The catalogue raisonné of the artist's complete works, featuring his famous seascapes and other lesser-known works. Jacques Cordier (1937-1975) was a French painter with a versatile artistic technique: when he wasn¿t using oil paint, he painted in watercolor or drew in Indian ink. Despite his short life, Cordier produced a multitude of works, listed here in this catalogue raisonné with over 1,200 illustrations. The book also includes a selection of letters and testimonials written by personalities such as Françoise Sagan, Bernard Buffet and François Cheng. The catalogue covers his entire body of work, from his first works in 1953, when he was just 16, to the year of his death in 1975 ¿ which is more than 20 years of creation. Grandson of sculptor Charles Cordier, Jacques discovered his vocation as an artist at an early age. At just 19, he exhibited his first drawings alongside those of Bernard Buffet. Initially, his muse was none other than Paris, which he portrayed in all its grandeur. From 1962 onwards, due to his military service in the navy, the artist created luminous works imbued with reverie, depicting the magnificent landscapes of the Mediterranean. A colorist¿s temperament is revealed in contact with the light of the South and the color of the ocean. In the latter part of his life, the influence of William Turner is felt in his art. During his lifetime, Jacques Cordier exhibited in France, the United States and Italy.
Pascal Haudressy was a French visual artist of Tartar origin. After ten years at UNESCO as a cultural project manager, Haudressy decided to devote himself to artistic production in 2005. He develops his aesthetic style by combining different media: videos, sculptures, and paintings to reconcile the past and the future, materiality and immateriality or even science and myth. After a first monograph published by Skira in 2011, this book offers a rediscovery of Pascal Haudressy¿s artistic practice, especially through an essay by Françoise Paviot on the piece Heart. This major work was exhibited at the Centre Pompidou in 2019 and at the Sainte Eustache church for three years (2017-2020). According to the artist, "[...] it is truly a sculpture, animated by a random process," based on the sabotage of the machine and creating a work between figuration and abstraction. The artist has participated in several solo and group exhibitions in France and internationally, including a notable participation in the exhibition Artists & Robots at the Grand Palais in 2018 with the piece Brain. An essay by Jérôme Neutres, curator and independent art producer, will provide insight into this piece. His artworks have joined the collections of FRAC Nord Pas-de-Calais and agnès b.
Born in Senegal in 1977, Omar Ba lives and works between Dakar and New York. His paintings - made with various techniques and materials - include political and social themes with multiple interpretations. His plastic vocabulary reactivates historical and a temporal questions while elaborating an artistic statement of absolute contemporaneity. Omar Ba was trained at the Beaux Arts in Dakar and Geneva. In recent years, he has participated in numerous solo and group exhibitions, including Voyage au-delà de l'illusion at the Royal Museums of Fine Arts of Belgium (2022) and Global(e) Résistance at the Centre Pompidou (2020). His works have entered several public collections, including those of the Centre Pompidou and the Centre National des Arts Plastiques (CNAP) in France, the Swiss National Collection (Basel) and the Louvre Abu Dhabi. This book is an opportunity to explore Omar Ba's paintings, some of which will be displayed for the opening exhibition of Galerie Templon in New York.
For the 59th edition of the Venice Biennale, the Lebanese Pavilion exhibits two Lebanese contemporary artists, Danielle Arbid and Ayman Baalbaki, in the exhibition The World in the Image of Man. The dialogue between these two artists is characterized by different geographical and aesthetic points of view: the video Allô Chérie by Danielle Arbid, a filmmaker and video artist who emigrated to Paris, interacts with Janus Gate by Ayman Baalbaki, a painter who lives and works in Beirut. Within his monumental installation, Ayman Baalbaki creates a work embodying the process of fragmentation suffered by the city of Beirut due to the return of barriers and barricades in its streets. The movement of the door of Janus, which is alternately wide open, shuttered or closed, responds to the mother of the artist's frantic race car through Beirut. The video is organized in a split screen, enhancing the impression of a divided city. The soundtrack is composed of snatches of negotiations on the phone accounting for a fractured city in the midst of uncertainty. The catalogue gathers several articles facilitating the apprehension of these two artists and marks the return of the Lebanese Pavilion to the Venice Biennale after 5 years of absence.
Philippe Cognée is a French artist born in Nantes in 1957. Active since the 1980s, he is one of the artists who marked the return to painting in this period. Cognée is known for his practice of wax painting. He projects the photographed or filmed motifs onto the canvas and paints them on the support with encaustic paint. He then covers the canvas with a plastic film and uses an iron to liquefy the wax. The motifs begin to deform under the heat, creating an effect of blur and depth. This technique allows Cognée to dissolve the represented elements, often blurring the line between figurative painting and abstraction. Urban landscapes, views of supermarkets or slaughterhouses, Google Street View shots ¿ the painter finds his inspiration in what surrounds him. While drawing subjects from everyday life and thanks to his atypical technique, Cognée creates original works in which, through the distortion of reality, he shows a poetic vision of the world.
Having exhibited the most iconic works made by famous designers ¿ from Charlotte Perriand, Serge Mouille, Jean Prouvé, Le Corbusier and Ettore Sottsass to Ron Arad, Isamu Noguchi and Choï Byung ¿ the gallery has imposed itself locally and internationally as a major reference in design. Focusing on showing a selection of the best objects and pieces of furniture ever designed, this book also testifies to the high-level quality of curation at Laffanour Galerie Downtown Paris. With exhibitions recreating entire spaces of living, smart staging allows a wonderful immersive experience through the most refined interiors. The gallery participates to the most renowned art fairs: pictures of the gallery¿s booths will also be displayed in the book.
Today, the word "pullman" has come to mean "a railroad passenger car with especially comfortable furnishings for day or especially for night travel". But before the word entered the mainstream, it was a name, that of George Mortimer Pullman, a serial entrepreneur, an extraordinary innovator and one of the cleverest businessmen of America's Gilded Age. Pullman gave his name first to a coach, then to a train and finally to a notion, that of luxury travel. This book will retrace the history of Pullman, from the genius innovation of overnight travel, dining wagons and sleeper beds, to a globally recognized brand synonymous with pioneer engineering, premium mobility and lavish "hotels on wheels". Pullman's history is closely tied with the history of 20th century USA, yet it extended its influence across the world. George Mortimer Pullman (1831-1897) was an American engineer and industrialist. He designed and manufactured the Pullman sleeping car, a luxurious railroad coach designed for overnight travel, and founded a company town, Pullman, for the workers who manufactured it. In 1894 workers at his Pullman's Palace Car Company initiated the Pullman Strike, which severely disrupted rail travel in the midwestern United States and established the use of the injunction as a means of strikebreaking. In 1898, the Supreme Court of Illinois ordered the Pullman Company to divest itself of the town, which became a neighborhood of the city of Chicago.
L'Atlas is a Parisian artist born in 1978. Fascinated by handwriting from an early age, he moves to different Arabic countries in the 1990s to study calligraphy. In France, he starts by graffiti art, which he combines with his great passion for writing. A balance between form and letter is since then at the heart of his practice. He uses spray paint, scotch tape or gaffer on various supports: canvas, pavement, buildings' facades, etc. and is also well-known for his performances. L'Atlas creates his own labirynthical alphabet which, inked in the city, invites us to question the universality of the language and the limits of illegibility. This monograph presents many variations of artist's codified language. Between Optical Art, abstraction, street art, Pop Art and Minimalism, L'Atlas' art is multifaceted.
Originally from Brittany, Renk-whose real name is Walig Nicolet-grew up in Rennes in a family of artists. He left school at a very young age and began painting in the street. A few years later, working in studios in Paris and Los Angeles, he started painting on large canvases. His practice at the time was based on the accumulation and repetition of his tag-RENK-and soon evolved into the creation of vast colored areas whose variations evoke Color Field painting. Perched on the roofs of Parisian buildings or canoeing along the coast of his native Brittany, Renk travels in search of "climatic moments" that allow him to express his passion for limitless space and pure color. This book, the artist's first monograph, traces Renk's journey from the 2010s to today.
Born in 1982 in Tunis, Thameur Mejri graduated from the Institute of Fine Arts in Tunis. In his initial abstract paintings, Thameur Mejri inserts figurative elements. The human figure finds a predominant place by its recurrence. As a standing figure or reduced into a simple skull or other bones, it is revealed by the application of fine lines made in charcoal or pastel emerging delicately from the large flat areas of colour. Colours collide into one another as if to better exacerbate the vicissitudes endured by the body. These violent oppositions of colours also testify to the speed of execution of the artist, made possible using acrylic paint. By establishing an atmosphere of confrontation, the artist manages within a single work to transcribe the impetuosity of his gesture while creating a suspended chaos where the complexities of human existence appear to everyone. This book is the artist's first monograph and provides a better understanding of the discovery of these particularly immersive large formats.
André Marfaing (1925-87) was a French non-figurative painter and printmaker associated with abstract art and informalism. This catalogue raisonné of is a complete repertory of his painted work, from his initial "youth" paintings (1948-52) until his last works completed in 1986. 1952, the year he took up non-figuration, was a fundamental step that led him very quickly to abstraction. His first forays into painting, his earlier figurative canvases, still lifes, landscapes and even his few portraits, live on as witnesses to his apprenticeship and as pointers to an artistic adventure that remained latent. The use of acrylic, which gained ground in 1970, led to formal inflections that reached into the heart of his painting.Marfaing probes what is deepest in others as well as his own private space, the confines of a nature within, a cosmos without landscape, a terrain whose contours and features he ceased depicting long ago. The present catalogue raisonné retraces such a path step by step, following up the clues and noting the silences, without ever dissipating the mystery that Marfaing knew how to fathom and to sustain. One must follow these traces as he himself proceeded - with humility, to come to him in the same way his painting calls us. His works, his writings, his friendships, his struggles form an inter woven and inextricable whole.
Two-dimensional Plensa Jaume Plensa is one of the major figures of contemporary sculpture, best known for his large-scale human figures in stainless steel. This monography presents the artist from another angle, showing his graphic works. The book offers an intimate insight into Plensäs universe. Characterised by a greater freedom, as they are not made to order and do not require assistants¿ help, the drawings are a form of reflexion and experimentation for Plensa. He works with various materials, such as plastic sheets, or thick glue on paper or Plexiglas, which allows him to play with light and transparency and gives his works an impression of volume. As in the case of the sculptures, the artist focuses on the human, representing a variety of figures, which he assembles with elements such as photos, letters from different alphabets or numbers. This monography brings to light the diversity of Plensäs creation and the richness of his artistic language. Far from being reduced to preparatory works, Plensa's drawings, often of very large dimensions, function as artworks in their own right, showing the diversity of Plensäs ideas.
Graffiti is like art: everyone thinks they know what it is, but things get complicated if you try to give a precise explanation. This book will trace a history of the art of graffiti through the evolution of Tilt's work. Graffiti writing, which is based on drawn and painted letters, is a movement many of today's graffiti artists - Tilt included - claim to be part of when they want to highlight their own singularity and resist the "street-art turn" of the visual artworks currently produced in public space. The artist painted his first tag as "Tilt" in 1990. He knew from then on that graffiti would be a lifelong passion. Graffiti conveys a libertarian, if not anarchistic and invasive, relationship with the city, against architectural and urban authoritarianism, the pervasiveness of advertising, and disfigured blocks. As far as Tilt is concerned, the content does not necessarily have to bear any explicit political message: the gesture itself embodies an activist form of intervention on the territory. From 2016 on, Tilt has been recreating a series of abstractions in his studio. His recent artwork tell its own story, just as strikingly surprising as a piece of graffiti you would happen to see in the city, they are both inscribed in the subversive origins of graffiti and in the history of painting. Whether it be vandalistic-in the streets, where it belongs to everybody - or a decorative object - as the first writers to enter New York City's art galleries as early as the 1970s had decided - graffiti is an ongoing story to tell - or rather, to write...
Slimen El Kamel was born in 1983 in Mazouna in the region of Sidi Bouzid in Tunisia. Nourished by popular stories, his childhood was shaped by the imagination of the rural environment where the tradition of storytelling and popular poetry flourished. His studies at the Higher Institute of Fine Arts in Tunis allowed him to crystallize this literary and intellectual heritage into a singular plastic practice. A practice whose genesis opens through a writing and draws its resources in his texts, sometimes poetic or literary, sometimes memorial or improvised. The daily scriptural exercise, as much as it circumscribes, extends the horizons of his plastic universe. Not far from the free figuration, the artist questions the relation of the real and the imaginary by the dramatization of the constellated image. The figure of a reality levitates in the space of an imagination and a proliferating abundance where a transfiguration of the social and popular fact in a surrealist vision is played. Images of the memory, images of a reality taken on the supports of the everyday life cross in a pictorial field where, to flower of painting, the rustle of a dialogue begins without end, not for the account of a fact, but for a festival of the accounts.
The immersive exhibition Imagine Picasso makes it possible to discover Pablo Picasso's work from new, innovative angles. Each visitor is invited to wander through a mosaic of emblematic paintings, removed from their frames and projected on a huge origami-like forms. Penetrating the mesmerizing world of unusual compositions of large-scale artworks gives the opportunity to explore the richness of details of Picasso's art. The album offers the possibility to relive the immersive experience through multiple photos from the exhibition. They are accompanied by texts by Androula Michael which provide clear descriptions of different Picasso's periods and of subjects that were dear to him. The reader can discover Picasso's art from the early years, through blue and pink period, cubism, "neoclassical" period, surrealism, up to his final years. Les demoiselles d'Avignon, Portrait of Dora Maar, Guernica and many more are to be explored in this book that offers a new way of looking at the work of this genius of modern art.
Adrian Burns is a Mexican photographer trained at the prestigious Putney School and at the Parsons School of Design where he completed his training in art history and photography. Trilingual, the artist lives between Mexico, the United States and France. Today, his photographs can be found all over the world; they are exhibited in numer ous museums and they are also published on the covers of numerous magazines (Travel & Leisure, Deep, Elle Mexico, FHM Mexico, Sportswear International, National Geographic, among others). From portraits to landscapes, Adrian Burns' work is marked by his fascination for nature. Vegetation is omnipresent in his landscape photographs. A plurality of worlds often composed of geometric forms that are seen through the photographer's sharp eye. By enhancing many landscape photographs with graphite or acrylic varnish, he brings us into his unique and poetic universe.
Renowned architect Hala Wardé designed "A Roof for Silence" for the Lebanese Pavilion at the 17th International Architecture Exhibition - La Biennale di Venezia. The design of the work was based on a poem-in-paint by Etel Adnan, as well as on the Antiforms of Paul Virilio, hung facing a series of sixteen ancient trees of Lebanon that were photographed in daylight by Fouad Elkoury, then plunged into darkness by Alain Fleischer, who filmed them in their sleep, with the musical accompaniment of the Soundwalk Collective. The Lebanese Pavilion is conceived as a musical score, resonating disciplines, shapes, and periods to provoke the sensory experience of a thought, articulated around the notions of emptiness and silence, as temporal and spatial conditions of architecture. Treated as a manifesto for a new form of architecture, Hala Wardé's project is based on the cryptic shapes of a group of sixteen olive trees that are a thousand years old in Lebanon. These legendary trees, whose hollowed forms are home to various species, are the tutelary figure of the Lebanese Pavilion. They are places of recollection or gathering, where peasants have convened for generations to decide on village affairs or to celebrate weddings. This book tells the story of the Lebanese Pavilion and explains, through plans, sketches and models, the intentions, and concepts behind the spatial organization of the exhibition.
Ghada Amer (born in 1963 in Cairo) is an Egyptian painter and embroiderer. She studied at the Villa Arson in Nice and at the Institut des hautes études en arts plastiques in Paris. The increasing oppression of women in Egypt and the exclusionary experience of sexism at art school in France inspired in Amer a resolute rebellion against patriarchy that would motivate and propel her artistic strategy for decades to come. With a background in painting, influenced in particular by abstract expressionism, she then decided turn to embroidery as a strategy for infiltrating the male space of painting with a material of traditional female expertise. She bases her early work on the images of female figures found in magazines, thus exploring the construction of the place occupied by women, sexuality, and love in contemporary societies. Her embroidery is loose, threads dangle from the canvas, provoking a pictorial effect resembling that of Pollock's dripping. Her recent work merges text and imagery in her embroidered paintings, layering famous quotations and pithy aphorisms-often regarding themes surrounding women and power-with close-up portraits of women's faces. For Amer, embroidery has been the symbol of her lifelong revolt-a tool for fighting women's exclusion from the rarefied space of painting. That revolt has been the impetus for her to forge new ground, not only in the arena of painting, but in sculpture, ceramics, and earthworks as well. She currently lives and works between New York and Paris and has exhibited among others at the Venice Biennale, the Sydney Biennale, the Whitney Biennale, and the Brooklyn Museum.
Wilmotte & Associés is a multi-disciplinary architecture firm.The firm takes on an impressive range and scale of projects from large plants, stadiums, high-rise buildings, hospitals, hotels, theatres, museums, congress centres, and shoppingmalls to private residences.Some of the greatest museums have enlisted the services of Jean-Michel Wilmotte and his team, including the Louvre (Paris), the Chiado Museum (Lisbon), the Museum of Islamic Art in Qatar (Doha), the Museum d'Orsay (Paris), and the Rijksmuseum (Amsterdam).Jean-Michel Wilmotte's architecture is characterised by great care given to a building's integration within the site it occupies, to clean lines, quality of materials, and attention to detail.Wilmotte & Associés exerts true expertise in developing museums and exhibition scenography. Whether dealing with an old building or a new build, it is a question of cultivating deep connections between three distinct axes: art, space, and the visitor. The result of this work is ultimately a culmination in a real sensation of ease and comfort for the visitor. Following an interview with Jean-Michel Wilmotte and an essay on museography, this book will present in detail the major projects designed by the architecture firm for museums, artists' studios and galleries.
Assembled over the course of her life, ¿Madame¿s¿ collection, half real, half mythical, mirrored her own self-construction.Helena Rubinstein was the founder of the highly successful, international cosmetics empire which bore her name. ¿Madame¿ ¿ as she liked to be called ¿ acquired a vast quantity of works, furniture, and artifacts of every type, in the process becoming a legendary patron and arbiter of taste. The most remarkable and innovative components of this astonishing collection, dispersed after her death at a historic series of auctions in 1966, were its African holdings, with the remainder being made up of Oceanic, Indonesian, and pre-Hispanic art.It is the history of this collection, its content, and above all its spirit, that Helena Rubinstein: Madame¿s Collection reconstructs. The aim, as well as the approach, of the exhibition is entirely novel. Paradoxically, until now, the story of Helena Rubinstein¿s collection of non-Western art has had to be read between the lines: clues can be gleaned from a handful of texts, but the main sources are the countless features the international press devoted to the interiors that Madame occupied.In a long-term investigation, Hélène Joubert, head of the African heritage unit, hunted down, identified, and scientifically documented half of the nearly four hundred pieces in the collection. Sixty-five of them are reproduced in this catalogue, including the famous ¿Bangwa Queen¿, photographed by Man Ray and shown in 1935 at the Museum of Modern Art in New York at the legendary African Negro Art exhibition. These works conjure up an evocative portrait of Helena Rubinstein, creating an authentic and intimate image of a personality whose global fame simultaneouslyfunctioned as a mask, mirror, and doppelganger.
Between the desert and the sea, in the cultural district of the island of Saadiyat, sits the architectural masterpiece by Jean Nouvel.The choice of Jean Nouvel as architect of the future Louvre Abu Dhabi did not come as a surprise. He is the most renowned French architect of our time.From the first sketch of the project, drawn by Jean Nouvel in 2006, the Louvre Abu Dhabi was conveived as we know it today. From its majestic dome, which has become the symbol of this new museum, to the grand vestibule, the exhibition halls and the children's museum, this album takes us in an intellectual stroll through the most beautiful museum in the world.Exploring each element of the building from its conception, the inspirations, the first drawings, the virtual project, until the construction of the building, with this book we discover each phase of the project, the different objectives and experiments that made the museum what it is today.
A founder of contemporary Moroccan art. This publication highlights a crucial period in the career of Farid Belkahia: his return to Morocco in 1962 and his appointment as director of the School of Fine Arts of Casablanca, a position he held until his resignation in 1974.Farid Belkahia advocated the re-appropriation of traditional arts. He surrounded himself with a team that shared his vision including the artists Mohamed Melehi and Mohamed Chabâa, and the art historians Toni Maraini and Bert Flint. These historical figures had evolved in places of modern artistic practice in Europe and North America, and had been exposed to the Bauhaus philosophy.Together, they initiated an innovative pedagogy at the Casablanca School of Fine Arts, which they transformed into an incubator of a modern artistic creation, rooted in local culture, emancipated from academic artistic practices and open to the world. Other renowned artists joined the teaching staff, such as Mohamed Ataallah, André Elbaz, Mohamed Hamidi and Mustapha Hafid, inspiring pupils such as the artists Malika Agueznay, Abdellah El Hariri, Houssein Miloudi, Abdelkrim Ghattas, Abderrahman Rahoule among others.
The Majlis, Cultures in dialogue is comprised of objects that tell stories. Stories about a long history of exchanges and dialogue in the Arabian Peninsula and beyond. Stories that one might hear in a majlis, the space present in every Arab home where people gather to talk and socialize. Stories that recall the mutual - and often forgotten - influences between the Islamic civilization, Europe, India and the Far East. Stories at the core of an ambitious project initiated by the Sheikh Faisal Bin Qassim Al Thani Museum: a multifaceted forum for respectful yet incisive dialogue that connects people, beliefs and cultures. This catalogue gathers some forty artworks from the collection of the Sheikh Faisal Bin Qassim Al Thani Museum, chosen to showcase these existing interrelationships between artists and craftsmen around the world and how they influenced style and culture across country borders.
Farid Belkahia (1934-2014), considered to be one of the founders of contemporary art in Morocco, invested from the 1960s on, in artistic research into multiple forms of expression and a process of fundamental research into new modes of accessing modernity. For over sixty years, he ploughed an artistic furrow punctuated by changes in direction, challenges and audacious renewals. Advocating complete creative freedom in perpetual reconquest, he built an opus in resonance with his natural and cultural environment. This collection of essays is the result of an initiative by the Fondation Farid Belkahia, created by Rajae Benchemsi, the artist's wife, in order to perpetuate his work and his memory. It brings together the contributions of the participants in the international symposium which was held in Marrakesh, Morocco, in 2016 to mark the inauguration of the foundation and of its museum. As an opportunity to gather different ways of looking at and exchanging opinions around Farid Belkahia and his work, this volume proves that as an artist he has now found his rightful place in the new account of modernity that remains to be written.
The complete guide of the extraordinary collections of the Louvre Abu Dhabi, the new-born universal museum by the French, Pritzker Prize winning architect Jean Nouvel. Like the museum, born on the Arabic peninsula but turned towards the entire world, Louvre Abu Dhabi publications will highlight masterpieces of many civilisations. This ensemble of books will showcase Louvre Abu Dhabi, a museum that will play an important role in the artistic discoveries, education and exchanges between peoples. As a unique reinterpretation of art history, these texts explore the mutual artistic influences that exist between cultures and throughout centuries. Louvre Abu Dhabi has been conceived as a "museum city" or Arabic "medina", inspired by the world and for the world. It will be the first Arabic museum of a universal vocation, located in the Saadiyat Cultural District, conceived as a bridge to the future with the purpose of linking knowledge and civilisations. Designed as a global art history handbook across the museum's collections, The Guide will take the reader through a cross-cultural journey through the entire museum, gallery by gallery. The museum will be a place of dialogue between cultures and civilizations and it will offer a transversal vision of art history, spanning from the first villages to the first great powers, from civilisations and empires to universal religions, from Asian trade routes to the Mediterranean and the Atlantic, from cosmographies to modern art, modernity and the global scene.
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