édition: 2018

Volvaria, 2008 Welcoming the visitors to the entrance of the building of contemporary art, during the extremely popular retrospective of the Genevan artist at MAMCO, these flying saucers are unique models, inspired from US sci-fi, with different finishes, based on the shades of nail polish. As in all Fleury’s projects, this encounter between opposing vocabularies … Continued

 *1925, GR Signal, 1974-1980 500 × 130 × 130 cm Bronze and steel MAMCO collection (previously AMAM collection), Mr. Georges Embiricos donation This large sculpture by the Greek artist Takis was donated to AMAM in 1983 and transmitted to MAMCO’s collection when the museum opened in 1994. Its height nevertheless excludes its display in the museum’s spaces. The opportunity to … Continued

Giant Leap of Faith, 2008 For Gupta, who has for over a decade represented the dynamism of the Indian artistic scene, as for his Chinese counterparts Ai Weiwei or Chen Zhen, the point is to mix a Western cultural form (here, for example, Constantin Brancusi’s Endless Column) with objects coming from traditional ethnic practices (the … Continued

Le soleil sur la montagne, 1973 With the breadth and richness of his work, the artist renews the way sculpture is being approached and practised in the 20th century. The refined and simple language used is at the service of his ever exuberant imagination, as fertile as a child’s would be. Acquired by the City of … Continued

Maquette for Transparent Horizon, 1972-1973 Already present in the park, Calder’s sculpture provides a good example of the “Stabiles” which the artist, famous for his “mobiles,” produced over decades. The addition of a sculpture of the same period by Louise Nevelson, provides a counterpoint to the classic modernism of the American artist. Both works refer … Continued

Organs, 2018 Bronze Mai-Thu Perret, a Swiss artist with Franco-Vietnamese origins who lives in Geneva, has managed to develop a practice that crosses over disciplines (from sculpture to film, taking in ceramics and performance), multiplies references (from 20th-century artistic movements to oriental philosophies), and merges methodologies (making use of her literary studies as well as … Continued

Untitled, 1995-2018 While MAMCO hosts the first international retrospective devoted to the Pakistani artist Rasheed Araeen, it seems appropriate to offer the public an on-site activation of one of his “structures,” a geometric meditation on the form that he has been producing since the end of the 1960s. The artist has proposed to recreate this … Continued

Flower Moon, 2011 Since the 1990s, the Swiss artist has been producing pieces the perfection of whose production conceals a nostalgic and romantic dimension, and which he assembles in his shows like the parts of a stage set, so as to conjure up a particular sentimental state. The series of works made of moulded, enamelled … Continued

Temporary Art Museum/Powerless Structures Fig. 110, 2001 This Scandinavian duo is known for their provocative and monumental installations: they built a Prada boutique in the middle of the desert in 2005, “drowned” a collector in his pool at the Venice Biennale in 2009, and presented a gallery booth in the empty Grand Palais, a week before the … Continued

Cabines téléphoniques, 2010 In her sculptural practice, the French artist takes an interest in the modification of elements present in the urban environment and the paradoxical encounters of techniques: here, for example, a functional, manufactured telephone booth in which has been inserted a trivial, deformed object, invites to conflate technology and obsolescence with formal vocabulary … Continued