previews

  • François Morellet, L'Avalanche (The Avalanche), 1996, thirty-six blue neon tubes, white high-voltage cable, 157 x 157".

    François Morellet

    Centre Pompidou
    Place Georges-Pompidou
    March 2–July 4

    Curated by Serge Lemoine and Alfred Pacquement

    To be given a full retrospective at the Centre Pompidou during one’s lifetime is a perilous prospect, however flattering. Yet such weight does not encumber François Morellet, the great figure in postwar French geometric abstraction, who a few years back foiled a supposedly career-spanning show at the Musée d’Art Moderne de la Ville de Paris by presenting only works from 1952 alongside enlarged replicas fabricated for the show. At the Pompidou, however, the intervening years will be represented at last, as the Groupe de Recherche d’Art Visuel (GRAV) cofounder is to offer more than twenty-five of his large-scale site-specific pieces from the past four decades. Restaging these works (in neon, wood, projected light, taped-off walls, and other materials), Morellet is poised to reveal the breadth of his markedly playful technical repertoire.

    Translated from French by Molly Stevens.

  • Manet: The Man Who Invented Modern Art

    Musée d'Orsay
    62 rue de Lille
    April 5–July 3

    Curated by Stéphane Guégan

    In the early 1980s, when the last major retrospective of his work was held in France, Édouard Manet was primarily regarded as a precursor of formalist modernism. In the intervening quarter century, however, strong new interpretative frameworks have offered very different screens through which to view the artist. This exhibition, informed by sociopolitical readings of Manet’s work as well as new research on the French painting of his day, will reposition the artist in his original milieu by bringing together later and lesser known works alongside a reconstitution of the exhibition he staged in 1880 for the French publication La Vie Moderne. Forgoing a linear, progressive argument for a network of interwoven threads, the d’Orsay may very well offer a picture of Manet exactly as our time would have him: contingent, engaged, even inconsistent.