the presence of an aesthetic of the “faded”\n[Verbauchten].\nNO: The wilted sunflower veers towards the leitmotiv.\n\nFredi Fischli and Niels Oslsen, Zurich, 1 September 2010\nArt Historians, Fredi Fischli is an independnt curator and Niels Oslsen is an\nart critic.\n\nBorn in 1976 in France, David Hominal lives and works in Amsterdam. His work has been shown in numerous solo and group exhibitions in France and abroad: at the Centre culturel Suisse in Paris, the Fondation Salomon in à Alex, Objectif-exhibitions in Antwerp, Raster in Warsaw, the New Museum of Contemporary Art in New York, as part of the Younger than Jesus exhibition, the Musée des Beaux Arts of Lausanne, the FRI-ART-Centre d’Art Contemporain of Fribourg, the Kunsthalle Berne, the Kunsthaus Zurich and the CAC of Vilnius, as part of the Shifting Identities exhibition. His last solo exhibition was presented in the Centre d'Art Contemporain\nof Genèva. Currently in residence at the Rijksakademie in Amsterdam, David Hominal is one of the artist curator of Circuit in Lausanne. In 2011, he will expose at the Swiss Institute in New York..","2010-09-07T22:00:00+00:00","2010-10-09T08:50:00+00:00",[],{"id":2506,"slug":2507,"title":2508,"customTitle":2509,"defaultTitle":2510,"overrideHeading":420,"url":2511,"tagline":420,"thumbImage":2512,"locations":2524,"category":2533,"description":2535,"startDate":2536,"endDate":2537,"type":236,"showForm":732,"form":2538,"__typename":1943},"115284","daniel-buren-alberto-giacometti-oeuvres-contemporaines-1964-1966","Daniel Buren & Alberto Giacometti - Œuvres Contemporaines 1964-1966","Daniel Buren & Alberto Giacometti","Œuvres Contemporaines 1964-1966","https://www.mennour.com/exhibition/daniel-buren-alberto-giacometti-oeuvres-contemporaines-1964-1966",[2513],{"id":2514,"url":2515,"jpg16":2516,"jpg800":2517,"jpg1600":2518,"jpg2400":2519,"jpg3200":2520,"alt":420,"title":2521,"width":2522,"height":750,"caption":420,"mobile":2523,"__typename":679},"38950","https://dev-admin.mennour.com/uploads/img/daniel-buren-alberto-giacometti-oeuvres-contemporaines-1964-1966.jpg","WAL;Q,VW00$Lx_*0_3ofogXARiV@00tm-pyEITiHsCxuoeV?%MNH","https://dev-admin.mennour.com/uploads/img/_jpg800/daniel-buren-alberto-giacometti-oeuvres-contemporaines-1964-1966.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/daniel-buren-alberto-giacometti-oeuvres-contemporaines-1964-1966.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/daniel-buren-alberto-giacometti-oeuvres-contemporaines-1964-1966.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/daniel-buren-alberto-giacometti-oeuvres-contemporaines-1964-1966.jpg","Daniel buren alberto giacometti oeuvres contemporaines 1964 1966",3001,[],[2525],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2526,"city":2529,"mapLocation":2531},[2527],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2528,"__typename":679},[],[2530],{"title":350,"slug":351},{"parts":2532},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2534],{"title":1893,"slug":528,"type":1885},"Photos-souvenirs\n\nJuxtaposing the work of two artists sometimes leaves few alternatives apart from forming either a dialogue (searching for the affinity, the complementary nature of the works, or the complicity between them) or a disparity (highlighting the differences). All the more so when one of them is no longer with us. So it is that the exhibition of Daniel Buren and Alberto Giacometti at galerie kamel mennour – the fruit of an extraordinary collaboration between the artist, the gallery and the Alberto and Annette Giacometti Foundation – could give rise to infinite comparisons and contrasts. Anyone seeking a convergence would underline the fact the both these artists stand out through the trademark that each invented: the stripe for Buren, and, in Giacometti’s paintings, the elongated silhouettes, the portraits on the verge of disappearing. An opposing perspective would contrast Buren, who in his Mise en garde (1969), asserts that “painting should no longer be about any kind of vision/illusion, even mental, of a phenomenon (nature, the subconscious, geometry), but about the visuals of painting itself” with a Giacometti obsessed by the surfacing of truth from beneath the painted or sculpted figure. The list of convergences and divergences could be continued, but it would be pointless, except to even out each artist’s achievements.\nThus the interest of this juxtaposition lies elsewhere: the short window of time (1964-1966) from which all the works have been taken provides the key. What happened to these two artists during this fleeting phase? For Buren, these two years correspond with the appearance of the stripe motif and an intense period of experimentation on the same theme. Whilst the first stripes, drawn using adhesive tape, were painted and served as a background to the organic forms that sometimes covered them, by the end of 1965, after the “miracle” of the Marché Saint-Pierre fabric store in Paris, they are replaced by manufactured striped fabric. Whether woven or silkscreen- printed, they condition the artist’s pictorial intervention on these canvases differently. Buren has not, in fact, renounced painting and is keen to avoid his project being confused with a ready-made.\nWhereas these years see the establishment of the Buren system, culminating in 1967 with the definition of his “visual tool”, for Giacometti they correspond with what are now known as the “final works”. He died in January 1966 at the height of his international recognition: the Grand Prize for sculpture at the 1962 Venice Biennale; the opening of three retrospectives, in London (Tate Gallery), New York (MoMA) and Humlebaek (Louisana Museum in Denmark) in 1965, the year in which he received the grand prix national des Arts, awarded by the French Ministry for Cultural Affairs. His last sculpted works are mostly bronze busts, in particular those of his wife, Annette, or the film-maker Elie Lotar. What is striking about them is the imminent disappearance of the face, which seems to have been cut off or eaten away, and the striving for captured and encysted movement in the torso- base.\nThe window of time chosen for the exhibition brings to life the reciprocally opposing processes in which these works are engaged, evoking what Thomas S. Kuhn, author of The Structure of Scientific Revolutions, defines as a “paradigm shift”. There is no suggestion that these two figures brought about such a shift on their own, but, over the course of those two years, their works can be seen as emblematic of the passage from modern to contemporary art and towards a new geopolitical movement in art. As it happens, providing the backdrop to the Buren-Giacometti juxtaposition in the years 1964-65 is the École de Paris, about which the two artists held radically different positions. An effective lobby and label for the promotion of Giacometti’s works, this Parisian “showcase” also dragged him into its own decline following the systematic attacks on it from parts of the American scene from the 1950s onwards. The awarding of the Venice painting prize to Robert Rauschenberg in 1964 effectively sounded the death knell for the École de Paris1. As for Buren, he was already criticising its academicism and its extreme left-wing views even before the creation of the association with Mosset, Parmentier et Toroni in 1967 – formed, essentially, to counter the École de Paris. Furthermore, he was amongst the first French artists to make inroads into the American art scene, even if the radicalism of his work was not always well received.\nAs for the paradigm shift in aesthetics, by taking reality as his departure point – or the imprint of it, based on memory or the senses – Giacometti reinvents the concept of resemblance, anticipating what Gilles Deleuze described, with reference to Bacon’s painting, as like the “logics of sensation”. If the sculptor’s work begins with relentless and indefatigable hands producing unique pieces, it nevertheless owes its existence, through series the world over, to casts. It is thus a question of reconciling the technical reproducibility of the work with its aura. The expressivity, if not the theatricality of certain busts on show in this exhibition, is perhaps rooted in this problematic. Thus Giacometti makes the transition to a world that has other preoccupations besides that of aura, signalling the end of the modernist, whereas Buren rapidly positions himself as an artist at the cutting-edge. He adopts a critical attitude towards painting, art and institutions. From 1967 onwards, he is one of the first artists to create a street intervention with his “affichages sauvages”, using his visual tool to spread beyond the limits of the exhibition and the museum wherever possible.\nMore than a jumbled snapshot of emblematic works, the exhibition Daniel Buren & Alberto Giacometti, Oeuvres contemporaines 1964-1966, offers us a simultaneous experience of the works and of their artistic context. It seeks not just a proximity to them, but also to give their juxtaposition, as it were, a cultural perspective. A history of art on a macro scale, where one might map out the simultaneities, the occurrences and reoccurrences, the points of convergence, is yet to be written. For example, what would the display of Matisse’s paper cut-outs (1949) alongside Pollocks first drippings (1946) look like and what ideas might it provoke? The dialogue between such differing and emblematic works by Daniel Buren and Alberto Giacometti also raises the question of their topicality today, of the relevance or irrelevance of one or the other, and of each for the other.\nMarie-Cécile Burnichon, April 2010 Translation : James Curwen\n_\n1Of the 16 Grand Prizes awarded at the Venice Biennale for painting and sculpture between 1948 and 1962, it could claim 12: Braque, Matisse, Zadkine, Dufy, Calder, Max Ernst, Arp, Villon, Fautrier, Hartung, Manessier and Giacometti.","2010-04-28T22:00:00+00:00","2010-06-26T13:50:00+00:00",[],{"id":2540,"slug":2541,"title":2542,"customTitle":1240,"defaultTitle":2543,"overrideHeading":420,"url":2544,"tagline":2545,"thumbImage":2546,"locations":2559,"category":2568,"description":2570,"startDate":2571,"endDate":2572,"type":236,"showForm":732,"form":2573,"__typename":1943},"115306","ombre-blanche","Huang Yong Ping - Ombre Blanche","Ombre Blanche","https://www.mennour.com/exhibition/ombre-blanche","Caverne 2009",[2547],{"id":2548,"url":2549,"jpg16":2550,"jpg800":2551,"jpg1600":2552,"jpg2400":2553,"jpg3200":2554,"alt":420,"title":2555,"width":2556,"height":2557,"caption":420,"mobile":2558,"__typename":679},"38991","https://dev-admin.mennour.com/uploads/img/ombre-blanche.jpg","fHJ8O#_4?v9ExuRj_3WBbcaeWAax009EofxvM{of%NoeM{WBj[j[-;RjMxM{xuay","https://dev-admin.mennour.com/uploads/img/_jpg800/ombre-blanche.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/ombre-blanche.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/ombre-blanche.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/ombre-blanche.jpg","Ombre blanche",1701,1276,[],[2560],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2561,"city":2564,"mapLocation":2566},[2562],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2563,"__typename":679},[],[2565],{"title":350,"slug":351},{"parts":2567},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2569],{"title":1893,"slug":528,"type":1885},"Before settling permanently in France, Huang Yong Ping was already focussing ceaselessly and with a critical eye on the ambiguity of the social function of culture, first in China and later, following the international progress of his work. Seizing on the profound forms and beliefs of East and West, he shows their potential for fascination and violence. Since his days as a radical neo-Dadaist provocateur in China in the early-80s, he has undertaken, with the same determination, a powerful,\npolitically-charged questioning of our certainties.\n\nHe has seized, this time, on the great tales that have been the foundation of Western civilisation, giving them back their symbolic effectiveness. The age-old notoriety of the myths he revisits is down to their structure, onto which mankind is able to project answers to the great enigmas of destiny. But, whether it is Noah’s story, the source for Arche 2009, or the allegory of the cavern according to Plato’s Republic, which inspired the work exhibited in September at galerie kamel mennour, these myths are under no circumstances mere pretexts for producing a sculpture. It is the very forms of the texts themselves that are explored and manipulated, with an obstinacy that recalls the famous installations created on the occasion of the exhibition “Magiciens de la terre” [Magicians of the Earth] in 1989, or in 1992 for the Carnegie International in Pittsburgh. Here, books were transformed, ground down into a shapeless paste, then returned to the library shelves, in accordance with the dual nature of culture: dead matter or contaminating essence of life.\n\nThe magisterial installation conceived by the artist for the\nchapel of the Ecole Nationale Supérieure des Beaux-arts in Paris\nwas inspired by the fire at the famous Parisian shop Deyrolle,\nwhich specialised in the sale of objects related to natural\nhistory. Struck by the effect of calcination on the appearance\nof the animals, the artist saw in this dreadful accident the\nrepresentation of the true work of death. The disaster drove\nhim to create this immense sculpture, a commentary on the\nhistory of Noah’s Ark, as described in Genesis – in other words\non the question of evil, divine retribution and redemption at\nthe heart of a cosmic drama: the flood.\n\nArranged between copies and casts of some of the most famous works from the Middle Ages and the Renaissance, the great vessel is there, surrounded by the summits of Western memory. Faithful to the biblical story, it carries on its three decks the fauna destined to repopulate the earth. On closer inspection, the spectator will discover that some of the stuffed animals are disfigured, as if victims of a terrible tragedy. Equally, the mast – partially burnt – suggests that this microcosm has endured something terrible. Thus the artist returns to one of his fundamental obsessions, the selfdestruction of societies, which has provided the subject for a number of his works, such as Theatre of the world or Yellow peril, where insects were confined in a cage, the shape of which evoked traditional prison layouts. Incapable of living together, they ended up eating each other.Here, the work consists of a paper boat. What more literal way is there of suggesting that it refers to a book, but also that it belongs, like a fable, to the world of childhood. The geometry of the folds by which the ship is built is the expression of reason, as opposed to the animal instincts from which we are made. HYP’s ark transports life, but also the fundamental violence of all social organisations. Through this pessimistic message, the artist turns the idea of the story on which it is based on its head. He breaks the alliance between God and man. No celestial punishment has been imposed on the ark – the barbarism laid bare by the artist has originated purely in the violence inherent in communal life. As the title Arche 2009 suggests, the tragic rumblings of the present accompany this monument, dedicated as it is to our weaknesses. One can see here the echo, for example, of today’s widespread ecological destruction, which was once\nsymbolised by the flood, or the suffering of the Boat People, or the endless conflicts that demonstrate our inability to live with one another... Here, then, as with Plato’s allegory of the cavern, which illustrates the impossibility of mankind having access to knowledge of reality, the artist inverts the function of myths by observing what they say about us, rather than what they tell us about our gods. Thus, in place of the theological aspects of these founding tales, he substitutes an anthropology, a reflection on mankind.\nJean de Loisy, June 2009\nTranslation : James Curwen","2009-10-22T22:00:00+00:00","2009-12-19T16:55:00+00:00",[],{"id":2575,"slug":2576,"title":2577,"customTitle":2577,"defaultTitle":2577,"overrideHeading":420,"url":2578,"tagline":420,"thumbImage":2579,"locations":2580,"category":2581,"description":2582,"startDate":2583,"endDate":2584,"type":236,"showForm":732,"form":2585,"__typename":1943},"115315","playas","Playas","https://www.mennour.com/exhibition/playas",[],[],[],"In parallel with Martin Parr’s exhibition “Planète Parr” organised at the Jeu de\nPaume in Paris from 30 June to 27 Septembre 2009, kamel mennour is pleased\nto present “Playas”, the artist’s third solo exhibition at the gallery.\n\nFor the last thirty years, with his tender and secluded gaze, tinged with a hint\nof irony and cynicism, Martin Parr has given us his oblique approach to social\ndocumentation and his fascination with the fantastic elements of daily life and\nthe grotesqueness of the banal. From beneath the glossy surface of his photographs, the astuteness of his work shows through, subtly denouncing the\nabsurdity and vacuity of our consumerist society, the phenomena of globalisation, mass tourism, consumer behaviour, or so-called free time.\n\nAfter “Think of England”, “Cocktail” and “Mexico”, Martin Parr has chosen to\ndisplay photographs he took between 2006 and 2007 on the beaches of 5\nLatin American countries: Brazil, Uruguay, Mexico, Argentina and Chile.\nA veritable celebration of ways of life in coastal resorts, this brightly coloured\nseries humorously unmasks the cultural codes, the habits and posturing of beach\nand seaside aficionados.\n\nThus we notice that while Mexicans prefer to drink beer and sodas, at Mar del\nPlata in Argentina or at Punta del este, a coastal town in Uruguay, families\ncontinue the ritual of maté – the plant infusion with stimulating effects\ncustomarily drunk in the street – bringing with them their Thermos flasks and\n“calabashes”. Likewise, whilst it is customary, on the beaches of Acapulco (in\nMexico) or Valparaiso (in Chile), to bathe in a t-shirt, on the beaches of Ipanema\nor Copacabana in Rio de Janeiro (Brazil) the young ladies are happy to flaunt\ntheir retouched beauty.\n\nIf beach life in each of these countries is marked by its own peculiarities, we\ncannot fail to notice the how many features these images share: the\nindispensable accessories (sunglasses, hats, towels, parasols, iceboxes and\nsunloungers) spread out on the fine sand, and the incessant parade of pedlars\nharanguing the crowds, offering them a wide variety of snacks, doughnuts, icecreams,\ndrinks, sodas and every kind of souvenir.\n“Playas” has been turned into a book published by Chris Boot, its graphic\nillustrations mimicking the small South American printing-houses that specialise\nin cheap novels.\n\nBorn in 1952 in Epsom in Surrey, England, Martin Parr is one of the most active\nand dynamic of contemporary photographers.\nSince the 1980s, he has published around fifty books and had his work\nexhibited all over the world: at Chicago’s Musem of Contemporary Art; at\nVancouver’s House Gallery; in Paris at the Maison Européenne de la\nPhotographie, the Jeu de Paume and the Centre Pompidou; at Mannheim’s\nKunsthalle, as well as the Kunsthalle in Rotterdam; in London’s Barbican Art\nGallery and Tate Modern; at the Reina Sofia Museum in Madrid; at the Seoul\nArts Centre; at Tokyo’s Metropolitan Museum of Photography; at Stockholm’s\nKulturhuset; at Munich’s Haus der Kunst and at Zurich’s Museum für Gestaltung","2009-06-30T11:35:00+00:00","2009-07-29T11:35:00+00:00",[],{"id":2587,"slug":2588,"title":2589,"customTitle":2589,"defaultTitle":2589,"overrideHeading":420,"url":2590,"tagline":420,"thumbImage":2591,"locations":2604,"category":2613,"description":420,"startDate":2615,"endDate":2616,"type":236,"showForm":732,"form":2617,"__typename":1943},"115313","pendant-que-les-champs-brulent-part-2","Pendant que les champs brûlent - Part 2","https://www.mennour.com/exhibition/pendant-que-les-champs-brulent-part-2",[2592],{"id":2593,"url":2594,"jpg16":2595,"jpg800":2596,"jpg1600":2597,"jpg2400":2598,"jpg3200":2599,"alt":420,"title":2600,"width":2601,"height":2602,"caption":420,"mobile":2603,"__typename":679},"39012","https://dev-admin.mennour.com/uploads/img/pendant-que-les-champs-brulent-part-2.jpg","WdLqB^x]NJt6Rkae~q%LWEkDj[oeo%s:s+bIbHs.NHafoIoffPRk","https://dev-admin.mennour.com/uploads/img/_jpg800/pendant-que-les-champs-brulent-part-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/pendant-que-les-champs-brulent-part-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/pendant-que-les-champs-brulent-part-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/pendant-que-les-champs-brulent-part-2.jpg","Pendant que les champs brulent part 2",1613,1075,[],[2605],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2606,"city":2609,"mapLocation":2611},[2607],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2608,"__typename":679},[],[2610],{"title":350,"slug":351},{"parts":2612},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2614],{"title":1893,"slug":528,"type":1885},"2009-06-29T22:00:00+00:00","2009-07-29T13:35:00+00:00",[],{"id":2619,"slug":2620,"title":2621,"customTitle":2621,"defaultTitle":2621,"overrideHeading":420,"url":2622,"tagline":420,"thumbImage":2623,"locations":2636,"category":2645,"description":420,"startDate":2647,"endDate":2648,"type":236,"showForm":732,"form":2649,"__typename":1943},"115323","pendant-que-les-champs-brulent-part-1","Pendant que les champs brûlent - Part 1","https://www.mennour.com/exhibition/pendant-que-les-champs-brulent-part-1",[2624],{"id":2625,"url":2626,"jpg16":2627,"jpg800":2628,"jpg1600":2629,"jpg2400":2630,"jpg3200":2631,"alt":420,"title":2632,"width":2633,"height":2634,"caption":420,"mobile":2635,"__typename":679},"39020","https://dev-admin.mennour.com/uploads/img/pendant-que-les-champs-brulent-part-1.jpg","WUG[$t~V?Y-;%MofNNtRxtj[t6j[-hMyIVRjM|j[--WEM}RjRkay","https://dev-admin.mennour.com/uploads/img/_jpg800/pendant-que-les-champs-brulent-part-1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/pendant-que-les-champs-brulent-part-1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/pendant-que-les-champs-brulent-part-1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/pendant-que-les-champs-brulent-part-1.jpg","Pendant que les champs brulent part 1",1260,840,[],[2637],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2638,"city":2641,"mapLocation":2643},[2639],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2640,"__typename":679},[],[2642],{"title":350,"slug":351},{"parts":2644},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2646],{"title":1893,"slug":528,"type":1885},"2009-05-27T22:00:00+00:00","2009-06-27T13:20:00+00:00",[],{"id":2651,"slug":2652,"title":2653,"customTitle":1073,"defaultTitle":2654,"overrideHeading":420,"url":2655,"tagline":420,"thumbImage":2656,"locations":2668,"category":2677,"description":2679,"startDate":2680,"endDate":2681,"type":236,"showForm":732,"form":2682,"__typename":1943},"115342","far-from-home","Alberto Garcia Alix - Far from home","Far from home","https://www.mennour.com/exhibition/far-from-home",[2657],{"id":2658,"url":2659,"jpg16":2660,"jpg800":2661,"jpg1600":2662,"jpg2400":2663,"jpg3200":2664,"alt":420,"title":2654,"width":2665,"height":2666,"caption":420,"mobile":2667,"__typename":679},"39027","https://dev-admin.mennour.com/uploads/img/far-from-home.jpg","fUNwWeWE-;j??bt6~qoeRjj]ofj]-pWBM{ayIVWC_3kCNFayM{ayM{ayj[WBt7ay","https://dev-admin.mennour.com/uploads/img/_jpg800/far-from-home.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/far-from-home.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/far-from-home.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/far-from-home.jpg",5364,4026,[],[2669],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2670,"city":2673,"mapLocation":2675},[2671],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2672,"__typename":679},[],[2674],{"title":350,"slug":351},{"parts":2676},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2678],{"title":1893,"slug":528,"type":1885},"Galerie kamel mennour has the pleasure of presenting “Far from home”, a joint\nexhibition featuring works from two of the most significant figures in contemporary\nphotography, Alberto Garcia-Alix and Daido Moriyama.\n\nHailing from Japan and Spain respectively, Daido Moriyama and Alberto Garcia-Alix\nboth launched themselves headlong into the world of photography around the age of\ntwenty, choosing as subject matter their contemporaries and epochs. A free-lance photographer in post-war Japan, Daido Moriyama has earned a reputation for the density, directness and roughness of his razor-edge shots. The city, vibrant and terrifying, is his backdrop of predilection. With its incessant din and flux, its clubs, its juke-boxes, its cars, motorbikes, women and stray animals, it provides a\nseries of “irreplaceable subjects”, as illustrated by his most recent retrospective at the Cetro Andaluz de Arte Contemporáneo de Séville during the summer of 2007.\nPoet, rocker, and anarchist matador in post-Franco Spain, Alberto Garcia-Alix draws\nhis inspiration from his immediate entourage, “the people before his very eyes”. He is the author of a poignant and poetic cycle, celebrated last summer at Arles, and to be shown again in September at the Museo Nacional Centro de Arte Reina Sofia in\nMadrid.\n\nWith his biker’s spirit, this photographer carved out an inimitable style for himself in the 80s, making portraits of those close to him: the eccentric actors of nocturnal Madrid.\n\nFor what is Daido Moriyama’s second and Alberto Garcia-Alix’s third exhibition at\ngalerie kamel mennour, the pair have chosen to cut across their visions, their\ntemperaments and their territories, thereby challenging the East-West dichotomy.\nDaido Moriyama, the Easterner, thus presents us with his views of a sensual Buenos-\nAires, taken in 2004 and 2005, while Alberto Garcia-Alix, the Westerner, gives us\nphotographs taken during his recent wanderings around Beijing. Buenos-Aires / Beijing: two distant destinations; two short trips (two sojourns of ten days for the former and one of 55 days for the latter), and an opportunity to demonstrate that, despite being far from home, their distinct signatures and styles, their story-telling methods and their ways of recording the world remain the same. As if saturated with contrasting energies, the picture Daido Moriyama paints of Buenos-Aires is sometimes peaceful (the images of out-of-proportion stray animals or landscapes of deserted roads), at other times noisy and bustling. Children run. Couples embrace and begin to tango wildly. A carousel spins round at dizzying speed. The terraces of the Bombonera – the mythical stadium of the Boca neighbourhood – play host to the ovations of a delirious crowd. The Beijing of Alberto Garcia-Alix is, on the other hand, imbued mostly with serenity. Faithful to his wont, the Spanish photographer has sought to orchestrate the light and organise his images based on diagonals and strong lines, as if composing graphic “portraits” of the city. Architectural fragments, pieces of sky-scrapers, telegraph poles and communication networks, trees stripped bare, etc. are all given this treatment. To accompany the exhibition, galerie kamel mennour has published the catalogue Daido Moriyama / Alberto Garcia-Alix “Far from home”.\n\nEmma-Charlotte Gobry-Laurencin, March 2008\n(Translation: James Curwen)","2009-04-02T22:00:00+00:00","2009-05-10T08:45:00+00:00",[],{"id":2684,"slug":2685,"title":2686,"customTitle":1553,"defaultTitle":2687,"overrideHeading":420,"url":2688,"tagline":420,"thumbImage":2689,"locations":2702,"category":2711,"description":2713,"startDate":2714,"endDate":2715,"type":236,"showForm":732,"form":2716,"__typename":1943},"115349","deep-dark-light-blue-and-neons-by-accident","François Morellet - Deep Dark Light Blue and Neons by Accident","Deep Dark Light Blue and Neons by Accident","https://www.mennour.com/exhibition/deep-dark-light-blue-and-neons-by-accident",[2690],{"id":2691,"url":2692,"jpg16":2693,"jpg800":2694,"jpg1600":2695,"jpg2400":2696,"jpg3200":2697,"alt":420,"title":2698,"width":2699,"height":2700,"caption":420,"mobile":2701,"__typename":679},"39045","https://dev-admin.mennour.com/uploads/img/deep-dark-light-blue-and-neons-by-accident.jpg","WLLXSu-;bJt7E2xa~qx]M|IUWBxuDit7M{IURioza~RjogtRWBRj","https://dev-admin.mennour.com/uploads/img/_jpg800/deep-dark-light-blue-and-neons-by-accident.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/deep-dark-light-blue-and-neons-by-accident.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/deep-dark-light-blue-and-neons-by-accident.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/deep-dark-light-blue-and-neons-by-accident.jpg","Deep dark light blue and neons by accident",4274,2839,[],[2703],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2704,"city":2707,"mapLocation":2709},[2705],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2706,"__typename":679},[],[2708],{"title":350,"slug":351},{"parts":2710},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2712],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present François Morellet’s first solo show at the gallery. \nA major figure in art for the last five – almost six – decades, François Morellet has been one of the leading exponents of the renewal of geometric abstraction in the second half of the twentieth century. As part of the continuation of concrete art – he discovered the work of Max Bill during a trip to South America in 1950-51 – his research was consequently able to absorb ornamental details from the Alhambra in Grenada, which he visited in 1952. This duel inheritance favoured the establishment of a so-called “systematic” syntax, which the artist has gone on to demonstrate tirelessly, relying on a multitude of materials and procedures. These have borne witness to innumerable revivifications, but also to the questioning of the theoretical principles devised by the artist in the 1950s, notably as part of the G.R.A.V. (Groupe de recherche d’art visuel). Indeed, throughout his career, the artist has never ceased to distance himself from the restrictions of this framework in order to commit himself to the renewal of its foundations, with intuition and an acute sense of (auto-)derision. Light is one of the materials for which he has a predilection, first using it in 1963 in the form of electric light bulbs and later on, neon lights. The malleability of the latter has allowed them to take on a wide range of geometric constellations, thereby firmly establishing them as a continuation of his pictorial productions. His use of horizontals and verticals, diagonals and curves has, over several decades, fed a repertoire of familiar shapes that the artist has expanded and reinterpreted, with often unpredictable results. For the last twenty-five years, the work of François Morellet has freed itself up remarkably, ending the often deceptive asceticism of his youthful periods. From the 1980s onwards, the puritanical past has been succeeded by a series of “outbursts”, as if, after a period of self-containment, albeit one softened by the occasional digression, he has felt the need to liberate the “body” of his work. The works presented at galerie Kamel Mennour are emblematic of this liberation. Dark Light light blue, presented at the rue Saint André des Arts site, brings together neon lights and paintings in a juxtaposition of two materials regularly confronted by the artist. As for Neons by accident (2003) installed at no. 60, rue de Mazarine, these seek to establish a dialogue with their architectural environment. Such a wealth of possibilities reflects the inexhaustible character of his “luminous” research, undertaken since the beginning of the 1960s.","2009-03-10T23:00:00+00:00","2009-04-25T10:45:00+00:00",[],{"id":2718,"slug":2719,"title":2720,"customTitle":1744,"defaultTitle":2721,"overrideHeading":420,"url":2722,"tagline":420,"thumbImage":2723,"locations":2736,"category":2745,"description":2747,"startDate":2748,"endDate":2749,"type":236,"showForm":732,"form":2750,"__typename":1943},"115369","shipwreck-the-death-of-a-journey","Zineb Sedira - Shipwreck : The Death of a Journey","Shipwreck : The Death of a Journey","https://www.mennour.com/exhibition/shipwreck-the-death-of-a-journey",[2724],{"id":2725,"url":2726,"jpg16":2727,"jpg800":2728,"jpg1600":2729,"jpg2400":2730,"jpg3200":2731,"alt":420,"title":2732,"width":2733,"height":2734,"caption":420,"mobile":2735,"__typename":679},"39051","https://dev-admin.mennour.com/uploads/img/shipwreck-the-death-of-a-journey.jpg","WQEy6[~qWXE1f,?H%M-:NGNGofofIURjofs:aeRj%3WCoeWBWCt8","https://dev-admin.mennour.com/uploads/img/_jpg800/shipwreck-the-death-of-a-journey.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/shipwreck-the-death-of-a-journey.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/shipwreck-the-death-of-a-journey.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/shipwreck-the-death-of-a-journey.jpg","Shipwreck the death of a journey",4288,2848,[],[2737],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2738,"city":2741,"mapLocation":2743},[2739],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2740,"__typename":679},[],[2742],{"title":350,"slug":351},{"parts":2744},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2746],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is delighted to present Zineb Sedira – Shipwreck: The Death of a\nJourney. For her second solo exhibition at the gallery, the artist is showing her latest\nfilm and a new series of images, shot this summer in Mauritania.\nMiddleSea (2008) unravels, during a ferry trip between Algiers and Marseilles, like a daydream. A man, alone, looks out to sea, mesmerized by the vast horizon. He wanders around, a sleepwalker in the deserted corridors of this ghost ship.\nEverything on the boat, the white vest flapping in the wind, the tiny pools of water trapped in the undulations on the surface of the deck, even the glass on the bar table, everything seems to express a feeling of longing, only occasionally disturbed by the whining of an old radio. And the memory of the port’s white arcades merges with the waves, and the humming of the engine.\nThe man waits. He waits like all the generations of travellers who have preceded him in this journey or others, hoping for a new life, and too often disenchanted. He waits, like all the exiled wishing to return, all the inconsolable wanderers who have had to leave their countries. The omnipresent sea unfolds each salty drop bearing the weight of history, but also a promise of renewal. The Mediterranean that divides is also a sea that can bind. When the ship arrives at last, anonymous hands untie the mooring lines. MiddleSea exists between two seas, two bodies of water.\nIt embodies all departures, all arrivals, all journeys. Shot a few kilometres away from Nouadhibou in Mauritania, the series of photographs and light boxes, Shipwreck: The Death of a Journey (2008), shows a darker side of the idea of transit. Like Algiers, Nouadhibou is marked by the dream of immigration; coming from all over Sub-Saharan Africa, people gather there hoping to board for the Canary Islands. As a backdrop, one of West Africa’s most famous boat scrap yards, and one of the only places in the world where old vessels can be discarded without first being dismantled. Caught between sand and sea, the wrecks lie like huge rusted skeletons, sometimes vomiting their unwanted goods onto the shore. On the beach, we find hundreds of fish that have been intoxicated\nby the noxious waters, highlighting the scale of the ecological catastrophe. In this Dalídian ocean of sand, absurd rickety masts are erected like totems, and Batterie, the old French colonial fort, has become a house of cards, whipped by the winds. In these shots, there is a bizarre sense of solemnity, the severe and disquieting beauty of a graveyard. In Nouadhibou, dreams are lived and broken.","2008-10-24T22:00:00+00:00","2008-11-22T16:15:00+00:00",[],{"id":2752,"slug":2753,"title":2754,"customTitle":1829,"defaultTitle":2755,"overrideHeading":420,"url":2756,"tagline":420,"thumbImage":2757,"locations":2770,"category":2779,"description":420,"startDate":2781,"endDate":2782,"type":236,"showForm":732,"form":2783,"__typename":1943},"115382","le-degr-z-ro-de-l-espace","Shen Yuan - Le Degré zéro de l'espace","Le Degré zéro de l'espace","https://www.mennour.com/exhibition/le-degr-z-ro-de-l-espace",[2758],{"id":2759,"url":2760,"jpg16":2761,"jpg800":2762,"jpg1600":2763,"jpg2400":2764,"jpg3200":2765,"alt":420,"title":2766,"width":2767,"height":2768,"caption":420,"mobile":2769,"__typename":679},"39070","https://dev-admin.mennour.com/uploads/img/le-degr-z-ro-de-l-espace.jpg","WJIYCDD$-=tRM{xt_NM{t8ogj[og9F%MRjxuofa~IUofogofogbI","https://dev-admin.mennour.com/uploads/img/_jpg800/le-degr-z-ro-de-l-espace.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/le-degr-z-ro-de-l-espace.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/le-degr-z-ro-de-l-espace.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/le-degr-z-ro-de-l-espace.jpg","Le degr z ro de l espace",1029,683,[],[2771],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2772,"city":2775,"mapLocation":2777},[2773],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2774,"__typename":679},[],[2776],{"title":350,"slug":351},{"parts":2778},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2780],{"title":1893,"slug":528,"type":1885},"2008-09-08T22:00:00+00:00","2008-10-18T12:35:00+00:00",[],{"id":2785,"slug":2786,"title":2787,"customTitle":1366,"defaultTitle":2788,"overrideHeading":420,"url":2789,"tagline":420,"thumbImage":2790,"locations":2803,"category":2812,"description":2814,"startDate":2815,"endDate":2816,"type":236,"showForm":732,"form":2817,"__typename":1943},"115391","tree-huts","Tadashi Kawamata - Tree Huts","Tree Huts","https://www.mennour.com/exhibition/tree-huts",[2791],{"id":2792,"url":2793,"jpg16":2794,"jpg800":2795,"jpg1600":2796,"jpg2400":2797,"jpg3200":2798,"alt":420,"title":2799,"width":2800,"height":2801,"caption":420,"mobile":2802,"__typename":679},"39082","https://dev-admin.mennour.com/uploads/img/tree-huts.jpg","mIJ8FWNL-;xvR2?cRnn}D+R+WCM_.ANGodWAf8RPoIoyM_M{jXof","https://dev-admin.mennour.com/uploads/img/_jpg800/tree-huts.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/tree-huts.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/tree-huts.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/tree-huts.jpg","Tree huts",1726,2598,[],[2804],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2805,"city":2808,"mapLocation":2810},[2806],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2807,"__typename":679},[],[2809],{"title":350,"slug":351},{"parts":2811},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2813],{"title":1893,"slug":528,"type":1885},"kamel mennour is pleased to be presenting “Tree Huts”, Tadashi Kawamata’s first solo exhibition at the gallery.\n\nBorn in 1953 on the Japanese island of Hokaido, Tadashi Kawamata is famous for his in situ interventions, assembled from, among other things, wooden planks, chairs and barrels. Whether built up into fragile, Babylonian constructions (Cathedral of chairs, the Pommery vineyard, 2007), or stretched out to form serpentine walkways (the Alkmaar Polders, 1997), his works offer, to those who climb up onto them or set foot on them, another point of view – in every sense – over the place in which they are situated (The Observatory in Lavau-sur-Loire in 2007, and in Evreux in 2000). \n\nHowever, some of his more recent installations do not allow direct access to the visitor. For Art Basel 2007, the artist created a small wooden cabin wrapped around a giant pylon, in front of the building that houses the international art fair. Contrasting dramatically with the surrounding modernist buildings, it was a poetic and ironic statement. Reminiscent, simultaneously, of an archaic tribal hut, a homeless person’s precarious shelter and a dovecote, its position, perched up high, seemed an invitation to loftier thoughts. In what is, ultimately, the violent and competitive context of any contemporary art fair, the cabin placed its hypothetical Lilliputian inhabitants out of the reach of all predators. Evocative of childhood games, the cabin appears as a metaphor for an oblivious refuge that allows us to escape the world’s bustle and rediscover a certain inner peace.\nFor his first exhibition at Galerie Kamel Mennour, Tadashi Kawamata has chosen to fill the space with eight wooden huts. Four of them will occupy the gallery’s two main rooms, in a dialogue with an equal number dispersed in the main courtyard. Conceived as corbelled structures in the manner of hives or a swallow’s nests, they will have the appearance of so many grafts or cobbled together architectural prostheses; like cottages, which together form the village of a mysterious and invisible arboreal community.\n\nHis work has been the subject of numerous exhibitions, both in Japan and abroad, notably at the Venice Biennale (1982), Documenta VIII and IX (1987/1992), the Saõ Paulo International Biennale (1987), the Contemporary Art Biennale in Lyon (1993), the Chapelle Saint-Louis de la Salpetrière (1997), the Munster Sculptur Project (1997), the eleventh Sydney Biennale (1998), the 4th Shanghai Biennale (2002) and the Biennale of Valencia (2004).\n\nIn the autumn of 2008, Tadashi Kawamata will install a dozen Tree Huts in trees at New York’s Madison Square Park. At the same time, he will be erecting a monumental, perennial sculpture in front of the Cité nationale de l’histoire de l’immigration in Paris: a ramp linking the city directly to the building’s ceremonial hall.\nHis Observatory in Lavau-sur-Loire could be visited until 2009. \n\nRichard Leydier, April 2008\n(Translation: James Curwen)","2008-05-15T17:00:00+00:00","2008-06-14T17:00:00+00:00",[],{"id":2819,"slug":2820,"title":2821,"customTitle":840,"defaultTitle":2822,"overrideHeading":420,"url":2823,"tagline":2824,"thumbImage":2825,"locations":2836,"category":2845,"description":2847,"startDate":2848,"endDate":2849,"type":236,"showForm":732,"form":2850,"__typename":1943},"115452","c-etait-c-est-ce-sera-travaux-situes-in-situ","Daniel Buren - C'était, c'est, ce sera","C'était, c'est, ce sera","https://www.mennour.com/exhibition/c-etait-c-est-ce-sera-travaux-situes-in-situ","Travaux situés in situ",[2826],{"id":2827,"url":2828,"jpg16":2829,"jpg800":2830,"jpg1600":2831,"jpg2400":2832,"jpg3200":2833,"alt":420,"title":2834,"width":2767,"height":2768,"caption":420,"mobile":2835,"__typename":679},"39090","https://dev-admin.mennour.com/uploads/img/c-etait-c-est-ce-sera-travaux-situes-in-situ.jpg","W7E30E%i^-^sI9p2~pW?IonzxWxa00^%9E0Ot9$[ICWTWAV{kDt3","https://dev-admin.mennour.com/uploads/img/_jpg800/c-etait-c-est-ce-sera-travaux-situes-in-situ.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/c-etait-c-est-ce-sera-travaux-situes-in-situ.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/c-etait-c-est-ce-sera-travaux-situes-in-situ.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/c-etait-c-est-ce-sera-travaux-situes-in-situ.jpg","C etait c est ce sera travaux situes in situ",[],[2837],{"title":1917,"slug":1918,"url":347,"type":1919,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1920,"thumbImage":2838,"city":2841,"mapLocation":2843},[2839],{"id":1923,"url":1924,"jpg16":1925,"jpg800":1926,"jpg1600":1927,"jpg2400":1928,"jpg3200":1929,"alt":420,"title":1930,"width":1023,"height":1931,"caption":420,"mobile":2840,"__typename":679},[],[2842],{"title":350,"slug":351},{"parts":2844},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2846],{"title":1893,"slug":528,"type":1885},"Photos-souvenirs\n\nFor the inaugural exhibition at galerie kamel mennour’s new premises, Daniel Buren demonstrates yet again his incredible talent for inventing new pathways for his art – a talent he has been displaying for over forty years now. Although used to creating projects for new places, this is the first time he has found himself building something for a space which is itself still under construction. Hence his conception has had to come from examining the plans and, above all, from his foresight, informed by experience: “the space of a particular place indicates certain paths for me to follow, certain visions. Here, I had the feeling that what could exist afterwards in a different place would always remain partly\n1 attached to this place. It is, It will be. ”\nWhen one thinks of Daniel Buren’s work, one is struck, above all, by the inseparability/interdependence between the work and the space. Instantly recognisable due to his use of vertical stripes, whose width is always 8.7cm, Daniel Buren had already made a name for himself by the end of 1967, having created the notion of a work in situ: “a work that takes into consideration the place in which it is being shown/exposed, which cannot be transported elsewhere, and which must disappear at the end of the exhibition ”. Intrinsically linked to the space, the work has no capacity for mobility and cannot, therefore, spread outside the place that gave birth to it: for example, Les Deux Plateaux in the courtyard of the Palais Royal in Paris (1986).\nIn 1975, following his solo exhibition at the Mönchengladbach museum, Daniel Buren was\nfaced with a problem that arose when his in situ intervention was moved to the museum’s\npermanent collection. This experience, and the solutions he found, formed the basis for\n“cabanes éclatées” (“exploded cabins”), and then for his works known as “situées” (“situated\nworks”). Thus, in 1984, came the second turning-point in his artistic life, with the perfecting\nof the second “cabane éclatée”. It consists of a cube formed by a wooden framework (the\n“cabin”), covered with stretched fabric, with openings made in it to create free elements\n(doors, windows, etc) which will explode and become fixed on the first walls parallel to\nthe original cube. With the “cabanes éclatées”, Buren’s work has been evolving towards the\nproduction of objects that can be reconstituted in various places and surroundings, taking\ntheir dimensions into account, and provided that certain rules (of presentation and\ninstallation) are respected. The “cabins” are “mobile, and what is more, their mobility is one 3\nof their most important characteristics, compared to most of my other works ”, explains Buren. The effect of this is that the notion of repetition, so essential to his work (the constancy of his stripe pattern for example), is opened up to the notion of regeneration.\nFor his exhibition at 47 rue Saint-André des Arts, Buren will inaugurate another historic turning-point: for the first time, he has formulated the notion of a “situated work in situ” (it is worth noting, however, that this qualification could also apply to his earlier works). As he explains, “one can imagine that all the elements to be found in this exhibition could be found elsewhere, but truncated, enlarged...with certain elements added or taken away”. In effect, these works are “situated” because they obey a rule (their definition is relative to the space), but they are also in situ: they adjust themselves in order to adapt to the new place. In order to achieve this – and this is a first for Buren – elements can be either added or removed...provided, of course, that the identity of the work is preserved. In such a way, “they can be changed drastically by their new home”, which provides a complete departure from the “cabanes éclatées”, where the number of parts never changes. With this in mind, the intervention in Room 1 combines: elements in situ, which will be destroyed at the end of the exhibition (the adhesive pieces attached directly to the walls); parts that can be transported, multiplied and arranged in a different way (the wooden cases); and other elements that will have to be remade, such as the one that has been adapted for the reception desk and which will be part of the room for the duration of the exhibition.\nWith the notion of the “situated work in situ”, the title of the exhibition (C’était, C’est, Ce sera – “It was, It is, It will be”) takes on its full significance. “C’était” (“It was”) refers to\n4\nBuren’s belief that “exhibitions are sequels to previous works ” – they are linked by\ncontinuities, the resumption of works created a long time ago, or more recently. When they no longer exist, the only trace to be found of them is in the “photo-souvenir”. The “memento-souvenir” aims to prevent any substitution of the photograph for the work itself. “C’est” (“It is”) refers to the exhibition as it currently appears, while the “Ce sera” (“It will be”) contains the seed of other visual propositions that the work could generate in different contexts, assuming that it finds a new home. Buren’s desire to see his pieces evolve in this way and be transformed from an initial, definite “pedestal” (the principle of the work and its units) is driven by the natural pleasure of the parent to see his family grow up and prosper. Furthermore, the artist often talks of “families of works” or “families of preoccupations”. With the “situated works in situ”, he has put in place a new system of artworks that develop “organically” or “programmatically”. Defined and conceived both in and for an initial space, when the context changes, the work is adapted (by additions or subtractions) to this new situation, all the while respecting the guiding principle and function. We can imagine, therefore, that a work could be remade without the artist being present, but only by following the fundamental programme on which it is based. It is thus possible to see how far the artist has come since bringing us the notion of a work in situ: it is only then that we grasp his full intelligence, as he seeks to give his art the capacity to grow beyond him. In a new context, the “situated work in situ” will effectively make a lie of Verlaine’s famous phrase. We shall not be able to say that it is “Neither exactly the same/Nor exactly different ”; rather, as Daniel Buren affirms, “the work will be the same, and entirely different”.\n\nMarie-Cécile Burnichon, November 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