• View of “Ugo Rondinone: I ♥ John Giorno,” 2015–16. Photo: André Morin.

    “Ugo Rondinone: I ♥ John Giorno”

    Palais de Tokyo

    Living up to its impassioned title, “Ugo Rondinone: I ♥ John Giorno” was an adulation of the American counterculture icon as a poet, artist, friend, lover, activist, archivist, muse, and inspiration. Conceived by his longtime partner, Swiss artist Ugo Rondinone, and curated by Florence Ostende, Giorno’s first-ever retrospective was an exhaustive yet intimate showcase comprising more than three hundred artworks, six hundred audible poems, and fifteen thousand archival photos and documents. It was also a tribute show featuring works by Rondinone, Angela Bulloch, Anne Collier, Verne Dawson, Judith

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  • View of “Korea Now!,” 2015–16. Photo: Luc Boegly.

    “Korea Now!”

    Musée des Arts Décoratifs

    “Those women in Seoul were like the girls I grew up with. They just wanted a lipstick that could make them feel they might belong in a bigger town,” writes Andrew O’Hagan, in a recent profile of Karl Lagerfeld for T: The New York Times Style Magazine. O’Hagan followed Lagerfeld to South Korea’s capital last spring, for the presentation of Chanel’s 2016 resort collection. The designer, in the writer’s eyes, figures as a sort of fashion messiah, descending upon a land of aesthetic poverty. The Han River “was blue in all the wrong ways,” the sky “unsmiling,” and then there were the fanatical

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  • View of “Isabelle Cornaro,” 2015. Foreground: Golden Memories, 2015. Background, from left: Homonymes IV, 2015; Homonymes IV, 2015; Homonymes IV, 2015. Photo: Aurelien Mole.

    Isabelle Cornaro

    Balice Hertling | 47 bis Rue Ramponeau

    Isabelle Cornaro’s exhibition “Homonymes IV,” the latest in a series that began in 2010 at this same gallery, included four bas-reliefs: three in shades of gray and one, on the opposite wall, in black. These inverted triangular sculptures, covered with various objects, gradually become lower in relief near their bottom points. This structure gives the compositions a more dynamic, even precipitous, rhythm than in the artist’s earlier quadrangular panels.

    A long way from a desire to collect and from the Surrealist focus on unique and fetishistic objets trouvés, Cornaro’s objects of preference—coins,

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