December 20, 2008 - February 14, 2009


Hazard Lights
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meditation on the world of work as a space of reclusion
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hypothesis formulated through objects and signs that prison has gone outside of its walls
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partial exploration of work as the inside of prison and of prison as the outside of work. Work as the reverse of the prison/ productive machine and the prison/ punishing machine as a consequence of the refusal of the logic of remunerated labour and of the economical logic in general.



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October 31 - December 11, 2008


For this first exhibition at the Chantal Crousel Gallery, Heimo Zobernig displays a set of pieces mostly stemmed from a series initiated at different times, and which must be put back in the framework of a « works complex ». These works, more or less recent (between 1986 and 2008), have never been shown in France and are brought together here in a subjective retrospective. Beyond the effect of primacy, it is important at this point to be reminded that this exhibition has been the first one in France for 14 years (the last three taking place at the Villa Arson, the Sylvana Lorenz Gallery and the Fondation des Arts in Paris in 1991; then, at the Unité d’Habitation Firminy in 1993, and at Nice Fine Art in Nice in 1994). Since, it seems there has been a lack of curiosity, if not total oblivion, towards a whole German and Austrian scene, from which Zobernig surely suffered. Yet he was at that time closely related to the community of artists whom gravitated around Cologne, oscillating between institutional critique and « glamour art » (in Josef Strau’s words), trying to reconcile both, within a particularly demanding critical context as well. The current situation seems favourable to a rediscovery of all these artists and therefore we must apprehend in one move their careers (that we missed at that time) and their recent production.


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September 13 - October 25, 2008

You are free to use your eyes and attribute values to things the way you want. The eyes are a great subversive tool because they technically don't underlie any control, they are free when used freely.
Wolfgang Tillmans

Chantal Crousel is pleased to present the first solo show by Wolfgang Tillmans in Paris since the remarkable exhibition Vue d'en haut at Palais de Tokyo in 2002.

Each solo exhibition by Wolfgang Tillmans is a complete universe. It reflects his world, here and now.

The images are of actual realities such as a boy sleeping in a park, a hairdresser in his military hair salon, a part of a plant and a window, an iceberg, as well as darkroom explorations of shape, colour and movement. Assembled into wall constellations, these enter into dialogue and friction with the newspaper clippings, collected objects, photocopied documents and his own photographs that are arranged on tables into sculptural pieces.


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June 21 - August 2, 2008

Galerie Chantal Crousel presents "Courbet your enthusiasm", Reena Spaulings’ first solo exhibition in Paris.
In 2004, the New York-based artist Reena Spaulings emerged from within the daily operation of an art gallery, Reena Spaulings Fine Art, on Manhattan’s Lower East Side. Often playing on the double-identity of art dealer and artist, Spaulings’ work undermines professional divisions of labor while interrogating accepted notions of authorship and artistic agency.
Among other new works, "Courbet your enthusiasm" includes pointillist paintings of the New Museum in New York, natures mortes, light boxes of art dealers and racecar drivers, screen prints based on existing artworks, postcards of heads and unmanned aerial drones, a flag, and a series of Enigmas (tablecloths taken from art world dinners, stretched like paintings).

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April 26 - June 7, 2008

For his first solo show at Chantal Crousel Gallery, Wade Guyton presents a new series of paintings that are ostensibly black monochromes. Made with an Epson large-format printer in the same manner as the paintings he has been producing for the last three years, these works are printed on factory-primed linen intended for oil painting and not inkjet printing. Recently, the artist noticed that some of the linen he received from the factory reacted differently to the inkjet printer than those he had previously. The marks, images, and letters he was printing became absorbed into the porous surface rather than “sitting on the surface”. These paintings were set aside as failed works and these new rolls of linen as unusable material. Because of this difference in the ink’s interaction with the surface, the artist began to overprint these paintings with a Photoshop-drawn rectangle “filled” with the colour black.


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March 15 - April 19, 2008

For this new exhibition at the Galerie Chantal Crousel, Anri Sala conceives and organizes a space where cycles and rotations are orchestrated on a tempo divided in three musical times of which one is silent. This particular timing reveals what becomes visible in between the cycles, enriched and affected by a previous experience. Anri Sala provokes and extends the qualities of improvisation defining its nuances and potential. He intensifies its specifics by recording them with a gained experience.


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January 25 - March 1, 2008

Chantal Crousel is pleased to announce an exhibition of recent and new works by Mona Hatoum. This much expected event will bridge a 13 year gap since her last solo exhibition in Paris.
During this period, Mona Hatoum's work has been exhibited widely in Europe, the United States, Canada, Australia and Mexico. Her exhibition "The Entire World as a Foreign Land" was the inaugural exhibition for the launch of Tate Britain, London, in 2000.
She has also participated in the 1995 Venice Biennale, the 1995 Istanbul Biennial, Documenta XI, 2002, the 2005 Venice Biennale and the 2006 Biennale of Sydney.
In this exhibition Mona Hatoum presents six sculptural works related to the sphere of intimacy (the artist's and the viewer's) that articulate an ongoing friction between the notions of home, security, warmth and their opposites.


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