Installation view
Artworks © Jean Nouvel Design, photo by Silia Pyschi
Installation view
Artworks © Jean Nouvel Design Photo by Silia Pyschi
Installation view
Artworks © Jean Nouvel Design Photo by Silia Pyschi
Jean Nouvel
Mirror A, 2014
Walnut and colored mirrors, Dimensions variable, edition of 6
© Jean Nouvel Design, photo by Mike Bruce
Jean Nouvel
Mirror B, 2014 (view 1)
Walnut and colored mirrors, Dimensions variable, edition of 6
© Jean Nouvel Design, photo by Mike Bruce
Jean Nouvel
Mirror B, 2014 (view 2)
Walnut and colored mirrors, Dimensions variable, edition of 6
© Jean Nouvel Design, photo by Mike Bruce
Jean Nouvel
Boite à outil, 2011
AP 1, 24 13/16 × 47 ¼ × 25 9/16 inches (63 × 120 × 65 cm)
© Jean Nouvel Design, photo by Mike Bruce
I want colored mirrors; they are the key to this story. Some are fixed, others shift, others are angled...sometimes two or three models are in different scale; their meaning is established by the interior.
—Jean Nouvel
Gagosian Gallery is pleased to present Triptyques, a series of limited edition mirrors, and Boîte à outils (Tool Box), a sculpture by Jean Nouvel.
Like many Modernist predecessors who worked across related disciplines, Nouvel describes himself as an architect and a designer. His design products derive from architectural commissions, or from alternative visions that correspond to his building design but which are linked to specific use. Regardless of the scale of the object or the architecture, Nouvel employs the same rigorous approach, imbuing the objects and accoutrements of everyday life with a certain lyricism that is also streamlined and utilitarian.
As the title suggests, Triptyques are three-paneled colored mirrors, each in an edition of six. The central panel is fixed to the wall, while flanking and cantilevered panels are engineered to be movable. Four mirrors are presented, each different in color and orientation. Nouvel comments, "The mirror is a piece that you want to live with, in which you reflect intimate images—images from your home; you can capture a piece of a window in it somewhere." Colors range from light orange to blood orange to red, his signature color. The mirror finds its essence whether open or closed. When opened, Nouvel's mirrors evince the importance of color in their surroundings; when closed, they preserve a certain austere elegance.
The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.
In this video, Jenny Saville sits down inside her first major exhibition in Venice to discuss how the great Venetian artists of the past and the city’s heritage influence her work. The show brings together more than thirty canvases and works on paper from the 1990s to the present, tracing the development of her practice, which is deeply rooted in the history of painting.
On the occasion of his exhibition The Reflection of Bronze at Gagosian, New York, Giuseppe Penone and curator Adam D. Weinberg sit down to discuss the genesis of, and their collaboration on, the show.
Ahead of Alex Israel’s exhibition of four new Fin sculptures at Gagosian, London, the artist spoke with Susan Casey, author of The Wave: In Pursuit of the Rogues, Freaks, and Giants of the Ocean (2010), about the ocean, surfing, and Los Angeles.
On July 9, Simon Hantaï: the last studio opens at Gagosian, Gstaad. Curated by Anne Baldassari, the show comprises sixteen of the artist’s dernier atelier (last studio) paintings of 1982–85. The exhibition is accompanied by an illustrated catalogue, copublished by Gagosian and Skira, which features an essay by Baldassari and an extensive portfolio of previously unpublished photographs by Édouard Boubat. Here, we share the introductory chapter from the publication.
An exhibition at Gagosian, Hong Kong, brings together three of James Turrell’s Glasswork pieces along with site plans, photographs, and models of his Skyspaces and Roden Crater. Here, Alice Godwin explores the history of the Glassworks and their relationship to the artist’s wider practice.
On April 16, the Institute of Contemporary Art, Boston, opened the first midcareer survey of Derrick Adams’s multidisciplinary practice. Covering over twenty years of work, the exhibition, titled View Master, brings together the artist’s painting, sculpture, collage, performance, and video, as well as a vibrant new commission created for the museum’s façade. Ahead of the opening, Adams met with Tessa Bachi Haas, cocurator of the survey, to discuss his formative experiences with television, the impact of his work in arts education on his practice, and the importance of taking a more complex, more joyful, and more expansive approach to Black American life and culture.
Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.
Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.
The Singular Experience at Gagosian’s Le Bourget gallery is the largest exhibition of Walter De Maria’s work in France in several decades. Organized by Donna De Salvo, senior adjunct curator at Dia Art Foundation, the exhibition marks the first time De Maria’s final sculpture, Truck Trilogy (2011–17), is being shown outside of the United States. Here, De Salvo speaks with artist Lucy Raven about her evolving kinship with De Maria and more.
Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.
The exhibition Pomellato, Le Joaillier Révolutionnaire opened at Palais de Tokyo, Paris, on June 24. The Italian jewelry house’s trailblazing advertising campaigns—created by some of the most consequential names in photography—act as the narrative arc of the exhibition, curated by Alba Cappellieri. Here, Sarah Godfrey tracks Pomellato’s history, speaks with Cappellieri about what drew her to this project, and examines some of the key photographs from the show.
