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An Olivier Mosset installation at 108, rue Vieille du Temple, the future home of David Zwirner Paris in 2015. Photo: Philippe Servent.

David Zwirner to Open Gallery in Paris, Kayne Griffin Corcoran Hires New Codirector, and More

David Zwirner is opening its first gallery in Paris. Located at 108 rue Vieille du Temple, the 8,600-square-foot ground-floor space was previously occupied by the storied French gallerist Yvon Lambert and, more recently, by VNH Gallery. The gallery’s inaugural exhibition, featuring new and significant works by American artist Raymond Pettibon, will open October 16.

“In recent years, Paris has quickly become one of the most vibrant cities for the visual arts in Europe,” Zwirner said in a statement. “It’s a city where history meets the present, and we are endlessly excited to be able to occupy one of the most beautiful and legendary gallery spaces in Le Marais.”

Kayne Griffin Corcoran gallery in Los Angeles has welcomed Jamie Goldblatt Manné as a new codirector. Manné currently serves as director of the Marciano Foundation. She will be responsible for helping the gallery expand its community outreach and for managing its artist roster, to which it recently added Brooklyn-based artist Sam Moyer and photographer Anthony Hernandez.

“At a moment when the traditional gallery model is changing so rapidly it’s important to think outside the box,” founding partner Maggie Kayne told Artnews. “Coming from one of Los Angeles’s most visible arts nonprofits, Jamie will bring a fresh perspective and new ideas which we look forward to integrating into the gallery’s vision.” 

Glasgow’s Mary Mary gallery has shuttered. Founded by Hannah Robinson—and named after scholar Mary Wollstonecraft and her daughter, author Mary Shelley—the space opened in April 2006 with a solo exhibition of work by Karla Black. Since then it has staged the first solo gallery shows by artists such as Sara Barker and Jonathan Gardner and the first UK exhibitions for Milano Chow, Rose Marcus, and ektor garcia.

In a notice that was sent out to friends and colleagues of the gallery earlier today, Robinson wrote: “I would like to thank each and every artist whom I have had the opportunity to work with. It has been such a privilege working alongside you and watching your careers continue to flourish.” She also gave a shout-out to her staff, her colleagues in the art world, and partnering institutions. While a reason for the closure was not given, the letter concluded with: “For now—it is onwards to new chapters.”

Galerie Nagel Draxler now represents the estate of Alf Lechner, the prolific German sculptor, and Abdulnasser Gharem, the Saudi Arabian artist and founder of Edge of Arabia, which helps promote arts education and provides a platform to contemporary Saudi artists. A former lieutenant colonel in the Saudi Arabian army, Gharem is known for creating politically charged works such as The Safe—a walk-in installation that doubles as a soundproof padded cell, evoking rooms found in psychiatric clinics and prisons—which debuted at Art Basel in June. He will have his first solo show at the gallery in 2020.

Venus Over Manhattan announced its representation of Peter Saul, marking its official transition from a project-based space to one that also represents artists and estates. Born in San Francisco in 1934, Saul had his first solo exhibition at the gallery, “Peter Saul: From Pop to Punk,” in 2015. A major retrospective of his work will open at les Abattoirs in Toulouse in September. Saul was previously repped by Mary Boone Gallery, which shut its doors in April.

In the November 2017 issue of Artforum, curator Beau Rutland wrote about Saul’s work at the Sammlung Falckenberg in Hamburg last year: “Deeply irreverent toward art, the art world, and the world at large, his paintings maintain a willful distance from prevailing notions of good taste, assailing decorum with a vile arsenal of electric chairs, STDs, crucifixes, guns, improbable anatomy (bugged-out eyeballs protruding like tumescent scrota), American flags, and a lot of bodily fluids. Saul’s work moves beyond perversity for perversity’s sake by plainly and openly acknowledging the darkest aspects of society.”

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