PARIS — Following on the heels of the Jean Dupuy and Robert Filliou gallery exhibitions, a third radical Fluxus-related artist is receiving a museum-quality gallery show in Paris: Wolf Vostell.
PARIS — About 60 artists and art critics allied with the French chapter of the International Association of Art Critics (AICA) gathered in the Place Vendôme at mid-day Friday near where Paul McCarthy’s once mighty butt plug–based inflatable “Tree” had once stood and stooped. McCarthy himself was absent.
PARIS — The essence of branding is the insistent repetition of a recognizable commodity image, so we should not be surprised when Bernard Arnault’s global luxury brand Louis Vuitton applies the same formula to art.
PARIS — Located in La Chaux-de-Fonds near Neuchâtel in the Swiss Jura Mountains, watchmakers Greubel Forsey are celebrating their tenth anniversary by honoring the gadfly artist Robert Filliou (1926–1987) in Paris with a rather curious show called Chapeaux! Hommage à Robert Filliou — and with a nonfunctioning watch in his name.
PARIS — Galerie 53 and Galerie Routes, two side-by-side galleries in Saint-Germain-des-Près, have joined together to mount an historically interesting exhibition of abstract paintings titled Trois Américains à Paris (Three Americans in Paris).
PARIS — A nomadic but steady hand is clearly sensed in Marcel Duchamp’s work. He is often an excellent painter. But it is also true that with Duchamp’s legacy of conceptually anti-retinal art (and anti-art), there is something so pregnant with free-floating information that it electrifies and upsets some painters.
PARIS — The Left Bank galleries have opened their doors to a new season of shows, including the highly anticipated Jean Dupuy mini-retrospective, Léon musicien, at Galerie Loevenbruck.
PARIS — I recently met in my studio the writer Jake Lamar, a New York ex-pat living in Paris, and spoke to him about his new novel, Postérité (The original English title is “Posthumous”), that will be published today in French by Rivages.
PARIS — In our stimulating era of online publishing, it is all the more exciting to look back at paper precedents. And Man Ray, Picabia et la revue Littérature (1922-1924) at the Centre Pompidou provides just such an opportunity by focusing on the period between the end of the Dadaist movement and the advent of Surrealism.
PARIS — I used to abhor Nan Goldin’s “The Ballad of Sexual Dependency” (1979-1986), her famous 45-minute operatic show of 800 color slides set to a choppy 80s pop music soundtrack.
PARIS — The City of Light is rightly recognized as an interesting place for street art, especially in the Right Bank’s scruffier neighborhoods, where I am used to seeing plenty of it.
PARIS — I tend to prefer my European gesamtkunstwerk interior spaces lush, flamboyantly mannerist, funny, obscurantist, or noisy.