print May 2018

Olympe Racana-Weiler

Olympe Racana-Weiler announces a gut craving, a physical manifestation of desire and ambition, in the title of her first solo exhibition, “I came back from paradise and I’m frankly hungry.” The phrase also alludes to a return from another realm, a passage that might be a kind of metamorphosis, evocative of Ovid’s compendium of transformation myths. In a published conversation with Jim Dine, with whom she works as a studio assistant, Racana-Weiler tells of her own metamorphosis into a painter, and cites the ancient text. In this context, Racana-Weiler also speaks briefly about dancing as a child.

print April 2018

Alex Cecchetti

An ending is a boundary, a limit. But do all stories end? Alex Cecchetti’s exhibition “Tamam Shud,” part of a larger project including a novel and performances, takes its name from the story of a man found dead on a beach in southern Australia seventy years ago. The body was never identified, and his pocket contained only a scrap of paper that read, “Tamám shud,” an Old Persian phrase meaning, “It is the end.” It may have been torn from the last page of the Rubáiyát of the twelfth-century poet Omar Khayyám. That’s the story Cecchetti tells. He also tells the tale that he himself has died.

The

print December 2017

Ida Ekblad

For years, objects recovered from the streets and sidewalks surrounding the places where Ida Ekblad produces and exhibits her work have found their way into her oeuvre. Here in Paris, her work also opens itself to the perhaps more ephemeral attributes of a certain local form of femininity. In this gallery on the rue du Temple, one found an alluring, exuberant group of six paintings and three sculptures—works sprung from Ekblad’s poem “Step Motherfucker,” the title of which was also the show title. The artist’s rhythmic lines picture a phantasmagoric woman: “She worked in a small art

print November 2017

OPENINGS: ENRIQUE RAMÍREZ

THERE ISN’T A CLOUD IN THE SKY at the beginning of Enrique Ramírez’s video Brises (Breezes), 2008, but the gray-suited actor in the opening shot is drenched, water dripping from his fingertips. The young man walks toward Santiago’s Palacio de la Moneda, the official seat of the Chilean president. He passes two fountains before entering the silent monument, his pace unrelenting. Visitors are meant to exit from the palace onto the Plaza de la Ciudadanía, but the actor pointedly heads in the other, “forbidden” direction. The site itself, where Salvador Allende’s life ended during the 1973 military

print November 2017

Hassan Sharif

Displayed at the top of the stairs leading down to the gallery’s main exhibition space for Hassan Sharif’s “Reading Is Making: Books and Boxes” were copies of three political cartoons that the artist drew in the 1970s. The images speak of the tide of consumerism that began sweeping Sharif’s native United Arab Emirates in the ’60s. In one, a hand reaches up from under a pile of electronic appliances. I'M DROWNING, DROWNING, DROWNING!!! his speech bubble calls out in Arabic. In another, a mustachioed man is pictured on the toilet, surrounded by a discarded mess of books, wearing a Rube Goldberg–type

print September 2017

Tiziana La Melia

Spanning adjacent walls and gently grazing the gallery floor, Tiziana La Melia’s panoramic canvas Broom Emotion, 2017, hung unstretched, like a backdrop to the rest of her eponymous solo exhibition, her first in France. Black arabesques and graffiti-like script emerged from this abstract work, saturated with pools of purple, yellow, pink, and brown—that is, watercolor, red wine, and instant coffee. A thin layer of sand covered the gallery’s terrazzo floor, while ostrich-size chalk eggs and purple sachets of white dragées were arranged atop fragrant bales of hay. A garden arch, covered with

print May 2017

Mohssin Harraki

In his exhibition “Matière grise” (Gray Matter), Mohssin Harraki’s Débat imaginaire (Imaginary Debate), 2017, covered an entire wall with an enlarged fourteenth-century illustration of the twelfth-century Andalusian thinker Averroes in conversation with Porphyry, the third-century Neoplatonic philosopher. Manfredus de Monte Imperiali, working in what is today Italy, originally fixed this imaginary dialogue between the two Mediterranean intellects on parchment, seating the wide-eyed men, clothed in colored robes, in stiffly foreshortened chairs. The phrases in ornate Latin calligraphy that extend

print April 2017

Caroline Mesquita

“I really like when things suddenly go out of control,” French artist Caroline Mesquita has said. Here, she set the scene as a plane crash. Three installations constructed from steel and resin—The Plane Wing, The Plane Sidewall, and The Wing Tip (all works 2017)—stood as parts of an imagined aircraft. Like a stage, each installation was peopled with sculptures made of plates of brass and resin; cut, bent, and welded together, these life-size anthropomorphic figures are composed of tubular and cylindrical shapes. These are the survivors. Although static, their jointed appendages are

print March 2017

Lili Reynaud-Dewar

In 1985, finding that feminism and Marxism had “run aground,” scientist and philosopher Donna Haraway published “A Cyborg Manifesto,” proposing “a creature in a post-gender world.” Arguing for “pleasure in the confusion of boundaries and for responsibility in their construction,” Haraway asserts that “we are all . . . fabricated hybrids of machine and organism; in short, we are cyborgs.” When French artist, writer, and teacher Lili Reynaud-Dewar arrived in Memphis in 2009 to find billboards advertising “grillz,” she interpreted this practice of adornment as a manifestation of Haraway’s vision

print February 2017

Cathryn Boch

The roar of a sewing machine, the rhythmic clicks of a bobbin changing, the flapping of sheets of paper, and the artist’s focused breath were audible through a single pair of headphones at the center of Cathryn Boch’s recent exhibition “monades.” Played on a loop, this digital recording, Atelier 50’ (all works 2016), documents the soundscape of Boch’s actions and hesitations as she manipulates maritime maps, atlas pages, aerial photographs, paper, and thread. While the title of this sound work attests to its location and duration, all other pieces were left untitled. And each was pinned to the

print December 2016

Lara Almarcegui and Mohamed Namou

A shared concern for the composition of territory was revealed through a visual dialogue between works by eminent Spanish artist Lara Almarcegui and Mohamed Namou, a recent graduate of the École National Supérieure des Beaux-Arts in Paris. Such intergenerational pairings are favored by mor charpentier, and in this case, the common vocabulary that emerged from the artists’ concrete conversation enabled a deeper understanding of each practice.

On the ground floor, Almarcegui’s Rocks of Spitzbergen (Svalbard), 2014, plainly listed, in crisp black text on the gallery’s white wall, the range of mineral

print November 2015

Anita Molinero

When activating her potent selections of form and color with the cataclysmic force of gas flames, French artist Anita Molinero does not fully know where her experiments with heat and chemical reactions will lead her. The process she employs can be toxic, even aggressive; the poisonous ingredients of industrially produced plastics are released as their molded forms are violently deformed. Each of her sculptures is a palimpsest of particular urban materials. For the works in this show, she incorporated a green plastic trash bin, ubiquitous both across France and in her work, as well as Styrofoam

print Summer 2015

Simone Fattal

Simone Fattal abandoned Beirut in 1980, when Lebanon was mired in civil war. Leaving her home, her studio, and her painting practice behind, and settling in Sausalito, California, the Syrian–born artist enrolled in a sculpture course. One day, her teacher said to her, “Here is the earth. She is alive.” Fattal quickly embraced terra-cotta as a medium.

At the entrance to Fattal’s exhibition “Sculptures and Collages,” four upright figures in terra-cotta (all dated 2011) stood, seemingly headless, with abbreviated torsos, on neat metal plinths. The sculptures, which the artist often refers to as

print May 2015

Valentin Carron

A direct translation of the title of Valentin Carron’s exhibition “L’Autoroute du soleil à minuit” yields “Highway of the Sun at Midnight.” The romantic-sounding phrase evokes a real highway, the 591-mile-long toll road from Paris through Lyon to the Mediterranean at Menton; francophone vacationers, their cars stuffed with beach towels and topped with parasols and folding chairs, call this road “l’autoroute du soleil.” The highway, the first section of which opened in 1960, was designed to serve an emerging European thirst for leisure and consumption. It is an appropriate reference for the artist

print February 2015

Niki de Saint Phalle

Three bright and victorious Nana sculptures—Baigneuse (Bathing Beauty), 1967–68; Nana boule (maillot blanc avec polka dots) (Ball Nana [White Suit with Polka Dots]), ca. 1966–68; and Nana fountaine type (Typical Fountain Nana), ca. 1968—greeted visitors to Niki de Saint Phalle’s recent exhibition at Galerie Mitterrand. For the right collector, the flip of a switch would put the fluorescent-painted Nana Machine, 1970, one of the smallest Nanas, made in collaboration with Jean Tinguely, in motion. Painted polyester architectural models; White Tree, 1972, a haunting monochrome assemblage

print December 2014

Laure Prouvost

Smeared with mud, Laure Prouvost’s letter of invitation for her exhibition “This is the visit” announced a tea party and an evening of “fond- razing” for her Grand Dad, described elsewhere as “a very close friend of Kurt Schwitters” who is still lost in the tunnel he’s been digging to Africa from his ramshackle cabin in England’s Lake District. At the opening, a waiter cheerfully offered “thé à la gin” in floral flea-market china—tepid Earl Gray spiked with booze. The works were linked by a low, dark-brown platform, a kind of stage for the viewer to walk on. An early video, Burrow Me, 2009,

print November 2014

Lee Ufan

This summer, for the annual exhibition of contemporary art in Louis XIV’s gilded Château de Versailles and the surrounding formal gardens of André Le Nôtre, South Korean artist Lee Ufan installed a group of ten new sculptures from his “Relatum” series, which began in the late ’1960s, complementing the marriage of regal symmetry and natural beauty that defines the work of the seventeenth-century landscape architect. Relatum—The Arch of Versailles (all works 2014), a chromatically neutral rainbow fashioned from a band of stainless steel some fifty feet long, marks the passage from the mirrored

print September 2014

Enrique Ramírez

For his first solo exhibition in France, “Cartografías para navegantes de tierra” (Cartographies for Navigators of the Earth), Enrique Ramírez, a Chilean artist based in Santiago and Paris, presented work that navigates the vast distances in between. Nearly all the works featured Ramírez’s writing—prayerlike Spanish prose—often set to the rhythm of waves.

La invención de América (The Invention of America), 2013, a Dacron sail made by the artist’s father and a separately framed text, functioned as a central icon. Inverting the worn triangular piece of material and containing it within

print Summer 2014

Julien Crépieux

A choreographed lightness radiated from Julien Crépieux’s “Corpusculum Flotans.” The exhibition title, suggesting small, floating bodies, shares that of a 2005 video work by the artist—a short meditation on passing clouds that is also a record of the eye looking toward the sky. Here, again, in a body of new work, Crépieux showed his concern with movement, not only in the visible world but in the mechanisms of its reception: the eye, the lens, and the captured image. Working in video, installation, and, increasingly, the two-dimensional techniques of collage and photography, Crépieux

print February 2014

Sophie Calle

“What do you see?” To staff and visitors of Boston’s Isabella Stewart Gardner Museum, where more than a dozen objects and works of art were stolen in March 1990, Sophie Calle recently posed this simple question. Gardner’s will stipulates that the arrangement of works in her namesake museum’s galleries never be altered, so for several years after the theft, patches of bare, silk-covered walls punctuated the collection. As early as one year after the theft, Calle included remembrances of works missing from this Boston institution in her series “Last Seen,” 1991. A few years later, the museum rehung

Lillian Davies