Jérôme Sans

  • Seton Smith

    After having concentrated primarily on luxurious views of interiors from previous eras—metaphors for man’s desire to domesticate everything, to stylize everything—Seton Smith presented a series of photographed objects that was as “enigmatic,” as the earlier work, but more abstract, more fluid. Taken from the collections of the Field Museum in Chicago and the Museum of Fine Arts in Boston, Smith gave these objects a fluid identity—one no longer freighted with the weight of culture.

    These objects seem like orphans, as if they had no history. Their origin no longer matters: they inhabit the interior

  • Erwin Wurm

    For the past five years, Erwin Wurm has envisaged sculpture as the sum of simple, quotidian, automatic gestures: folding and refolding clothes, or hanging them on lines, or removing objects so that their traces appear in the dust. Like many other contemporary artists, his work is built from the little things that make up his environment. He makes art in the simplest possible way—almost without doing anything at all. Wurm continuously brings us back to the question: “How to make a sculpture out of ‘nothing.’” With an esthetic that is a kind of ground-zero of sculpture, he dresses a pedestal in