For FIAC, Projects Sprawl All Over Paris as Dealers Ring Up Sales Inside the Grand Palais

by Laurie Hurwitz, artnet News

“Art is what helps draw us out of inertia.” On the street in front of the Grand Palais, where the dynamic 43rd edition of the FIAC or Foire Internationale d’Art Contemporain, Paris’s international art fair, is being held from October 20 to 23, one can read the words of philosopher Henri Michaux. Spelled out in Michaux’s personal alphabet of symbolic letters, the phrase is the work of Jacques Villeglé, the 90-year-old French affichiste and multimedia artist best known for his lacerated posters.

The words are apt for this year’s fair, which, offering up a bold response to a lukewarm art market and a fragile European economy in a city wounded by the recent terrorist attacks, boldly spills out beyond its usual four walls, into the streets and beyond.

In the most important change this year, the fair’s director, Jennifer Flay, told ARTnews she was especially proud of “reclaiming this public space for art”—she obtained permission from Paris’s mayor, Anne Hidalgo, to close the street in front of the Grand Palais, the majestic Avenue Winston Churchill, to traffic, transforming the street into both a pedestrian zone as well as a showcase for new pieces, including Villeglé’s philosophical phrase and commissioned works by Lawrence Weiner and Ernesto Neto.

Jacques Villeglé’s “L’art est ce qui aide à tirer de l’inertie” – Henri Michaux (2016), on Winston Churchill Avenue, part of FIAC On Site.
MARC DOMAGE/©2016 FIAC/COURTESY GALERIE GP & N VALLOIS, PARIS

The street also leads to a completely new sector, On Site, for sculpture and installations, both contemporary and modern, hosted opposite FIAC’s main venue in the smaller, graceful Petit Palais (which, like its neighbor, was erected for the Exposition Universelle in 1900). Flay considers the sector, agreed upon after four years of discussion with the museum, “the fair’s most significant initiative.” She added, “FIAC is, I believe, the only fair that provides our participants with real museum conditions. We have already used outdoor venues for large-scale sculptures, but this is the first time we have been able to do it indoors.”

Organized in collaboration with Christophe Leribault, director of the Petit Palais, and curator Lorenzo Benedetti, On Site presents nearly 40 sculptures and installations by 35 artists in a more classic “museum” context, creating surprising juxtapositions in the palace’s elegant galleries and gardens or on the esplanade in front of it. Funny, jarring, subtle, and outlandish, the show brings together such works as Atlantis, by Mandla Reuter, a large-format, inflatable balloon; Alain Bublex’s eclectic, boxy installation dealing with different architectural viewpoints; new, white plaster horse “skins” by Guillaume Leblon; and works by Jan Fabre and Barry Flanagan. Others works on display include Marcel Duchamp’s Boîte-en-valise—“because we don’t just deal with the super-contemporary,” said Flay; Damien Hirst’s Anatomy of an Angel (inspired by Alfred Boucher’s 1920 sculpture L’Hirondelle, but revealing anatomically human cross-sections of the angel’s body), Abraham Cruzvillegas’s Empty Lot light sculptures; Lee Ufan’s minimalist Relatum; and Not Vital’s stainless-steel Head No.4.

Guillaume Leblon, Lost Friend, 2014, installation view, at Institut d’art contemporain, Villeurbanne/Rhône-Alpes, 2014.
©BLAISE ADILON/COURTESY GALERIE JOCELYN WOLFF

As part of another initiative, “Parades for FIAC,” which introduces a program of performative, cross-disciplinary practices, the fair had already begun showcasing unusual works in new spots three days before its opening. The program, which began with Corbeaux, a performance at the Louvre by Moroccan dancer and choreographer Bouchra Ouizguen, also includes bird chants by Louise Hervé & Chloé Maillet and a poetry reading by Alex Cecchetti on the theme of heaven and hell, as well as versions of Black Sabbath’s “Iron Man” performed by drummer Nicolas Fenouillat, dressed in a full suit of medieval armor. The performances are being held in the Grand Palais and in empty spaces of the Palais de la Découverte, an old Paris science museum behind the Grand Palais (which has opened up the doors connecting the two spaces); the Gare du Nord train station; and the courtyards of the Louvre.

This year’s FIAC is also continuing to sponsor numerous “Hors les Murs” exhibits around town, although for the moment, it has postponed its sister fair, Officielle, a satellite event that had been showing younger galleries along the River Seine, further from the Grand Palais, at Paris at the Docks / Cité de la Mode et du Design.

At the Tuileries Gardens, this year’s visitors can see Thomas Kilpper’s working lighthouse for Lampedusa, intended to welcome refugee; a hair flag by Claude Closky; Ron Arad’s entitled crazy shell structure, Armadillo Tea Pavilion, which looks like an enormous caterpillar; Mircea Cantor’s intersecting metal flags; and a pair of resin trees by French duo Christophe Berdaguer and Marie Péjus. The Place Vendôme (where Paul McCarthy’s scandalous butt-plug controversial tree was shown two years back) has now become a monumental forest by Ugo Rondinone—according to Flay, “the largest artwork he has ever made… five sculptures of olive trees, a monumental symbol of peace and nature, along with five anthropomorphic figures in stone”; and the Musée Eugène Delacroix has been invested by Stéphane Thidet with a living sound sculpture reminiscent of Thoreau’s Walden.

Ron Arad’s The Armadillo Tea Pavilion, installation view, at the Jardin des Tuileries, Paris.
MARC DOMAGE/PRESENTED BY REVOLUTION PRECRAFTED

And inside the Grand Palais, the fair itself is also spilling over into the Salon Jean Perrin, a roughly 3,200-square-feet space with a cathedral-like ceiling 33 feet high, where nine galleries are presenting solo shows of late 20th-century artists whose work is “currently undergoing critical reassessment and therefore participating in the movement to reevaluate under-appreciated artists,” said Flay. Those galleries include Endre Tót, Darío Villalba, Irma Blank, Henri Chopin, Tetsumi Kudo, György Jovánovics, and writer William S. Burroughs (whose painting Out of the Closet, for instance, is on display).

In all, the fair’s lineup brings together 186 galleries from 27 countries—up from last year’s 173 galleries from 23 countries—including 43 new exhibitors, including first-timers from Hong Kong, Hungary, Japan, and Poland. Heavy hitters include Perrotin’s mostly black-and-white installation of work, curated by Elmgreen & Dragset; Sadie Coles HQ’s display of Urs Fischer’s vibrant snakelike sculpture and foam chairs; and Gagosian’s hyperrealist couple on a bench by Duane Hanson. Ten emerging galleries, in the fair’s Lafayette Sector, who receive financial support to appear, include Paris’s Galerie Allen and TORRI, London’s Arcade and Hollybush Gardens, Experimenter from Kolkata, Freedman Fitzpatrick of Los Angeles, Dubai’s Grey Noise, joségarcía, mx from Mexico City, and Berlin’s Kraupa-Tuskany Zeidler (with monumental works by Guan Xiao) and Micky Schubert.

Aerial view of the 2016 edition of FIAC, at the Grand Palais.
MARC DOMAGE/©2016 FIAC MARC DOMAGE/©2016 FIAC

“There may be a slowdown in the art market, but we are not in crisis,” said Flay. Her statement is so far holding true for several galleries, including Sprüth Magers, who reported strong sales on opening day, including George Condo’s Untitled (Head #2) for $550,000 and a Karen Kilimnik painting for $110,000. Skarstedt Gallery also reported selling a George Condo, Untitled (Head #1), for $500,000, and Mike Kelley’s Three Part Yam Stack, from 1990, made of found stuffed animals, for $275,000.

Several other galleries also reported sales of work, including a Jean Dubuffet by Waddington Custot from London; pieces from Tornobuoni, Lehmann Maupin, and White Cube; Lisson, including works by Cory Archangel and Lee Ufan. And around the city, from the streets in front of the fair and radiating outwards, the city is buzzing everywhere with activity, from the YIA (Young International Artists) fair at the Carreau du Temple to Asia Now, the Outside Art Fair (now in its fourth edition), the Paris Internationale fair, Private Choice, and Rooms Part, along with “La colonie,” the new space by Kader Attia, winner of this year’s Marcel Duchamp prize, a sort of bar/restaurant/think tank in northeastern Paris, at a pleasant remove from the freneticism of FIAC.

 

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Jean Nouvel’s prefab ‘Simple’ home can be reconfigured from the inside out

by Amelia Taylor-Hochberg, Archinect News

The modular, prefab ‘Simple’ house took only two days to build, and is now installed in Paris’ Tuileries Garden, part of the FIAC art fair. Nouvel affectionately referred to Simple as “a mobile home that stays still,” describing the moveable windows and partitions within the structure.

Produced with Revolution Precrafted, a prefab company producing “limited-edition” properties, the structure is made of lightweight aluminum exterior panels, with wood and foam interior lining. “All of the essential notions relating to housing must be condensed into a single object that can be built very quickly and inhabited by one, two, three or four people within the same volume,” said Jean Nouvel of the home.

Ranging in designs from 40-160-square-meters, versions of the Simple house are available to purchase from Revolution, but for now the home will exist simply as a pavilion on the Tuileries grounds until October 28.

Bigger than ever, the 43rd edition of FIAC explores utopias and displacement

BY ROOKSANA HOSSENALLY, Wallpaper*

Paris’ International Contemporary Art Fair (FIAC) usually revolves around the gigantic Grand Palais museum with satellite events across the city. This year, however, things are a little different. FIAC’s 43rd edition (running until 23 October) is the largest to date, with a line-up of 186 galleries from 27 countries, as well as an ever-diverse offering including a contemporary dance section and new On Site venues like the Petit Palais and Palais de la Découverte museums. 

‘Offering the Petit Palais, such a prestigious venue, built at the same time as the Grand Palais for the 1900 World Expo, was a desire many exhibitors expressed,’ explains fair director Jennifer Flay. ‘And to see contemporary sculptures like Damien Hirst’s white marble Anatomy of an Angel exhibited among the paintings of Gustave Courbet for instance, helps to see things in a new and different way.’

Installation view of Elmgreen & Dragset’s one-day takeover of Galerie Perrotin’s booth at the Grand Palais, one month before FIAC officially opened. Pictured, from left, works by Jean-Michel Othoniel, Takashi Murakami and Elmgreen & Dragset.
(Image credit: Claire Dorn)

Flay is also eager to see the Avenue Winston Churchill that runs between the two museums – where several artworks will be shown – restored to a pedestrian esplanade as it was in the 1900s. In addition, the event will also see the reopening (after a decade) of the forgotten corridor between the Grand Palais and the Palais de la Découverte science museum, emphasising the building of links between space and time, as opposed to putting up walls. 

In fact, many of the installations outside the Grand Palais will explore the unofficial theme of utopia. ‘Although it’s not a deliberate response to what’s going on at the moment, there is a link,’ says Flay. 

Another must-see on Flay’s list is Ugo Rondinone’s installation of ten 5m-high sculptures of gnarly olive trees and anthropomorphic stone figures on Place Vendôme. ‘It’s not an easy space to occupy, and this is by far the largest footprint we’ve had on the square,’ says Flay.

‘6×6 flexible, deliverable house’, by Jean Nouvel, 2016
(Image credit: Jean Nouvel)

In the Tuileries Gardens, Pezo Von Ellrichshausen further explores the unofficial theme with a mock-up of the lighthouse he plans on building in Lampedusa to help guide immigrant boats, built from bits of washed up wood from shipwrecks. Nearby, architects Jean Prouvé and Jean Nouvel contribute with their all-terrain emergency housing, a response to homelessness caused by natural and political disasters. For Flay, this FIAC is more meaningful than ever. ‘We are so thrilled to present these pieces in this context because it makes us think about the terrible situation immigrants are in. But also about possible solutions.’

‘The Tapestry’, by Pierre-Alain Cornaz, for Orient Express, from the series Manifest Pieces. Courtesy of Maud Remy Lonvis
(Image credit: Courtesy of Maud Remy Lonvis)
‘The Secretary’, by Pierre-Alain Cornaz, for Orient Express, from Manifest Pieces. 
(Image credit: Courtesy of Maud Remy Lonvis)
Pictured (from left): Broken Suite 1, by Philippe Decrauzat, 2014; and A Lighthouse for Lampedusa!, by Thomas Kilpper, 2016. Courtesy of Thomas Kilpper and Galerie Nagel Draxler Berlin/ Cologne.
(Image credit: Youssef Meftah, Bruxelles)
Rogue, by Bernard Frize, 2015; and Untitled, by Pieter Vermeersch, 2016. 
(Image credit: Courtesy of Galerie Perrotin)
Partner to this year’s edition of FIAC, Orient Express is showing its first series of products (and visual travel inspiration, pictured) in a special exhibition area in the Grand Palais. 
(Image credit: Courtesy of Maud Remy Lonvis)
Tondo N°XH 5, by Daniel Buren, 2016. Brussels; and Dreamtime, by Stanley Whitney, 2016
(Image credit: Courtesy of the artist and Xavier Hufkens)
Woman Crying #9, by Anne Collier, 2016. Courtesy of the artist and Anton Kern Gallery, New York; and Bharat Pehchane (Fatim Diop), by Aurélien Froment, 2016. Courtesy of Marcelle Alix, Paris
(Image credit: Courtesy of the artist and Anton Kern Gallery, Courtesy of Marcelle Alix)
Untitled, David Altmejd, 2014; and Anatomy of an Angel, Damien Hirst, 2008. Courtesy of Damien Hirst and Science Ltd. All rights reserved, DACS 2016. © White Cube (Prudence Cuming Associates Ltd)
(Image credit: Courtesy of Damien Hirst and Science Ltd., © White Cube (Prudence Cuming Associates Ltd))
Meret Oppenheim à la presse, by Man Ray, 1933
(Image credit: Man Ray)
Study for Seascape #29, by Tom Wesselmann, 1967. New York / Licensed by VAGA, New York, NY, Mitchell Innes & Nash, NY; and Deviceless, 2, by Jana Euler, 2015
(Image credit: Courtesy of the Estate of Tom Wesselmann)
Concetto Spaziale, Attesa, by Lucio Fontana, 1967. Courtesy of Tornabuoni Art
(Image credit: Courtesy of Tornabuoni Art)
Diary of a Long Year, by Edmund de Waal, 2016. Courtesy of Galerie Max Hetzler
(Image credit: Mike Bruce)
En route, Pszczóki, by Marie Bovo, 2016. Courtesy of the artist and Kamel Mennour, Paris; and Smentire il bianco, by Carol Rama, 1972. Courtesy of Archivio Carol Rama, Torino and Galerie Isabella Bortolozzi, Berlin
(Image credit: Courtesy of the artist and Kamel Mennour, Courtesy of Archivio Carol Rama, Torino and Galerie Isabella Bortolozzi)
Metamorphism XXVI, by Julian Charrière, 2016. Courtesy of Philippe De Putter; and Series II Cube, by Larry Bell, 1985
(Image credit: Courtesy of Philippe De Putter)
Magi© Bullet, by General Idea, 1992. Courtesy of the artist and Esther Schipper, Berlin. Kunsthalle Zürich
(Image credit: A Burger)
Ecole de Bouqueval, by Jean Prouvé, 1949. Courtesy of Galerie Patrick Seguin; and Untitled, by Emil Michael Klein, 2015. Courtesy of Gaudel de Stampa, Paris
(Image credit: Courtesy of Galerie Patrick Seguin, Courtesy of Gaudel de Stampa)
Untitled, by Landon Metz, 2015.
(Image credit: Bloomlab.it)
‘The Lanterns’, by Pierre-Alain Cornaz, for Orient Express, from Manifest Pieces. 
(Image credit: Courtesy of Maud Remy Lonvis)
Emma Schönflies, by Raphaël Zarka, 2016. Courtesy of the artist and Michel Rein, Paris/Brussels; and Deci, by Pezo Von Ellrichshausen, 2016.
(Image credit: Marc Domage)
Untitled (Machine Painting), by Daniel Lefcourt, 2016. Courtesy of the artist and Mitchell-Innes & Nash, New York; and Silent Listen, by Iván Navarro, 2016. Courtesy of Galerie Daniel Templon, Paris et Bruxelles
(Image credit: Courtesy of the artist and Mitchell-Innes & Nash, Courtesy of Galerie Daniel Templon)
Manifest Pieces collection, by Pierre-Alain Cornaz, for Orient Express. 
(Image credit: Courtesy of Maud Remy Lonvis)
The hand of god (table placée sur l’action), by Anri Sala, 2008. Napoli
(Image credit: Courtesy of Galleria Alfonso Artiaco)
Gypsum Flower, by Dove Allouche, 2016
(Image credit: Dove Allouche)

INFORMATION

The 43rd edition of FIAC is on view until 23 October. For more information, visit the FIAC website

Mendes da Rocha, FUKSAS & PJAR Architects Design Pre-Fab Homes for Revolution Precrafted

by Patrick Lynch, Arch Daily

Adding to their collection of pre-fabricated houses by top designers and architects, Robbie Antonio’s “Revolution Pre-Crafted” has released 3 new designs by Paulo Mendes Da Rocha + Metro, Massimiliano & Doriana Fuksas, and Philip Johnson Alan Ritchie Architects.

The three designs follow Revolution Pre-Crafted’s goal of democratizing the design of pre-fab structures, as they offer a line of products that incorporate the distinct spatial and social brands of master designers. The new houses join options from architects including Zaha Hadid, Sou Fujimoto, Daniel Libeskind and Gluckman Tang.

Matilda Home by Massimiliano and Doriana Fuksas

The idea to bring design also in common life attracted us. This is a new concept of habitat of house. It’s a mobile home it can be everywhere around the world; everybody can be a client. It’s a modular unit so many of them can be added together like a cloud. It can even be a city.

This is not an object, it is a concept, it can be a city, a landscape or simply a home. Easy to build, it can be done in different materials more or less expensive. Matilda is a completely different space since nowadays we don’t need so much storage space, you just need to have a screen. The only thing is important is to have a nice place to eat, to seat and to sleep but also this can be done with something you close when you don’t need.

  • robbie antonio
 
https://vimeo.com/187303399
https://vimeo.com/169660874

Modular Glass House by Philip Johnson Alan Ritchie Architects

The original Glass House, designed seventy years ago by Philip Johnson as his home in Connecticut, has become a classic representation of modern architecture. The Glass House was not only Philip Johnson’s private residence; it was also his viewing platform for the world. The primary function of a house is to provide for the basic need of shelter. The beauty of a glass house is that it becomes a framework for the viewing of one’s surroundings.

The modular glass house was inspired by the original but has been re‐imagined as a series of modular components that can be pre‐fabricated and shipped to any site. The design follows the principals of the original by introducing a typical window bay and structure that become the outer skin of the building. Alan Ritchie sees residing in a glass house as an enhancement of the living experience by being immersed in your natural surroundings.

 
https://vimeo.com/174315160
https://vimeo.com/181742502

Modular Living Unit by Paulo Mendes Da Rocha + Metro

MODULAR LIVING UNIT by PMR + METRO for Revolution Precrafted is a proposal for a prefabricated dwelling system. The project provides a multi-functional solution through the principles of reduced design grammar and refined construction technique. This flexible system can be employed in a variety of contexts and environments: urban and rural, tropical and temperate, individual and collective.

The basic living unit is 65m2 and is composed of a living room, kitchen, bathroom, bedroom, and two verandas. This module can be distributed over a given lot in a variety of situations, creating diverse spatial combinations through multiple units. It may also be extended to two stories.

A simple structural frame permits a great range of arrangements. Its composing elements are dimensioned to allow ease of transportation and to minimize the need for the use of supporting equipment during installation.

An innovative facade system is constructed of durable, fibre-reinforced Ductal® concrete panels with different levels of insulation for different climates. The tone of the concrete may also vary: white, gray and black. The interior is made of a combination of concrete, glass and wooden panels.

For more information on the designs and to see the full collection, visit Revolution Precrafted’s website, here.

News via Revolution Precrafted.

 

 

Related Links: About Robbie Antonio , Contact

‘Revolution Precrafted’ Offers Prefab Houses Designed by Big-Name Architects

by Joey Haar, TRENDHUNTER

Houses built by famous architects are beautiful, but they cost a fortune — Revolution Precrafted is aiming to give homebuyers the opportunity to live in famously designed houses without having to spend like they are. The Manila-based real estate firm sells prefab houses designed by some of the world’s most well-known architects.

According to the Revolution Precrafted website, the prefab houses offered average in the range of $300,000, not including the cost of land and site preparation. However, even with those costs added, that price tag is significantly lower than having a famous architect build a residence from scratch.

Some of the big names on Revolution Precrafted’s roster include Zaha Hadid, Jean Nouvel, Daniel Libeskind, Paulo Mendes da Rocha, Tom Dixon and Lenny Kravitz. The homes are available for inquiry from both developers and homebuyers themselves.

 

Related Links: About Robbie Antonio , Contact

FIAC 2016: Art Exhibitions, Live Performances and Film Screenings

By Urban Mishmash

The highly anticipated international contemporary art fair, FIAC (Foire Internationale d’Art Contemporaine), will run from October 20 to 23, 2016 in Paris.

Bigger in scope than its previous editions, the 2016 edition will bring together 186 art galleries from around the world at the Grand Palais in Paris, including, for the first time, exhibitors from Japan, Hong Kong, Poland and Hungary. The art fair will also feature a series of outdoor exhibitions, live performances and film screenings at various historic venues across Paris, including the Louvre, Petit Palais, the Tuileries Gardens and Place Vendôme.

FIAC 2016 at the Grand Palais

The main exhibitions of the 43rd edition of FIAC will be on view at the Grand Palais in Paris. The Nave will host 108 international art galleries presenting works by internationally acclaimed and emerging artists, while the Salon d’Honneur and the Upper Galleries on the first floor will feature several art galleries dedicated to discovering and promoting new and emerging artists.

Marina Abramovic, Holding the Goat (from the series Back to Simplicity), 2010. © Marina Abramovic. Courtesy Marina Abramovic Archives

This year’s edition of FIAC will also see the inauguration of Salon Jean Perrin and will host nine art galleries presenting solo exhibitions of ten artists from 1970s onwards, including Endre Tót, Darío Villalba, Nil Yalter, Hessie, Irma Blank, Henri Chopin, William S. Burroughs, Tetsumi Kudo, Ilona Keserü and György Jovánovics.

Endre Tót, 60 degrees reain, (1971-76). Courtesy Endre Tót and acb Gallery

Additionally, the Lafayette Sector of FIAC 2016 that focuses on the international emerging arts scene will feature exhibitions by ten art galleries from seven countries, including Mexico, India, Germany and England.

FIAC 2016
From October 20 to October 23, 2016 (from noon to
8pm, late night opening until 9 pm on October 21, 2016)
At the Grand Palais, Avenue Winston Churchill, 75008 Paris
Day Ticket €35 (Reduced Tariff €20); Catalogue €35; Day ticket + catalogue (package) €60

Hors Les Murs

FIAC 2016 will also unfold a series of sculptures and visual and sound installations for the Hors Les Murs sector at three outdoor venues in Paris: the National Museum of Eugene Delacroix, the Tuileries Gardens and Place Vendôme. Swiss installation artist Ugo Rondinone will present his new series alluding to the ‘ghosts of the passage of time’ at Place Vendôme.

Arad Ron, The Armadillo Tea Pavilion. Courtesy Revolution Precrafted

Visitors will also have free access to large-scale installations and artworks by artists such as Mircea Cantor, Gloria Friedmann, Ron Arad, Mauricio Pezo and Sofia von Ellrichshausen at the Tuileries Gardens.

At the Tuileries Garden (Inauguration at noon, October 18, 2016, runs through November 2016), Place de la Concorde, 75001 Paris; Place Vendôme, 75001 Paris (runs through November 2016); Musée National Eugène Delacroix, 6 Rue de Furstenberg, 75006 Paris
Free Access

On Site at the Petit Palais

For the first time for its 2016 edition, FIAC has announced the opening of the new On Site sector at the Petit Palais. On Site will feature around forty sculptures and installations in the various galleries and the garden of the Petit Palais.

Paolozzi Eduardo, Collage City (1975). Courtesy the artist and C L E A R I N G

On Site
From October 19 to October 23, 2016 (10 am to 6 pm, late night opening until 9 pm on October 19 and 21, 2015)
At the Petit Palais, Avenue Winston Churchill, 75008 Paris
Free Access

Poetry, Music and Performance

This year’s FIAC will also see the inauguration of a performance arts festival Parades to support and strengthen artistic intersections between music, poetry, contemporary dance and performance arts. The festival will feature multiple live performances at the Louvre, Grand Palais and Petit Palais. Amongst other performances on the programme, Moroccan dancer and choreographer

Amongst other performances on the programme, Moroccan dancer and choreographer Buchra Ouizguen will present a nomadic performance at the Louvre, while artist and director Tim Etchells will collaborate with violinist Aisha Orazbayeva to present an unusual interaction between music and spoken text at Palais de la Découverte.

Buchra Ouizguen, Corbeaux, 2014. © Hasnae El Ouarga

At Musée du Louvre, 75001 Paris; Palais de la Découverte, Avenue Franklin Delano Roosevelt, 75008 Paris; and the Grand Palais, Avenue Winston Churchill, 75008 Paris
Free access subject to availability unless mentioned otherwise in the programme.

Other events

The programme for this year’s FIAC also includes conferences organised in the “Conversation Room” in a dedicated space at the top of the stunning staircase of the Grand Palais, which will address art’s relationship with architecture, science and diplomacy.

From October 21 to October 23, 2016 (Conferences at 2 pm, 3:30 pm and 5 pm)
At the Grand Palais, Conversation Room, on the 1st floor from the Grand Escalier d’Honneur, Avenue Winston Churchill, 75008 Paris

As part of the seventh edition of Cinéphémère, a selection of short artists’ films will be screened in a beautiful, 14-seater theatre at Place Clémenceau. The programme includes new films by Sara Ramo, Klara Liden, Bani Abidi, João Maria Gusmão and Pedro Paiva, Loretta Fahrenholz and Laure Prouvost.

From October 19 to October 23, 2016 (noon to 8 pm, registration at the entrance)
At Container Place Clémenceau, 75001 Paris

Finally, at the Palais de la Découverte, PLATFORM (a grouping of 23 regional funds for contemporary art) will present a selection of films from their collection on the themes of art and science.

From October 19 to October 23, 2016 (4 pm to 8 pm)
At Conference Room, Palais de la Découverte, Avenue Franklin Delano Roosevelt, 75008 Paris
Entrance from 6.30 pm through the Salon d’Honneur of the Grand Palais

For more information about FIAC 2016, visit the official page here.

Century Properties continues to raise the bar in luxury living

by Rizal Raoul Reyes, Business Mirror

THE economic boom in Southeast Asia has led to the growing affluence of its people. With a bigger purchasing power, several developers have been encouraged to venture into the luxury market. As a result, this has also led into the entry of high-class brands in housing paraphernalia.

Although a big number of famous brands have entered the Philippine market, none has created much impact than the entry of one of the most esteemed names in luxury furnishings and interior design—Armani/Casa.

Robbie Antonio, managing director of Century Properties Group, said the launching of Century Spire in 2014, as the first luxury mixed-use tower in the region to be designed by the world-leading Italian brand of Giorgio Armani, has been a very positive addition to the luxury property market. He added that the project continues to draw interest from affluent Filipinos and foreign nationals, with the highest concentration in Asia.

“Excitement always surrounds exceptional developments, and especially so if its value is magnified by a design brand that is revered the world over. Through its remarkable interior design for Century Spire, Armani/Casa perfectly captures the Asian market with finer tastes in luxury,” said Antonio in a press statement.

The design studio’s projects in Asia include the Maçka Residences in Istanbul and the World Towers in Mumbai. Manila, Philippines, is joining this prestigious collection of Armani/Casa Interior Design Studio creations through the Century Spire project, underscoring the country’s maturity in view of global luxury.

Giorgio Armani said the Century Spire project continues to be a game changer in the property-development sector. “Developers, like the  Century Properties Group, have projected the real-estate sector in its full maturity, changing Manila’s urban landscape and helping to make the country a top destination worldwide,” Armani said.

For Century Spire’s residential component, Armani/Casa is responsible for the design of common spaces and amenities, which include the grand lobby, library, swimming pool with juice bar and relaxation area, as well as the spa, gym and fitness areas. In addition, on request, residential apartments can be delivered with full Armani/Casa interior design, finish and furniture as a special commission.

Complementing the elegance of Armani/Casa’s interior design for Century Spire is the equally arresting tower architecture conceived by the renowned architecture firm Studio Daniel Libeskind.

“I’m interested in the dialogue between two companies that have different ‘languages’: that of a rigorous Armani style and the unpredictable style of architecture called ‘deconstructive,’ with shapes that seem to break the rules. I also find it very interesting that this dialogue takes place in an emerging and promising context like the Philippines,” Armani said.

 

Related Links: About Robbie Antonio, Contact