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Matias Faldbakken’s debut solo show at Galerie Chantal Crousel features a series of installations following the artist's use of opposing elements.
November 27, 2021 - February 5, 2022
Matias Faldbakken’s debut solo show at Galerie Chantal Crousel, “Beaten Ink, Upset Brick,” Downcast Charcoal” features a series of installations comprised of existing drawings and stacks of lacquered bricks, which sit just beneath the wall-hung works. On view until February 5, the show follows Faldbakken’s practice of creating art that plays with opposing elements—like language and illegibility, proposition and cancellation, or restraint and generosity—that all lead back to one question: What is antagonism?
“Each drawing comes with a brick sculpture under it, like a dado, a box, a boot or a piece of TV-furniture. A brick is, in essence, a block-shaped ‘loaf’ of clay, roughly the size of a rye bread, baked—fired—and stacked on top of other bricks,” said Faldbakken of the exhibition. “The brick does what it needs to do, and it shows what it does. But then it is lacquered and it gets abstract.”
Through September 26, the Pinault Collection is hosting “une second d’éternité” at the Bourse de Commerce, featuring work from over fifteen artists.
Russell Tovey has curated the exhibition "Hugh Steers: Blue Towel, Red Tank,” part David Zwirner's “More Life” series, surrounding the HIV/AIDS crisis.
The first all-encompassing exhibition of the German artist Georg Baselitz, the Centre Georges Pompidou’s “Baselitz — The retrospective” gives a chronological look at 60 years of artwork.
Emily Mae Smith's "Harvesters" follows her chosen muse, a straw broom, in scenarios suggestive of styles and artworks of historic origins.
This retrospective of Anni and Josef Albers looks at both their relationship as a couple and their respective artistic endeavors through a selection of over 350 works.
Anne Imhof will be activating her exhibition "Natures Mortes" with a special program of performances through October 24.
"Thierry Mugler, Couturissime" spans archival material dating between 1973—2014, looking at Mugler’s work across ready-to-wear, haute couture, and perfume.