Red on Red, 2017
Mark Handforth
Red on Red, 2017
Painted aluminium
H 136 x 65 x 47 in
Unique artwork


Artwork presented in
2018

Installé à Miami depuis plus de 20 ans, Mark Handforth est profondément attaché à l'héritage des avantgardes américaines du XXe siècle. Il use librement d'un vocabulaire formel emprunté au Ready-Made, à l'Art Minimal ou au Pop Art qu'il confronte à une iconographie souvent dérivée de l'environnement urbain. Red on Red, étoile rouge monumentale et rutilante aux branches cabossées de 3,45 m de haut, associe une icône de la culture américaine, l'étoile, au culte de l'automobile, l'oeuvre étant produite comme une carrosserie de voiture. Cette sculpture a été réalisée spécifiquement pour le Domaine du Muy.



We The People (detail), Elément #C6.2, 2011
Danh Vo
We The People (detail), Elément #C6.2, 2011
Copper
H 79 x 115 x 38 in
Unique artwork


Artwork presented in
2018

D’origine vietnamienne mais ayant grandi au Danemark, Danh Vo est un artiste conceptuel qui vit et travaille entre Mexico et Berlin. Il produit une œuvre protéiforme dans laquelle il explore les rapports entre l’histoire individuelle et collective et aborde de nombreuses questions liées à l’identité, la mémoire et l’appartenance. We The People, est une reproduction de la Statue de la Liberté à l’échelle 1 en 400 morceaux de cuivre volontairement non assemblés. En effet, la reproduction à la taille réelle de la Statue de la Liberté est interdite par les États-Unis. Le titre We the People renforce cette idée de fragmentation puisqu’il s’agit des trois premiers mots seulement de la Déclaration d’Indépendance américaine. Cette œuvre peut être interprétée comme un acte de rébellion contre l’ordre mais aussi un hommage à l’accueil.



Transformation Instable, 1963-1971
Francisco Sobrino
Transformation Instable, 1963-1971
Mirror polished steel
H 236 x 71 x71 inches
Unique artwork


Artwork presented in
2016-2018

Dès le début des années 1960, Sobrino utilise le Plexiglas transparent fumé ou coloré pour réaliser ses œuvres. La superposition et la juxtaposition de formes géométriques simples donnent naissance à des compositions complexes, faisant jouer espace et lumière avec le déplacement du spectateur. En 1963, l’artiste décide de réaliser des modules géométriques avec un matériau permettant une exposition en extérieur. Cette nouvelle série en acier poli miroir est intitulée Structures permutationnelles. Les surfaces réfléchissantes de l’œuvre lui  permettent de s’intégrer complétement dans l’espace environnant.



Giant Triple Mushroom, circa 2011
Carsten Höller
Giant Triple Mushroom, circa 2011
Polyester, polyurethane, acrylic
H 142 in
Unique artwork


Artwork presented in
2018

Docteur en entomologie (science des insectes), l’artiste contemporain allemand Carsten Höller crée des oeuvres qui allient biologie, études comportementales
et humanisme. Dans les séries des Double Mushrooms et des Giant Triple Mushrooms, l’artiste compose des combinaisons tridimensionnelles de répliques géantes de plusieurs sortes de champignons hallucinogènes et/ou toxiques. Le choix de cette forme hybride fait référence aux sensations effectivement expérimentées (modification de la réalité et morcellement de la pensée) en cas d’ingestion.



Lentilles flottantes, 1994
Marta Pan
Lentilles flottantes, 1994
Cast resin, polyester preparation and polyurathane lacquer
Diam. 210 et 105 cm
Edition of 3 ex


Artwork presented in
2018

Inspirée au départ par les formes végétales et organiques (fruits, coquilles, racines) qu’elle transpose en plâtre ou en terre cuite, son travail évolue rapidement vers des lignes de plus en plus simplifiées, jusqu’à l’abstraction. L’artiste s’intéresse également à la liberté de mouvement qu’elle peut donner à ses sculptures. Dans
un premier temps, c’est l’action humaine qui active le mouvement de l’œuvre. Puis, Marta Pan utilise les énergies cinétiques naturelles, telles que l’air et l’eau, qu’elle
laisse volontiers dialoguer avec ses sculptures d’extérieur et en particulier avec ses emblématiques sculptures flottantes qu’elle développe à partir du début des années 60.



Le Secret, 2011
Wim Delvoye
Le Secret, 2011
Patinated bronze
H 79 x Ø 30 in
Unique artwork


Artwork presented in
2018

Wim Delvoye est un artiste plasticien belge qui, à travers ses créations, critique de façon souvent provoquante l’absurdité de notre société contemporaine. Notamment connu pour l’installation Cloaca et ses cochons tatoués, Delvoye questionne la valeur de l’art, joue avec son image et avec le statut de l’artiste. Le Secret fait partie d’une série intitulée « Twisted » dans laquelle il change le regard du spectateur sur certaines oeuvres classiques, notamment des sculptures baroques du XIXe siècle. Ici, à partir d’une oeuvre d’Auguste Moreau, il utilise la technique du scan 3D pour s’approprier l’œuvre originale, la tordre (dans le sens des aiguilles d’une montre ou l’inverse) et la restituer sous un angle nouveau.



Black Clown Carousel, 2009
Carsten Höller
Black Clown Carousel, 2009
Steel, synthetic leather, fiberglass, light bulbs, electric motor
H 126 x diam. 196.8 inches
Unique artwork


Artwork presented in
2015-2018

Carsten Höller is famous for exploring the narrow line between art and entertainment. With the Carousels, central to the artist’s work, he combines a familiar form linked to childhood with a physical experience and a new mode of perception. The artist has deliberately altered the speed, direction, and materials used in the merry-go-round, so that the visitor, who is invited to participate in this experience, is left confused, disoriented, and full of doubt. In this way, the consensual representation of the carousel, and, by extension, of our childhood memories, is jeopardized by a device that individualises our sensory perception.



1-2-3 Tower, 1993
Sol LeWitt
1-2-3 Tower, 1993
Concrete blocks
H 96 x 48 x 48 inches
Unique artwork


Artwork presented in
2015-2018

The work 1-2-3 Tower is characteristic of Sol LeWitt’s brick structures he started making in the mideighties. By applying the logic of modular systems, he develops a simple geometric progression to form a tower which reminds us of the importance of architecture for his practice. While shape and basic unity are particularly simple in LeWitt’s works, it is the arrangement or the positioning of this shape, adapted to a set of rules defined by the artist that constitutes the finality of the work.



Artwork created in situ
Lattice III, 2008
Conrad Shawcross
Lattice III, 2008
Aluminium
197 x 197 x 276 in
Unique artwork


Artwork presented in
2017-2018

L’artiste britannique Conrad Shawcross développe une œuvre à la croisée des sciences physiques, de la géométrie et de la philosophie. Membre de la Royal Academy of Arts, il s’est illustré à travers la création de sculptures modulaires et systématiques. On peut ainsi voir ses pièces comme l’exégèse d’une variété de textes écrits par des figures illustres de l’histoire des sciences (Dorothy Hodgkins, Charles Babbage…). Lattice III explore la géométrie du tétraèdre. Les 112 tétraèdres utilisés sont arrangés selon un motif de maille, comme des atomes. Par
sa structure singulière, la sculpture illustre l’idée d’un espace en constante expansion et interroge la nature même du lieu dans lequel elle prend place.



RH 324_10 (Teddy Sculpture w Base), 2014
Peter Regli
RH 324_10 (Teddy Sculpture w Base), 2014
White and black marble
34.6 x 26 x 25 inches
Unique artwork


Artwork presented in
2016-2018

Artist Peter Regli is known for his Land Art installations and interventions. He has created works all around the world, oftentimes anonymously. His project Reality Hacking, begun in the 1990s and still ongoing, consists of almost 300 different actions which are translated for the most part, as a monumental sculpture. Regli’s aim is to disturb or ‘hack into’ our daily life by making free use of overly popular figures which he often places in the most unexpected of locations. This marble Teddy Bear subverts or undermines our traditional image or preconceptions of a teddy bear as being soft and cuddly. Here, Regli creates an imposing, immobile sculpture, made from a cold, heavy material.



Image retouchée, 2015
Wang Du
Image retouchée, 2015
Resin
81 x 94 x 179 inches
Unique artwork


Artwork presented in
2016-2018

Wang Du is an artist whose work offers a critical regard on today’s mediatized society. When the artist arrived in France in 1990, he couldn’t read French and therefore, could only understand the news through the images shown. He thus realized the extent to which these are often reduced, manipulated and erroneous, and decided to make them the material for his work. He regularly makes use of images from the press which he translates into 3D form, all the while conserving the angle and perspective of the original shot. As seen in this Image retouchée [Retouched image], Wang Du likes to sensationalize or monumentalize news items, which take on another dimension thanks to his artistic rendering of the subject.



Subtraction Screen (DdM), 2017
José León Cerrillo
Subtraction Screen (DdM), 2017
Stainless steel and powder coated paint
157.5 x 157.5 x 3.9 in
Unique artwork


Artwork presented in
2017-2018

José León Cerrillo est un artiste protéiforme qui explore les modes de représentation à travers un large éventail de mediums tels que l’affiche, la sculpture, l’installation ou encore la performance. Il travaille à partir de systèmes géométriques simples et s’intéresse à la complication et à la codification du langage et de la perception. Ses œuvres perturbent notre perception. Puisant autant dans les plans d’architecture ou dans les dessins techniques du design et du graphisme, Cerrillo projette dans l’espace réel des formes abstraites autonomes qui s’affranchissent des limites spatiales du lieu qui les entoure. Subtraction Screen (DdM) s’inscrit dans ce contexte et a été réalisée spécifiquement pour le Domaine du Muy.



Domestic Landscape and Affinities, 2014
Isa Melsheimer
Domestic Landscape and Affinities, 2014
Reinforced concrete, plants, neon tube for plants
H 39.4 inches x 78.7 x 39.4 inches
Unique artwork


Artwork presented in
2015-2018

This piece was created by formwork, a technique more common to the construction of buildings which involves filling a mould with cement. Its multi-level form includes flat surfaces on which plants or objects could be placed, or members of the public may sit down. The composition of the work recalls the Brutalist architecture of the 1960s and 1970s, which Melsheimer has recreated in her gouache sketches. This piece forms part of the artist’s research into architectural forms, and more specifically those of modernism and its descendants.



We Are Concrete - We Are Bodies - We Have Sex - We Are Neoretroactive - We Are Relative (I), 2014
Isa Melsheimer
We Are Concrete - We Are Bodies - We Have Sex - We Are Neoretroactive - We Are Relative (I), 2014
Fibreglass, reinforced concrete, aquatic plants
3 parts H 16.5 x 18.5 x 13.8 inches, H 16.5 x 18.5 x 10.3 inches, H 16.5 x 18.5 x 11 inches
Unique artwork


Artwork presented in
2015-2018

The three elements of this work serve various functions, ranging from a stool to a Brutalist flowerpot. They are miniature copies of skyscrapers and so recreate an urban landscape. The title of the work is the artist’s subtle adaptation of Benjamin de Casseres’ poem Mirrors of New York (1925), an allusion to the architectural modernism used as a motif in her work. The same lines were used by Rem Koolhaas as an epigram to his classic text Delirious New York: A Retroactive Manifesto for Manhattan (1978).



Stonewall, 2006
Monica Bonvicini
Stonewall, 2006
Galvanized steel, chains, broken safety glass
H 78.7 x 48.4 x 39.4 inches
Unique artwork


Artwork presented in
2015-2018

The Stonewall series was started in 2001, following the riots surrounding the G8 summit in Genoa that year. By combining a metallic barrier and broken glass, this piece draws together a symbol of power – the barriers that hold back the crowds – and the broken windows that result from a violent reaction to it. Beyond this symbolism, Monica Bonvicini accentuates the psychological tension inherent in the materials used in modern architecture.



Sans titre (Banc), 2006
Jean-François Fourtou
Sans titre (Banc), 2006
Painted wood, steel
H 63.4 x 122 x 28 inches
Unique artwork


Artwork presented in
2015-2018

This bench is part of the immense work entitled Mes Maisons [My Houses], created in 2007. Based on his own memories, Jean-François Fourtou has reconstructed part of his great-grandmother’s house to double scale. The objects in it (broom, chairs, bench, bed) take on once again the disproportionate size they appeared to have when the artist was a child. This playing with scale, which Jean- Fran.ois Fourtou is fond of, disrupts our adult points of reference and naturally sends the spectator back to their childlike state and perspective.



Signal éolien, 2006
Takis
Signal éolien, 2006
Iron, steel
H 162.6 x 197 inches approx.
Unique artwork


Artwork presented in
2015-2018

Takis’ work is characterised by an interaction between artistic form and scientific phenomenon. Previous pieces experimented with the energy of magnetic fields, and here Takis has turned to exploring the kinetic energy of the wind. The Signal Éolien is a mechanical apparatus working on a similar principle to the wind turbine. Its blades move randomly, in accordance with the strength and direction of the wind, rendering a natural phenomenon visible and establishing a dialogue between this monumental work and its surroundings. The natural elements activate and contribute to the poetry of Takis’ work, which is thus freed from the traditional stasis of sculpture.



Red M&M (No. 7)
Dan Colen
Red M&M (No. 7)
Rock and acrylic paint
36 x 70 x 48 inches
Unique artwork


Artwork presented in
2016-2018

Dan Colen est un artiste qui s’approprie les codes de la Street Culture et du Pop Art pour contaminer et distordre notre perception d’un quotidien ordinaire. Il utilise dans son œuvre pluridisciplinaire des matériaux pauvres (naturels ou jetables) pour les transformer en oeuvres d’art contemplatives et de belle facture. La série M&Ms, initiée en 2012, est réalisée à partir de véritables rochers peints aux couleurs chatoyantes des célèbres sucreries. Elle monumentalise ainsi un plaisir simple et quasi universel.



Poisson Paysage, 2007
François-Xavier Lalanne
Poisson Paysage, 2007
Bronze
H 80.7 x 120.1 x 33.3 inches
Edition of 8 ex


Artwork presented in
2015-2018

Principally focusing on the themes of nature and the animal kingdom, François-Xavier Lalanne created a sensitive and humour-infused artistic oeuvre, which results from his heightened awareness of everything around him. Wishing to give his work a more functional quality, the sculpture Poisson Paysage offers the observer a new window on the environment: the fragment of isolated countryside becomes a living photograph.



Untitled (100 %), 2011
Gabriel Kuri
Untitled (100 %), 2011
Painted metal
H 53 x 155 x 53 inches
Unique artwork


Artwork presented in
2016-2018

This sculpture is composed of four parts, each of which represents a quarter of a circle. Together, they form the ‘100%’ referred to in the title, even though when they are assembled they do not form a coherent circle. The position of the elements is important because the artist imagines them in both a realistic and symbolic dimension. Some are placed one against the other, piled on top of each other, stacked or grouped together. They may be said to evoke the relationship that exists between words, information, people and/or social groups. Gabriel Kuri’s metal sculptures create a link between the formal language of modernist sculpture, and the conventions of representing economic and statistical data in curves, pie charts and other diagrams



Population Sommaire, 2010
Guillaume Leblon
Population Sommaire, 2010
Black Terracotta
Variable
Unique artwork


Artwork presented in
2017-2018

Les travaux de Guillaume Leblon envisagent autrement la relation entre les spectateurs, les objets, l’architecture et leur environnement. Les sculptures interrogent ainsi l’espace et le temps. La plaque en acier délimite un espace fictif se détachant par sa géométrie. Elle est peuplée par différentes formes étrangères les unes aux autres. Du fait de son exposition à la nature, l’oeuvre porte les empreintes du temps : son aspect change selon les variations météorologiques et la lumière. La réflexion sur le temps est également convoquée par les matériaux qui s’altèrent en réagissant aux stimulations du dehors. La sculpture est pénétrée par son environnement tout comme elle le pénètre.



Chromosaturation pour une allée publique, 1965-2012
Carlos Cruz-Diez
Chromosaturation pour une allée publique, 1965-2012
Plexiglas, aluminium
H 96 x 288 x 192 inches
Unique artwork


Artwork presented in
2015-2018

A pioneer in colour theory, Carlos Cruz-Diez is a major figure of optical and kinetic art. His work uses the purity of colour to modify how we perceive our surroundings and our awareness of reality. In Chromosaturation pour une allée publique, the visitor is immersed in a pavilion composed of three spaces of complementary colours: red, blue, and green. The resulting effects of chromatic saturation stimulate and perturb our senses as we visit the different parts of the artwork.



Green M&M (No. 9), 2014
Dan Colen
Green M&M (No. 9), 2014
Rock and acrylic paint
58 x 78 x 56 in
Unique artwork


Artwork presented in
2016

La Fabrique de la Mémoire, 2008
Anne et Patrick Poirier
La Fabrique de la Mémoire, 2008
Nine-sided mirror-construction with sand blasted writing
Each Panel: 98 x 51 in
Unique artwork


Artwork presented in
2017-2018

À la fois sculpteurs, architectes et archéologues, Anne et Patrick Poirier ont débuté leur oeuvre en explorant des sites et des vestiges issus de civilisations anciennes. Leurs travaux sont une exploration de l’histoire à travers des cités réelles ou imaginaires. Ils soulignent la permanente fragilité de la mémoire et traduisent la volonté des artistes de la préserver. En pénétrant dans la sculpture composée de miroirs, le visiteur voit son image et des inscriptions sablées se superposer et se démultiplier à l’infini. De l’extérieur l’installation est le reflet de ce qui l’entoure mais à l’intérieur elle permet l’union de l’œuvre , l’environnement et le visiteur.



Nope, 2012
Liam Gillick
Nope, 2012
Black silkscreen print on white acrylic glass in a double-sided LED lightbox
39.4 x 39.4 x 7 inches
Unique artwork


Artwork presented in
2016-2018

Nope refers to one of Karl Marx’s unpublished texts, in which four characters debate in a satirical manner, a range of absurd subjects taken from unresolved philosophical controversies. At the end of the text, Merten, attempts, in vain, to save his dog from a terrible death by constipation, a pain which the sad dog owner associates with his inability to write and transmit his own reflections. Nope is a direct reference to the constraints of creation, to the self-criticism and personal struggles experienced by all artists. Gillick regularly uses historical and literary references to convey his message.



Direction Through Indirections (Bronze Version), 2003
Sam Durant
Direction Through Indirections (Bronze Version), 2003
Bronze, stainless steel
67 x 74 x 59 inches
Unique artwork


Artwork presented in
2015-2018

Sam Durant is an artist whose works systematically evoke contentious social, political and cultural problems in American history. Direction Through Indirections represents an upside-down tree, placed atop a mirror. This work is a direct reference to Robert Smithson’s Upside Down Trees, to which Sam Durant adds a more symbolic dimension. This tree may be said to represent the genealogical tree and the tree of knowledge, but it is also the symbol of American Indian culture, which in itself is at the origin or root of American culture. Originally created in fibreglass for Upside Down Pastoral Scene, this is a bronze version, especially created to be exhibited out of doors.



Success Failure, 2014
Gianni Motti
Success Failure, 2014
Aluminium printed plates and tube
H 86.6 x 52 x 2.3 inches
Edition of 7 ex


Artwork presented in
2015-2018

Gianni Motti’s work falls outside the traditional formats of the diffusion of art. A master of appropriation and the manipulation of events, his works take the form of absurd and ironic disturbances, and are transformed into an organ of social and political protest. Motti creates disorder with a rare intelligence and a heightened sense of relevance, the absurd and (political) commitment. His motto: be in the wrong place at the right moment. In Success Failure, the artist ironically invites the visitor to make a choice between the path of success and the path of failure, a veritable 21st century obsession.



Pomme de New York, 2006
Claude Lalanne
Pomme de New York, 2006
Bronze
H 97.6 x 85.4 x 88.6 inches
Edition of 8 ex


Artwork presented in
2015-2018

The hybrid, poetic, surrealist works of Claude Lalanne incite both amazement and fascination. Despite its apparent formal simplicity, the Pomme de New York, a sculpture of spectacular dimensions, magnifies the beauty of the most familiar natural forms, in this case that of the apple. Claude Lalanne uses technical processes including moulding, casting, and electroplating to faithfully transpose the fullness and subtlety of animal and plant forms.



Nougat, 2009
Katja Schenker
Nougat, 2009
Concrete, diverse minerals
H 78.7 x78.7 x 19.7 inches
Unique artwork


Artwork presented in
2015-2018

Since the 1990s, Katja Schenker has been developing a work that combines performance and sculpture, using drawing, photography and video to deepen and document the successive stages of her creative process. This work is the result of a performance piece which took place at the Sittertal Foundation in Saint- Gall, Switzerland in 2009. After digging a hole in the ground, the artist filled the hollow formed with various natural elements, which she then covered completely with concrete. At the end of the exhibition, the block of solidified concrete was extracted from the ground and its sides cut away to reveal the visible process of the work’s creation, like a geological core sample.



Deep Violet, 2014
Mark Handforth
Deep Violet, 2014
Painted Aluminium
H 88.2 x 130 x 55.2 inches
Unique artwork


Artwork presented in
2015

A-Z Deserted Island VI, 1997
Andrea Zittel
A-Z Deserted Island VI, 1997
Fiberglass, wood, plastic, flotation tank, vinyl seat, vinyl logo
H 36 x 90 x 90 inches
Edition of 10 ex


Artwork presented in
2015-2018

American artist Andrea Zittel is best known for her specific approach to space, daily life and its organization. She created all sorts of artworks: sculptures, objects, clothing, caravans, desert islands… Created in 1997 for the Mu?nster Sculpture Project in Germany, A-Z Deserted Island VI forms part of a set of four floating fibreglass “islets”, each furnished with a single chair. Originally intended to float together as a group, the A-Z Deserted Islands convey a need for isolation and privacy, yet also a desire to remain close to a community.



Dynamo, 2010
Atelier Van Lieshout
Dynamo, 2010
Fiberglass, wood, mattress, sheets
H 59 x 65 x 110 inches
Unique artwork


Artwork presented in
2015-2018

This work is a functional, habitable sculpture. Like a mobile hotel room, it offers a degree of basic comfort: the interior is equipped with a mattress, sheets, bedcovers, night-lights and plug sockets. Built out of fibreglass, this housing unit recalls the minimalism of the famous Soft Edge Furniture of the 1990s. The shelter, which is the width of a double bed and resembles a safe, is both reassuring and unsettling, a reminder of the distinctive Japanese capsule hotels which optimise space by offering their guests a simple bed-cabin.



Sans titre, 1985
Keith Haring
Sans titre, 1985
Polyurethane paint on A36 steel
H 80 x 84 x 135 inches
Unique artwork


Artwork presented in
2015-2018

Keith Haring’s sculptural works, produced between 1982 and 1989, were originally intended for use in the public space. The vocation of these pieces is to democratise art, diffusing a direct, accessible message as widely as possible without showing any concern for the preoccupations of the art world. Monumental sculpture offered Haring the opportunity to develop an alternative to Street Art, a means of sustainably sharing his vigorous, dynamic style in urban settings.



Untitled (4 chairs), 1986-2014
John M. Armleder
Untitled (4 chairs), 1986-2014
4 wooden vintage chairs
H 39.4 x 15.8 x 15.8 inches each
Unique artwork


Artwork presented in
2015-2018

Following in the wake of Duchamp’s readymades, the artist has suspended four ordinary chairs from the tops of trees in the grounds. This absurd gesture is faithful to the philosophy of the Ecart group, founded by Armleder in Switzerland in 1968 along similar lines to Fluxus. Through simple and deliberately humorous associations, Armleder challenges the notion and the status of works of art, a chair perched at the top of a tree thus becoming a monumental sculpture. The sacred aspect of art is here set aside in favour of the pleasure of playfulness and the unexpected.



Artwork created in situ
RockStone 198, 2015
Arik Levy
RockStone 198, 2015
Mirror-polished marine grade stainless steel sculpture, stainless steel plinth
With plinth: H 97.6 x 39.4 x 39.4 inches
Unique artwork


Artwork presented in
2015-2018

The sculpture is inspired by the form of an immense, solid boulder, which it transforms into a modern, digital, smooth, and precise object, as though laser cut. Using the most innovative production techniques, Arik Levy blurs the line between sculpture and contemporary design. The polished, mirrored, stainless steel surfaces of RockStone 198 do not simply reflect nature, they create optical illusions which distort our perception of the surrounding environment.



Dream Stone, 2010
Sui Jianguo
Dream Stone, 2010
Stainless sandy steel
H 91 x 146 x 107 inches
Edition of 3 ex


Artwork presented in
2015-2018

Dream Stone was born out of a pebble found on the 2010 Shanghai World Expo construction site. The modest stone was digitally scanned, modelled, and enlarged thousands of times, and a set of steel plaques was then manufactured, laser cut and assembled, with its overlapping layers forming a honeycomb structure. The finished product is a monumental sculpture that evokes the harmony between nature and the contemporary world, and the metamorphoses enabled by new technology.



Cloud Cities / Air-Port-City 4 Modules Metal, 2010-2011
Tomás Saraceno
Cloud Cities / Air-Port-City 4 Modules Metal, 2010-2011
Aluminum, mirror glass, steel, dibond, iron, steel rope
H 139 x 268 x 155 inches
Unique artwork


Artwork presented in
2015-2018

Cloud Cities is an architectural utopia created by Tomás Saraceno to find a solution for over-population and environmental destruction. Inspired by Frankfurt’s eponymous Airport City, this work is a constellation of imposing, interconnected modules. It invites the viewer to enter and move around in this geometrically complex space – a union of architecture, art, and science. This prototype of a floating city imagined as a cluster of cells alludes to Buckminster Fuller’s utopist architecture, and in particular to his levitating sphere project, Cloud Nine.



A Giant Leap of Faith, 2006
Subodh Gupta
A Giant Leap of Faith, 2006
Stainless steel
H 275.6 x 70.9 x 70.9 inches
Edition of 3 ex


Artwork presented in
2015-2018

A worthy heir to the Duchampian legacy, Subodh Gupta collects everyday objects to make monumental installations and sculptures. These objects, most often stainless steel kitchen utensils, allude to Indian culture and the social and political realities of the country. In his piece A Giant Leap of Faith, Gupta piled up 13 buckets to form a monumental column. The bucket, a symbol of the daily labour of millions of people, here takes on a spiritual dimension, much like the strange concrete monuments scattered through the Indian countryside.



128 squares and their demonstration, 2015
Claudia Comte
128 squares and their demonstration, 2015
Cinder blocks wall, paint
H 118.1 x 236.2 inches
Unique artwork


Artwork presented in
2015-2018

Claudia Comte is a multidisciplinary artist whose work spans the media of installation, sculpture, painting, drawing, pyrography, photography. This mural consists of a green and black geometric grid on a wall measuring 3 x 6 meters (118x236 inches). Claudia Comte frequently creates monumental paintings that literally submerge the viewer and the works that surround them in hypnotic patterns. The repetitive rhythms and vibrant colours of these paintings distort with playful frivolity the canon of Visual Art and Minimalist painting. This sculpture was realized specifically for the Domaine du Muy.



Artwork created in situ
4 centres délimitant un carré, 2008
David Saltiel
4 centres délimitant un carré, 2008
Mirror polished stainless steel
H 72 x 64.2 x 64.2 inches
Edition of 11 ex


Artwork presented in
2015-2018

This artwork is composed of four elements which demarcate and frame a cubic space; each is formed of two plates of polished, reflective steel which intersect at a 90° angle. They are 72 inches high, a measurement taken from Le Corbusier’s Modulor. The visitor may enter into the cubic space, a mise en abyme created by the gleaming surfaces of the piece. As an open air installation, the work also reflects its surroundings, to the extent that it seems to disappear completely into them.



Narcissus Garden, 1966-2011
Yayoi Kusama
Narcissus Garden, 1966-2011
1 600 stainless steel spheres
Variable dimensions, each sphere diam. 11 inches
Unique artwork


Artwork presented in
2015-2017

La Petite Maison, 2015
Roman Signer
La Petite Maison, 2015
Little wooden house
H 59 x 59 x 59 inches
Unique artwork


Artwork presented in
2015-2016

Artwork created in situ
Knot II, 2010
Antony Gormley
Knot II, 2010
Grey iron
H 51 x 77.6 x 49.6 inches
Unique artwork


Artwork presented in
2015

Vélo Girouette, 2015
Roman Signer
Vélo Girouette, 2015
Bike, metal plinth
H 156 inches approx.
Unique artwork


Artwork presented in
2015-2016

Mesopotamia, 2012-2015
Anne et Patrick Poirier
Mesopotamia, 2012-2015
Black granite engraved with gold leaf
H 50.4 x 23 x 23 inches
Unique artwork


Artwork presented in
2016

Bob, 2010
Claire Fontaine
Bob, 2010
Black marble
H 40.6 x 23.6 x 13.8 inches
Unique artwork


Artwork presented in
2015-2018

This work, which at first glance evokes a classical marble bust, actually recreates the famous “Big Bob” punching bag used in combat sports training. Claire Fontaine humorously inverts Bob’s status, and a simple punching dummy becomes a work of art which is both literally and figuratively untouchable. This ironic reversal of conventional values is typical of Claire Fontaine’s work.



Sculpture or Pavilion?, 2015
Dan Graham
Sculpture or Pavilion?, 2015
Stainless steel frame, glass
90.5 x 135 x 135 inches
Unique artwork


Artwork presented in
2016-2017

Untitled (grey), 2011
Peter Kogler
Untitled (grey), 2011
Painted aluminium
H 17.7 x 70.9 x 23.6 inches
Edition of 8 ex


Artwork presented in
2015-2016

Untitled (red), 2012
Peter Kogler
Untitled (red), 2012
Painted aluminium
H 17.7 x 70.9 x 23.6 inches
Edition of 8 ex


Artwork presented in
2015-2016

Danuza Leão [Rio], 2013
Sarah Morris
Danuza Leão [Rio], 2013
2 mirrored Duratrans on double sided LED lightbox
H 45 x 39 x 7 inches
Unique artwork


Artwork presented in
2015

Mushroom UG CM 308 F4 Hok Spanish Gold Tropi Cali, 2008
Sylvie Fleury
Mushroom UG CM 308 F4 Hok Spanish Gold Tropi Cali, 2008
Fiberglass, metallic car paint
H 47.2 x 43.3 inches
Unique artwork
2015
Teardrops, 2015
Rob Wynne
Teardrops, 2015
Bronze
H 38.2 inches / 24 inches / 16.1 inches
Unique artwork


Artwork presented in
2015

Mini Brothers (Oak), 2015
Vidya Gastaldon
Mini Brothers (Oak), 2015
Pairs of unique eyes made of oak, acrylic varnish
Diam. 5 inches
Unique artwork


Artwork presented in
2015-2016

J'aime l'Amérique - Hommage à Jacques Derrida, 2007
Mounir Fatmi
J'aime l'Amérique - Hommage à Jacques Derrida, 2007
Painted jumping poles, metal ladders
Variable dimensions, approx. 101.2 x 196.9 x 393.7 inches
Edition of 5 ex


Artwork presented in
2015

HEAD (Li Gao), 2013
Not Vital
HEAD (Li Gao), 2013
Stainless Steel with PVD coating
H 69 x 57 x 55 inches
Edition of 3 ex


Artwork presented in
2015

Les Ilots, 2010
Claude Parent
Les Ilots, 2010
Steel and aluminium
59 x 71 x 90.5 inches, 51 x 51 x 104 inches and 83 x 59 x 118 inches
Unique artwork


Artwork presented in
2016

Clarice Again, 1966-1967
Niki de Saint Phalle
Clarice Again, 1966-1967
Painted polyester
H 74.8 x 55 x 49 inches
Unique artwork


Artwork presented in
2015




Fontaine aux Nanas
Niki de Saint Phalle
Fontaine aux Nanas
Painted polyester, electric system
H 21.7 x 88.6 x 88.6 inches
Edition of 3 ex


Artwork presented in
2015-2017

Le Gisant, Youri Gagarine, 2009
Xavier Veilhan
Le Gisant, Youri Gagarine, 2009
Aluminium casting, resin, polyurethane painting
H 30 x 177 x 73 inches
Unique artwork


Artwork presented in
2015

L'Arbre à Pluie, 1995
Michel François
L'Arbre à Pluie, 1995
Piping system and sprayers in the branches of a tree
Variable dimensions
Unique artwork


Artwork presented in
2015-2016