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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.
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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
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PAD Paris 2016

PAD Paris Du 31 Mars au 3 Avril 2016. Aux Tuileries, Paris. Photographies   More info: Galerie Downtown at Paris PAD fair
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François Laffanour invité dans l’émission “Chercheurs d’Art” sur BFM Business, Mars 2016

François Laffanour invité dans l'émission "Chercheurs d'Art" sur BFM Business, le 4 Mars 2016.
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TEFAF 2016

TEFAF 2016 Du 11 au 20 Mars 2016. Maastricht.   Communiqués de presse/Press kits Laffanour Galerie Downtown – TEFAF 2016 – Communiqué de Presse   Photographies
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François Laffanour in AD

C'est en plein Paris, mais dans une maison aux airs de campagne, que le galeriste François Laffanour a élu domicile.
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Zona Maco 2016

Infos 3-7 Feb. 2016 CENTRO BANAMEX. SALA D. AV. CONSCRIPTO #311 COL. LOMAS DE SOTELO, MÉXICO D.F. Booth #ZMD227 Official website
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Choï Byung Hoon

  Coréanismes, par Olivier Gabet Dorénavant la Corée compte, il n’est plus possible de l’éluder, d’ignorer sa contribution magistrale à l’histoire d’une modernité qui s’écrit aujourd’hui à l’échelle du monde, une histoire qui aime à jouer de –ismes capitaux : orientalisme, japonisme, africanisme, primitivisme, pour dire la curiosité permanente du regard et le goût de l’ailleurs. Il faudra accorder maintenant une place de choix à la Corée, aux artistes et créateurs coréens : Coréanisme, comme un nouveau mouvement à étudier, un autre phénomène à définir. Depuis près de quarante ans, le travail de Choi Byung Hoon témoigne de cette vitalité, de cette inventivité, avec ce qu’elle s’affranchit aussi de traditions nationales ou ancestrales pour aspirer à une dimension universelle qu’elle mérite pleinement. Jeux d’équilibre et association inédite de matières, autant d’objets et de formes que de sculptures possibles, défiant l’apesanteur, où la pierre et le bois se libèrent des lois de la gravité pour ne s’adonner qu’à celles, plus libres et plus singulières, de la grâce. On pourra citer quelques noms d’artistes auxquels les comparer, mais rendre justice à un créateur c’est aussi quelquefois le prendre pour ce qu’il est, lui et lui seul, l’aimer pour ses œuvres, sans retranscrire des filiations et des généalogies. Et ne s’en tenir qu’à l’évidence de l’œuvre, son essence qui tisse le lien exact à notre histoire universelle de la modernité, celle qui fait se rejoindre les temps et les géographies les plus éloignés : et l’Asie si vaste y offre une clé libératrice dès le milieu du XIXème siècle, celle d’une pratique artistique sans hiérarchie, où la peinture – l’art noble en Occident – n’est pas plus essentielle que la céramique, les laques, la nacre, le travail sur le papier, la calligraphie ou le mobilier. Quand on évoque chez Choi Byung Hoon cette œuvre si vaste entre art et design, c’est bien dans ce terreau esthétique et philosophique qu’elle prend sens, sans hiérarchie, sans marginalité, mais dans la pleine page d’une création sans frontière, sans parti pris ni préséances. Et c’est pour cela aussi qu’il nous apparaît aujourd’hui, avec nos yeux contemporains, si immédiat, si naturellement évident. Parce que des siècles, voire des millénaires, nous ont devancé sur cette voie et qu’ils nous disent et redisent cette évidence-là. Au fil des décennies, l’œuvre de Choi Byung Hoon dévoile un répertoire formel d’une rare poésie, où le Spirituel dans l’art enchante une véritable et sincère reverdie, de celles que les plus grands créateurs lui souhaitent depuis Kandinsky. En un art qui laisse méditer sur l’enlacement des formes, l’alliance de matières contraires ou complémentaires, où la pierre devient une ponctuation aérienne, le métal une virgule d’une souplesse graphique inattendue, et le bois ou l’ébène une architecture organique. Regarder ces œuvres de près et de loin, dans l’espace clos d’une maison ou posé dans les aléas d’un paysage, c’est accepter de se laisser émerveiller, position humble et raffinée, par ces équilibres jamais précaires, de longtemps pensés et imaginés, où rien ne serait laissé au hasard, ni le choix des effets zébrés ou lisses d’un marbre, ni la surface du granit, qu’il soit velouté ou âpre au toucher, ni la rondeur sensuelle de l’ébène. Chaque œuvre a une force originelle, quelque chose de sacré et de tellurique. Vents au début du monde, pour reprendre le titre d’une série de meubles sculptures qui ont, depuis leur première présentation, séduit le monde des amateurs d’art. Une force visuelle qui les imprègne dans l’esprit de ceux qui les ont vus, images persistantes. Dès les premiers travaux préparatoires de l’exposition récente Korea now ! au musée des Arts décoratifs, il nous a semblé essentiel de donner une place d’honneur au travail de Choi Byung Hoon, et deux de ses œuvres accueillaient le visiteur à son entrée dans la nef du musée. Une table et une assise de 2008, de la série Afterimage. Dès les premiers jours de l’exposition, Choi Byung Hoon et François Laffanour m’ont fait part de leur désir d’offrir une de ses pièces au musée, elle rejoindra les collections dans quelques semaines. L’entrée d’une nouvelle œuvre dans les collections d’un musée – surtout quand il a été fondé il y a plus de 150 ans pour servir la création et nourrir l’imagination des artistes – est toujours en soi une aventure, un moment privilégié, car elle témoigne d’une époque, d’un mouvement artistique, de la singularité d’un parcours créatif, car elle peut donner à voir, elle peut enseigner et éclairer, elle peut aussi faire réfléchir et enthousiasmer une vocation. Avec Choi Byung Hoon, elle retrouve aussi sa vocation ancienne et vitale, devenir la matière de nos rêves. Olivier Gabet Directeur des musées des Arts décoratifs, Paris.       Koreanisms by Olivier Gabet These days, Korea matters. We can no longer sidestep this fact, we can no longer ignore this country’s masterful contribution to the history of a modernity which is being written today on a world scale, a history which likes juggling with vital -isms– Orientalism, Japonism, Africanism, primitivism, and the like– to express the permanent curiosity of the way people look at things in other places, and their likes and dislikes. It is now important to offer a place of choice to Korea, and to Korean artists and creators: Koreanism, like a new movement up for examination, another phenomenon to be defined. For almost 40 years, Choi Byung Hoon’s work has been illustrating this vitality and this inventiveness, together with the fact that it has also freed itself from national and ancestral traditions and aspired to a fully deserved universal dimension. Interplays of balance and novel associations of forms of matter, involving objects and forms as much as possible sculptures, defying weightlessness, where wood and stone are emancipated from the laws of gravity in order to focus solely on the laws of grace, freer and more specific. We might quote a few artist’s names with which to compare them, but doing justice to a creative artist also means sometimes taking him or her for what he or she is, the artist […]
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Eternity & Instant, Choï Byung Hoon

PHOTOGRAPHIES   DOCUMENTS Dossier de presse / Press kit (Cliquez ici pour le télécharger / Click here to download)   KOREANISMS   Korean artists and creators: Koreanism, like a new movement up for examination, another phenomenon to be defined. For almost 40 years, Choi Byung Hoon’s work has been illustrating this vitality and this inventiveness, together with the fact that it has also freed itself from national and ancestral traditions and aspired to a fully deserved universal dimension. Interplays of balance and novel associations of forms of matter, involving objects and forms as much as possible sculptures, defying weightlessness, where wood and stone are emancipated from the laws of gravity in order to focus solely on the laws of grace, freer and more specific. We might quote a few artist’s names with which to compare them, but doing justice to a creative artist also means sometimes taking him or her for what he or she is, the artist and the artist alone, and appreciating such artists for their works, without transcribing connections and genealogies. And only clinging to the obviousness of the work, its essence which weaves the precise bond to our universal history of modernity, the history which creates a linkage between the most removed of times and geographies: and here Asia, which is so vast, has been offering a liberating key since the mid-19th century, the key to a hierarchy-less art praxis in which painting—the noble art in the West—is no more essential than ceramics, lacqueur, mother-of-pearl, work on paper, calligraphy, and furniture. When, in Choi Byung Hoon’s case, we refer to that extremely vast oeuvre somewhere between art and design, it is indeed in this aesthetic and philosophical loam that its assumes its sense, with neither hierarchy nor marginality, but in the full page of a boundary-free creation, with neither sides taken nor priorities. And this, too, is why it seems to us to be so naturally obvious today, with our contemporary eyes. Because centuries, not to say millennia, have gone before upon this path, and they are telling us and re-telling us this particular obviousness.Over the decades, Choi Byung Hoon’s oeuvre has been revealing a formal repertory of a rare poetry, where the Spiritual in Art enchants a real and sincere rejuvenation, such as the greatest artists have been wishing for ever since Kandinsky. In an art which lets us meditate upon the intertwining of forms, the alliance of opposed and complementary forms of matter, where stone becomes an aerial punctuation, metal a comma with an unexpected graphic flexibility, and wood and ebony an organic architecture. Looking at these works, from afar and close up, in the enclosed space of a house or set in the ups and downs of a landscape, is to accept to let oneself be amazed, a lowly and refined position, by these never precarious balances, long thought about and imagined, where nothing is left to chance, neither the choice of the striped or smooth effects of a piece of marble, nor the surface of granite, be it velveteen or harsh to the touch, nor the sensual roundness of ebony. Each work has an original strength, something sacred and earthly. Vents au début du monde/Winds at the Beginning of the World, to borrow the title of a series of furniture sculptures which, since their first presentation, seduced the world of art lovers. A visual strength which imbues them in the minds of those who have seen them, persistent images.Since the initial preparatory tasks for the recent exhibition Korea Now! at the Museum of Decorative Arts, it seemed to us crucial to give pride of place to the work of Choi Byung Hoon, and two of his works welcomed visitors when they entered the museum’s nave. A table and a chair, made in 2008, in the series Afterimage. During the very first days of the show, Choi Byung Hoon and François Laffanour told me about their desire to offer one of his pieces to the museum, and it will join the collections within a few weeks. The admission of a new work in the collections of a museum—especially when the museum was founded more than 150 years ago to encourage creation and nurture artists’ imaginations—is always an adventure per se, a special moment, because it attests to a day and age, an art movement, and the specific nature of a creative career; and because it can display, teach and enlighten; it can also create reflection and enthusiasm about a vocation. With Choi Byung Hoon, it also rediscovers its ancient and vital brief—becoming the stuff of our dreams. Olivier Gabet Director of the Museums of Decorative Arts, Paris.
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Design Miami/ 2015

Info 2-6 Dec. 2015 Booth G09 Meridian Avenue & 19th Street Adjacent to the Miami Beach Convention Center Miami Beach, USA Official website Documents Communiqué de presse/Press Release – Design:Miami 2015 Photographies © DesignMiami
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Le Corbusier : mobilier 1929 – 1960

PHOTOGRAPHIES   DOCUMENTS Dossier de presse / Press kit (Cliquez ici pour le télécharger / Click here to download)   LE CORBUSIER, AN ART OF SYNTHESIS   As much in his architecture, his paintings, and his sculpture, as in his writings, Le Corbusier sought harmony, a form of synthesis of the arts. “Are not a picture, a sculpture, a house, a palace, a city made in any way of small pieces of matter and threads of one and the same occupation of the mind?” (1948)Home Equipment He then thought about the installation of the dwelling, and in no time came up with the idea of a commercial company which would sell all the elements of home equipment. They would be mass produced, to standard measurements, to meet the many different needs of a rational set of furbishings: windows, doors, standard racks serving as cupboards and forming part of the partition walls… The Citrohan No 2 House, the model of which was exhibited at the 1922 Autumn Salon, was the first complete prototype of the “machine à habiter”. Le Corbusier declared: “There is nothing shameful about having a house which is as practical as a typewriter”. “Furniture is a servant”, he announced, seven months before he met Charlotte Perriand. He had sketched out “the different ways of sitting which seats had to be adapted to”. He drew his ideas from the range of Maple & Co. furniture and Thonet seats, which he regarded as standard objects; and he also drew inspiration from technical furniture for sick and injured people in his “sitting machines” programme. He drew up the basic diagrams. When she joined Le Corbusier’s agency in 1927, Charlotte Perriand took up the theoretical programme “of racks, chairs and tables” developed since 1924 with Pierre Jeanneret. “Le Corbusier expected me to give life to furniture”. Le Corbusier provided the avenue of research, then she took charge of producing the plans and making the equipment. The history of the lounge chair conveyed the master’s approach. First of all, he set about studying William Morris’s chaise longue/easy chair, then Dr. Pascaud’s “Surrepos” chaise longue, all tentative research; Charlotte Perriand then finalized the studies and drawings, so the work involved a collaborative method. Le Corbusier devised and drew up the programme with Pierre Jeanneret; he was the investigator, while Charlotte Perriand was indisputably the kingpin. The programme “of chairs and tables” was finalized in the autumn of 1928, while the racks, the last element of Le Corbusier’s trilogy, were still on the drawing board. Charlotte Perriand designed them in metal, borrowing the concept of the wooden racks created in 1925 by Le Corbusier and Pierre Jeanneret, for the Esprit Nouveau Pavilion. For publicity purposes, the Thonet company financed the first exhibition of the programme L’équipement intérieur d’une habitation in an area of 100 sq. m./1,100 sq.ft, at the Salon d’Automne in December 1929. She provided the racks and found herself associated with all the publications mentioning the furniture… It was a period of struggle and involvement. The mass-produced edition would finally be taken on by Thonet. The furniture was also designed for private homes, as part of the architecture programme. Immediately after the war, Le Corbusier finally achieved his vision of the vertical city (1945-1952) with the Unité d’Habitation in Marseilles. The apartments with their double east-west orientation, arranged on two levels, had a double-height living room, while the furnishings were carefully designed to rationalize the space. Charlotte Perriand was once more called upon for the cell-type furniture (1947) and the kitchen, (1947-49). She presented the whole thing at the Salon des arts ménagers (household arts) in the “Habitation” section in 1950. The roof terrace proposed collective furnishing, children’s gardens, and swimming pools. The notion of “standards” was probably the greatest innovation made by Le Corbusier, Pierre Jeanneret, and Charlotte Perriand, perfectly adapted to requirements. Paradoxically, their origin lay in the classical tradition and the anonymous production of popular arts and crafts.   Anne Bony, October 2015 Translation Simon Pleasance
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Chandigarh, Pierre Jeanneret

  SOMMAIRE Pierre Jeanneret, par Dominique Perrault Pierre Jeanneret, cousin et associé de Le Corbusier, Chandigarh Project, Mobilier Pierre Jeanneret, Le mobilier de Pierre Jeanneret en Inde.
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Design Miami/Basel 2015

Hall 1 Süd, Messe Basel, Messeplatz Basel, Switzerland Booth G23 From June 16th to June 21st 2015. More info: http://basel2015.designmiami.com   PHOTOGRAPHIES     Photos © Marie Clérin – Galerie Downtown François Laffanour.
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Jean Prouvé et la SCAL, Issoire (1939)

  PHOTOGRAPHIES     Jean Prouvé and the SCAL, Issoire (1939) France was experiencing hard times; the war broke out in 1939. Industry had to be re-organized to produce armaments and, in particular, aircraft. With the government’s support, it was decided that the Société du Duralumin: the SCAL (Société central des alliages legers—the Light Alloy Company) should become involved in an extremely innovative project as a factory for laminating sheet metal. The installation of this large industrial endeavour at Issoire had many advantages: the geographical position was strategic, bordered by the Allier, the energy potential was favourable, and in that agricultural region there was plenty of manpower. The Perret brothers, who were architects, were accordingly appointed to build that colossal processing unit, whose structure was planned with a reinforced concrete frame. At the end of 1939, once the project had been given the go-ahead, it turned out to be necessary to urgently produce facilities to accommodate the engineers and draughtsmen responsible for the programme to construct and develop the factory. To meet that requirement, an additional phase was embarked upon, resulting from a meeting between Jean Matter, who was appointed the SCAL’s representative administrator in November 1939, Marcel Lamourdedieu, an engineer, and Georges Blanchon, a journalist versed in the field of business and the arts. Their shared thinking was in agreement over the choice of a dedicated team to meet the constructive challenge within a short time-frame. Already linked by their architectural thinking, and by friendship, Jean Prouvé, a builder whose production workshops were in Nancy, joined forces with the architect Pierre Jeanneret, who was Le Corbusier’s cousin and righthand man, and Charlotte Perriand, who was specialized in equipment, and was a former collaborator in the Rue de Sèvres workshop. They were all persuaded that the architectural solution resided in fast, cheap new procedures. The execution of the commission placed with the SCAL for the buildings for accommodating the staff swiftly took shape, based on the theory of a machined house (patented) designed by Jean Prouvé, and adapted for use by Pierre Jeanneret. Charlotte Perriand was involved in the designs for most of the furniture: tables, brackets and stands, seating… On the basis of Jean Prouvé’s research into pre-fabrication, two technical solutions were used to construct the buildings. The first system was based on an external metal frame, already devised for a competition for houses that could be dismantled for the Air Ministry (1938) and first tested at the holiday camp in Onville (1939) with the architects Jacques and Michel André. That same year a commission from the 5th and 6th army confirmed the appropriateness of the technical proposition: the outer frame formed by tapering pillars made of sheet steel was completed by steel sections which gave the whole structure its rigidity; metal sheets covered the buildings and wooden cladding panels provided the finish for the walls. A module complying with this principle was dispatched to Issoire, designed by Jeanneret, to act as a guardroom—it was eventually used as cabin for the allotments. The second system developed a more complex structure with an axial portico placed inside the building to support the ridge beams. The model registered in February 1939 had also been envisaged in 1938. On the SCAL construction site, it was adapted and re-thought by Pierre Jeanneret in its volumes and combinations, so that it could be adapted to the requirements in question. The principle was based on a load-bearing metal structure in the shape of an “upturned V”. The building housing offices and the design workshop was developed on two levels in March 1940; the club for the engineers was put up a few months later. The three buildings for the bedrooms, as well as the infirmary and the dispensary, offered a structural variation with porticos in the shape of “upturned U’s”. The defeat of June 1940 brought the construction site to a standstill. Charlotte Perriand was summoned to Japan on a mission, left on 15 june 1940, and did return to France until 1946. After a stay in the Pyrenees, Pierre Jeanneret met up with Georges Blanchon, who created the BCC (Bureau Central de Construction) in Grenoble, to carry on the work at Issoire. Because Nancy was in the occupied zone, Jean Prouvé had trouble meeting his engagements. There was not enough steel for the structure, so he made up for this, for subsequent orders, with walls, a load-bearing structure and porticos all made of timber (1942). The rationing restrictions and various other problems did not dim their enthusiasm or their faith in the project, and they came up with other solutions. The Issoire project helped to confirm the suitability of the industrialization of architectural elements, and made it possible to establish the prefabrication principle, in an innovative way. The Jeanneret-Prouvé team had demonstrated the importance of a close collaboration between the architect and the builder, to develop projects that were at once practical, aesthetic, and economical. This was a brilliant premonition, on the eve of a period when the urgent need for housing had made itself cruelly felt. That avant-garde architectural gesture on the SCAL’s turf in Issoire was nevertheless enough to attract the attention of the authorities in charge of reconstruction immediately after the war ended. That human and technical adventure remains etched as a ground-breaking step in the history of modern architecture. Anne Bony, mars 2015.
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DOWNTOWN@MONACO

  11 av. Princesse Grace, 98000 Monaco T. +377 93 25 27 14 www.11columbia.com   DOWNTOWN@MONACO   In collaboration with Gallery 11 Columbia, François LAFFANOUR, specialist in XXth century architect pieces of furniture holds an exhibition with emblematics creations by Charlotte Perriand, Jean Prouvé, Pierre Jeanneret, Serge Mouille, as well as contemporary design by Ron Arad, Choi Byung Hoon, Garouste and Bonetti and Ingo Maurer. Designers, designers, architects, builders, they wanted and want to be actors of a new world, and generous. Through «a collector’ s apartment», the itinerary, from the bedroom to the dining room diplays his eclectic choice and his taste for «staging». Each of piece, as well as photographies by Tom Fecht and Frank Perrin, and Takis’ s sculptures all come together in perfect harmony, and find the right place. Exhibition from April 12th to June 22nd 2015.   PHOTOGRAPHIES   Photos © Sidney Guillemin DOCUMENTS Dépliant de l’exposition en PDF / PDF of the leaflet Communiqué de presse  
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François Laffanour sur France 2 – Télématin du 14 Mars 2015

À l'occasion de la TEFAF 2015, François Laffanour invité de l’émission « Télématin » le 14 Mars 2015 sur France 2.
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François Laffanour dans l’émission “Goûts de Luxe Paris” sur BFM Business

François Laffanour invité de l’émission « Goûts de Luxe Paris » le 20 Février 2015 sur BFM Business.
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TEFAF 2015

TEFAF 2015 Du 13 au 22 Mars 2015. Maastricht.   Communiqués de presse/Press kits – Download Press kit in english (PDF) – Télécharger le communiqué en français (PDF)   Photographies   Videos François Laffanour invité de l’émission « Goûts de Luxe Paris » le 20 Février 2015 sur BFM Business. À l’occasion de la TEFAF 2015, François Laffanour invité de l’émission « Télématin » le 14 Mars 2015 sur France 2.
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Zona Maco 2015

Info 4-8 Feb. 2015 CENTRO BANAMEX. SALA D. AV. CONSCRIPTO #311 COL. LOMAS DE SOTELO, MÉXICO D.F. Official website Photographies
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Tom Fecht : Eclipse

Tom Fecht “ECLIPSE”, 25 unique vintage prints 2011 – 2014
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Masterpieces

  SOMMAIRE Masterpieces, par Anne Bony-Gurrey Bureau « Présidence », Jean Prouvé Table de conférence, Jean Prouvé Bibliothèque reposant sur bahut, Charlotte Perriand Applique « Signal », Serge Mouille Table à six pans, Charlotte Perriand Fauteuil amphithéâtre, Jean Prouvé Bureau elliptique, Pierre Jeanneret
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Design Miami/ 2014

Info 2-7 Dec. 2014 Meridian Avenue & 19th Street Adjacent to the Miami Beach Convention Center Miami Beach, USA Official website Articles • Design Miami- 2014 Post-show press release (PDF) • Wallpaper – 16 déc. 2014 (PDF) Photographies
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The Salon art+design NYC, 2014

13-17 Nov. 2014   Official website
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PAD London 2014

October 16/20 2013 Berkeley Square W1 london Galerie Downtown François laffanour on PAD London 2014 website : http://www.pad-fairs.com/london/en/exhibitor/galerie-downtown/   Photographies Photos © Marie Clérin   Vidéo de l’événement/Video of the event
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CONCERT PRIVÉ #6 – FRANÇOIS COUTURIER & ANJA LECHNER

  Concert Privé #6   François Couturier Piano Anja Lechner Violoncelle « MODERATO CANTABILE » 19 Septembre 2014 Downtown Studio 22 Rue Visconti 75006 Paris Film & Montage : François Leturcq  
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Design/Miami Basel 2014

16/22 June 2014 Hall Süd / Messe Basel Switzerland Galerie Downtown François laffanour on Design Miami/Basel 2014 website : http://basel2014.designmiami.com/design-galleries/view/galerie-downtown-francois-laffanour7     VIDÉO DE L’ÉVÉNEMENT/VIDEO OF THE EVENT  
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CONCERT PRIVÉ #5 – LOUIS SCLAVIS – DOWNTOWN STUDIO

  Concert Privé #5   Louis Sclavis Saxophone et clarinette Solo 15 Mai 2014/ May 15th 2014 Downtown Studio 22 Rue Visconti 75006 Paris Film & Montage : François Leturcq    
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Zoom sur la TEFAF, reportage au 20h de TF1

La Tefaf est une foire de prestige où accourent du monde entier les collectionneurs fortunés. Près de 280 stands abritent les plus grands marchands d’art de la planète. Source vidéo : Zoom sur Maastricht : la Tefaf, grand rendez-vous éphémère de l’art. Le journal de TF1
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TEFAF 2014

TEFAF. DU 14 au 23 Mars 2014. Maastricht. Tour Virtuel Photographies Photos © Marie Clérin Presse   TEFAF dans stiletto.fr : voir l’article   Plus d’infos : http://www.tefaf.com
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Jean Prouvé (1901-1984)

Du 20 janvier au 21 février 2014, Laffanour – Galerie Downtown / Paris présente la chambre « Antony » conçue par Jean Prouvé pour la résidence universitaire Jean Zay en 1954. Cette chambre mythique recrée au 18 rue de Seine, complétée de meubles rares comme un bureau Présidence de 1952 de couleur verte et de pièces uniques tel l’escalier de la Maison Borot, les intérieurs chers à Jean Prouvé. Une occasion de redécouvrir l’oeuvre de cet ingénieur – architecte, ferronnier de formation, qui donna aux réflexions sociales de l’après-guerre une application pratique.   Photographies
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L’Art français à la conquête des USA

François Laffanour, dans le Grand Journal de New York
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Charlotte Perriand et la galerie downtown dans le figaro madame

Charlotte Perriand, qui a traversé presque la totalité du siècle dernier (1903-1999), est un des géants de l’architecture et du design, mais un peu cachée par l’ombre de Le Corbusier ou de Jean Prouvé. Associée à Le Corbusier et à son cousin, Pierre Jeanneret, son œuvre est extraordinairement riche, influencée en particulier par ses voyages au Japon à partir des années 1940. « Elle a travaillé sur l’art d’habiter, explique le galeriste François Laffanour. Elle développe une esthétique de vie qui est une sorte de philosophie. Ce qui est important dans l’œuvre de Charlotte Perriand, c’est son génie pour imaginer un mode de vie.»
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Concert Privé #4 – Régis Huby – Downtown Studio

  Concert Privé #4   Régis Huby Violon Solo 12 Décembre 2013/ December 12th 2013 Downtown Studio 22 Rue Visconti 75006 Paris Film & Montage : François Leturcq
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Galerie Downtown in Design Boom

The paris-based galerie laffanour showed an extraordinary solo exhibition of the architect and designer’s work at design miami/ 2013: ‘charlotte perriand – a house in montmartre’ created in the 1950s brought together a selection of rare designs created for maison borot –  the residence of the industrialist jean borot – which brilliantly encapsulates the breadth of charlotte perriand’s work. highlights on view from maison borot were a bookcase (the culmination of her life-long research and interest in bookcase design), a white lacquered wood hanging system, a mahogany console table and two one-off pieces including a ceiling lamp and settee. the borot house, one of perriand’s last works, completely captured the zeitgeist of her time. the exclusive pieces showcased in the exhibition offer a never-before-seen glimpse into the exceptionally sophisticated and comprehensive vision of charlotte perriand.
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Design Miami/ 2013

DESIGN MIAMI December 4 – 8 Miami Beach, USA           An article about Galerie Downtown at Design Miami 2013: http://www.designboom.com/design/galerie-laffanour-presents-charlotte-perriand-at-design-miami-12-03-201/
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Galerie Downtown on wallpaper’s website

Galerie Downtown will be showing a Charlotte Perriand collection (whose work pops up in various places across Miami during the week) designed for the Borot family home in Paris.
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François Laffanour on 1stdibs.com

The rue de Seine is a prime Paris destination for art, Art Deco furniture and haute design of all stripes. And so it makes sense that it was here, in the heart of Saint-Germain-des-Pres, that French dealer Francois Laffanour opened his first Galerie Downtown in 1982, dedicating it to the furniture of 20th-century French modernist architects Jean Prouve, Charlotte Perriand, Pierre Jeanneret and Le Corbusier, and to the lighting of Serge Mouille. By 2008, when he expanded into a stunning space across the street, the once-forgotten original designs of the. 20th-century masters had been transformed into highly coveted collectibles, and the works of the contemporary London-based Israeli architect Ron Arad had joined Laffanour's inventory. Back in 2006, meanwhile, Laffanour opened Downtown Studio — around the corner from these two, on the rue Visconti — to host events including concerts and theatrical productions and to house outsize pieces from Lafannour's own reserves.
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The Salon art+design NYC, 2013

The Salon art+design November 15-18, 2013   PARK AVENUE ARMORY 643 Park Avenue New York, NY 10065 Booth # A1   Photography Sari Goodfriend Photography.
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Une table : Pierre Jeanneret pour Madeleine et Jean Prouvé

Du 24 Octobre 28 Décembre 2013, la galerie Downtown François laffanour présente une table exceptionnelle de Pierre Jeanneret, ainsi que des pièces de Jean Prouvé. Film   Photographs   Photos : © Marie Clérin Galerie Downton François Laffanour
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PAD London 2013

October 16/20 2013 Berkeley Square W1 london Galerie Downtown François laffanour on PAD London 2013 website : http://www.pad-fairs.com/london/en/exhibitor/galerie-downtown/ Photos © Marie Clérin
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Jean Prouvé par Phillip I. Danzig

Le constant travail de recherche mené pendant quarante ans par le français Jean Prouvé, architecte industriel, pour améliorer les techniques de fabrication et développer l'utilisation d'éléments métalliques a abouti à la construction d'édifices d'une grande importance. (...)
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Design Miami/Basel 2013

11/16 June 2013 Hall Süd / Messe Basel Switzerland Galerie Downtown François laffanour on Design Miami/Basel 2013 website : http://basel2013.designmiami.com/design-galleries/view/galerie-downtown-francois-laffanour5   Photos © Marie Clérin
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François Laffanour et Patricia Trautmann dans Chercheurs d’art à Paris (BFM TV)

François Laffanour et Patricia Trautmann dans Chercheurs d’art à Paris. 4 mai 2013. BFM TV.
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Retour sur l’œuvre de Jean Prouvé (France Culture)

Jean PROUVÉ était ferronnier d'art, fabricant de meuble, forgeron, constructeur, architecte ou encore designer. Né en 1901 et disparu en 1984, Jean Prouvé laisse une œuvre importante. Pourtant, si l'on connait en général son nom, rares sont ceux qui connaissent réellement son oeuvre. C'est pourquoi Nancy, sa ville natale, a décidé de lui rendre hommage en cette année 2012, à travers un vaste projet qui commencera le 30 juin prochain et qui durera jusqu'à octobre.
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Made in Japan

Made in Japan Du 24 mai au 29 juin 2013 Vernissage le jeudi 23 mai de 18h à 21h, au 18 Rue de Seine, 75006, paris.   Du 24 mai au 29 juin la galerie Downtown François laffanour présente un ensemble de pièces de Charlotte Perriand, Kenzo Tange, Isamu Noguchi, Yunya Ishigami, Tokujin Yoshioka, et Shimizu Hisakazu. Film       From 24 May to 29 June, the Downtown François Laffanour Gallery is showing pieces by Charlotte Perriand, Kenzo Tange, Isamu Noguchi, Yunya Ishigami, Tokujin Yoshioka, and Shimizu Hisakazu. I have often wondered what seduced Charlotte Perriand in Japan, and where the inspiration for her work lay. The answer seems to me to be exigency. The exigency of form, material, and know-how. The exigency to achieve the best result there can be. This is what may link these two so distant civilizations, one Gallic-Latin-Catholic, the other Buddhist-Shinto. Here we rediscover the encounter between emblematic artists of Japan and France, two demanding aesthetes and two friends, Kenzo Tange and Charlotte Perriand. I have found their works in different places in Japan, hidden places in the middle of cities which are forever changing with new constructions. These places have been inhabited by prominent Japanese minds, an entrepreneur with a passionate interest in architecture, a great writer and close friend of Sakakura, Charlotte’s associate… And the intellectual and aesthetic exigency of all the people involved guarantees the permanence of these works, by bringing out their particular sensibility. Yumiko Seki – Laffanour Presse “Made in Japan” Dans Figaroscope. Voir le PDF “Made in Japan” Dans Le quotidien de l’art. Voir le PDF      
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