paris

François Morellet, Pier and Ocean, 2014, thirty-eight blue argon neon tubes, wooden pier (by Tadashi Kawamata). Installation view.

François Morellet

Kamel Mennour | Avenue Matignon

François Morellet, Pier and Ocean, 2014, thirty-eight blue argon neon tubes, wooden pier (by Tadashi Kawamata). Installation view.

Spread across Kamel Mennour’s two Left Bank galleries, “François Morellet, c’est n’importe quoi?” (François Morellet, Does It Make Any Sense?) showcased a variety of emblematic works—including three-dimensional assemblages of white-painted canvas squares; linear, site-specific wall drawings made with black adhesive tape; and a glowing blue-neon installation that filled a whole room—all made during the past five years. The show’s surprise highlight, however, was works dating back to the very beginning of the artist’s six-decade career. Tucked into a carpeted alcove in the rue Saint-André des Arts showroom, a salon-style hanging of more than two dozen rarely seen paintings and sculptures reconstituted a portion of Morellet’s first solo show, held at Galerie Raymond Creuze in Paris in 1950, when the artist was twenty-four. Though the naive-style representational panel

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