logo

Working!

WORKING! En ces temps de COVID-19 où la vie professionnelle au bureau – et donc pour nous à la galerie – s’est quasiment arrêtée, il nous faut réinventer celle-ci à la maison, et l’adapter à notre vie professionnelle. Tout au long du XXème et du début du XXIème siècle, l’espace du bureau, et le mobilier qui le constitue, a été perçu de différentes manières par les designers, tout comme par les architectes. Le bureau est tout d’abord l’espace de travail qui intègre le mobilier nécessaire au travail, c’est à dire plus précisément la table de travail, le fauteuil, la lampe de bureau et la bibliothèque. Mais le bureau, c’est aussi le meuble éponyme sur lequel nous travaillons chaque jour et dont les différentes versions, au fil des époques et à travers le monde, en fonction des styles, vont être en constante évolution, à la fois bouleversées ou simplement revisitées par les designers. During these unusual times affected by COVID-19 when the professional life at the office – and for us at the gallery – has almost stopped, we have to reinvent a new way of working at our home and to adapt it to our personal life. Throughout XXth and early XXIth century, the office space and the furniture that goes with it was perceived in different ways by designers, as well as by architects. The office is first of all the space which incorporates the furniture necessary for working, namely a desk, an armchair, a desk lamp and a bookcase. But the desk remains the main piece of furniture on which we work daily and whose concept, over the years and according to different styles, will be in constant evolution, at a time totally shaken or simply revisited by designers. Fabre l’entomologiste présenté par Le Corbusier dans ‘L’Art décoratif d’Aujourd’hui’ (1925) : l’espace du bureau, l’espace de travail, le meuble au plus simple. The entomologiste Jean-Henri Fabre presented by Le Corbusier in “L’art décoratif d’Aujourd’hui’ (1925) : office space, work space, a furniture design at its simplest.     Les trésors de l’Art Nouveau avec ce bureau de Louis Majorelle (ca.1908) dans un décor unique, précieux, tiré du monde de la nature. Nous sommes alors dans une ornementation tout en courbe et en arabesque, pur produit de la Belle-Epoque (1890-1914). Treasures of Art Nouveau with this majestic desk by Louis Majorelle (ca. 1908) in a unique and precious setting drawn from the world of nature. We are thus in a curved and arabesque ornamentation, pure product of the Belle- Epoque (1890-1914).     Les intérieurs d’Armand-Albert Rateau pour Jeanne Lanvin, à Paris, vers 1922. Le bureau est la suite du décor. Il se trouve ainsi inclus dans un espace où le créateur a dessiné l’architecture intérieur et le mobilier comme un véritable ensemble qui se complète et se répond. Jeanne Lanvin interiors by Armand-Albert Bateau, in Paris around 1922. The desk is the true continuation of the interior. It is included in the space where the decorator has imagined the interior architecture and the furniture that dialogues and completes one another.     Le minimalisme à l’allemande avec ce bureau géométrique et presque graphique de Marcel Breuer, vers 1926. Il découle des réflexions et écrits faits 20 and plus tôt par Adolf Loos : un mobilier fonctionnel et dépouillé. German minimalism with this geometric and almost graphic desk by Marcel Breuer, around 1926. It stems from reflections and writings made 20 years earlier by Adolf Loos: simple and functional furniture design.     Le minimalisme à la française n’est pas en reste, avec notamment ce bureau métallique et son fauteuil en tube de Robert Mallet-Stevens, vers 1927. On n’est alors pas loin de la création de l’UAM (Union des Artistes Modernes) qui aura lieu en 1929. French minimalism follows up with the pieces like these metal desk and its tube armchair by Robert Mallet- Stevens, around 1927. We are not far from the foundation of the UAM (Union of Modern Artists) which will take place in 1929.     Le bureau de Charlotte Perriand présenté en 1935 pour « la Maison du jeune Homme », lors de l’exposition internationale à Bruxelles s’inscrit dans cette lignée minimale. D’une grande simplicité ! The desk by Charlotte Perriand presented in 1935 for “La Maison du Jeune Homme” during Brussels World fair is in line with the minimal spirit of the time.     Le bureau CPDE (Compagnie Parisienne de Production d’électricité) de Jean Prouvé réalisé vers 1934. C’est l’une de ses rares premières commandes importantes de mobilier dans les années 30. La forme du bureau est très architecturée. « CPDE » desk (Compagnie Parisienne de Production d’électricité) by Jean Prouvé designed around 1934. It is one of the rare first important commissions of furniture commanded from the designer in the 1930s. The desk surprises us with its architectural form.     Le bureau « Présidence » de Jean Prouvé est une des pièces majeures de la période d’après-guerre, et sera réalisé dès 1948 en très peu d’exemplaires. Sa forme courbe et ses grandes dimensions le différencient de tous les autres modèles qu’il a pu dessiner ! « Presidence » desk by Jean Prouvé is one of the major pieces of post war period that will be produced from 1948 in very few examples. Its curved shape and large dimensions distinguishes it from all other models he created.     Le bureau « En forme » de Charlotte Perriand, dessiné en 1947, est une de ses premières créations réalisées à son retour du Japon. C’est le début de l’apparition de formes nouvelles qui s’appelleront plus tard « Formes Utiles ». « Free Form » desk by Charlotte Perriand, created in 1947 is one of her first designs made after her return from Japan. It’s the beginning of the appearance of new shapes that will be later called “Formes Utiles”     Et voici la modernité à l’italienne avec ce bureau secrétaire-prototype, dessiné par Gio Ponti dans le courant des années 50. Un simple […]
Read more →

TEFAF MAASTRICHT 2020

March 7-15 2020. Maastricht.   –– PRESS KIT Click here to download the press kit (PDF)   –– PHOTOS   Photographies © Studio Shapiro
Read more →

Maison 6×9 by Jean Prouvé, FIAC Hors Les Murs 2019

  EVENTS Marlène © Marlène Delcambre   Marlène Olivier Urman: La baignoire © Marlène Delcambre   Olivier Urman: La baignoire © Marlène Delcambre   Olivier Urman: La baignoire © Marlène Delcambre   Olivier Urman: Merveilleuse mère nature (la dame rouge) © Marlène Delcambre   Olivier Urman: Merveilleuse mère nature (la dame rouge) © Marlène Delcambre   Olivier Urman: Merveilleuse mère nature (la dame rouge) © Marlène Delcambre   Olivier Urman: Le buste de notable , surnommé Karl Marx   Olivier Urman: Le buste de notable , surnommé Karl Marx   Marlène © Marlène Delcambre   Morning Yoga session   Evening Yoga session   Evening Yoga session   Evening Yoga session   Breakfast   Breakfast                          
Read more →

Pierre Jeanneret – Berluti

  • PRESS KIT (PDF)   PHOTOS
Read more →

François Laffanour dans l’émission “La Grande table Culture” sur France Culture

   Beaucoup connaissent le fauteuil “grand confort” de Le Corbusier et, pourtant, peu savent que ses traits iconiques sont l’oeuvre de l’architecte et designeuse Charlotte Perriand qu’une rétrospective, Le monde nouveau de Charlotte Perriand, oeuvre à réhabiliter à la Fondation Louis Vuitton. Le biographe de l’artiste et commissaire de cette exposition, Jacques Barsac, publie le quatrième et dernier tome de son oeuvre complète tandis que le galeriste et collectionneur François Laffanour se focalise sur son mobilier d’intérieur dans Living with Charlotte Perriand.
Read more →

Richard Texier – Lumière

Richard Texier « Lumière » 27 Novembre – 28 Décembre 2019 La galerie Downtown est heureuse de présenter une exposition de l’artiste français Richard Texier. Intitulée Lumière, elle se tient du 27 novembre au 28 décembre et rassemble une sélection d’œuvres lumineuses issues du bestiaire des Arbres de Vie, créés par l’artiste depuis plus de trente ans. Pour cette exposition la galerie Downtown a choisi de réunir les luminaires et candélabres en bronze, qu’il a développés pour son usage personnel, à partir des années 2000. Cette typologie d’œuvres, fait la part belle aux jeux entre le monde animal, le monde imaginaire et la lumière.     PHOTOS
Read more →

Fiac 2019

FIAC 2019 Stand D.48 October 17 – 20, 2019 Grand Palais 75008, Paris   FIAC Hors les murs 2019 Jean Prouvé Maison démontable 6X9, 1946 October 15 – November 14, 2019 Place de la Concorde 75008, Paris   FIAC Hors les murs 2019 Richard Jackson “Beer Head Bear” sculpture, 2005 October 14 – November 11, 2019 Jardin des Tuileries, Paris 75008   FIAC Hors les murs 2019 Richard Jackson Car Wash project, result NR 3, 2016 October 15-20, 2019 Avenue Winston Churchil (in front of Grand Palais), 75008, Paris –– PRESS KIT Click here to download the press kit (PDF – FR) –– PHOTOS (GRAND PALAIS) PHOTOS (HORS LES MURS)
Read more →

Living with Charlotte Perriand

Living with Charlotte Perriand September 26 – November 2 2019 Laffanour Galerie Downtown 18 rue de Seine 75006, Paris In parallel to the book launch of Living with Charlotte Perriand, co-written by François Laffanour and this years’ retrospective devoted to Charlotte Perriand at the Louis Vuitton Foundation in October 2019, Galerie Downtown François Laffanour celebrates its 40 year anniversary with a Charlotte Perriand exhibition taking place from 26th September to 2nd November 2019. • Read the press release (PDF) EXHIBITION PICTURES Photos credits: Studio Shapiro
Read more →

BFM TV – « Chercheurs d’Art »

Interview of François Laffanour in the program “Chercheurs d’art” on BFM TV , about the exhibition The Italian Design exhibition: A Radical Turbulence
Read more →

Living with Charlotte Perriand

    ORDER          Living with Charlotte Perriand is a reference book with which François Laffanour wanted to celebrate 40 years of work with Charlotte Perriand furniture’s collectors.     By exploring the interiors of collectors around the world, François Laffanour demonstrates their attachment to these timeless creations that have become iconic. From the “free form” table to the “cloud” library, Charlotte Perriand has been able to initiate contemporary decor and support new uses and global domestic practices.     François Laffanour’s fascination for the work of Charlotte Perriand, this ambition to share it and to defend it with and amongst the biggest collectors, started at the Saint-Ouen’s Flea Market in 1979 before he opened the gallery of 18 rue de Seine in 1982. It is not surprising to note in this book that Contemporary Art collectors are also the first collectors of Charlotte Perriand’s furniture. They appreciate the minimal forms, the subtlety and the power with which Charlotte Perriand has been able to work throughout her life the different woods that are transformed into real sculptures, such as her “free form” desks, made of pine at the end of the war.     By taking an early interest in reintroducing the great creators of the 1950s, starting with Charlotte Perriand and Jean Prouvé, François Laffanour was led by an intuition and a conviction: that he needed to defend, present and masterfully display them in all the international fairs in order to convince the most demanding collectors. This book is proof that the first virtue of a great merchant is to transmit and value the talent of great creators. We can only be pleased to see the truth and the excellence of Charlotte Perriand ‘s work in such beautiful environments.     It is through this different look on Perriand’s furniture that François Laffanour subtly knew how to present them, to the gallery for its exhibitions and during international fairs for ephemeral presentations, and which was taken over by its collectors throughout these years.    
Read more →

Design Miami / Basel 2019

Hall 1 Süd, Messe Basel, Messeplatz Basel, Switzerland Stand : G05 June 11 – 16 2019. More info: http://basel2019.designmiami.com   Photos
Read more →

The Italian Design: A Radical Turbulence

The Italian Design: A Radical Turbulence (1950-2010)   May 16 – June 22 2019 Laffanour Galerie Downtown 18 rue de Seine 75006, Paris Italian design during the post-war era was marked by a significant change from the inter-war period. A whole generation of young creators (designers, architects, graphic designers, etc.) who appeared in the 1960s understood that world transformation could not be picked up in universities, art or architecture schools but through the formation of creative groups destined to change the way things were approached. Everyday life, objects and space were perceived in different, often playful ways. The focus turned to reinventing forms and functions and explaining the new way of perceiving them. The colours, shapes and the initial aspect of the piece of the furniture, were redesigned and sometimes derided by designers like Gaetano Pesce, Ettore Sottssas or groups like Superstudio and Archizoom. It was an approach which was radically different from what was practiced in the past and the trend continued up until the 1980s and 1990s. From this innovative hub of young creators, it is worth presenting some of the key actors of this period who had a different approach to design and who changed things in their own way: Gio Ponti, Carlo Mollino, Joe Colombo and Gino Sarfatti. After various exhibitions organised by Galerie Downtown about the presentation and rediscovery of DESIGN: Japanese design (‘Made in Japan’) and Brazilian design (‘Tropicalism’), the gallery is now honored to present an important period of Italian design. A selection of pieces by all these designers will be presented at the gallery during this exhibition.   • Read the press release (PDF) — Superstudio (1966-1978) «Bazaar» Sofa, 1968
Read more →

TEFAF NEW YORK 2019

May 3-7, 2019 New York   Press kit Click here to open the press kit (En)   Photos
Read more →

PAD PARIS 2019

PAD Paris April 3 – 7 2019. Les Tuileries, Paris. Photos
Read more →

TEFAF MAASTRICHT 2019

March 16 – 24 2019. Maastricht.   PRESS KIT –> Download the PDF   Photos
Read more →

Design Miami 2018

Info Dec 5 – 9 2018 Booth #G10 Meridian Avenue & 19th Street Adjacent to the Miami Beach Convention Center Miami Beach, USA Official website     Photos  
Read more →

France 3 – FIAC 2018 : Jean Prouvé in Paris

Jean Prouvé – FIAC 2018 – On France 3 television
Read more →

Charlotte Perriand

CHARLOTTE PERRIAND Opening: Thursday, November 1, 2018, 6:00 – 8:00 pm Venus Over Manhattan 980 Madison Avenue New York, NY 10075 Laffanour / Galerie Downtown, Paris is pleased to present an exhibition dedicated to the life and work of Charlotte Perriand, organized in collaboration with Venus Over Manhattan, New York. The presentation will represent the largest exploration of Perriand’s production to be staged in New York, comprising some fifty works that span the full breadth of Perriand’s nearly eight-decade career. Staged in advance of a number of major institutional exhibitions dedicated to her career, and presented on the heels of the Centre Georges Pompidou’s “L’UAM, Une aventure moderne”, which prominently featured Perriand’s work, the presentation will be on view beginning November 1st. PHOTOS
Read more →

Fiac 2018

FIAC 2018 18 – 21 Octobre 2018 Grand Palais FIAC Hors les murs Jean Prouvé, Institut Fénelon Class Room, 1958 October 16 – November 16, 2018 Place de la Concorde, Paris   PRESS KIT -> FIAC Hors les murs 2018, Jean Prouvé, Institut Fénelon Class Room, 1958 – Press Kit (PDF)   More info: http://www.fiac.com   PHOTOS (FIAC – GRAND PALAIS) PHOTOS (FIAC Hors les murs – Place de la concorde
Read more →

Tropicalism

Laffanour Galerie Downtown, Paris 18 rue de Seine, 75006. Paris PRESS KIT –> Download the press kit PHOTOS
Read more →

Design Miami / Basel 2018

Hall 1 Süd, Messe Basel, Messeplatz Basel, Switzerland Booth: G05 Juin 12 – 17 2018. More infos: http://basel2018.designmiami.com   Download the press kit (PDF)   Charlotte Perriand, Bench, 1966 Structure with two legs in polished steel, seat and back in wooden slats H. 73 x L. 143 x D. 80 cm   Iizuka Rokansai, Hanakago (vase for ikebana), Ca. 1930 Bamboo susudake (smoked bamboo) Tomobako (original box signed by the artist)       Le Japon à l’honneur CHARLOTTE PERRIAND – KENZO TANGE – ISAMU NOGUCHI – IIZUKA ROKANSAI DESIGN MIAMI / BASEL 2018 For Design Miami / Basel 2018, which gathers the biggest international design galleries in Basel, François Laffanour will present a selection of furniture. Among the exceptional masterpieces will be presented a rare bench with a steel structure, designed in 1966 for the private residence of the ambassador of Japan in France (circa 1966), a Kenzo Tange’s chair (1957), Akari the lighting fixtures (1960) desiged by Isamu Noguchi and Hanakago d’IIzuka Rokansi (1930).   Kenzo Tange, Chair, 1957 Chair moulded in beech, back in headband, seat upholstered with the original fabric in green/yellow woolblend H.77 xW.52 xD.54cm Isamu Noguchi, «Akari» suspension set, Ca. 1960 Circular paper shade from Mino tree pulp (mulberry) Sun Red and Moon Ideogram Edition Ozeki Company, Gifu, Japan   Charlotte Perriand, «En peau» armchair, Ca. 1946 Wooden structure, seat and backrest upholstered in cowhide Dimensions: H 81 x W 66 x D 56 cm     DESIGN AT LARGE LAFFANOUR–GALERIE DOWNTOWN PRÉSENTE ‘DUJARDIN’ PAR GAETANO PESCE     In 1994, the talented italian designer Gaetano Pesce is commissioned to create the architecture and the interior for Dujardin children store on the Belgian coastline Knokke-Le-Zout. This opportunity allowed Pesce once again to combine utility with joyness, Art and Design, aesthetics with functionality. In the heart of Deauville of the North, the architect offers us the essence of his artistic research with a succession of colors, lines, shapes and materials perfectly representative of his work, his sense of humor, his style and innovative ideas. This playful, rich and colorful architecture retains its usefulness, but is armed with a new function. It is no longer just about designing industrialized forms, for Gaetano Pesce design becomes the real support for an artistic, political or social discourse. Always eager to shake up the codes and common ideas, Pesce continues to surprise us almost 24 years after the creation of Dujardin store. Galerie Downtown-François Laffanour is delighted to make you discover for the first time his interior architecture for Dujardin Store during Design/Miami, Basel.     Photographies  
Read more →

TEFAF NEW YORK 2018

Du 4 au 8 mai 2018 New York, USA. Press Kit –>Press kit (PDF)
Read more →

TEFAF MAASTRICHT 2018

Du 10 au 18 Mars 2018. Maastricht.     Photographies  
Read more →

Freeform: Jean Dubuffet, Simon Hantaï and Charlotte Perriand

Forthcoming Exhibition Freeform 2 February – 29 March 2018 Timothy Taylor is honoured to present Freeform, an exhibition of works by Jean Dubuffet, Simon Hantaï and Charlotte Perriand. Presented is a meeting of art and design through a dialogue of formal structure and organic forms, as defined by three French pioneers working across mediums of painting, sculpture and furniture. Driven by egalitarian and populist ideals, Charlotte Perriand believed that considered design could have a positive impact on everyday life and, in turn, on society at large. Having rejected the established Beaux-Arts style as a student, Perriand joined Le Corbusier’s studio at the age of 24, which allowed her to pursue an approach to Modernism that brought together both intellectual and material values. It was following her work with Le Corbusier that Perriand started to develop her ‘Free-Form’ furniture, which harnessed a powerful new approach to design. Taking forms inspired by objects in nature, Perriand generated furniture that was functional, true to raw materials, and responsive to human gestures and interactions. The wooden tables from this period were de ned by organic contours, or geometric shapes softened with rounded corners, which avoided collisions in small spaces. The positioning of the legs closer to the centre also took into consideration the ergonomics of people’s knees when sat at the table.     The first ‘Free-Form’ table emerged in 1954, shaped in response to Perriand’s small Montparnasse studio. As Perriand’s biographer Jacques Barsac explains, “the Free-Forms themselves demonstrated a poetic functionalism on the human scale in which each form was rigorously tailored to its use and its production method, while retaining a freedom of composition.” Whilst Perriand was compelled by conscious design and an awareness of surroundings, Jean Dubuffet’s output was largely driven by a productive unconscious. Each of the sculptures exhibited is connected to Hourloupe, Dubuffet’s longest cycle, which first appeared in 1962 and continued through to 1974. Initially executed on paper, Dubuffet’s adventures in automatism resulted in drawings and paintings made up of multiple cells, where each space comes to life both as an individual element, and as a component within a larger structure. As the Hourloupe series progressed, the images became more corporeal and quickly developed into vast polystyrene sculptures, a material which Dubuffet favoured as it allowed “the light to emanate from the strata”. Though denying an apparent thought process in the initial design, Dubuffet explained how he wanted to give “monumental dimensions to these unrestricted graphics, these graphics that escape from the paper’s surface which usually serves as a support”. In this translation of works on paper into three-dimensional space, Dubuffet wanted to activate a cerebral response where the viewer was not only in front of but inside the image; being integrated in, and directly confronted by, the forces of fantasy and reality. The resulting sculptures engage with notions of nature and artifice. The clean colours and linear outlines retain a connection to graphic drawing, whilst the physical presence engages a hybrid aesthetic that sits between landscape and architecture. A defining characteristic of the Hourloupe cycle was the manifestation of a belief that there is continuity between objects, places and figures, much like Simon Hantaï ’s Meun paintings which were developed through his ‘pliage’ technique and resulted in bold, amorphous, images of chance. In 1960, Hantaï first developed ‘pliage’, a technique where the canvas is crumpled and folded, then doused in colourful paint. Later, as the canvas is unfolded, the work is revealed for the first time, with areas of positive and negative space having been determined by the element of chance inherent to this technique. Hantaï explained how he tied the canvas “in the four corners, big knots, and in the middle of the crude bag a string which strangles it”. Unlike the initial ‘pliage’ works, there is no centre or axis in the Meuns; the form is liberated and left open to interpretation with the bold resulting images hinting at a figure, whilst also carrying the spontaneity of their conception. The Meun paintings followed a year long ‘silence’ during which Hantaï retreated from the Parisian art world, and abstained from painting. In 1966, a move to Meun – a small village in the Fontainbleau Forest – broke this hiatus through the regenerative impact of a new environment, an unfamiliar studio and excellent light, allowing for a surge in energy to develop ‘pliage’. As Hantaï explained, “folding came out of nothing. You simply had to put yourself in the place of those who had never seen anything; put yourself in the canvas. You could ll a folded canvas without knowing where the edge was. You have no idea where it will stop.” Notes to Editors Charlotte Perriand Considered one of the most influential figures in design and architecture from the early Modern movement, Charlotte Perriand (1903-1999) was instrumental in introducing the ‘machine age’ aesthetic to interior design through the steel, aluminium and glass furniture she created at Le Corbusier’s studio in the late 1920s and 1930s. Following this, Perriand continued to experiment with different materials; developing functional furniture for the masses which perfectly balanced utility and beauty. Perriand’s acclaimed designs include the LC2 Grand Comfort chair and the B306 chaise longue. She has been celebrated through retrospectives at the Design Museum, London and Musée des Arts Décoratifs, Paris. Simon Hantaï Born in Bia, near Budapest, in 1922, Simon Hantaï emigrated to France in 1948, where he lived and worked until his death in 2008. Hantaï enjoyed great success in France during his lifetime, culminating in his representing France at the Venice Biennale in 1982. In 2013 the Centre Pompidou, Paris, mounted a major retrospective of Hantaï’s career, which brought his significant artistic contribution to a new and responsive audience. In 2014 further retrospectives were staged in Europe – at the Ludwig Museum in Budapest and the Villa Medici in Rome. Hantaï’s work is held in public and private collections internationally, including the Musée d’art Moderne de la Ville de Paris; Centre Pompidou, Paris; Museum of Modern Art, New York; and […]
Read more →

Freeform: Jean Dubuffet, Simon Hantaï and Charlotte Perriand

Forthcoming Exhibition Freeform 2 February – 29 March 2018 Timothy Taylor is honoured to present Freeform, an exhibition of works by Jean Dubuffet, Simon Hantaï and Charlotte Perriand. Presented is a meeting of art and design through a dialogue of formal structure and organic forms, as defined by three French pioneers working across mediums of painting, sculpture and furniture. Driven by egalitarian and populist ideals, Charlotte Perriand believed that considered design could have a positive impact on everyday life and, in turn, on society at large. Having rejected the established Beaux-Arts style as a student, Perriand joined Le Corbusier’s studio at the age of 24, which allowed her to pursue an approach to Modernism that brought together both intellectual and material values. It was following her work with Le Corbusier that Perriand started to develop her ‘Free-Form’ furniture, which harnessed a powerful new approach to design. Taking forms inspired by objects in nature, Perriand generated furniture that was functional, true to raw materials, and responsive to human gestures and interactions. The wooden tables from this period were de ned by organic contours, or geometric shapes softened with rounded corners, which avoided collisions in small spaces. The positioning of the legs closer to the centre also took into consideration the ergonomics of people’s knees when sat at the table.   The first ‘Free-Form’ table emerged in 1954, shaped in response to Perriand’s small Montparnasse studio. As Perriand’s biographer Jacques Barsac explains, “the Free-Forms themselves demonstrated a poetic functionalism on the human scale in which each form was rigorously tailored to its use and its production method, while retaining a freedom of composition.” Whilst Perriand was compelled by conscious design and an awareness of surroundings, Jean Dubuffet’s output was largely driven by a productive unconscious. Each of the sculptures exhibited is connected to Hourloupe, Dubuffet’s longest cycle, which first appeared in 1962 and continued through to 1974. Initially executed on paper, Dubuffet’s adventures in automatism resulted in drawings and paintings made up of multiple cells, where each space comes to life both as an individual element, and as a component within a larger structure. As the Hourloupe series progressed, the images became more corporeal and quickly developed into vast polystyrene sculptures, a material which Dubuffet favoured as it allowed “the light to emanate from the strata”. Though denying an apparent thought process in the initial design, Dubuffet explained how he wanted to give “monumental dimensions to these unrestricted graphics, these graphics that escape from the paper’s surface which usually serves as a support”. In this translation of works on paper into three-dimensional space, Dubuffet wanted to activate a cerebral response where the viewer was not only in front of but inside the image; being integrated in, and directly confronted by, the forces of fantasy and reality. The resulting sculptures engage with notions of nature and artifice. The clean colours and linear outlines retain a connection to graphic drawing, whilst the physical presence engages a hybrid aesthetic that sits between landscape and architecture. A defining characteristic of the Hourloupe cycle was the manifestation of a belief that there is continuity between objects, places and figures, much like Simon Hantaï ’s Meun paintings which were developed through his ‘pliage’ technique and resulted in bold, amorphous, images of chance. In 1960, Hantaï first developed ‘pliage’, a technique where the canvas is crumpled and folded, then doused in colourful paint. Later, as the canvas is unfolded, the work is revealed for the first time, with areas of positive and negative space having been determined by the element of chance inherent to this technique. Hantaï explained how he tied the canvas “in the four corners, big knots, and in the middle of the crude bag a string which strangles it”. Unlike the initial ‘pliage’ works, there is no centre or axis in the Meuns; the form is liberated and left open to interpretation with the bold resulting images hinting at a figure, whilst also carrying the spontaneity of their conception. The Meun paintings followed a year long ‘silence’ during which Hantaï retreated from the Parisian art world, and abstained from painting. In 1966, a move to Meun – a small village in the Fontainbleau Forest – broke this hiatus through the regenerative impact of a new environment, an unfamiliar studio and excellent light, allowing for a surge in energy to develop ‘pliage’. As Hantaï explained, “folding came out of nothing. You simply had to put yourself in the place of those who had never seen anything; put yourself in the canvas. You could ll a folded canvas without knowing where the edge was. You have no idea where it will stop.” Notes to Editors Charlotte Perriand Considered one of the most influential figures in design and architecture from the early Modern movement, Charlotte Perriand (1903-1999) was instrumental in introducing the ‘machine age’ aesthetic to interior design through the steel, aluminium and glass furniture she created at Le Corbusier’s studio in the late 1920s and 1930s. Following this, Perriand continued to experiment with different materials; developing functional furniture for the masses which perfectly balanced utility and beauty. Perriand’s acclaimed designs include the LC2 Grand Comfort chair and the B306 chaise longue. She has been celebrated through retrospectives at the Design Museum, London and Musée des Arts Décoratifs, Paris. Simon Hantaï Born in Bia, near Budapest, in 1922, Simon Hantaï emigrated to France in 1948, where he lived and worked until his death in 2008. Hantaï enjoyed great success in France during his lifetime, culminating in his representing France at the Venice Biennale in 1982. In 2013 the Centre Pompidou, Paris, mounted a major retrospective of Hantaï’s career, which brought his significant artistic contribution to a new and responsive audience. In 2014 further retrospectives were staged in Europe – at the Ludwig Museum in Budapest and the Villa Medici in Rome. Hantaï’s work is held in public and private collections internationally, including the Musée d’art Moderne de la Ville de Paris; Centre Pompidou, Paris; Museum of Modern Art, New York; and the […]
Read more →

Laffanour Galerie Downtown x Dior Homme x The Webster dinner during Art Basel Miami

Galerie Downtown François Laffanour, in partnership with Dior Homme and The Webster, hosted a private dinner to celebrate the launch of Black Carpet collection and Art Basel Miami Beach.
Read more →

Design Miami 2017

Info Dec 6 – 10 2017 Booth #G13 Meridian Avenue & 19th Street Adjacent to the Miami Beach Convention Center Miami Beach, USA Official website Press kit –>Press kit (PDF) Photos  
Read more →

Chercheurs d’art

François Laffanour sur TV5Monde dans l’émission “Chercheurs d’art”
Read more →

Ettore Sottsass

Laffanour Galerie Downtown, Paris 18 rue de Seine, 75006. Paris PHOTOGRAPHIES DE L’EXPO  
Read more →

FIAC 2017

FIAC 2017 19 – 22 Octobre 2017 Grand Palais – Stand 0.D46   Communiqué de presse/Press kit –> Communiqué de presse (PDF – français)   Plus d’infos : http://www.fiac.com PHOTOGRAPHIES DU STAND  
Read more →

La Biennale Paris 2017

Grand Palais Avenue Winston Churchill Paris, France From September 11th to September 17th 2017. More infos: http://www.biennale-paris.com   During the year 2016, the architectural work of Le Corbusier was recognized as World Heritage of UNESCO. For the Biennale des Antiquaires 2017 at the Grand Palais, François La anour, presents a speci c scenography in tribute to Le Corbusier. It will feature an exceptional sculpture by Le Corbusier surrounded by important pieces by Charlotte Perriand, Jean Prouvé and Pierre Jeanneret. Charles-Edouard Jeanneret known as Le Corbusier (1887-1965) is identi ed above all as an architect, through all his international work that has recently been recognized as UNESCO World Heritage. He was also a great painter who was the leader of the Purist movement. From his furniture, there are very few pieces edited. Most of them are editions made from the 1920’s to 1950’s, which are added furniture designed for special orders, often in series. After exhibiting two rare tapestries designed around 1950, the gallery exhibits the sculpture ‘Ozon Opus I’, made in 1947 and kept in the family of his cabinetmaker and friend : Joseph Savina. Polychrome wood, monogrammed and dated, this masterpiece is named as the Pyrenean village: Ozon, where Le Corbusier had step down in 1940. Jean Prouvé (1901-1984), broad mind, both engineer and builder, worked on the industrialization of prefabricated building elements. He was also very interested in creating furniture that is functional and accessible to everyone, creating standard furniture as well as special orders. A oor bookcase designed in 1951, forming a desk for Villa Dollander, will be presented. Charlotte Perriand (1903-1999), one of the main gures of 1950s design, a free and committed woman, was devoted to creating furniture combining modern lines with traditional materials and techniques. One of its agship furniture: the table of «Free- form» of which a model is exposed. It belonged to a great architect of the Reconstruction, which acquired it in 1960 from the Steph Simon gallery. Several iconic pieces by Pierre Jeanneret (1896-1967), Le Corbusier’s right-hand man but also his cousin, and also contemporary pieces, such as a sculpture by Ettore Sottsass (1917-2007) or lighting by Serge Mouille (1922-1988) are exhibited. All the pieces will be presented in a very attractive setting, in the architectural tradition that has made the reputation of the displays at Downtown gallery.   Communiqué de presse/Press kit –> Communiqué de presse (français) –> Press Kit (english)   PHOTOS OF OUR BOOTH  
Read more →

Old Masters and Modern Design

We are happy to announce our collaboration with Nicholas Hall gallery, a major dealer of Old Master Paintings in New York. Although the combination of 20th-century furniture and Post-War painting has been popular for some years, this is the first time a dealer has juxtaposed European Master paintings and sculpture with modern furniture. This way of displaying both art forms will show that old paintings of real quality look timelessly impressive in a modern setting and, conversely, the enduring, classic qualities of design furniture are reinforced by their dialogue with master paintings and sculpture. NICHOLAS HALL 17 East 76th Street New York, New York 10021 +1 212 772 9100 info@nicholashjhall.com Website: http://www.nicholashjhall.com Photos
Read more →

Design Miami/Basel 2017

Hall 1 Süd, Messe Basel, Messeplatz Basel, Switzerland Booth: G05 From June 13th to June 18th 2017. More info: http://basel2017.designmiami.com   Communiqué de presse/Press kit –> Communiqué de presse (français) –> Press Kit (english)   PHOTOGRAPHIES
Read more →

Robert Wilson – Glass Works

Robert Wilson: Glass Works By Françoise Guichon Robert Wilson is passionate about glass…, keen to try his hand at it… This is what a message from Paula Cooper, whom I’d contacted about another project, told me in 1994. Robert Wilson occupies a topmost rung in the pantheon of artists who, in the early 1970s, changed the way a whole generation in France looked at things, and well beyond theatre, to boot. Together with Trisha Brown, he was one of the first influential contacts we had with the American avant-garde. In Nancy, in 1971, at the invitation of Jack Lang (at that time director of the Nancy University Theatre, and a decade later President Mitterrand’s Minister of Culture), he created “Le Regard du Sourd” [“Deafman Glance”], a seven-hour show that was presented in Paris some months later. As far as I am concerned, it was in Annemasse, in 1974, that I discovered Robert Wilson with his “Letter to Queen Victoria”. That was two years after the 1972 Documenta 5. The intellectual and emotional impact felt in Kassel found something akin to a mysterious and fascinating inner resonance in the dreamlike dimension of time and space peculiar to his world. In 1976, Avignon was the stage for the bedazzlement of “Einstein on the Beach”, and since then, right up to the present day, so many unforgettable works have been forever taking people and audiences by surprise, precisely where we thought we already knew everything there was to know, just like with an old friend. Because if Bob Wilson is the pastmaster of the simplest of structures, he is also peerless when it comes to the variations and infinite nuances that can be brought to them, the subtle marriage of opposites and reversals, which we shall see in his work with glass. When I learnt that Bob Wilson was interested in glass, to the point of wanting to grapple with it, I was greatly surprised, and I hastened to tell him that, whatever he wanted to do, and even if he had no idea what he wanted to do, the CIRVA [International Centre for Glass and Plastic Arts Research] would be delighted to be unconditionally at his beck and call. For more than ten years, from 1994 to 2005, he assiduously attended the workshop, as much as his ceaseless travels all over the world allowed him, for a day or two, or a weekend, and sometimes almost a whole week—and his visits happened once or twice a year. All the pieces were produced in his presence and if they were removed from the furnace after he had left, without having had a chance to see them, he would discover them when he returned, and take charge of their finish down to the last detail, including the cutting, the polishing and the surface treatment. Last of all, when they could all be brought together, he examined them at great length before deciding whether to hang on to them or not. Before he went to Marseille, he had had a chance to see Lino Tagliapietra at work—the most famous of the master glassmakers and artists hailing from Murano. Bob Wilson admired his extraordinary virtuosity, and appreciated the lightness and tension of the shapes he created, which are nowadays copied without so much as a by-your-leave, as if they have forever been part and parcel of the legacy of Murano. The precision of Lino’s gestures and movements, combined with an extreme concentration, so impressed Bob Wilson that at times he enjoyed copying him, thus, in a flash, letting his interlocutor know precisely that he was in cahoots with the maestro. In those days, Lino Tagliapietra went regularly to work at the CIRVA. For our small team, as for guest artists, his collaboration was a huge pleasure and an infinitely precious form of support. Bob Wilson’s early work sessions thus saw the meeting, filled with mutual respect, of two “superstars” coming from spheres apparently well removed from one another. Bob would set up his sketchboard opposite the furnaces—Lino’s realm. Armed with thick coloured pastels, he drew vases or, more exactly, whirlwinds of lines which, around an invisible axis, focused the energy of spirals which all converged in the end. For Bob Wilson, dance lies at the heart of the living world, and of his own work. In observing Lino’s movements, and those of his assistants, with their endless toings and froings from furnace to workbench, creating something akin to an invisible arabesque on the floor, with the motions of the blowpipe swaying in space, raised and then lowered before being returned to the hands of the maestro sitting at his blower’s bench so that he could horizontally turn the glass gob or parison, the gestures—incomprehensible for any layman—of his hand swaddled in wet paper, or extended by wooden and metal tools, the moments of waiting and motionlessness suddenly broken by the extreme briskness of the pace of things, the repetition of the same gestures, in a word, everything in that balletic dance prompted Bob Wilson to appropriate for himself that unknown matter, through gesture and movement. With his first drawings, vortices of lines creating a form all of its own, he probably thought he could transcribe the energy emanating from that grand mechanics straight into the matter. He did not gauge the fact that each one of those precise gestures was incorporated with the same precision in the matter, with no room whatsoever being left for spontaneity. In those early days, he did not realize that to introduce freedom into that thoroughly well-ordered process was the most improbable thing that anyone might envisage doing, and bringing off. The share of freedom authorized by blown glass is confined to intrusions of detail and décor. Introducing dissymmetry, precisely where symmetry reigns, and destabilizing the integrity of a shape, which everything is striving to take to its perfection, calls for great troves of wiliness and inventiveness. Bob Wilson was disappointed by the results. The way the glass was rolled had […]
Read more →

TEFAF New York 2017

  Communiqués de presse/Press kits • Communiqué de presse (français) • Press kit (english)   Photographies
Read more →

TEFAF 2017

TEFAF 2017 Du 10 au 19 Mars 2017. Maastricht.   Communiqués de presse/Press kits • Communiqué de presse (français) • Press kit (english)   Photographies
Read more →

Zona Maco 2017

Infos 8-12 Feb. 2017 CENTRO BANAMEX. SALA D. AV. CONSCRIPTO #311 COL. LOMAS DE SOTELO, MÉXICO D.F. Booth: #ZMD227 -> Press Kit (English) -> Communiqué de presse (Français) -> Comunicado de Prensa (español) Photographies
Read more →

Design Miami/ 2016

Info 30 Nov – 4 Dec 2016 Booth G09 Meridian Avenue & 19th Street Adjacent to the Miami Beach Convention Center Miami Beach, USA Official website Documents Communiqué de presse (Français) Press Kit (english) Photographies
Read more →

Robert Wilson : Glass works

  Communiqué de Presse / Press Kit > Cliquez ici pour télécharger le communiqué de presse en français > Please click here to download the press kit in english   Photos   BOB WILSON, Glass works « Robert Wilson passionné par le verre…, désireux de s’y essayer… ». C’est ce que m’apprenait en 1994 un message de Paula Cooper, contactée pour un autre projet. Robert Wilson occupe une toute première place au panthéon des artistes qui, au début des années 70 ont, en France, changé le regard d’une génération, et cela bien au delà du théâtre. Il fut, avec Trisha Brown, l’un des premiers contacts marquants que nous ayons eu avec l’avant garde américaine. Invité par Jack Lang en 1971 il crée à Nancy « Le Regard du Sourd », spectacle de sept heures présenté quelques mois plus tard à Paris. Pour ma part, c’est à Annemasse que je le découvrais en 1974 avec « Lettre à la Reine Victoria ». C’était deux ans après la « Documenta de 72 ». Les chocs intellectuels et émotionnels ressentis à Kassel trouvaient dans la dimension onirique du temps et espace propre à son univers comme une mystérieuse et fascinante résonnance intérieure. En 1976 ce fut, à Avignon, l’éblouissement de « Einstein on the Beach » et, depuis, et jusqu’à ce jour, tant de créations inoubliables qui ne cessent de surprendre là où, comme c’est le cas pour un vieil ami, nous pensions déjà tout connaître. Car si Bob Wilson est le maître des structures les plus simples, il est aussi celui des variations, des nuances infinies que l’on peux y apporter, de la subtile alliance des contraires et des renversements, ce que nous verrons dans son travail avec le verre. Lorsque j’appris que Bob Wilson était intéressé  par le verre au point de souhaiter s’y confronter ma surprise fût grande et je m’empressais de lui dire que, quoiqu’il désire faire, et même s’il n‘en avait aucune idée, le CIRVA serait heureux de se mettre sans réserve à sa disposition. Pendant plus de dix ans, de 1994 à 2005, il fréquenta avec assiduité l’atelier, autant que ses déplacements incessants aux quatre coins du monde le lui permettaient, quelques jours, un week end, parfois presqu’une semaine et cela une ou deux fois par an. L’ensemble des pièces furent réalisées en sa présence et si elles sortaient du four après son départ, sans qu’il ait pu les voir, il les découvrait à son retour, en dirigeait la finition jusqu’au dernier détail, la coupe, le polissage, le traitement de surface. Enfin, lorsqu’elles purent être toutes rassemblées, il les examina très longuement avant de prendre la décision de les garder ou non. Avant sa venue à Marseille, il avait eu l’occasion de voir travailler Lino Tagliapietra, le plus célèbre de part le monde des maîtres verriers originaires de Murano. Il en admirait l’extraordinaire virtuosité, appréciait la légèreté et la tension des formes qu’il avait crées et qui, aujourd’hui, sont copiées sans réserve comme si elles faisaient partie du patrimoine de Murano depuis toujours. La précision des gestes et des déplacements de Lino, alliée à une concentration extrême, avait tellement impressionné Bob Wilson que parfois il se plaisait à l’imiter faisant ainsi entendre en un éclair à son interlocuteur là où se situait sa connivence avec le maestro. Lino Tagliapietra venait alors régulièrement travailler au CIRVA. Sa collaboration était pour notre petite équipe comme pour les artistes invités une immense joie et un appui infiniment précieux. Les premières séances de travail de Bob Wilson virent donc la rencontre, pleine de respect réciproque, de deux « monstres sacrés » venus de domaines apparemment bien éloignés l’un de l’autre. Face aux fours, royaume de Lino, Bob avait planté son sketch board. Armé de pastels gras de couleur il dessinait des vases ou plus exactement des tourbillons de lignes qui, autour d’un axe invisible concentraient l’énergie de spirales qui finissaient par faire corps. Pour Bob Wilson la danse est au cœur du vivant comme de son œuvre. Observant les déplacements de Lino et de ses assistants, leurs va et vient incessants du four au banc qui dessinaient au sol comme une arabesque invisible, les mouvements de la canne balancée dans l’espace, dressée, puis abaissée avant d’être remise entre les mains du maestro assis à son banc de soufflage pour pouvoir tourner horizontalement la paraison de verre, les gestes, incompréhensibles pour un profane, de sa main calfeutrée de papier mouillé ou prolongée d’outils de bois ou de métal, les moments d’attente et d’immobilité qui soudain viennent rompre l’extrême vivacité du tempo, la répétition des mêmes gestes, enfin tout dans ce ballet, portait Bob Wilson a s’approprier cette matière inconnue, par le biais du geste et du mouvement. Avec ses premiers dessins, tourbillon de lignes générant une forme comme sui generis, sans doute pensait-il pouvoir transcrire directement dans la matière, l’énergie émanant de cette grande mécanique. Il ne mesurait pas que chacun de ces gestes précis, s’inscrivaient avec la même précision dans la matière sans qu’aucune place ne soit laissée à la spontanéité. Il ignorait alors qu’introduire de la liberté dans ce processus parfaitement réglé est la chose la plus invraisemblable que l’on puisse envisager de réaliser et de réussir. La part de liberté autorisée par le verre soufflé se cantonne à des interventions de détail ou de décor. Introduire de la dissymétrie, là où règne la symétrie, déstabiliser l’intégrité d’une forme que tout tend à porter à sa perfection demande des trésors de ruse et d’invention. Bob Wilson fut déçu par les résultats obtenus. Les enroulements de verre avaient perdus toute spontanéité, leur mouvement s’était crispé, était devenu maladroit et, de l’accumulation des lignes, naissait l’idée d’une confusion et non l’élan d’énergie attendu. Il abandonna sa première approche réalisant que les règles imposées par la matière et par le métier devaient être prises pour ce qu’elles sont. Pour arriver à ses fins il fallait les apprivoiser ou les contourner. C’est ce que fit lorsque, plus tard, il trouva, avec le « concept n° 7 », une solution toute wilsonienne à son projet initial. Il demanda au souffleur […]
Read more →

Charlotte Perriand, Jean Prouvé, Pierre Jeanneret : Maîtres de la Modernité

  Maîtres de la Modernité , par Anne Bony Malgré la volonté de l’exposition de 1925 à Paris, de défendre les arts décoratifs et industriels modernes, la Société des artistes décorateurs s’enlise dans la tradition, la Compagnie des Arts Français s’entiche du style Louis Philippe, Jacques Emile Ruhlmann réhabilite l’idée du luxe, il crée pour l’élite. L’opulence et la polychromie sont à l’ordre du jour. La société du Salon d’Automne, invite les membres du Werkbund allemand en 1910. La modernité gronde depuis l’établissement de cette association en 1907 « pour anoblir le travail industriel dans la coopération de l’art, de l’industrie et de l’artisanat » prolongé par la création de l’école du Bauhaus en 1919. Le Corbusier et Ozenfant théorisent la question de la vie moderne en France en 1920, lorsqu’ils publient la revue l’Esprit Nouveau, revue rationaliste française de l’Art Constructif International. Au salon d’automne de 1927, à la fois contemporaine et moderne, Charlotte Perriand présente « Le bar sous le toit », un ensemble influencé par les temps modernes, en acier chromé et aluminium anodisé. La même année, intégrée dans l’agence de Le Corbusier, elle reprend le programme théorique « des casiers, des chaises des tables, l’équipement de l’habitation » et expose en 1929 du mobilier édité par Thonet, chaque pièce porte le sigle Thonet-Le Corbusier-Pierre Jeanneret-Charlotte Perriand. « Établir des standards, consiste à s’occuper exclusivement de perfection. » lui explique Le Corbusier. Elle apprécie Pierre Jeanneret, architecte et cousin de Le Corbusier qui l’assiste depuis 1922. Lors du Salon des Artistes décorateurs de 1928, Charlotte Perriand, René Herbst et Djo-Bourgeois se regroupent pour faire bloc contre la production des « décorateurs ». C’est en 1929, que se produit la rupture. Jeunes et fougueux, ils prônent l’emploi du métal et d’autres matières modernes et créent l’Union des artistes Modernes (UAM), union catalysant leurs idées révolutionnaires. La première exposition du groupe, se tient autour du thème « l’Art moderne, cadre de la vie contemporaine ». Ils se posent en faveur de l’art moderne qui est, pensent-ils « un art véritablement social… un art pur, accessible à tous, et non une imitation faite pour la vanité de quelques-uns. » Le premier manifeste est publié tardivement en 1934, la rédaction en est confiée à Louis Chéronnet, rédacteur en chef de la revue Art et décoration, l’art moderne est une réponse « à leur volonté de doter l’homme du XXème siècle d’un cadre raisonnable, c’est-à-dire capable de donner satisfaction à toutes les exigences matérielles et intellectuelles imposées par la conjoncture. » C’est dans les rangs de l’UAM que s’épanouit le talent militant de Charlotte Perriand, de Jean Prouvé et de Pierre Jeanneret qui y adhère en 1930. La liberté, l’audace, l’indépendance et la solidarité caractérisent le trio. Charlotte Perriand quitte l’atelier de Le Corbusier en 1937 et met au point avant de partir en mission de conseil en art industriel au Japon en 1940, un programme de mobilier avec Jean Prouvé et Pierre Jeanneret et le BCC (Bureau central de construction) créé en 1939 par Georges Blanchon. A son retour elle est chargée de l’équipement des premiers hôtels de Meribel-les-Alues, 1946-1949. En osmose avec l’esprit de la vallée, elle utilise des madriers de sapin pour le mobilier et l’aménagement intérieur. Après la guerre, elle réalise l’équipement de la cellule-type de l’Unité d’habitation de Le Corbusier à Marseille, présentée au salon des arts ménagers, 1950. Son expérience et son goût pour la montagne se manifeste de façon exemplaire dans l’opération des Arcs démarrée en 1967, elle y consacre 20 ans de sa vie en prônant « Les loisirs pour tous ». Véritable entrepreneur Jean Prouvé déploie son art avec volontarisme, homme d’action plus que de discours, il affirme « être de son temps, sans compromis. » Il expose ses premiers meubles en 1930. Sa rencontre avec les architectes Baudoin et Lods en 1933, l’incite à penser une nouvelle façon de faire de l’architecture avec une mise en œuvre structurelle innovante. En 1939, il dépose un brevet pour une construction à ossature démontable, pour les unités de combat, sa première construction à portique. Une réflexion sur les équipements de loisirs, lie pour la première fois, Pierre Jeanneret et Jean Prouvé en 1938. Une collaboration durable s’instaure entre ces deux esprits pragmatiques, grâce à la commande de constructions démontables, préfabriquées et équipées pour la construction en zone libre de l’usine de la Société Centrale des Alliages Légers (SCAL) à Issoire (1939-41). Pierre Jeanneret quitte la France en 1951 pour Chandigarh (Inde), afin de suivre le chantier de la ville administrative et d’en dessiner le mobilier. En 1953, Jean Prouvé complète la réalisation de tables en forme libre, avec Charlotte Perriand, ainsi que des séries de bibliothèques, dont le modèle « Tunisie ». En 1962, Charlotte Perriand part au Brésil où elle compose avec des bois indigènes. De rares commandes spéciales jalonnent son parcours, en 1966 elle équipe la résidence de l’ambassadeur du Japon à Paris. Un sillon exemplaire signé Perriand, Prouvé et Jeanneret, une lecture moderne, abstraite et créative à la fois.     Masters of Modernity by Anne Bony Despite the determined wish of the 1925 Paris Art Deco Exhibition to champion modern decorative and industrial arts, the Society of Decorative Artists became bogged down in tradition, the Company of French Arts became infatuated with the Louis Philippe style, and Jacques Emile Ruhlmann re-invented the idea of luxury, and created things for the élite. Opulence and polychromy were the order of the day. The Society of the Salon d’Automne invited members of the German Werkbund in 1910. Modernity had been making noises since the establishment of that association in 1907 “to ennoble industrial work in cooperation with art, industry and craftsmanship”, extended by the creation of the Bauhaus school in 1919. Le Corbusier and Ozenfant theorized about the issues of modern life in France in 1920, when they published the magazine L’Esprit Nouveau, a rationalist French review of International Constructive Art. At the 1927 autumn salon, which was at once contemporary and modern, Charlotte Perriand presented “Le bar sous le toit”, an ensemble influenced by modern times, made of chrome-plated steel and anodized aluminium. That same […]
Read more →

Biennale des antiquaires 2016

BIENNALE DES ANTIQUAIRES – 10-18 SEPTEMBRE 2016 Grand Palais – 3, avenue du Général Eisenhower – 75008 Paris Du samedi 10 au dimanche 18 septembre de 11h00 à 20h00, nocturne le jeudi 15 septembre jusqu’à 23h00 BIENNALE DES ANTIQUAIRES – 10-18 SEPTEMBER 2016 Grand Palais – 3, avenue du Général Eisenhower – 75008 Paris From Saturday 10th to Sunday 18th september 11am-8pm – Thursday 15th september until 11pm Charlotte Perriand, Jean Prouvé, Pierre Jeanneret, Maîtres de la Modernité Pour la Biennale des Antiquaires 2016 au Grand Palais, François Laffanour, présente une sélection de mobilier de Charlotte Perriand, Jean Prouvé et Pierre Jeanneret. Cet ensemble de pièces exceptionnelles constitue une ré exion autour de la modernité et des innovations apportées par ces créateurs. Charlotte Perriand (1903-1999), gure de proue du mobilier des années 50, femme libre et engagée, s’est e orcée de créer un mobilier aux lignes modernes tout en respectant les techniques et les matériaux traditionnels. Parmi les objets d’exception, sera présentée une rare banquette, à structure en acier, créée en 1966 pour la résidence privée de l’ambassadeur du Japon en France. Jean Prouvé (1901-1984), esprit multiple à la fois ingénieur, architecte et constructeur s’est attelé à l’industrialisation du processus de fabrication créant machines et ateliers a n de proposer un mobilier fonctionnel et accessible à tous. Une rare table Granito, une bibliothèque des années 30, un bureau Présidence, ainsi que des éléments d’architectures. Quand à lui Pierre Jeanneret (1896-1967) est toujours resté en retrait auprès de son illustre cousin Le Corbusier. Méconnu du grand public ce créateur, l’un des tout premier à avoir dessiné des modèles pour Knoll International, illustre le caractère familial de cette avant-garde du design, prenant part aux projets des plus grands de ses collaborateurs et amis. L’unique table à cinq pans qu’il conçut pour la salle à manger de la famille Prouvé en 1943, dans une France occupée sera exposée La Galerie présentera également une unique table à jeux, commande spéciale de 1948 ainsi que quelques très rares pièces provenant de la ville de Chandigarh en Inde.   Charlotte Perriand, Jean Prouvé, Pierre Jeanneret, Masters of Modernity For the Biennale des Antiquaires 2016 at the Grand Palais, François Laffanour, internationally recognized as a post-war architect furniture specialist, presents a selection of pieces by Pierre Jeanneret, Charlotte Perriand and Jean Prouvé. This exceptional set of furniture represents a re exion on the idea of modernity and on the innovations brought by these designers. Charlotte Perriand (1903-1999), one of the main gures of 1950s design, a free and committed woman, devoted to creating furniture combining modern lines with traditional materials and techniques. Among the exceptional masterpieces will be presented a rare bench with a steel structure, designed in 1966 for the private residence of the ambassador of Japan in France. Jean Prouvé (1901-1984), for his part, worked on industrializing the process of furniture making by creating machines and workshops to produce fair, functional and a ordable furniture. By this multidisciplinary spirit, at once engineer, architect and constructor, we present a remarkable shelving system from the 1930s, a rare “Granito” table, a “Présidence” desk and several architectural elements. Throughout his life, Pierre Jeanneret (1896-1967) remained in the shadow of his prominent cousin Le Corbusier. Not very familiar to the general public, he was one of the rst to design furniture for Knoll International. Having taken part in the projects of his most important collaborators and friends, Jeanneret characterizes the familial relationships in this avant-garde of design. In this respect, we are presenting the unique ve sides table that he designed for the dining room of the Prouvé family in 1943, in France at war. We will also show a unique gaming table, special commission from 1948 and some rare pieces from the city of Chandigarh in India.   Photographies Communiqué de Presse / Press kit Communiqué de presse (Français) Press kit (English)
Read more →

Des dons récoltés sur un Trophée de Golf à Saint-Nom La Bretèche

Si le golf de Saint-Nom La Bretèche est chaque année le théâtre du grand Trophée du Cœur organisé par Mécénat Chirugie Cardiaque, le site accueille également d'autres initiatives solidaires à l'instar de la compétition organisée par François Laffanour.
Read more →

Prouvé-Takis @ La Patinoire Royale. La vidéo du montage.

Vidéo du montage de l'exposition "Prouvé-Takis" à la Patinoire Royale, Bruxelles.
Read more →

Design Miami/ Basel 2016

When François Laffanour opened Galerie Downtown in Paris in 1982, he quickly realized the importance of the work of Le Corbusier, Prouvé, Perriand and Jeanneret. These figures were mainly rediscovered thanks to the patient work of Laffanour, whose reputation has been associated with architects’ furniture. In 2002 he acquired the archives of Galerie Steph Simon, which commercialized the work of Prouvé, Perriand, Mouille and Jouve between 1956 and 1974. Through his sensibility François Laffanour mixes postwar design with contemporary furniture by artists such as Ron Arad who has been represented by the gallery since 2004.
Read more →

Design Miami/Basel 2016

Hall 1 Süd, Messe Basel, Messeplatz Basel, Switzerland Booth G05 From June 14th to June 19th 2016. More info: http://basel2016.designmiami.com   Communiqué de presse/Press kit —> Cliquez ici pour télécharger le communiqué de press / Please click here to download the press kit (PDF)   Parutions presse/Press releases Design Miami/ Basel Day 1 (PDF) Design Miami/ Basel Highlights PDF) Leading Figures From The Design World (PDF)   PHOTOGRAPHIES
Read more →

Downtown@Monaco

11 av. Princesse Grace, 98000 Monaco T. +377 93 25 27 14 www.11columbia.com   PHOTOGRAPHIES
Read more →

Galerie Downtown – TEFAF 2016 sur News Art Today

La galerie Downtown participe à la Tefaf 2016. Depuis son ouverture au début des années 80, la galerie Downtown, créée par François Laffanour, a exploré, montré au fil de ses expositions, et réhabilité un domaine laissé en friche, celui du mobilier d’architectes du XXe siècle.
Read more →

PROUVÉ/TAKIS, Patinoire Royale

Collections François Laffanour et Stavros Mihalarias Patinoire Royale de Bruxelles Du 20 Avril au 23 Juillet 2016 Exposition en partie conservée jusqu’au 22 octobre 2016 La Patinoire Royale Rue Veydt 15, 1060 Brussels   Visite virtuelle/Virtual visit —> Cliquez ici pour accéder à la visite virtuelle de l’exposition. —> Please follow this link to open the virtual visit of the exhibition.   VIDEO   PHOTOGRAPHIES   Communiqué de Presse/Press Kit Cliquez ici pour télécharger le communiqué de presse/Click here to download the press kit   More info http://www.lapatinoireroyale.com
Read more →