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Tina Modotti

The eye of the revolution

The life of Tina Modotti (Udine, Italy, 1896 – Mexico, 1942) was marked by some of the most important historical events of the first half of the 20th century: the economic emigration of Europeans to America, the birth silent cinema on the west coast of the United States, the post-revolutionary agrarian movements in Mexico, the rise of political muralism, the claim of indigenous Mexican culture, the emancipation of women in the public sphere, the opposition between Stalinists and Trotskyists after the Russian Revolution of 1917 and the Spanish Civil War.

She is part of a generation of women who made a major contribution to photography in the 1920s and had a great influence on later Mexican photography, from Manuel Álvarez Bravo to Graciela Iturbide. Modotti was introduced to the practice of photography thanks to Edward Weston; However, his work, which develops a very personal vision, goes beyond the formalist teaching of the latter.

After her economic emigration from the Italian city of Udine to San Francisco and Los Angeles, Modotti left for Mexico, where she participated in the “Mexican renaissance” and the post-revolutionary cultural effervescence. Integrated into the circle of artists and muralists established there, she quickly combined “embodied photography” with Weston’s formalism. An activist in the Mexican Communist Party (PCM) since 1927, she denounced the condition of the poor with her camera, insisting in particular on the construction of a new imagination around Mexican women.

In 1930, Modotti was expelled from Mexico because of her communist commitment. She then lived for several years in the Soviet Union, where her photographic activism transformed into activism. In the mid-1930s, the Soviet Communist Party sent him to Spain. During the civil war, she organized the evacuation of “children of war”, coordinated the management of military hospitals and carried out missions relating to propaganda. Following the defeat of the Republicans in 1939, she crossed the Pyrenees alongside thousands of exiles. Exhausted and disillusioned by the outcome of the Spanish Civil War, she had to leave Europe again. She died in 1942 in Mexico City.

February 13 – May 12, 2024


Jardin des Tuileries

1 place de la Concorde 75001 Paris

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Robert Courtright

First retrospective exhibition of the American artist Robert Courtright (1926-2012) in Paris. After showing his works on numerous occasions during group shows and trade fairs for more than thirty years, KREO unveils a set of previously unpublished works bringing together collages and masks, dating from the 1960s until his death in 2012.

Born in 1926 in South Carolina, Robert Courtright is an autodidact. Close to the artistic approaches of Arte Povera, for more than five decades he developed a singular body of work, today appearing to have great aesthetic contemporaneity. His work spans more than five decades, between his workshops in New York and Opio.

The apparent simplicity of his works actually reveals an incomparable world, at once sophisticated, clever, reduced to the essential: grids made up of well-ordered rectangles of glued paper. These frames, these constructions, are the framework for expressing a color palette ranging from blood red to sunny yellow. Vibrant, saturated or pale, the colors play on the irregular surfaces of the glued papers, meticulously cut and rearranged.

Courtright’s attachment to geometry is nourished by a particular attention paid to architecture. Since a founding trip to Rome in 1952, the surfaces, the facades, flat but with infinite variations and roughness gleaned from Italian buildings and the south of France, have occupied his mind. The first collages, depicting architectural structures, bear witness to this fundamental attraction.

Very quickly, the figurative motifs fade and then disappear, giving way to simple orthogonal cutouts. New materials are used in its constructions with the introduction of corrugated cardboard, gauze strips or plaster. His decisive meeting with the Italian sculptor Bruno Romeda will give rise to an intense artistic bond. It was through his contact that he learned about metalwork.

A whole system of masks then developed. Essentially made of bronze and papier maché, these are directly inspired by the Bocca de la Verità (17th century) by Lucas van Leyden in Rome. Mostly circular in shape, Courtright plays around the same theme, like his collage work, multiplying variations of textures and colors.

With the language of the purest abstraction, exceptional in its rigor and its attachment to a clearly defined project, each work of Robert Courtright opens – in the words of Philip Jodidio – “a mental landscape formed by the centuries and today hui can be found”.

February 1st – March 9, 2024


17 quai Voltaire 75007 Paris

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In the Seine

Objects found from prehistory to the present day

In 2020, in Clichy-la-Garenne (Paris suburbs), a team of prehistorians from Inrap (National Institute for Preventive Archaeological Research) is carrying out a preventive excavation on a plot close to the banks, affected by a real estate program. Under four meters of modern embankments, they discover the history of the ancient bed of the Seine, dated between −85,000 and −25,000 years before our era (Paleolithic). During this period, the river bed is very wide and dotted with sandy banks. The banks are gently sloping and the sand islands allow animals and human groups to cross it in places. The climate is cold and windy, and the landscape, dominated by a steppe of tall grasses, grasses and a few rare shrubs, is roamed by large mammals: reindeer, horses, bison and woolly rhinoceroses.

The river which has shaped Paris from the first human settlements to the present day has received numerous objects that have fallen, thrown away, lost, or moved by the currents. They all bear witness to the history of the Seine, its evolution, its developments and its landscapes, but also its successive populations, their lifestyles, their beliefs or their struggles. Presented chronologically, these discoveries are also an opportunity to explain the scientific methods used in the interpretation and dating of archaeological remains and objects.

The exhibition is structured around four chronological periods and several themes chosen from archaeological discoveries linked to the Seine. Firstly, there are human settlements from prehistoric times, on the banks of the river, then in Antiquity, the time of its first developments. The medieval and modern periods reveal weapons, ex-votos and waste, while the Seine today still provides us with chance finds, such as pieces of bridges. These objects bear witness to the stories of men and women who built their daily lives with the Seine, whether Neanderthal hunters or the pious and superstitious Parisian people.

January 31, 2024 – February 1st, 2025


7 place Jean Paul II 75004 Paris

01 55 42 50 10

Tuesday to Sunday from 10 a.m. to 6 p.m.

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Iris Van Herpen

Sculpting the Senses

Iris van Herpen holds a resolutely special place in the history of fashion. The field of his research and experiments aims to unravel the mysteries of the human body. Dynamic tension, fluidity, finesse and complexity, but also poetry and philosophy, the main conversations she establishes between body and clothing allow her to transmit a new, rich and enthusiastic look at our world in the making. A world where body, mind and soul interact in an invisible way, more and more intensely.

His creations shake up the codes of clothing and are so many openings towards worlds a priori disconnected from his discipline. His insatiable curiosity leads him to explore distant areas. It draws as much from contemporary art as from architecture, from the life sciences as from the history of the arts, from alchemy as from mysticism. She handles artisanal techniques as well as cutting-edge technologies with precision and expertise. His meetings and collaborations with creators from the past as well as the present are as many forays into unknown territories, permanent questions, incomparable heights to shake up the order of things and the foundations of fashion. The living world, but also classical and contemporary dance, which she practices from a very young age, are the founding elements of her relationship with the body and clothing.

Fascinée par l’eau, […] elle y puise un univers infini d’intuitions. Et, comme l’écrit Gaston Bachelard, « l’eau est aussi un type de destin, non plus seulement le vain destin des images fuyantes, le vain destin d’un rêve qui ne s’achève pas, mais un destin essentiel qui métamorphose sans cesse la substance de l’être. ». Et c’est ce rapport étroit à l’eau, ses multiples états, ses facultés à se métamorphoser qui permet à Iris van Herpen de transposer la philosophie de cet élément à celle de ses créations. De la minuscule goutte de pluie tombée de la troposphère à l’immensité de l’océan, elle approfondit les jeux d’échelle et pratique des grands écarts permanents entre l’infiniment petit et l’infiniment grand, entre le passé et le présent, entre aujourd’hui et demain, entre un monde en souffrance et un autre en devenir. Elle compose autour des corps physique, mental, émotionnel et éthérique, cherchant à déclencher, par le vêtement, un dialogue entre le corps et les sens. Ses robes sont une invitation à pénétrer dans une société en pleine métamorphose, à vivre des expériences sensorielles et extrasensorielles.

A multi-talented designer, she creates much more than just dresses with her hands and machines. She questions with philosophy, poetry but also commitment, a modern sphere caught up in its paradoxes, stifled by climatic and societal crises. Its collections, each season, through sensitive and enlightened collaborations, with architects, contemporary artists, designers question singular themes: water, air, weightlessness, the skeleton, crystallization, metamorphosis , hybridization, hypnosis, the soul, synesthesia, lucid dreaming, rebirth… By pushing back with energy and determination the limits of classical and traditional ways of thinking and seeing, she examines the potential of the imagination to transform the perception of the world, a world that she wishes to re-enchant.

the exhibition questions the place of the body in space, its relationship to clothing and its environment, its future in a rapidly changing world. A selection of more than 100 haute couture pieces created by Iris van Herpen interact with works of contemporary art and pieces from natural sciences such as corals or fossils creating a unique resonance with historical pieces.

The skeleton theme is inaugurated by the Skeleton dress, echoing the hybrid skeleton of a work by Japanese artist Heishiro Ishino. The place of the body is also evoked at the heart of organic and architectural networks represented by a dress, a metaphor for a Gothic cathedral, but also by Ferruccio Laviani’s Gothic cabinet or by a documentary by Yann Arthus-Bertrand and Michael Pitiot Terra, committed to the defense of life and the interconnections of its ecosystems. Then, the visitor is invited to leave the physical dimension of the body to explore the sensory world, including photographs by Tim Walker, a work by Matthew Harrison or a spectacular projection of Renaissance Dreams by the artist Refik Anadol. Finally, the darkness of mythology around the theme of the jellyfish dialogues with works by Kate McGwire, EcoLogicStudio, Damien Hirst and even Samurai armor. An installation by Casey Curran offers a reflection on the place and physical and spiritual future of human beings.

Celebrating his unique approach, this retrospective, which is structured around nine themes, identifies the very essence of his work fusing fashion, contemporary art, design and science. The theme of water and the origins of life, omnipresent in the designer’s work, inaugurates the journey. Her latest collection Carte Blanche, highlighted in this space in dialogue with the work Origins by David Spriggs, literally invites the visitor to immerse themselves in the designer’s aquatic world.

Water is also addressed on the scale of the immensity of the ocean with the wave of the Collectif Mé. A space reveals natural environments invisible to the naked eye already revealed in the 19th century by the boards of Ernst Haeckel or by the exceptional glass models of Léopold and Rudolf Blaschka. Works by Ren Ri and Tomáš Libertíny, composed by bees, contrast with the fragility of those made of paper by Rogan Brown.

Iris van Herpen’s dresses today reinvent the “way of inhabiting” a piece of clothing. Its textiles become innovative, hybrid, results of 3D printing and laser cutting or even connected textiles. By generating these new materials and using these revolutionary textures, Iris van Herpen defines, in the manner of builders, microarchitectures, but, unlike them, microarchitectures in movement. Her dresses come to life from the first action of the body in space, in a ballet of textures and materials, frictions and sliding, colors and transparencies. Movement against movement, the second skin that she places on the surface engages microdances that trigger spaces for breathing, spaces for meditation, and reflection. Intimate dialogues between the private body and the public body, the works of Iris van Herpen question this infinite and yet infra-thin space between the body and clothing, this invisible border, which plays on the surface of the epidermis and which allows development The senses.

These fertile discussions around architecture are so many pollinations that make the designer the first to show, in 2010, a 3D printed look. His exchanges with artists like David Altmejd also lead him to think about the body as fiction. Dressed in a concept as much as in clothing, the bodies dressed in the works of Iris van Herpen weave close links with the past to bring out mythological reminiscences or even fantastical stories. By collaborating with Anthony Howe, she propels the being into an imaginary future where the clothing itself would be in movement, a kinetic clothing dialoguing with the complexity of human anatomy, the beauty and diversity of its environment.

The exhibition ends with a presentation of the works of Iris van Herpen as if projected into the immensity of the cosmos. Her dresses are presented in a dance of the sky, bodies floating in space and time. The photographic works of artist Kim Keever, as well as shots of nebulae, call us to elevate ourselves to feel the world in a more holistic way. Three spaces complete the tour: an evocation of Iris van Herpen’s workshop, a cabinet of curiosities presenting her accessories (shoes, masks and elements of hairstyles) alongside elements of natural sciences and videos and a room allowing to give space to the living and moving body through videos of the designer’s fashion shows. The exhibition is accompanied by a sound composition created by Salvador Breed. It challenges the senses and further immerses the visitor in this journey around the body and themes dear to the designer.

November 29, 2023 – April 28, 2024


107 rue de Rivoli 75001 Paris


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Bijoy Jain / Studio Mumbai

The breath of the architect

The Cartier Foundation presents an exhibition specially created for the institution by architect Bijoy Jain, founder of Studio Mumbai in India. He is the author of a work testifying to a deep concern for the relationship between man and nature, and of which time and gesture are essential factors. Exploring the links between art, architecture and materials, Bijoy Jain offers the Cartier Foundation a total creation: a space of reverie and contemplation in dialogue with Jean Nouvel’s iconic building.

Bijoy Jain imagines an exhibition that is experienced as a physical and emotional experience. The architect’s breath offers visitors a true invitation to breathe, to wander in complete peace, to rediscover silence: “Silence has a sound, we hear it resonate within us. This sound connects all living beings. C is the breath of life. It is synchronous in each of us. Silence, time and space are eternal, just like water, air and light, which are our elemental construction. This abundance of sensory phenomena, dreams, memory, imagination, emotions and intuition come from this reservoir of experiences, anchored in the corners of our eyes, in the soles of our feet, in the lobes of our ears, in the timbre of our voice, in the murmur of our breath and in the palms of our hands.”

Summoning shadow and light, lightness and gravity, wood, brick, earth, stone and even water, the architect designs a sensory journey, in resonance with the material. Developed to the rhythm of the breath and shaped by hand, the exhibition displays an installation composed of fragments of architecture.

Sculptures in stone or terracotta, facades of vernacular Indian habitats, coated panels, lines of pigments traced with wire, bamboo structures inspired by tazias – funerary monuments carried on the shoulders in memory of a saint during Shiite Muslim processions – these transitory and ephemeral constructions present a world that is both infinite and intimate and transport us to places as close as they are distant.

At the suggestion of Hervé Chandès, curator of the exhibition and artistic general director of the Cartier Foundation, Bijoy Jain also invites the Chinese artist living in Beijing HU Liu and the Danish ceramist of Turkish origin living in Paris Alev Ebüzziya Siesbye. Granting the same importance to the ritual mastery of the gesture, to the resonance and dialogue with the material, all three share the same ethos and the same sensitivity. HU Liu’s black monochrome drawings are entirely made in graphite, through the iteration of the same movement, in order to reveal the essence of natural elements: the grass caressed by the wind, the surf of the waves or the silhouette of the branches of a tree. Alev Ebüzziya Siesbye’s ceramics, as if weightless, are also the result of great dexterity and an intense dialogue with the earth.

For Bijoy Jain, the physical world we inhabit is a palimpsest of our cultural evolution. Humanity crosses a constantly evolving landscape, whose successive writings intertwine.

The architect’s breath attempts to give a glimpse, however fleeting, of the sensoriality that emanates from architecture, of the intuitive force that binds us to the elements and of our emotional relationship to space.

December 9, 2023 – April 21, 2024


261 boulevard Raspail 75014 Paris

01 42 18 56 50

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Chana Orloff

The Zadkine museum presents the first monographic Parisian exhibition dedicated to Chana Orloff, since 1971. Bringing together around a hundred works, it invites us to (re)discover an artist remarkably celebrated during her lifetime but unjustly unknown today, whose work is yet well represented in French and international collections, particularly in Israel.

The Zadkine museum, located a stone’s throw from the artist’s studio on rue d’Assas at the start of his career, seems ideally suited to pay him this tribute: the sculptures of Chana Orloff occasionally interact with those of the master of the place, the sculptor Ossip Zadkine, who knew the artist whose exact contemporary he was. Their backgrounds also have many similarities: they are both of Jewish origin and born in the Russian Empire, she in what is now Ukraine and he in what is now Belarus. Parisians at heart, familiar with the Montparnasse district, Chana Orloff and Ossip Zadkine have led a parallel and independent route.

The exhibition reveals a strong and free female figure, whose emblematic work of the School of Paris marked her era. It highlights the major themes dear to Chana Orloff: the portrait through which the artist became known and acquired her economic independence, but also the representation of the female body and motherhood – classic themes of Western sculpture. Nothing predestined Chana Orloff, born in 1888 in what is now Ukraine, to become one of the most renowned sculptors of the School of Paris. Raised in a Jewish family that emigrated to Palestine, the young woman arrived in Paris in 1910 to obtain a sewing diploma. But, in a bustling capital, Chana Orloff discovered a vocation for sculpture. Through contact with the artists of Montparnasse, many of whom, such as Modigliani or Soutine, became his friends, Chana Orloff forged a personal and inimitable style. It is above all his portraits, both stylized and similar, which ensure his success: with them, the artist intends to “make the era”.

Chana Orloff’s success in the interwar period was impressive: she exhibited in France and abroad and, in 1926, she obtained French nationality after receiving the Legion of Honor the previous year. The same year, she had a custom house-workshop built by architect Auguste Perret, near Montsouris park in the 14th arrondissement of Paris, which can still be visited today. Proof of her reputation, Chana Orloff is one of the rare sculptors to take part in the major exhibition of Masters of Independent Art organized at the Petit Palais in Paris in 1937.

However, the Second World War abruptly interrupted its success. Persecuted because of her Jewish origins, Chana Orloff narrowly escaped the Vel d’hiv roundup with her son and managed to flee to Switzerland. Returning from exile in 1945, she discovered her house-workshop ransacked. However, she returned to sculpture and shared her life between France and Israel where she created several monuments, such as the moving Ein Gev Motherhood, a full-scale model of which is presented in the exhibition. She died in 1968, a year after Zadkine.

November 15, 2023 – March 31, 2024


100 bis rue d’Assas 75006 Paris

To Book

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Cheri Samba

in the Jean Pigozzi Collection

Chéri Samba – born in 1956 in Congo – is undoubtedly the most famous African painter of his generation. Ambassador of “popular painting” of Kinshasa, he has largely contributed to making this informal movement known with his figurative paintings in frank colors which challenge, denounce, caricature and provoke, most often with humor, in a style which is anything but naive .

This exhibition at the Maillol Museum is the first retrospective of the painter’s work, covering 40 years of creation. With more than 50 paintings, she presents a journey through several “Sambaian” themes: the self-portrait as a central element of her painting, the Congo and Africa, geopolitics and the environment, the history of art and finally women, theme with which an unprecedented dialogue with the work of Maillol appears in the museum.

All of the works brought together for the occasion come from the Jean Pigozzi collection, the most important collection of contemporary African art in the world, which has contributed for more than thirty years to the recognition of sub-Saharan African artists on the scene. international.

October 17, 2023 – April 7, 2024


59-61 rue de Grenelle 75007 Paris

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Fashion and Sport

from one podium to another

In the run-up to the 2024 Olympic Games, the Paris Museum of Decorative Arts presents an exhibition that explores the fascinating links between fashion and sport, from Antiquity to the present day. This large-scale project reveals how two seemingly distant universes share the same social issues, around the body.

450 pieces of clothing and accessories, photographs, sketches, magazines, posters, paintings, sculptures and videos highlight the evolution of sports clothing and its influence on contemporary fashion. Jean Patou, Jeanne Lanvin, Gabrielle Chanel, Elsa Schiaparelli are among the pioneers who, during the interwar period, took an interest in the sporting world and transcribed it in their haute couture creations.

The exhibition also shows how sportswear has made it possible to divert sports clothing from its specific use to integrate it into the daily wardrobe. The question of comfort, the common thread of the exhibition, allows us to understand the reasons why jogging and sneakers have become fashion essentials, both for everyday life and for haute couture, from Balenciaga to Off-White.

September 20, 2023 – April 7, 2024


107 rue de Rivoli 75001 Paris