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fx reflects fx reflects monday july 13 2026 l exposition générale fondation cartier pour l art contemporain installation fondation cartier pour l art contemporain after years of scaffolding and construction sheets covering the east side of the place du palais royal the fondation cartier pour l art contemporain finally opened last october before upgrading from its digs on boulevard raspail the fondation had celebrated architect jean nouvel work his magic in a stunning renovation before thinking about the building a few words on the exhibition joan mitchell la grande vallée vi 1994 and damien hirst cherry blossoms 2020 the inaugural exhibition itself is vast and leaves little time for reflection as there are so many works on display is a single work by each of the artists held in the fondation collection if not all the artists are represented most are many people will be familiar with the works from past exhibitions at the boulevard de raspail gallery a damien hirst cherry tree painting a ron mueck woman a sally gabori abstract painting matthew barney s cremaster there were also works that i had not seen before for example a wonderful selection of david lynch s drawings jottings scribbles and scrawls some of them were clearly conception sketches for films some very familiar shapes and ideas from blue velvet twin peaks eraserhead while others looked like reflective jottings made while on the telephone it was a real treat to see lynch s mind at work in the drawings sarah sze tracing fallen sky 2020 another work that fascinated my friend and colleague oksana who joined me for the afternoon was christian boltanski s ephémère 2017 in which linen cloths play and dance inside moving fragments of projected light projected as the cloth blows in the wind light flickers and jumps and then moving inside it is like being inside an experimental film sarah sze s installation tracing fallen sky 2020 was fascinating as it could be seen from above from a higher floor and below on its floor in it objects and monitors and a model planet create a whole world that in keeping with the innovative sight lines is also always moving christian boltanski ephémères 2017 the most exciting thing about visiting the new space was however discovering the building its history and jean nouvel s redesign the building at 2 place du palais royal was built in 1852 as a hotel to accommodate visitors to the 1855 paris exposition by the 1880s the ground floor shops had expanded to the point where they took over the entire building along rue de rivoli the palladian architecture made for a grand bourgeoise building in the heart of paris showcasing the prosperity of the second empire of napoleon iii as part of the renovation project of barron haussmann the grand hotel du louvre was designed as a luxurious symbol of developing industrialization and economic prosperity in the city looking up and out jean nouvel s redesign has maintained the symmetry and perspective of palladio s interpretation of classical architecture and made it contemporary through introducing moving parts reflections windows onto the city offering unexpected perspectives a walk around the vast building is filled with surprises and extraordinary perspectives particularly looking up from lower floors at the building s arcade along rue de rivoli at times glimpsing the windows of the louvre opposite and at others watching people pass was a wonderful sight this is another paris museum for which visitors will spend a lot of time admiring the architecture as well as the art but what is most noticeable is how easy the space is big spaces like the louvre can be exhausting to navigate but at the fondation cartier there was never any sense of being frazzled by other people it is also large enough that there were very few people around and on a hot day the chilly air conditioning made it relaxing and enjoyable i am looking forward to the fondation cartier s first exhibition especially to see how they use the space to showcase their amazing collection posted by frances guerin at 7 49 pm no comments email this blogthis share to x share to facebook share to pinterest labels architecture film installation painting sculpture tuesday july 7 2026 tetsuya ishida gagosian paris tetsuya ishida recalled 1998 tetsuya ishida paintings are filled with alienated young men merging with machines becoming them dissected and packed in boxes bodies trapped by buildings the figures are tragic and yet curiously identifiable as the exhibition press release says ishida s style has a socialist realist tone and form but at the same time the figures fall into the surrealist nightmares of rené magritte most obviously the narratives reminded of kafka s office workers consumed not always by institutions but here by machines technology and consumerism tetsuya ishida convenience store mother and child 1996 one of the most disturbing aspects of ishida s figures is that they are often sleeping or catatonic only ever active when limbs have become machine parts even then the young men are comatose at the will of the machine everyday appliances or architectural structures ishida s is a world in which human is no longer awake and machine has taken over and worse there is no attempt to challenge their colonisation the young men and their machines also often occupy raked spaces at times giving the impression that the figures are on their way to falling out of the painting otherwise the spaces contribute to the surrealist tenor suggesting that they are inside a staged performance having lost all connection to authentic behaviour tetsuya ishida gripe 1997 while the paintings discourse on the alienation and mechanisation of daily life in urban 1990s japan anxiety and isolation brought about by economic decline and the so called lost generation their prescience of western countries today is uncanny apparently the paintings show predominantly ishida s self image struggling with mental illness alienation and anxiety however the depressive mood and mechanical metamorphosis is easily identifiable to anyone working in a repetitive and repressive structural situations the paintings show a world in which obedience and conformity are not negotiable where the ability to negotiate has long been lost tetsuya ishida interview 1998 adding to these kafkaesque nightmares is the common presence of animals in the paintings once again the young male figures are enveloped by animals usually of the insect type cockroaches lizards walruses animals with claws and tusks made to trap a body the disquieting proximity of these terrifying scenarios to our own existence aside this exhibition is a great introduction to an artist who for me and i imagine many others in europe was previously unknown posted by frances guerin at 9 08 pm no comments email this blogthis share to x share to facebook share to pinterest labels painting sunday july 5 2026 sterling ruby till death do us part gagosian paris sterling ruby till death do us part installation gagosian blue is the colour of life and death in sterling ruby s sumptuous works seen through the window of gagosian s rue de castiglione space multi media collages in lazulite blue furious scrawls water stained paper and the reminder of flowers blown in the wind fill the walls behind human sized bronze sculptures of dead flowers painted blue the flowers are mostly sunflowers charred with their heads bowed what semblance of leaves disfigured by the elements all of the flowers are in couples bound together at their bases alternatively they look at each other their faces turned inwards admiring each other sterling ruby till death do us part installation gagosian the flowers are somewhere between life and death as the exhibition title suggests and the blurb confirms they are saying their wedding vows till death us do part beyond the obvious references to the mayhem and turbulence of life the richness and expressiveness of art through the use of blue if we anthropomorphise the flowers and the traces of life in the paper collages these sculptures are overflowing with emotion in them we see agony the love of flowers that are bound together the fragility and transience of life sadness at the anticipation of passing we also witness an energy swirling around the sculptures as they weather their surroundings with dignity sterling ruby ghosts 9181 2026 in ghosts 9181 winds with the intensity of hurricanes batter the page and the vulnerable flowers in the corner it is as though they have disintegrated before the storm is over in ghosts 9182 the threat has been and gone across fields of blue scrawls having ripped through and left its traces in the form of diluted colour here the flowers have escaped the path of the extreme event but they are not without mourning and loss of their petals sterling ruby ghosts 9182 2926 while the marriage of the mixed media collages and bronze sculptures is unique and the different media are intimately entwined i couldn t help finding the dead sunflowers expressing the undulations of human life to be if not derivative of anselm kiefer s at least something that kiefer has already done that said the small group of works is as always for gagosian s installations beautifully exhibited the works are powerful and being inside the space gives the feeling of being inside a much larger world a feeling made possible by the range of emotions and the intensity of their differences posted by frances guerin at 9 44 pm no comments email this blogthis share to x share to facebook share to pinterest older posts home subscribe to posts atom visit my website frances guerin about me frances guerin fxreflects on art and visual culture in paris and other great cities with occasional forays into literature and cultural opinion there s no consistent logic or reason to the entries but there is one criteria everything i discuss has to inspire me view my complete profile followers follow by email get new posts by email 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