#thaddaeus ropac

[inabigdanceskin]

Flowers in a vase. Thaddaeus Ropac Gallery, London. Thursday 5 March 2026.

[antronaut]

Irving Penn - Cigarette No. 52, New York (1972/1974)

platinum-palladium print mounted to aluminum 59.7 x 47 cm

[abstracteddistractions]

Vera Molnàr, "Molndrian, 74,066/13.36.22," 1974,

Computer drawing, 26 x 26 cm.

Courtesy: Thaddaeus Ropac

[pop-up-x]

Not Vital - Nijinski [title tbc], 2024

170 x 155 x 73 cm (66,93 x 61,02 x 28,74 in)

© Not Vital. Photo: Charles Duprat, Courtesy Thaddaeus Ropac gallery, London · Paris · Salzburg · Seoul

[eucanthos]

Erwin Wurm (Austria, Bruck an der Mur, July 27, 1954)

Skinny, 2021 (flat sculpture). Acrylic and oil paint on canvas 150 x 120 cm Skins, exhibition view, Thaddaeus Ropac gallery, Paris, 2022.

Flat Sculptures, are the artist’s first foray into painting.

The titles of the Flat Sculptures, correspond to the words inscribed on the canvas, ‘stone’, ‘wurst’, ‘melt’ or ‘clay’, reference the artist’s past series of works [supposedly readable]

https://ropac.net/fr/exhibitions/617-erwin-wurm-skins/

[jordi-gali]

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haddaeusropac

Join us in Paris Marais, tomorrow, Tuesday, 6–8pm, for the opening of Robert Rauschenberg, 'Japanese Clayworks'. The exhibition presents a selection of key works on ceramic by Robert Rauschenberg from the 1980s, including rarely seen works from a formative series, which will be exhibited in collaboration with the @rauschenbergfoundation. ‘I think collaboration is a prescription or device that keeps one from getting hung up on a strong single intention that blinds. [...] Every individual that you add to a project will result in ten times as many possibilities.’ — Robert Rauschenberg, 1987

[4eternal-life]

Anselm Kiefer  (German, b. 1945)

Die bösen Mütter,  2007–11

Oil, emulsion, acrylic, shellac, chalk, branches, wood and iron on canvas380 x 560 x 70 cm

© 2022 Thaddaeus Ropac

[wkaseke]

Mandy El-Sayegh Figure One

Figured Ground (2021) is an in situ installation made up of newspaper pages, which the artist lays the floor and then covers in transparent latex. She then layers them with silkscreen prints of code names for Israeli military operations, and fragments of Chinese and Arabic calligraphy. Over this base, the artist applies a gestural wash of white paint, forming a semi-transparent ‘veil’ that holds together the fragments of image and text.