2 posts tagged "Emmanuel Perrotin"
Alix Thomsen likes going her own arty, eclectic way, opting for street casting and contemporary galleries over models and catwalks. She’s also recently dipped into an opera collaboration and signed on to do the decor of the Hôtel du Temps in the ninth arrondissement.
For Fall, the Thomsen collection took over the sprawling Emmanuel Perrotin art gallery in the Marais, where the designer presented living tableaux based on an ever-so-slightly-twisted art school theme. “They’ve had a really strict, theoretical education and they’ve been shut off from the world for a long time,” she explained of models who drifted dreamily among the installations, speaking to themselves or maybe no one in particular. In just five short years, Thomsen has grown from a capsule of shirts and jackets into a full-blown line. This season, the line gave us such unconventional options as a Perfecto dipped in pink paint, tie motifs recast onto a wrap dress, and a pinstripe suit turned into a coatdress. The hand behind the prints belongs to the Parisian artist Rafael Alterio, whom Thomsen met while working on the hotel. Colorful and graphic knits round out a pretty, feminine collection that’s still in close touch with its masculine side.
Why is London cooler than usual? Because it’s Frieze-ing. But, given that Germans seemed to be the dominant nationality on the opening day of the Frieze Art Fair, it made sense that it was Claudia Schiffer’s open-to-buy budget that was giving gallerists chills. Plus, she was appropriately emblematic of the fashion/art nexus that gives Frieze its special flavor. Case in point: The first person I saw as I sailed through security was Raf Simons; the last, as I headed for the exit five hours later, was Hussein Chalayan. And the day began with a press brunch given by COS, Europe’s favorite “masstige” chain, followed by a curators’ tour of Frame, the new art wing of Frieze, which COS is supporting.
Each invitation to the brunch was accompanied by a hand-penned missal from artists Michael Crowe and Lenka Clayton as part of a project called Mysterious Letters, through which they intend to communicate with every single person in the world. (Just two kids with a dream!) Still, the optimistic monumentalism of their scheme felt typical of Frieze 2010, especially after the flatness of last year’s fair. There was lots and lots of really big stuff, taking a cue from the scale of Frieze itself, with more than 170 of the world’s best galleries on display. Sadie Coles was showing a 13-foot-high fireplace cast in bronze by the Swiss artist Ugo Rondinone; Emmanuel Perrotin had Xavier Veilhan’s high-octane futurist-style sculpture of a carriage drawn by four horses. It was almost life-size. And purple, to make it even more inescapable. (That’s it, pictured above, at a previous installation in Versailles.)
If 2009 featured a strong handicraft subtext, 2010 resurrected that old standby, photo-based work. Chalayan’s favorite was Marlo Pascual on Casey Kaplan’s stand. The Tennessee native’s dramatically repurposed images also captured the imagination of Francesca Amfitheatrof and Carlo Brandelli—and enough museums and collectors that Pascual was a first-day sellout. That’s the kind of new-name success story that offers an uplifting alternative to all the grandstanding that takes place at the blue-chip booths. Not to say that that isn’t enthralling, too. In fact, I’ve got to get me back there tomorrow for some more.