Galerie Jocelyn Wolff<\/h2>\n<\/div>\n![\"An](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/10\/thumbnail_BLAC0669.jpeg?w=800\")
<\/p>\nPhoto<\/span>\u00a0:\u00a0<\/span>Courtesy Galerie Jocelyn Wolff<\/span><\/div>\n<\/figure>\n\nLook up! Katinka Bock\u2019s sculptures\u00a0<\/a>Leichtsinn\u00a0(Recklessness, in English)<\/em>\u00a0and\u00a0Speaker and Receiver<\/em>\u00a0(both works 2021)\u2014 two glazed ceramic pieces featuring objects, such as a giant spoon in the latter work, suspended in midair\u2014hang in the booth of Paris\u2019s Galerie Jocelyn Wolff.\u00a0Now look down, and you\u2019ll see William Anastasi\u2019s\u00a0Sink<\/em>\u00a0(1963), which refers both to drowning and the bowl-shaped plumbing fixture used to wash hands or dishes. This hot-rolled carbon steel plate is covered with a puddle of water, to be refilled\u00a0upon\u00a0evaporation. Also lying on the floor is a puzzling bronze skeleton courtesy of Portuguese sculptor Francisco Ropa, the result of a performance in which its bones are put back together in front of an audience.<\/p>\n<\/div>\n<\/article>\n<\/div>\n\n\n\nKukje<\/h2>\n<\/div>\n![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/10\/thumbnail_IMG_1968.jpeg?w=450\")
<\/p>\nPhoto<\/span>\u00a0:\u00a0<\/span>Sarah Belmont for ARTnews<\/span><\/div>\n<\/figure>\n\nSeoul\u2019s Kukje gallery<\/a> is responsible for the only loan to the current Jean-Michel Othoniel retrospective at the Petit Palais, located opposite the Grand Palais. For those who want a taste of that show ahead of visiting, Kukje is showing monumental glass necklaces by the French artist, who was inducted into France\u2019s esteemed Acad\u00e9mie des Beaux-Arts no less than two weeks ago. Also on view are handsome paintings by Lee Ufan.\u00a0Response<\/em>\u00a0(2021) features two thick gradations of color: single strokes that result\u00a0from up-and-down\u00a0and\u00a0right-to-left\u00a0movements of the hand. Meanwhile, to make\u00a0From Line<\/em>\u00a0(1981), Lee enacts similar minimalist effects, this time by pulling thinly mixed paint downward over and over.<\/p>\n<\/div>\n<\/article>\n<\/div>\n\n\n\nGalerie Max Hetzler<\/h2>\n<\/div>\n![\"An](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/10\/IMG_2416.jpg?w=800\")
<\/p>\nPhoto<\/span>\u00a0:\u00a0<\/span>Courtesy Galerie Max Hetzler<\/span><\/div>\n<\/figure>\n\nBehind\u00a0a\u00a0dealer\u2019s\u00a0desk at Galerie Max Hetzler<\/a>\u2019s booth hangs a giant set of matches by Raymond Hains, a central figure in the postwar French art scene. To complement that 1971 work, the Berlin gallery brought to Paris a few more contemporary ones by artists on its roster. Glenn Brown\u2019s 2020 painting\u00a0Deliver Me (after Jan Lievens)<\/em>\u00a0offers similar curves to the ones seen in Ai Weiwei\u2019s blue-and-white\u00a0Porcelain Plates<\/em>\u00a0(2017). Elsewhere in the booth, a brass bust by Hans Josephsohn rhymes nicely with Bridget Riley\u2019s\u00a0striped composition\u00a0Intervals 8<\/em>\u00a0(2020). Consider this booth a showcase for perfect matches.<\/p>\n<\/div>\n<\/article>\n<\/div>\n\n\n\nEsther Schipper<\/h2>\n<\/div>\n![\"An](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/10\/thumbnail_image0-1.jpeg?w=450\")
<\/p>\nPhoto<\/span>\u00a0:\u00a0<\/span>Sarah Belmont for ARTnews<\/span><\/div>\n<\/figure>\n\nWinter is coming at the booth of Berlin\u2019s Esther Schipper<\/a>, which has fostered the careers of artists associated with the field of relational aesthetics. In what counts as one of FIAC\u2019s showiest offerings, the gallery has reactivated Philippe Parreno\u2019s 1995 work\u00a0Iceman in a Reality Park<\/em>, an ice sculpture of a snowman standing on top of a manhole cover. Next to this melting installation\u2014which will be replaced in its entirety on a daily basis\u2014is\u00a0Wh<\/em>o<\/em>\u2019s in Egypt<\/em>\u00a0by Simon Fujiwara. This installation is the continuation of a series featuring cartoon character Who the B\u00e6r, which has no clear gender or identity. Here, the character is shown a inside mixed-media sarcophagus surrounded by six drawings.<\/p>\n<\/div>\n<\/article>\n<\/div>\n\n\n\nGalerie Lelong & Co.<\/h2>\n<\/div>\n![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/10\/thumbnail_Vue-Fiac-2021-2-copie.jpeg?w=800\")
<\/p>\nPhoto<\/span>\u00a0:\u00a0<\/span>Courtesy Galerie Lelong & Co.<\/span><\/div>\n<\/figure>\n\nAnother iceman awaits at Galerie Lelong & Co.<\/a>\u2019s booth. A wall-mounted human figure Kiki Smith sculpted in 1995 using polyester resin and fiberglass is on view\u2014and not for the first time in Paris in recent memory. This work was presented the French capital at the gallery with, along with this piece\u2019s counterpart,\u00a0Black Madonna<\/em>. Smith has paid special mind to the figure\u2019s hands, and Barth\u00e9l\u00e9my Toguo places a similar amount of attention on those body parts in a midnight-blue painting shown next to her sculpture. That painting, titled\u00a0Partage VII<\/em>, draws inspiration from a Central African legend about a deity known to cast spells after dark only. To her victims the Cameroonian artist seems to be lending not only one but four hands.<\/p>\n<\/div>\n<\/article>\n<\/div>\n\n\n\nPace Gallery<\/h2>\n<\/div>\n![\"An](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/10\/thumbnail_IMG_2288.png?w=800\")
<\/p>\nPhoto<\/span>\u00a0:\u00a0<\/span>Photo Sebastiano Pellion di Persano\/Courtesy Pace Gallery<\/span><\/div>\n<\/figure>\n\nIf the hands have it at Galerie Lelong, feet are the focus at Pace Gallery\u2019s booth. Socks show up in works like a mixed media collage by Antoni T\u00e1pies and in Elmgreen & Dragset\u2019s\u00a0Dirty Socks<\/em><\/a>\u00a0(2021), a steel sculpture by the Danish and Nowegian duo featuring a set of crossed legs atop a black cubical structure. \u00a0It alludes to Peter Hujar\u2019s photograph\u00a0Christopher Street Pier #2 (Crossed Legs)<\/em>, from 1976. Are your feet aching from walking around the fair? It might be tempting to sit on Jeff Koons\u2019s\u00a0Seal Walrus<\/em>\u00a0(2003\u201309), a set of plastic chairs with two plastic floaties, but unfortunately, you can\u2019t touch the art.<\/p>\n<\/div>\n<\/article>\n<\/div>\n\n\n\nGianni Manhattan<\/h2>\n<\/div>\n![\"An](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/10\/thumbnail_Gianni-Manhattan-FIAC-8076-HD.jpeg?w=800\")
<\/p>\nPhoto<\/span>\u00a0:\u00a0<\/span>Courtesy Gianni Manhattan<\/span><\/div>\n<\/figure>\n
<\/p>\nLook up! Katinka Bock\u2019s sculptures\u00a0<\/a>Leichtsinn\u00a0(Recklessness, in English)<\/em>\u00a0and\u00a0Speaker and Receiver<\/em>\u00a0(both works 2021)\u2014 two glazed ceramic pieces featuring objects, such as a giant spoon in the latter work, suspended in midair\u2014hang in the booth of Paris\u2019s Galerie Jocelyn Wolff.\u00a0Now look down, and you\u2019ll see William Anastasi\u2019s\u00a0Sink<\/em>\u00a0(1963), which refers both to drowning and the bowl-shaped plumbing fixture used to wash hands or dishes. This hot-rolled carbon steel plate is covered with a puddle of water, to be refilled\u00a0upon\u00a0evaporation. Also lying on the floor is a puzzling bronze skeleton courtesy of Portuguese sculptor Francisco Ropa, the result of a performance in which its bones are put back together in front of an audience.<\/p>\n<\/div>\n<\/article>\n<\/div>\n Seoul\u2019s Kukje gallery<\/a> is responsible for the only loan to the current Jean-Michel Othoniel retrospective at the Petit Palais, located opposite the Grand Palais. For those who want a taste of that show ahead of visiting, Kukje is showing monumental glass necklaces by the French artist, who was inducted into France\u2019s esteemed Acad\u00e9mie des Beaux-Arts no less than two weeks ago. Also on view are handsome paintings by Lee Ufan.\u00a0Response<\/em>\u00a0(2021) features two thick gradations of color: single strokes that result\u00a0from up-and-down\u00a0and\u00a0right-to-left\u00a0movements of the hand. Meanwhile, to make\u00a0From Line<\/em>\u00a0(1981), Lee enacts similar minimalist effects, this time by pulling thinly mixed paint downward over and over.<\/p>\n<\/div>\n<\/article>\n<\/div>\n Behind\u00a0a\u00a0dealer\u2019s\u00a0desk at Galerie Max Hetzler<\/a>\u2019s booth hangs a giant set of matches by Raymond Hains, a central figure in the postwar French art scene. To complement that 1971 work, the Berlin gallery brought to Paris a few more contemporary ones by artists on its roster. Glenn Brown\u2019s 2020 painting\u00a0Deliver Me (after Jan Lievens)<\/em>\u00a0offers similar curves to the ones seen in Ai Weiwei\u2019s blue-and-white\u00a0Porcelain Plates<\/em>\u00a0(2017). Elsewhere in the booth, a brass bust by Hans Josephsohn rhymes nicely with Bridget Riley\u2019s\u00a0striped composition\u00a0Intervals 8<\/em>\u00a0(2020). Consider this booth a showcase for perfect matches.<\/p>\n<\/div>\n<\/article>\n<\/div>\n Winter is coming at the booth of Berlin\u2019s Esther Schipper<\/a>, which has fostered the careers of artists associated with the field of relational aesthetics. In what counts as one of FIAC\u2019s showiest offerings, the gallery has reactivated Philippe Parreno\u2019s 1995 work\u00a0Iceman in a Reality Park<\/em>, an ice sculpture of a snowman standing on top of a manhole cover. Next to this melting installation\u2014which will be replaced in its entirety on a daily basis\u2014is\u00a0Wh<\/em>o<\/em>\u2019s in Egypt<\/em>\u00a0by Simon Fujiwara. This installation is the continuation of a series featuring cartoon character Who the B\u00e6r, which has no clear gender or identity. Here, the character is shown a inside mixed-media sarcophagus surrounded by six drawings.<\/p>\n<\/div>\n<\/article>\n<\/div>\n Another iceman awaits at Galerie Lelong & Co.<\/a>\u2019s booth. A wall-mounted human figure Kiki Smith sculpted in 1995 using polyester resin and fiberglass is on view\u2014and not for the first time in Paris in recent memory. This work was presented the French capital at the gallery with, along with this piece\u2019s counterpart,\u00a0Black Madonna<\/em>. Smith has paid special mind to the figure\u2019s hands, and Barth\u00e9l\u00e9my Toguo places a similar amount of attention on those body parts in a midnight-blue painting shown next to her sculpture. That painting, titled\u00a0Partage VII<\/em>, draws inspiration from a Central African legend about a deity known to cast spells after dark only. To her victims the Cameroonian artist seems to be lending not only one but four hands.<\/p>\n<\/div>\n<\/article>\n<\/div>\n If the hands have it at Galerie Lelong, feet are the focus at Pace Gallery\u2019s booth. Socks show up in works like a mixed media collage by Antoni T\u00e1pies and in Elmgreen & Dragset\u2019s\u00a0Dirty Socks<\/em><\/a>\u00a0(2021), a steel sculpture by the Danish and Nowegian duo featuring a set of crossed legs atop a black cubical structure. \u00a0It alludes to Peter Hujar\u2019s photograph\u00a0Christopher Street Pier #2 (Crossed Legs)<\/em>, from 1976. Are your feet aching from walking around the fair? It might be tempting to sit on Jeff Koons\u2019s\u00a0Seal Walrus<\/em>\u00a0(2003\u201309), a set of plastic chairs with two plastic floaties, but unfortunately, you can\u2019t touch the art.<\/p>\n<\/div>\n<\/article>\n<\/div>\nKukje<\/h2>\n<\/div>\n
<\/p>\nGalerie Max Hetzler<\/h2>\n<\/div>\n
<\/p>\nEsther Schipper<\/h2>\n<\/div>\n
<\/p>\nGalerie Lelong & Co.<\/h2>\n<\/div>\n
<\/p>\nPace Gallery<\/h2>\n<\/div>\n
<\/p>\nGianni Manhattan<\/h2>\n<\/div>\n
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