Jean-Kenta Gauthier

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Jean-Kenta Gauthier gallery represents international artists whose practices articulate the poetic and the political through conceptual art and photography, ranging from installations to artist’s books.

20/06/2026

"An image is worth a thousand words." — Alfredo Jaar on "The Power of Words" created in 1984 and on view through Sunday at Art Basel Unlimited, presented by Jean-Kenta Gauthier, Goodman Gallery, Galerie Lelong, Lia Rumma and Galerie Thomas Schulte.

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Alfredo Jaar, The Power of Words (1984/2021)
Through Sunday
📍Art Basel Unlimited, U46
curated by

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Alfredo Jaar & Jacques Rancière, The Power of Words
12.5 × 19 cm, 80 pages, softcover
JBE & JKG Books, May 2026

Art Basel JBE Books

Join us today at 5.30 pm in Basel for the book launch of “The Power of Words” by and Jacques Rancière:📍Jean-Kenta Gaut...
17/06/2026

Join us today at 5.30 pm in Basel for the book launch of “The Power of Words” by and Jacques Rancière:

📍Jean-Kenta Gauthier × rossogranada showroom
Bläsiring 124, 4057 Basel
📆 5.30 pm

🎙️✍️ The conversation between and will be followed by a book signing.

✉️ DM or email at [email protected] to book your seat.

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In this latest title by JBE & JKG Books centered around Jaar's 1984 seminal project, an indispensable thinker meets an essential artist. Together, they inhabit and reveal a world of images disrupted by this normal pattern that continually causes words to slide beneath things and things to slide beneath words.

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Alfredo Jaar & Jacques Rancière
“The Power of Words”
12.5 × 19 cm, 80 pages, soft cover
JBE & JKG Books, May 2026
Signed copy: 25 EUR
Pre-order your copy ➡️ link in bio 🔗

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On view until Sunday:

Alfredo Jaar
The Power of Words (1984/2021)

Art Basel Unlimited, U46
curated by
📍Messe Basel, Switzerland

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

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Now on view at Art Basel Unlimited: “The Power of Words,” ’s seminal, programmatic work created in 1984 that reveals ho...
16/06/2026

Now on view at Art Basel Unlimited: “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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[PRESS] on ’s participation to the 61st edition of in Venice, in :[…] For the first time, an African woman, Swiss-Ca...
14/06/2026

[PRESS] on ’s participation to the 61st edition of in Venice, in :

[…] For the first time, an African woman, Swiss-Cameroonian Koyo Kouoh, had been appointed to lead the major 2026 contemporary art event. […] Only a handful of major names appear here and there throughout the exhibition route, […] at the end of the Arsenale is ‘The End of the World’ by Chilean artist Alfredo Jaar: a spectacular cathedral of scarlet light built around a tiny cube of rare-earth minerals, resources that lie at the heart of global power struggles. […] — .

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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.

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📸 Luca Zambelli Bais, Courtesy La Biennale di Venezia
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Now on view in “ : The Sun Eater” at Jean-Kenta Gauthier / Vaugirard gallery:1️⃣2️⃣ “Wieviele Blätter Müssen Aneinander ...
13/06/2026

Now on view in “ : The Sun Eater” at Jean-Kenta Gauthier / Vaugirard gallery:

1️⃣2️⃣ “Wieviele Blätter Müssen Aneinander Scharren, um das Rascheln des Windes Wiederzugeben ?“ [How Many Leaves Must Brush Against One Another To Echo the Rustling of the Wind?] (1977)
Watercolor, spray paint and graphite on paper
146,2 x 99,7 cm (paper)

3️⃣4️⃣ Hannah Villiger
“Befangen Meiner Aggressivität“ [Constrained by my aggression] (1977)
Watercolor and graphite on paper
149,4 x 98,7 cm (paper)

5️⃣–7️⃣ “Wasser Schaufeln“ [Scooping Water] (1977)
Watercolor and graphite on paper
149,8 x 100,4 cm (paper)

8️⃣9️⃣ “Der Wind Lässt Sie Manchmal Zufällig Sich Berühren — Machtlos Die Blätter“ [Sometimes the wind causes them to brush against one another by chance—the leaves, helpless] (1977)
Watercolor and graphite on paper
148,3 x 98,6 cm (paper)

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With “The Sun Eater”, continues to explore the early work of Swiss artist Hannah Villiger (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

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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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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.

•

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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Permanently installed in the Library at MEP - Maison Européenne de la photographie in Paris, “Conversation” by is made...
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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“Air de l’Image” (2022), an olfactive work by Hanako Murakami (), is currently presented at Punctum Gallery (), Tallinn,...
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

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