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.
In conjunction with the memorial service for Brice Marden held at the Museum of Modern Art, New York, Mirabelle and Melia Marden produced a short film directed by Chiara Clemente to honor the late artist. Featuring interviews, archival photographs, and family videos, this film captures Marden’s vibrant life and enduring cultural impact.
The Summer 2024 issue of Gagosian Quarterly is now available, featuring a detail of Roy Lichtenstein’s Bauhaus Stairway Mural (1989) on the cover.
John Elderfield and Lauren Mahony of Gagosian speak with the National Gallery of Art’s Harry Cooper about the new and expanded version of Elderfield’s 1989 monograph on Helen Frankenthaler that Gagosian, in collaboration with the Helen Frankenthaler Foundation, will publish this summer. The conversation traces Elderfield’s long interest in Frankenthaler’s work—from his time as a young curator at the Museum of Modern Art, New York, to the present—and reveals some of the new perspectives and discoveries awaiting readers.
The Warp of Time celebrates a hundred years of shared history between the Old Carpet Factory, a historical mansion located on the Greek island of Hydra, and Soutzoglou Carpets. Here, Salomé Gómez-Upegui interviews curator Ekaterina Juskowski about Helen Marden’s woven works within the context of the exhibition, touching upon themes of history, memory, and creative expression.
The exhibition Enzo Mari, curated by Hans Ulrich Obrist with Francesca Giacomelli at the Design Museum, London, runs through September 8. Taking a cue from this major retrospective, Bartolomeo Sala delves into Mari’s practice and convictions.
David Cronenberg’s film The Shrouds made its debut at the 77th edition of the Cannes Film Festival in France. Film writer Miriam Bale reports on the motifs and questions that make up this latest addition to the auteur’s singular body of work.
The Olympic and Paralympic Games arrive in Paris on July 26. Ahead of this momentous occasion, Yasmin Meichtry, associate director at the Olympic Foundation for Culture and Heritage, Lausanne, Switzerland, meets with Gagosian senior director Serena Cattaneo Adorno to discuss the Olympic Games’ long engagement with artists and culture, including the Olympic Museum, commissions, and the collaborative two-part exhibition, The Art of the Olympics, being staged this summer at Gagosian, Paris.
Join Brooke Holmes, professor of Classics at Princeton University, and Lissa McClure and Katarina Jerinic, executive director and collections curator, respectively, at the Woodman Family Foundation, as they discuss Francesca Woodman’s preoccupation with classical themes and archetypes, her exploration of the body as sculpture, and her engagement with allegory and metaphor in photography.
Ashley Overbeek speaks with three experts in the field of arts in medicine.
Join Vladimir Yavachev, director of operations for the Christo and Jeanne-Claude Foundation, as he discusses the genesis of the artist’s work Wrapped 1961 Volkswagen Beetle Saloon (1963–2014), which Gagosian presented at Art Basel Unlimited 2024.
In conjunction with Marks and Whispers, at Gagosian, Rome, Oscar Murillo and Alessandro Rabottini sit down to discuss the artist’s paintings and works on paper in the exhibition, as well as how the show emphasizes the formal, political, and social dimensions of the color red in Murillo’s work of the last decade.
Michael Ovitz, cofounder of Creative Artists Agency (CAA), looks back to 1989, the year he and the architect I. M. Pei commissioned Roy Lichtenstein to create the Bauhaus Stairway Mural for the then new CAA Building in Los Angeles. Through the experience of working with Lichtenstein, Ovitz formed a meaningful friendship with the artist.
