http://www.jeankentagauthier.com/

Jean-Kenta Gauthier, Allveelaeva 4, Tallinn (2026)

30/05/2026

Join us at Art Basel Unlimited to discover “The Power of Words,” ’s seminal, programmatic work created in 1984 that reveals how, at the age of 28, the artist was already confronting the political stakes of images. The installation introduces themes that are central to his practice: the ethics of representation, the tension between words and images, and the viewer’s responsibility in the act of looking.

Created soon after Jaar’s arrival in New York in the early 1980s, the work centers on a photograph of a typewriter whose paper and roller have been removed. Through the empty opening, 16 press photographs of anonymous figures in moments of crisis gleaned by the artist from newspapers are projected, while the red glow that floods the space and spills onto each image in the work serves as a warning.

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ALFREDO JAAR
THE POWER OF WORDS (1984/2021)

Black and white transparency, projector, color slides, neon light, brass; dimensions variable; unique

Art Basel Unlimited, U46
curated by
📍Messe Basel, Switzerland
🗓️Preview days June 15–17, Public days June 18–21

Presented by Jean-Kenta Gauthier, Goodman Gallery, Galerie Lelong, Lia Rumma and Galerie Thomas Schulte.

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🎥 Details from Alfredo Jaar, “The Power of Words” (1984/2021) © Alfredo Jaar Studio, Lisbon / New York

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23/05/2026

Permanently installed in the Library at MEP - Maison Européenne de la photographie in Paris, “Conversation” by is made of 45 pages from Volume 1 of Rémi Coignet’s famous “Conversations” book, which the artist has redacted to retain only the short parenthetical notes, often ‘laughs,’ in memory of his friend's vitality and the moments of joy many shared with him during conversations.

Rémi Coignet’s three-volume “Conversations,” published between 2014 and 2020, are peppered with parenthetical notes akin to editorial annotations, turning these interviews into lively scenes in which the author speaks directly to the reader.

Through a vast collection of exchanges between the author and artists, curators, publishers, and designers, Rémi Coignet (1969–2023) redefined a certain geography of the photography world and evoked the vibrant collaborations and affinities within the contemporary art field.

“Conversation” was first shown in “Rémi Coignet, Trait d’union,” an exhibition with works by Daniel Blaufuks, Raphaël Dallaporta, and JH Engström paying homage to Rémi Coignet and his legacy, at Jean-Kenta Gauthier / Odéon in 2024 (📷 7️⃣—8️⃣). It now welcomes all visitors to the MEP Library.

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📍MEP – Maison Européenne de la photographie
5/7 rue de Fourcy, 75004 Paris

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📷 Raphaël Dallaporta, “Conversation” (2024). Indian ink on paper. Set of 45 sheets from “Conversations, Vol. 1” by Rémi Coignet (The Eyes Publishing, 2015). Each 20 × 13 cm. Overall dimensions variable. Unique.

Installation views at MEP. Photo: Raphaël Dallaporta
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.paris

22/05/2026

“ : Next to Nothing” is now on view at Jean-Kenta Gauthier / Odéon.

One typically collects objects that are becoming scarce. For many years, Raphaël Dallaporta has been collecting objects that proliferate. He refers to them as “UO – Unidentified Objects”; they are not “flying,” as they are gathered from the ground in public spaces. In Paris, New York, and Lisbon, they resemble one another and have been selected for their lack of function and unrecognizable origins. Made of plastic, rubber, or metal, these simple forms are all anthropogenic: they embody human activity and constitute its remnants.

For the first time, Dallaporta brings together his collection of “Unidentified Objects,” arranging them into a network that forms a constellation of mobiles. By setting into motion in the air these light objects gathered from the ground, he operates a shift in perspective and values. Each object is paired with its photogram, a counterweight that reanimates what had been cast aside.

“Next to Nothing” is Dallaporta’s seventh solo exhibition at the gallery.

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RAPHAËL DALLAPORTA
NEXT TO NOTHING [🇫🇷 TROIS FOIS RIEN]

Until July 25

📍Jean-Kenta Gauthier / Odéon
5 rue de l’Ancienne-Comédie 75006 Paris

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22/05/2026

“Raphaël Dallaporta: Next to Nothing” is now on view at Jean-Kenta Gauthier / Odéon.

One typically collects objects that are becoming scarce. For many years, has been collecting objects that proliferate. He refers to them as “UO – Unidentified Objects”; they are not “flying,” as they are gathered from the ground in public spaces. In Paris, New York, and Lisbon, they resemble one another and have been selected for their lack of function and unrecognizable origins. Made of plastic, rubber, or metal, these simple forms are all anthropogenic: they embody human activity and constitute its remnants.

For the first time, Dallaporta brings together his collection of “Unidentified Objects,” arranging them into a network that forms a constellation of mobiles. By setting into motion in the air these light objects gathered from the ground, he operates a shift in perspective and values. Each object is paired with its photogram, a counterweight that reanimates what had been cast aside.

“Next to Nothing” is Dallaporta’s seventh solo exhibition at the gallery.

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RAPHAËL DALLAPORTA
NEXT TO NOTHING [🇫🇷 TROIS FOIS RIEN]

Until July 25

📍Jean-Kenta Gauthier / Odéon
5 rue de l’Ancienne-Comédie 75006 Paris

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15/05/2026

“The Sun Eater,”presented at Jean-Kenta Gauthier / Vaugirard gallery, continues to explore the early work of Swiss artist (1951-1997), following the exhibition “All the Lonely Things My Hands Have Done,” shown last year at Jean-Kenta Gauthier / Odéon gallery and already produced in collaboration with the Estate of Hannah Villiger.

Articulated around large-format works on paper revealed to the public for the first time, “The Sun Eater” brings together works produced between 1976 and 1978, during Hannah Villiger’s Italian period. In her studios and apartments in Rome and Montefalco, Umbria, Villiger developed an intimate body of work teeming with vital energy, punctuated with references to nature and music. The isolation in the studio appears as a central element, already foreshadowing the enclosed setting that would come to define her later sculptural and photographic work from 1980 onward, when the adoption of the Polaroid and the onset of illness established the artist’s body as an almost exclusive subject until her premature death in 1997 at the age of 45.

The exhibition also includes a slideshow presenting numerous excerpts from notebooks kept by Villiger during these same years. One page features a sketch of a work the artist would create in 1977: a yellow bikini laid on the ground, accompanied by the words “Die Sonnenfresserin,” “the sun eater.”

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HANNAH VILLIGER
THE SUN EATER

Until July 25

📍Jean-Kenta Gauthier / Vaugirard
4 rue de la Procession 75015 Paris

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Installation views by / Courtesy of Foundation and

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09/05/2026

’s installation “The End of the World” is now on view in the 61st International Art Exhibition of La Biennale di Venezia, “In Minor Keys” curated by Koyo Kouoh.

At the heart of the work is a 4 cm cube whose ten materials—cobalt, rare earths (neodymium), copper, tin, nickel, lithium, manganese, coltan (niobium), germanium (argentium) and platinum—are essential for electricity generation, storage, transmission, electronics and communication. These elements cristallise the industrial, technological and geopolitical stakes of our globalized economy and embody the actual and future violence at the heart of renewable energies, while the vast surrounding void space flooded with red light suggests a fragile cosmology.

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Alfredo Jaar, “The End of the World”
as part of “In Minor Keys” curated by Koyo Kouoh

Until November 22

📍Arsenale, Venice

The exhibition has been developed with contributions from a team selected by (1967–2025), including advisors Gabe Beckhurst Feijoo, Marie Hélène Pereira, and Rasha Salti; editor-in-chief Siddhartha Mitter; and research assistant Rory Tsapayi.

15/04/2026

Joins us on Wednesday, April 29 at Jean-Kenta Gauthier / Odéon for the opening of “ : Next to Nothing [🇫🇷 Trois fois rien]”.

One typically collects objects that are becoming scarce. For many years, Dallaporta has been collecting objects that proliferate. He refers to them as “UO – Unidentified Objects”; they are not “flying,” as they are gathered from the ground in public spaces. In Paris, New York, and Lisbon, they resemble one another and have been selected for their lack of function and unidentifiable origins. Made of plastic, rubber, or metal, these simple forms are all anthropogenic: they embody human activity and constitute its remnants.

For the first time, Dallaporta brings together his collection of “Unidentified Objects,” arranging them into a network that forms a constellation of mobiles. By setting into motion in the air these light objects gathered from the ground, he invites viewers to a shift in perspective and values. Each object is paired with its photogram, a counterweight that reanimates what had been cast aside.

“Next to Nothing” is Dallaporta's seventh solo exhibition at the gallery.

•

RAPHAËL DALLAPORTA
NEXT TO NOTHING [🇫🇷 TROIS FOIS RIEN]

🗓️ Opening Wednesday 29 April, 4–7 pm
April 29 – July 25

📍Jean-Kenta Gauthier / Odéon
5 rue de l’Ancienne-Comédie 75006 Paris

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13/01/2026

“Air de l’Image” (2022), an olfactive work by Hanako Murakami (), is currently presented at Punctum Gallery (), Tallinn, as part of “Sensing Matter: From the Infra-Thin to the Photographic Object”.

Curated by Duncan Wooldridge (), “Sensing Matter” asks a simple question – at what point might a photograph become visible as a thing? – and develops from it a study in perception and encounter. Moving from barely visible vapours and light sensitivities – which might not appear as images at all – towards sculpture and installation, which seem to take the photograph away from the wall to encroach into physical space, the exhibition studies the matter and gestures of the photographic image, many of which are usually hidden out of view.

With works by : Kristine Krauze-Slucka (), Reinis Lismanis (), Agata Madejska (), Suzanne Mooney (), Hanako Murakami ( ), Juuso Noronkoski (), Xanath Ramo (.ramo), Alnis Stakle (), Eva Stenram (), Ryudai Takano ( ), and Laure Winants ()

“Air de l’Image” (2022), is an olfactory work created by Hanako Murakami (born in Japan in 1984, lives in Paris) by reproducing the mixture of Nicéphore Niépce (1765-1833), the French inventor of photography. Niépce’s heliography, for the development of the image, required the combination of two ingredients, lavender oil and turpentine. If Niépce had spent a long time working on heliography in his Burgundy home, his entire workshop was probably perfumed with the scent of this natural fragrance. A work of Duchampian inspiration, “Air de l’Image” is a quasi ready-made.

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SENSING MATTER: FROM THE INFRA-THIN TO THE PHOTOGRAPHIC OBJECT

Until January 25

📍Puctum Gallery
Tallinn, Estonia

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📷 Hanako Murakami, “Air de l’Image” (2022).
Scent, lavender oil and turpentine, edition of 3
Photo © Roman-Sten Tõnissoo

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#村上華子

11/01/2026

The Museo de la Ciudad de México () currently features on its facade Alfredo Jaar’s () "A Logo for America" (1987), a landmark of Latin American conceptual art, shown on a monumental LED screen mounted above an Aztec monolith, as part of "Columna Rota/Broken Column".

First presented in 1987 in Times Square, New York City, Jaar’s “Logo for America” questions the dominance of the United States and the way it appropriates the identity of the entire American continent. At the same time, the work asks whether the nationalist and xenophobic policies of the U.S. government truly represent its population. “Logo for America” has become an anti-imperialist banner in the current political context.

"Columna Rota/Broken Column" is an exhibition of unprecedented scale that brings together more than 125 contributors to examine rejection as a structuring force in both private life and collective history. Conceived by Francisco Berzunza, Diego Aramburu, Maria Inés Parra, Gabriella Nugent, Jaime Ruiz, Francesca Manfredini, Jimena Bernot, Otro Bureau and a group of friends; with texts by Chloe Aridjis, Ruben Gallo, María Minera, Michael Synder, and Mauricio Tenorio, amongst others, the project reframes the very idea of authorship: rather than a single curatorial voice, the exhibition unfolds through a chorus of artists, writers, performers, and archival documents, positioning Mexico City at the center of a global conversation on experimental and politically engaged art.

“It is hard to describe what it feels like to be rejected—beyond feeling like sh*t—until I came across a 1944 drawing by Frida Kahlo, "Preparatory Sketch for The Broken Column" which depicts the artist’s shattered spine as a classical Ionic column…” — Francisco Berzunza (), Curator.

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COLUMNA ROTA / BROKEN COLUMN

Until February 22

📍Museo de la Ciudad de México
Mexico City, Mexico

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1️⃣2️⃣3️⃣ Alfredo Jaar, "A Logo for America" (1987)
Digital animation, 00:38

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Jean-Kenta Gauthier

30/05/2026

23/05/2026

22/05/2026

22/05/2026

15/05/2026

09/05/2026

15/04/2026

13/01/2026

11/01/2026

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