• Pierre Huyghe, Zoodram 4, 2011, living marine ecosystem, aquarium, filtration system, resin mask, 30 x 53 x 39". Photo: Guillaume Ziccarelli.

    Pierre Huyghe

    Centre Pompidou
    Place Georges-Pompidou
    September 25, 2013–January 6, 2014

    Curated by Emma Lavigne

    Since he is part of a generation of artists generally skeptical of retrospective endeavors, it is perhaps remarkable that Pierre Huyghe has agreed to the rules of the career survey. But the Centre Pompidou is expected to adjust its institutional framework in turn to accommodate Huyghe’s complex practice. Those familiar with the French artist’s activity know that he will inevitably enact some portion of his show hors champ and may involve any number of the organisms—dogs, bees, microbes—that have lately proliferated in his work. This will be a genuine retrospective to the extent that Huyghe will reassemble the various threads of his oeuvre to create a legible scenography, but he still intends to question the very notion of the exhibition and its audience, “presenting,” as he puts it, “an ensemble of constructions” for use in a near future while leaving aside “the tools that will shortly become obsolete.”

    Travels to the Museum Ludwig, Cologne, Apr. 11–July 13, 2014; Los Angeles County Museum of Art, Nov. 23, 2014–Mar. 8, 2015.

  • “Georges Braque (1882–1963)”

    Grand Palais
    3 avenue du Général Eisenhower
    October 9, 2015–January 6, 2014

    Curated by Brigitte Léal

    At the start of the last century, Georges Braque and Pablo Picasso overturned the history of Western representation, sweeping away centuries of three-dimensional mimetic painting with a new pictorial language of faceted objects and anti-illusionistic space. Yet Braque, with his slow, systematic attention to the tactile nature of things, has been remembered by history as second-in-command to his more extroverted and nimble collaborator in the invention of Cubism. The Grand Palais’s retrospective—the first significant showing of the artist’s work in Paris since the 1973–74 retrospective at the Musée de l’Orangerie—attempts to reevaluate the artist’s oeuvre on its own terms. With nearly one hundred works made during the artist’s Fauvist and Cubist years, and another hundred from his subsequent four decades, the exhibition and its extensive catalogue might just reconfigure our understanding of Braque’s considerable contributions to the history of modernism.

    Travels to the Museum of Fine Arts, Houston, Feb. 16–May 11, 2014.