During the glory of Paris Fashion Week, Whitewall shines light on equally radiant art exhibitions throughout the city. Here, we delve into Sarah Meyohas’s inventive “Millionfold” show at Galerie PACT, late artist Ron Gorchov’s legendary fusion of sculpture and abstract painting at Mitterand, and more.
Sarah Meyohas
Galerie PACT
Le Marais
Sarah Meyohas, “Millionfold,” Exhibition view, 2025; © Nicolas Brasseur, courtesy of the artist and Galerie PACT.
Masterful artist Sarah Meyohas unearthed “Millionfold” at Galerie PACT this winter, inviting international visitors to bask in her singular “pastel plotter.” In skillful development for the past year, the juxtaposition of fluctuating pastels with the exactness of plotters results in spellbinding works of art. A symphony of 1 million vectors and nearly 130 colorways produces an immersive and one-of-a-kind visual experience. Artistic and mathematical know-how glided along hand-in-hand throughout this lush presentation, offering surreal sensations of flora and fauna, as well as meaningful human connection.
What we love: At close range, Meyohas’s drawings are abstract and dreamlike. From a distance, images as clear and pure as photographs emerge, revealing new strides in her artistic prowess.
Sarah Meyohas at Galerie PACT
January 11 – February 22, 2025
Ron Gorchov
Mitterand
Le Marais
Installation view of Ron Gorchov at Mitterrand, Paris; © Ron Gorchov. Courtesy of Mitterrand, Paris. Photo Aurélien Mole.
The soaring practice of late artist Ron Gorchov newly shines at Mitterand, with a revitalizing show balancing a legendary fusion of sculpture and abstract painting. Emerging in the 1960s as a pioneer alongside New York creatives Frank Stella, Richard Tuttle, Blinky Palermo and Ellsworth Kelly, the visionary produced his inaugural curved canvas in 1967 within Mark Rothko’s studio. This singular development which echoes the ebb and flow of a horse’s saddle sings with patterns alluding to ancient Greek sculptures. Here, investigations from 1970-2020 reveal his meticulous process and the tension of the stretcher, culminating in freedom of movement and a hypnotic impact.
What we love: Organic forms seemingly drift and levitate along the surface of the works, challenging our perceptions of gravity and space, and bestowing an entirely free state of mind.
Ron Gorchov at Mitterand
January 24 – March 15, 2025
Alex Katz
Thaddaeus Ropac
Pantin
Alex Katz, “Claire McCardell 3,” 2022,
Oil on linen,
121,9 x 182,9 x 3 cm, (47,99 x 72,01 x 1,18 in),
(AKZ 1965); Photo: Charles Duprat, © Alex Katz / ADAGP, Paris, 2025, Courtesy of the artist and Thaddaeus Ropac Pantin.
“I am trying to make paintings that have some real energy—the here and now,” said Alex Katz. “It’s like fashion, really.” Succeeding a momentous presentation at the Fondazione Giorgio Cini for the 60th Venice Biennale last year, the artist unveils “The Venice Paintings” at Thaddaeus Ropac Pantin. Reunifying artworks created from 2021 to 2022, shown together in the ethereal city of Venice, the must-see exhibition showcases Katz’s ever-evolving practice. Paintings inspired by the garments of mid-century American fashion designer Claire McCardell dazzle alongside textural visions of Mother Nature’s bounty.
“I am trying to make paintings that have some real energy—the here and now,”
Alex Katz
What we love: Katz here honors a long-standing reverence of fashion design, and pays homage to the “unaffected” designs of McCardell, while shining light on the equally sincere motifs of the ocean and grasslands.
Alex Katz at Thaddaeus Ropac
February 15 – April 12, 2025
Keunmin Lee
Galerie Derouillon
Étienne Marcel
Installation view of Keunmin Lee’s “When Hallucination Is No Longer a Symptom”; Courtesy of the artist and Galerie Derouillon, Étienne Marcel.
At Galerie Derouillon’s Étienne Marcel location, Keunmin Lee presents “When Hallucination Is No Longer a Symptom,” an exhibition that blurs the boundaries between reality and illusion. Lee, a South Korean artist known for his intricate and surreal paintings, delves into the psychology of perception, questioning how memory, dreams, and subconscious impulses shape our understanding of the world. His works often feature fluid, melting landscapes, figures that dissolve into their surroundings, and fragmented compositions that suggest multiple dimensions coexisting on a single canvas.
Lee’s practice is deeply influenced by neurological studies on hallucinations, as well as classical notions of trompe-l’œil, resulting in imagery that feels simultaneously hyper-real and deeply unsettling. The exhibition draws attention to the ways in which modern society conditions individuals to filter and distort reality, mirroring the rapid digitalization of our visual culture. Through his use of oil and acrylic on canvas, Lee constructs immersive scenes that oscillate between serenity and disarray, inviting viewers to question the reliability of their own perceptions.
Keunmin Lee at Galerie Derouillon
February 20 – April 5, 2025
Ben Broome
Galerie Derouillon
Haut Marais
Ben Broome, “Pheidias’ Horse,” Porte de Vanves, 24 November 2024, 2024, Plaster, 18 7/8 x 26 3/4 x 10 5/8 inches;
Courtesy of Ben Broome and Galerie Derouillon, Paris © Youna Virus.
At Galerie Derouillon’s Haut Marais space, British artist Ben Broome presents “After Pheidias,” an exploration of classical antiquity through a contemporary lens. The exhibition title references the ancient Greek sculptor Pheidias, known for his monumental statues of Zeus and Athena, whose influence on Western art remains unparalleled. Broome reinterprets these classical references with a modern sensibility, blending elements of mythology, architecture, and abstraction. His sculptural works incorporate raw materials such as marble, plaster, and resin, manipulated to appear both weathered and freshly carved.
His paintings, meanwhile, depict fragmented figures reminiscent of Greco-Roman reliefs, yet infused with contemporary gestures that challenge conventional notions of form and proportion. “After Pheidias” not only pays homage to the sculptor’s legacy but also questions the transmission of artistic ideals across centuries. Broome’s meticulous attention to texture and surface treatment evokes the patina of time, reinforcing themes of impermanence and historical continuity. This body of work situates itself at the intersection of classical grandeur and contemporary introspection, urging viewers to reconsider the relevance of ancient artistic traditions in today’s ever-evolving cultural context.
Ben Broome at Galerie Derouillon
March 8 – April 5, 2025
Pauline d’Andigné
Ketabi Bourdet
Saint Germain des Prés
Pauline d’Andigné, “SILVER DOTS ON ORANGE AND PURPLE,” 2024, Pastel gras, sérigraphie et acrylique sur toile de coton délavée à la javel,
190 x 140 cm,
74 3/4 x 55 1/8 in.,
Copyright The Artist; Courtesy Ketabi Bourdet.
Pauline d’Andigné, “THIGH GAP 2,” 2022,
bois, vinyle, polyester, ouate, 180 x 70 x 15 cm,
70 7/8 x 27 1/2 x 5 7/8 in.,
Copyright The Artist, Courtesy Ketabi Bourdet.
Ketabi Bourdet presents “Back to the Basics,” a solo exhibition by Pauline d’Andigné that continues the artist’s exploration of form, materiality, and transformation. Known for her deep engagement with industrial and domestic textures, d’Andigné plays with the alteration, repetition, and spatial expansion of everyday materials. Her practice seeks to reveal the instability of familiar elements—their capacity to mutate, vibrate, and shift under the influence of gesture and time.
In this exhibition, she employs painting and printed imagery to forge a dialogue between spontaneity and careful anticipation. Her compositions emerge from an iterative process where each pictorial intervention responds to the previous one, creating a fluid balance of shifting forms and colors. Through techniques such as silkscreen printing, acrylic application, and bleaching, she imbues her works with a sense of movement, capturing the delicate tension between memory and disappearance. The exhibition also features a new series of monotypes inspired by floral motifs, where d’Andigné’s intuitive approach to mark-making and layering brings an ephemeral, almost dreamlike quality to the pieces. “Back to the Basics” marks a return to the fundamental aspects of her artistic practice, offering an immersive experience that challenges the boundary between control and release.
Pauline d’Andigné at Ketabi Bourdet
March 6 –
