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Simon Hantaï in his studio, Meun, France, 1967. Artwork © Archives Simon Hantaï/ADAGP, Paris. Photo: Édouard Boubat

New Representation

Estate of Simon Hantaï

Gagosian is pleased to announce the representation of the Estate of Simon Hantaï. Born in Bia, Hungary, in 1922, Hantaï is best known for originating the technique of pliage (folding), in which a canvas is crumpled and knotted, uniformly painted over, and then spread out to reveal a matrix of abstract alternations between pigment and ground. Hantaï moved to Paris in 1948 and began creating pliage paintings in 1960, conceiving of the process as a marriage between Surrealist automatism and the allover gestures of Abstract Expressionism. The technique dominated the work he made during the rest of his career, re-emerging in diverse forms. To inaugurate Hantaï’s representation, LES NOIRS DU BLANC, LES BLANCS DU NOIR, an exhibition of black-and-white paintings and prints dating between 1969 and 1997, will be presented at Gagosian, Le Bourget.

Simon Hantaï in his studio, Meun, France, 1967. Artwork © Archives Simon Hantaï/ADAGP, Paris. Photo: Édouard Boubat

Museum Exhibitions

Installation view, Touching the Void, Museum of Modern Art, New York, November 14, 2020–November 1, 2023. Artwork, left to right: © Archives Simon Hantaï/ADAGP, Paris, 2021; © Carlos Rojas; © 2021 Robert Ryman; © 2021 Fundación Gego; © Liliana Porter. Photo: Jonathan Muzikar

On View

Simon Hantaï in
Touching the Void

Through November 1, 2023
Museum of Modern Art, New York
www.moma.org

As part of New Art from Wall to Wall, the Museum of Modern Art is presenting never-before and rarely shown works in themed, reimagined collection galleries. The gallery Touching the Void explores an important artistic tendency of the 1960s: a shift away from the idea that art should express the artist’s interior life. Works in this vein searched for a poetics of bare form and focused on structural elements such as line, plane, and volume. Whether strict or playful, the work of these artists tested the meditative possibilities of objectivity, challenging viewers to heighten their sensory perception. Work by Simon Hantaï is included.

Installation view, Touching the Void, Museum of Modern Art, New York, November 14, 2020–November 1, 2023. Artwork, left to right: © Archives Simon Hantaï/ADAGP, Paris, 2021; © Carlos Rojas; © 2021 Robert Ryman; © 2021 Fundación Gego; © Liliana Porter. Photo: Jonathan Muzikar

Simon Hantaï, Etude I, suite pour Pierre Reverdy, 1969 © Archives Simon Hantaï/ADAGP, Paris, 2020. Photo: Claude Gaspari

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Soleils noirs

March 25, 2020–January 25, 2021
Musée du Louvre-Lens, France
www.louvrelens.fr

This sensory exhibition, whose title translates to Black Suns, offers a fresh perspective on the color black, which has been endowed with a multitude of symbolic meanings in Western art from antiquity to the present day. The exhibition features nearly 180 works, intermingling periods and disciplines, and spanning painting, fashion, the decorative arts, the moving image, and installations. Work by Douglas Gordon, Simon Hantaï, and Damien Hirst is included.

Simon Hantaï, Etude I, suite pour Pierre Reverdy, 1969 © Archives Simon Hantaï/ADAGP, Paris, 2020. Photo: Claude Gaspari

Simon Hantaï, Peinture, 1952–53, Fondation Gandur pour l’Art, Geneva © Archives Simon Hantaï/ADAGP, Paris. Photo: André Morin

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Simon Hantaï
Par où on ne sait pas

January 17–April 27, 2020
Musée des Beaux-Arts, Rouen, France
mbarouen.fr

This exhibition celebrates the partnership between the Réunion des Musées Métropolitains and the Fondation Gandur pour l’Art by bringing together works painted by Simon Hantaï. Between 1951 and 1959 the artist’s pictorial inventions elevated the canvas to act alongside the painter; this idea subsequently opened a path for younger artists to consider new ways of painting.

Simon Hantaï, Peinture, 1952–53, Fondation Gandur pour l’Art, Geneva © Archives Simon Hantaï/ADAGP, Paris. Photo: André Morin

Installation view, Le monde nouveau de Charlotte Perriand, Fondation Louis Vuitton, Paris, October 2, 2019–February 24, 2020. Artwork, left to right: © Robert Delaunay; © 2019 Calder Foundation, New York/ADAGP, Paris; © Archives Simon Hantaï/ADAGP, Paris, 2019. Photo: © Fondation Louis Vuitton/Marc Domage

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Simon Hantaï in
Le monde nouveau de Charlotte Perriand

October 2, 2019–February 24, 2020
Fondation Louis Vuitton, Paris
www.fondationlouisvuitton.fr

This large-scale exhibition dedicated to Charlotte Perriand (1903–1999), a pioneer of modernity, marks the twentieth anniversary of her death. Exploring the links between art, architecture, and design, this show pays tribute to her as an architect and a visionary. Work by Simon Hantaï is included.

Installation view, Le monde nouveau de Charlotte Perriand, Fondation Louis Vuitton, Paris, October 2, 2019–February 24, 2020. Artwork, left to right: © Robert Delaunay; © 2019 Calder Foundation, New York/ADAGP, Paris; © Archives Simon Hantaï/ADAGP, Paris, 2019. Photo: © Fondation Louis Vuitton/Marc Domage

Tatiana Trouvé, Desire Lines, 2015, installation view, Frac Grand Large—Hauts-de-France, Dunkerque, France © Tatiana Trouvé. Photo: Aurélien Mole

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Gigantisme
Art & Industrie

May 4, 2019–January 5, 2020
Frac Grand Large—Hauts-de-France, Dunkerque, France
www.fracnpdc.fr

This exhibition features large-scale installations, in situ works, sculptures, paintings, films, and performances that embody encounters between artists, engineers, designers, and architects. Tatiana Trouvé’s Desire Lines, commissioned by Public Art Fund and presented in New York’s Central Park in 2015, is included, as is work by Simon Hantaï.

Tatiana Trouvé, Desire Lines, 2015, installation view, Frac Grand Large—Hauts-de-France, Dunkerque, France © Tatiana Trouvé. Photo: Aurélien Mole

Simon Hantaï, Untitled, 1973 © Archives Simon Hantaï/ADAGP, Paris, 2019. Photo: Clérin/Morin © Consortium Museum

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Simon Hantaï in
Pattern, Crime & Decoration

May 16–October 20, 2019
Consortium Museum, Dijon, France
www.leconsortium.fr

Pattern, Crime & Decoration explores the groundbreaking, artist-led American art movement Pattern and Decoration, which started in the mid-1970s and lasted until the mid-1980s. Strongly grounded in feminism, it included many women artists and sought to highlight arts and crafts, which were often dismissed as belonging to the domestic or decorative sphere. In this exhibition artists from the Pattern and Decoration movement are presented alongside American and European artists from the same era whose work shares similar formal concerns including Simon Hantaï.

Simon Hantaï, Untitled, 1973 © Archives Simon Hantaï/ADAGP, Paris, 2019. Photo: Clérin/Morin © Consortium Museum

See all Museum Exhibitions for Simon Hantaï