• View of “Eileen Gray” 2013. Transat armchairs, from left: 1926–29, 1926–30, 1930. Photo: Hervé Véronese.

    Eileen Gray

    Centre Pompidou

    THE RECENT ELLEN GRAY RETROSPECTIVE at the Centre Pompidou aimed to elucidate the work—long underestimated—of a figure identified by curator Cloé Pitiot as a “total” modern artist. Indeed, during a career spanning the first half of the twentieth century, Gray (1878–1976) devoted herself to the design of a stunningly wide array of objects, interiors, and, beginning in the mid-1920s, architecture; she also experimented with photography and collage. This diversity of mediums led Pitiot to locate in Gray’s oeuvre “a conception and creation process that falls under the Gesamtkunstwerk.”

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  • Julia Rometti and Victor Costales, roca | azul | jacinto | marino | errante (rock | blue | hyacinth | navy | errant), 2013, concrete tiles, dye,volcanic rocks, 12 5/8 x 78 3/4 x 118 1/8".

    Julia Rometti and Victor Costales

    Jousse Entreprise | 6 rue Saint-Claude

    Julia Rometti and Victor Costales’s exhibition “El Perspectivista” was born of a sociological and philosophical exploration of what the Brazilian anthropologist Eduardo Viveiros de Castro calls “Amerindian Perspectivism,” a naturalist worldview wherein animals, plants, spirits, and humans are understood to apprehend the same reality from different points of view. The resulting body of work includes black-and-white photographs, projected slide comparisons, zine-like photocopied pamphlets, volcanic rocks, and concrete tiles. Emphasizing the quasi-scientific nature of their practice, Rometti and

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