Fondation Cartier

 © Thomas Salva/Lumento for la Fondation Cartier pour l'art contemporain

Paris is a city of windows, I thought as I thought outside our hostel one morning, facing the canal, watching people open their windows to peak out at the day. We’ve learned that in certain buildings windows could denote the hierarchy of those residing with in—shopkeepers on the street level, with the large display windows. Just above them lived with wealthy, with large windows and ornate carvings and wrought iron on the outside. The social hierarchy falls as you rise in the structure, and the windows grow smaller and narrow, until finally you reach the top floor with some windows as small as a porthole. Roof top gardens and sunroofs that adorn the top of many Parisian buildings, is a modern desire.

L'immeuble de la Fondation Cartier pour l'art contemporain, à Paris. Architecte : Jean Nouvel © Jean Nouvel / Photo © Philippe Ruault

Paris is a city of glass—ever since the modern age, Paris has strived for feats of engineering marvel, including spectacular works of glass—a “palace” of glass and steal, windows that trace the whole perimeter of the house to let in the light, a whole façade of glass—the tradition carries on into contemporary architecture. The Fondation Cartier is glass wall facing the neighborhood and the building itself is a clear glass structure with a first floor and basement gallery used to exhibit contemporary emerging and establishing artists. 

  

Through these glass walls you view the first glimpse of Couple Under an Umbrella, a hyperrealistic sculpture by artist Ron Mueck, one of nine sculptures in the solo exhibition on display at the Fondation Cartier. The striking sculptures, predominately human figures, were expertly curated in collaboration with the artist, with the use of mobile walls that would strategically block off or reveal the glass wall/garden backdrop of the first floor gallery. Closed off and open, the space juxtapose itself with the work, just as the figures are juxtaposed with each other, vulnerable, exposed, larger than life in their detail and humanity even when they are scaled to a less than average height. Descending into the lower gallery, devoid of the external world and natural light, the exhibition itself descends into a its own darker realm, where the subconscious, covert, and internal of the artist and the viewer is now on display.

(Below: Journal investigations from the Ron Mueck show.)