Pascaline Cuvelier

  • César: Retrospective

    If the last Venice Biennale enthroned César as the patriarch of French sculpture, this full-scale retrospective curated by Jeu de Paume director Daniel Abadie inaugurates the era of his consecration. Those frightened by the early ’60s César, scion of the nouveaux réalistes who merrily threw old car bodies into compactors to make scrap-metal cubes, or disgusted by the late ’60s César, maker of soft and erotic inflated plastic forms, will be comforted by the artist’s “Bestiary,” sculptures from the ’50s of hairy beasts much closer to the work of Picasso, Julio González, or Germaine Richier. June

  • Chéri Samba

    The work of Chéri Samba imparts a satirical, even grotesque edge to issues like AIDS and political corruption. The Zairean artist’s paintings, centered here predominantly around the theme of “lovers,” issue from what might be dubbed an Afro-pessimistic perspective. One comes away from curator Philippe Garcia de la Rosa’s lush survey of thirty-eight works struck especially by Samba’s skill at integrating text and painting, charging his images with a delightful and lively sense of orality. May 13-Aug. 18


    AFTER TWENTY YEARS of generating innumerable mutant objects that could be the artifacts of a strange archaeological excavation, Bertrand Lavier (logician of the real) is at the top of the French artistic heap, one of a Gang of Four that includes Daniel Buren (the pioneer of repetition), Annette Messager (the putterer-inventer), and Christian Boltanski (the despairing soul). What makes Lavier’s work distinctive is the symbiotic relationship he establishes between two objects that should never even have met: the household appliance and the artwork. The former, a car, for example, becomes the latter

  • “L'Empreinte”

    Are there ramifications for the story of modern art when artists still rely on indexical techniques as old as hand imprinting on the walls of Lascaux? Art historian Georges Didi-Huberman and POMPIDOU curator Didier Semin pose the question in this examination of a variety of construction methods linked to the “imprint”—rubbing, molding, pressing, printing, stamping, contact, tracing, and photograms—in the work of some one hundred artists from throughout the century. Contra the impression that art has become increasingly dematerialized

  • Pascaline Cuvelier


    With multiple offerings by young and not-so-young English artists culled from Britain’s famous artist-run independent spaces, this fall’s “LIFE/LIVE,” at the Musée d’art moderne de la ville de Paris, proved that you can risk showing brand-new work next to its more established cousins. While shows like this are often mounted by small, brave galleries, museums usually get cold feet. So thanks to curators Laurence Bossé and Hans-Ulrich Obrist for choosing artists who uncompromisingly and humorously excavate the present, often piecing together their creations from minimal means. With

  • New York, Chicago, San Francisco, Venice, Turin, Paris, Cologne, Berlin, Stockholm, Liverpool, London, Brisbane


    This fall, Dada finally gets its due as a stateside movement. Curated by Dada scholar Francis M. Naumann with staffer Beth Venn, the WHITNEY’s show will include Duchamp’s Bride Stripped Bare. . . , as well as more than 200 objects by American and European artists associated with the movement on this side of the Atlantic. Along with the usual suspects—Francis Picabia, Man Ray, and, lately, Florine Stettheimer—you’ll also get to see works like Baroness Elsa von Freytag-Loringhoven’s Portrait of Marcel Duchamp (feathers and a champagne glass) and a partial

  • Pascaline Cuvelier


    The worst calamity that can befall a living artist is to be accorded a retrospective. Suddenly the artist finds herself at her own funeral—eulogized for her accomplishments as the remains of her artistic production lie in state. Kind of rough. ANNETTE MESSAGER, at the Musée d’Art Moderne de la Ville de Paris, managed to elude this trap. Presenting her work under the ironic title of “Faire Parade” (Showing off), she disregarded chronology, mixing her various periods and styles. Usually those who exhibit here view this churchlike space as an opportunity to exercise their egos, but