Mara Hoberman

  • Anne-Marie Schneider, untitled, 2013, watercolor and pencil on paper, 15 3/4 x 11 4/8".

    Anne-Marie Schneider

    Treating her drawing practice like a visual diary, Anne-Marie Schneider uses combinations of watercolor, acrylic, ink, and pencil to routinely document current events, scenes from daily life, and her own mental state. Here a selection of sixty works on paper plus four paintings, all dated between 2009 and 2013, offered an intimate, if fragmented, glimpse into the artist’s quotidian experience. Characteristic of Schneider’s oeuvre, which also includes sculpture and animation, the simple forms and playful color palette of her drawings—manifested here mainly as purple and red stick figures

  • Annette Messager, Mes Transports, 2012–13, mixed media, dimensions variable.

    Annette Messager

    Spread across the gallery floor in an archipelagic formation, Annette Messager’s installation of twenty-one sculptures arrayed on small padded dollies, Mes Transports, 2012–13, conjured the gory aftermath of a mysterious disaster. Reprising some of the artist’s signature motifs, including dead animals, human body parts, and children’s toys, this work evokes a scene of emergency triage with nightmarish casualties on makeshift gurneys. The strange amalgams of limbs, shoes, birds, dogs, and architectural wreckage—covered with the kind of matte black foil typically used to mask theatrical

  • Brice Dellsperger, Body Double 30, 2013, digital video, color, sound, 2 minutes 29 seconds.

    Brice Dellsperger

    One-upping Hollywood clichés of voyeurism, transvestism, and bloodlust, Brice Dellsperger’s employs conceptual and visual mirroring, looping, and duplication in his videos for maximum camp appeal. The artist’s series “Body Double,” 1995–, includes some thirty-odd re-created scenes from cult movies by the likes of Rainer Werner Fassbinder, David Lynch, and, most frequently, Brian De Palma. The recent presentation of six works from the series (four starring the artist himself in multiple roles) was a self-referential fun house of sorts—wherein a mirror, multiple projections, and a double-sided

  • Sophie Calle, Purloined : Titian, The Rest on the Flight into Egypt, 1998-2013, color photograph, text, frames, dimensions variable.
    picks January 02, 2014

    Sophie Calle

    Visualizing the invisible is a recurrent theme in Sophie Calle’s photo-based oeuvre—from photographs based on descriptions of beauty provided by people who were born blind to portraits of those who have lost their sight suddenly. Calle’s current exhibition, “Dérobés,” challenges the viewer to see vanished artworks. The photograph/text pairings in the series “What Do You See,” 2013, conjure paintings by Rembrandt, Johannes Vermeer, and Govert Flinck that were among the thirteen artworks stolen from Boston’s Isabella Stewart Gardner Museum in 1990. Focusing on that museum’s “Dutch Room,” Calle’s

  • Daniel Dewar and Grégory Gicquel, Gibbon, 2011, wool, acrylic, 98 1/2 x 33 3/4".
    picks December 12, 2013

    “Decorum: Tapis et tapisseries d’artistes”

    The largest-ever textiles exhibition at Paris’s Musée d’Art Moderne brings together over one hundred woven works in the form of wall hangings, floor coverings, and freestanding sculptures from the Middle Ages to the present day. Rife with surprising anachronistic comparisons, the exhibition’s thematically organized sections point to the recent resurgence of weaving among contemporary artists while underscoring the historic importance of tapestry.

    In the section titled “The Painterly,” two tapestries designed by Pablo Picasso are hung in the company of a sixteenth-century Flemish tapestry. Picasso

  • Lee Bul, A Perfect Suffering, 2011, crystal, glass and acrylic beads on nickel-chrome wire, stainless-steel, and aluminum armature, 64 x 67 x 43".
    picks December 03, 2013

    Lee Bul

    Korean artist Lee Bul’s first major European museum exhibition begins in the air. Cast in white polyurethane and suspended across Mudam’s I. M. Pei–designed glass and concrete atrium, two squads of sci-fi species appear frozen in the midst of a celestial ballet or battle. Perhaps a little worse for the wear (variably missing arms, legs, and heads), the hard-bodied, humanoid “Cyborgs,” 1997–2011, face off against the amorphous tentacled “Anagrams,” 1999–2006. Alternately evoking classical Greek marbles and “Star Wars” creatures, these ghostly human-scale beings appear to have arisen from Lee’s

  • Farah Atassi, Building the City, 2013, oil and glycerol on canvas, 78 3/4 x 63".

    Farah Atassi

    Those familiar with Farah Atassi’s work will recognize in her latest group of paintings the strong orthogonal lines that lend themselves well to her signature tiled and bricked interiors. Adhering to an underlying grid, Atassi meticulously uses tape and layers of oil paint to construct eerily unpopulated human-scale spaces. But whereas earlier paintings featured scant domestic objects—for instance, a cluster of chairs or a dangling light fixture—evoking a kitchen or a bathroom setting, recent works show the artist moving toward greater abstraction. Now exploring the grid as a modernist

  • Rolf Julius, Cloud, 2007, twenty-two speakers, graphite, audio, CD player, dimensions variable.

    Rolf Julius

    “Landscape” initially seemed a metaphorical or even ironic title for an exhibition of Rolf Julius (1939–2011), who is often pigeonholed as a sound artist and lumped with contemporaries such as John Cage, David Tudor, and Takehisa Kosugi. Employing the term literally, however, the show at Cortex Athletico (whose Bordeaux, France, gallery notably holds part of the late artist’s archives) aimed to rescue his oeuvre from this too narrow frame of reference. Here, rather than focusing on a simplistic cause-and-effect relationship between sound and image, Julius’s works on paper and multimedia sculptures

  • Pier Paolo Calzolari, Senza titolo (Lasciare il posto) (Untitled [Leaving the Place]), 1972, tempera grassa on canvas, refrigeration unit, copper, glass, egg, audio recorder, refrigerator motor, lead, gold thread, dimensions variable. Installation view.
    picks October 06, 2013

    Pier Paolo Calzolari

    Nearly two decades after his last solo show in Paris, Pier Paolo Calzolari is making a long-overdue reappearance. The reclusive poveristi’s current exhibition spreads across Kamel Mennour’s two spacious showrooms (christening the gallery’s new location, just a few blocks from the flagship) with a stunning forty-five-year survey.

    At the Saint-André des Arts space, key works from the 1960s and ’70s introduce Calzolari’s essential materials—metals, eggs, leaves, salt, moss, and frost (which he creates using refrigeration units). Senza titolo (Lasciare il posto) (Untitled [Leaving the Place]), 1972,

  • View of “Collecting for the studio – collecting 1959–2013,” 2013.
    interviews September 20, 2013

    Matt Mullican

    Matt Mullican’s “Collecting for the studio – collecting 1959–2013,” at Galerie Nelson-Freeman in Paris, brings his early and recent works together with items from his personal collection of art and objects. Ranging from prehistoric tools to twentieth-century machinery and from Piranesi etchings to 1950s comic books, Mullican’s collection has never before been presented within the context of an exhibition. Here the artist highlights a few favorite objects and discusses the relationship of the collection and his work. The show is on view until November 9, 2013.

    I’VE DISCUSSED THE IDEA of showing

  • Left: Director of Art-O-Rama Jérôme Pantalacci and fair coordinator Nadia Fatnassi. Right: Dealer Samy Abraham. (All photos: Mara Hoberman)
    diary September 04, 2013

    Back to the Future

    OFTEN REFERRED to as the fair before la rentrée (France’s official “back to work” date), Art-O-Rama provides a perfect excuse to spend the last weekend of August in sunny Marseille. This year, in addition to being well situated to attract the art crowd returning from fabulous vacation destinations in Provence and the Côte d’Azur, Art-O-Rama benefitted from Marseille’s status as 2013’s European Capital of Culture. The city has enjoyed a fast and furious urban renewal, boasting brand new museums and public monuments, an impressive program of concerts and performances, and pop-up art projects

  • Daniel Firman, Nasutamanus, 2012, fiberglass, polymer, 7' 2 3/4“ x 17' 7/8” x 3' 8".

    Daniel Firman

    The title of Daniel Firman’s first large museum show, “La Matière Grise” (Gray Matter), was both a reference and a provocation. The artist has used the phrase before, notably in a life-size self-portrait sculpture from 2009 titled Grey Matters, (not in the show), which illustrates the proverbial weight of the world by replacing the artist’s head with a cyclonic jumble of gray industrial and domestic objects. Expanding the title to encompass six years of work, the Lyon survey showed Firman using physical gray matter (namely clay, metal, resin, and painted plaster) to evoke more abstract outputs