Latest news with #PinaultCollection
LeMonde
18-05-2025
- Entertainment
- LeMonde
Tatiana Trouvé's poetic workshop
A bit of Montreuil has made its way to Venice. On the top floor of Palazzo Grassi, the museum of the Pinault Collection, at the end of her exhibition "The Strange Life of Things" (on view until January 4, 2026), the visual artist Tatiana Trouvé has filled a room with objects she usually stores in the basement of her studio in the suburbs of Paris. These include bronze casts of shoes, bags, padlocks, radios, school soap dishes, key rings and dried flowers. A few weeks ago, they left the studio for the Venetian lagoon. "I don't miss them," said the French-Italian artist, born in 1968, with a smile. "I know they'll come back. Anyway, it's the ABC of my work, my vocabulary." Trouvé, a contemporary art figure and winner of the prestigious Marcel Duchamp Prize in 2007, who exhibited at the Centre Pompidou in 2022, is accustomed to accumulating various objects. She searches for some and stumbles upon others by chance. She makes molds of them, which then feed into her works. Take her "Necklaces" series: delicate creations made of trinkets found in various cities – Venice, Montevideo, Buenos Aires. Other objects become the basis for her sculptures and large-format drawings. "I make no distinction between mediums nor between the scales of the works. But everything is made here. By hand," she said.
Business Mayor
22-04-2025
- Entertainment
- Business Mayor
caricatured sculptures of human figures lead thomas schütte's major retrospective in venice
At Punta della Dogana in Venice, the Pinault Collection presents 'Thomas Schütte. Genealogies', the artist's first major exhibition in Italy. The curators of the exhibition, which runs between April 6th and November 23rd, 2025, are Camille Morineau, an independent curator, and Jean-Marie Gallais, curator at the Pinault Collection. They are both present during the preview designboom attends at Punta della Dogana – Palazzo Grassi . Thomas Schütte is nowhere to be found yet, but upon entering, his sculptures of human figures greet the visitors for him. Three towering sculptures in bronze set the tone of the visit. They're all part of the series titled Mann im Wind (2018). These caricatures of men have their feet stuck under a pool of mud. Their faces express woes, melting and in distress, and their bodies sag as they keep on walking. The tempests of life have caught up to them. They wear soldier-like uniforms. Although they falter in their steps, they don't completely surrender. These themes of figures and human conditions run throughout Thomas Schütte's exhibition in Venice. The artist has incorporated them into his bodies of work since 1982. For his major retrospective in Italy, he brings those motifs through 50 sculptures from the Pinault Collection, surrounded by 150 drawings, mainly watercolor, most of which have never been exhibited until today. Thomas Schütte, Mann im Wind II, 2018 | image © designboom, unless stated otherwise human figures remain a focal point in the show Thomas Schütte's Genealogies exhibition in Venice has no chronological order. Instead, the curators attempt to trace the birth of the artist's repertoire and its variations. Room after room, the artworks shift, but the caricatured sculptures of human figures remain a focal point. Their grotesque faces, nudged and overly shaped, gaze at an emotional fixture men bear on their faces over time. In the next hall past Mann im Wind (2018), visitors see Fratelli (2012), a series of caricature male busts facing each other. They remind the artist of his time in Rome during the upheaval in Italian politics back in 1992, the time he was in residence at the Villa Massimo German Academy. At the same time, these caricatures at Thomas Schütte's exhibition in Venice recall the elderly men in public transport and the corrupt politicians trying to cover up their wrongdoings on national TV. They're emotional: furrowed eyebrows, puckered lips, scrunched-up foreheads, lines all over their faces. The artist captures typologies and human representations, steeped in satire, imprisoned by some swept-under emotions that have finally come through. Thomas Schütte, Mann im Wind series, 2018 | exhibition photos by Marco Cappelletti, unless stated otherwise, courtesy of Palazzo Grassi – Pinault Collection and Thomas Schütte, by SIAE 2025 difference between the male and female sculptures There's a noticeable difference between the male and female sculptures. While the former seems to portray suffering, the latter looks serene, composed, and away from life's pitfalls. In Glaskopf A, Nr. 10 (2013) and Aluminiumfrau Nr.17 (2009), the women figures have their eyes closed, and their heads either look straight or tilt to the side. There's a gentleness in their features and stillness, and the artist shaped them without smudges, only with flecks and intentional forming. These are some of the figures and themes that Thomas Schütte exhibition in Venice highlights. Even the exhibition layout emphasizes the experimental take of the artist on his practice. The artworks on display vary in scale and materials, an approach to explore form and subject in line with the artist's vision. The works also introduce the main types of Thomas Schütte's representations, including sculptures of individual, paired, or conjoined heads; standing figures that appear trapped within the material; large busts referencing Roman portraiture; sculptures of reclining female figures that draw from art history; and faces without clear gender markers. His work also addresses the challenges of creating monumental forms. The exhibition shows how the artist's work moves between violence and invention, private reflection and theatrical presentation. Thomas Schütte, Mann im Wind II, 2018; Mann im Wind I, 2018, Pinault Collection Thomas Schütte, Fratelli, 2012, Pinault Collection; Criminali, 1992 Thomas Schütte, Fratelli, 2012; Criminali, 1992 | image © designboom Thomas Schütte, Untitled Enemy (Udo), 1992 (detail), Pinault Collection, Untitled (United Enemies), 1995 (detail), Pinault Collection
Express Tribune
29-01-2025
- Entertainment
- Express Tribune
Madonna's daughter Lourdes Leon wears revealing catsuit at Saint Laurent's Paris Fashion Week show
Lourdes Leon turned heads in a daring sheer catsuit, going braless as she took center stage at Saint Laurent's Paris Fashion Week show on Tuesday. Madonna's daughter was joined by the more modestly dressed Zoë Kravitz and Iris Law at the star-studded runway event held at the Bourse de Commerce Pinault Collection. Courtesy: Getty Images The 28-year-old American singer made a bold fashion statement, posing confidently in the revealing ensemble that left little to the imagination. Highlighting her stunning curves, she added a touch of modesty by draping a sleek black leather trench coat over her shoulders. Courtesy: Getty Images The Lock&Key singer completed her look with a gold-toned necklace, matching hoop earrings, and black stiletto heels to add extra height. Meanwhile, Zoë, 36, exuded effortless elegance in a beige one-shoulder dress, featuring pleated ruffle details along the neckline, cuffs, and hem. She accentuated her slender legs with sheer black tights and cinched her waist with a chunky brown belt. The Batman actress enhanced her look with pastel-colored high heels as she posed for the cameras ahead of the event. Iris, 24, also made a statement in a beige power suit, consisting of a structured double-breasted blazer and flared tailored trousers. She paired her suit with a striped white shirt and a navy blue polka-dot tie. To complete her look, Iris opted for pointed black heels and accessorized with chunky gold bangles and hoop earrings. This appearance follows reports that Lourdes was eager to portray her mother in an upcoming Madonna biopic but lacked the acting experience required for the role. The film, currently titled Who's That Girl, is back in development four years after the script was completed and nearly two years after being delayed due to Madonna's Celebration tour. Lourdes, also known as "Lola," was considered for the role but ultimately lost out to actress Julia Garner. She was in close competition with Kathryn Newton as Madonna and film executives debated who should portray the Queen of Pop. "Lola was being considered for the role of her mom, but she did not have the acting experience necessary to play such a difficult part," a source told exclusively. Who's That Girl—named after Madonna's 1987 comedy film and hit single—will explore her decades-long career, as well as key moments in her personal life, including her relationship with Carlos Leon, 58, and the birth of their daughter, Lola, in 1996.
