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Exhibition view of "Xavier Veilhan: Autofocus" at Perrotin New York, 2021, photo by Guillaume Ziccarelli, © Veilhan / ADAGP, 2021, courtesy of the artist and Perrotin.
Exhibition view of "Xavier Veilhan: Autofocus" at Perrotin New York, 2021, photo by Guillaume Ziccarelli, © Veilhan / ADAGP, 2021, courtesy of the artist and Perrotin.
Xavier Veilhan, "Le Mobile n°2," 2021, Composite mineral mortar, polyester resin, fiberglass, Birch plywood, stainless steel, cotton, 153 9/16 inches, Ø 137 13/16 inches; photo by Guillaume Ziccarelli, © Veilhan / ADAGP, 2021, courtesy of the artist and Perrotin.
Xavier Veilhan, "Violeta," 2021, Composite mineral mortar, polyurethane varnish, sculpture: 87 1/16 x 34 1/4 x 37 13/16 inches, pedestal: 39 3/8 x 39 3/8 x 39 3/8 inches; photo by Guillaume Ziccarelli, © Veilhan / ADAGP, 2021, courtesy of the artist and Perrotin.
Portrait of Xavier Veilhan, photo by Guillaume Ziccarelli, © Veilhan / ADAGP, 2021, courtesy of Perrotin.
New York, Lower East Side

Xavier Veilhan: Autofocus

Xavier Veilhan’s “Autofocus” marks a departure from the faceted figures that have frequented the artist’s practice for the last several years, replacing them with smooth, edgeless sculptural forms.

November 3, 2021 - December 23, 2021

Open at Perrotin through December 23, Xavier Veilhan’s “Autofocus” marks a departure from the faceted figures that have frequented the artist’s practice for the last several years. Working across mediums like photography, sculpture, installation, performance, and more, the unifying theme across Veilhan’s practice is his interest in the social aspects of artworks, and the ways art makes viewers aware of the space around them. Visitors at the gallery will find a series of mobiles, suspended from the ceiling, as well as Veilhan’s new faceless human sculptural forms, which appear ghostly due to their smooth, edgeless surfaces.

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130 Orchard St, New York, NY 10002, USA
Nov 3 - Dec 23
Perrotin
Xavier Veilhan: Autofocus
Xavier Veilhan’s “Autofocus” marks a departure from the faceted figures that have frequented the artist’s practice for the last several years, replacing them with smooth, edgeless sculptural forms.

Exhibitions

New York, Lower East Side |Exhibitions

Sara Mejia Kriendler

Sara Mejia Kriendler's "Mother's Milk" is a landscape representative of a spiritual body, used to look at ideas of nurture, nourishment, and creation.

Pat Phillips: Consumer Reports

In "Consumer Reports,” Pat Phillips navigates the realities and social dynamics of consumer America and our relationship to material goods.

Ruby Neri: Leveled

Ruby Neri’s second solo presentation at Salon 94, “Leveled” features a selection of new paintings and sculptures.

Betty Woodman: House of the South

“House of the South” is an exhibition of the late artist Betty Woodman, featuring her 1996 installation of the same name.

Before Yesterday We Could Fly: An Afrofuturist Period Room

“Before Yesterday We Could Fly: An Afrofuturist Period Room” is a presentation honoring the historic Seneca Village, destroyed to complete Central Park.

New Museum Triennial: Soft Water Hard Stone

New Museum’s Triennial “Soft Water Hard Stone” features works centering states of transformation and our relationship with the natural world.

Hilma af Klint: Tree of Knowledge

“Tree of Knowledge” is an exhibition of rare works centered around Hilma af Klint’s series on paper, which bears the same name.

Ruth Asawa: All Is Possible

At David Zwirner’s 537 West 20th Street location, the gallery is presenting an exhibition of the late artist Ruth Asawa, titled “All Is Possible.”

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