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𝗡𝗲𝗵𝘂𝘀𝘁𝗮𝗻In his new sculptural work, Arthur Hoffmann transforms rubber tires, objects born of circulation, friction, and ...
20/03/2026

𝗡𝗲𝗵𝘂𝘀𝘁𝗮𝗻

In his new sculptural work, Arthur Hoffmann transforms rubber tires, objects born of circulation, friction, and erosion, into crosses : vertical and horizontal axes twisted, knotted, or suspended in tension. Sometimes anchored by a metal rod, sometimes hovering in the air, sometimes coated in reflective chrome, the works oscillate between weight and levitation, ruin and paragon.

Extending his investigation of abandonment, memory, and material transformation into three dimensions. The tread marks remain visible, scars of use preserved even as the surface transforms into a mirror-like skin. What once absorbed dirt and friction now reflects light, space, and the viewer, turning wear into radiance.

These sculptures recall the Nehushtan, the bronze serpent forged by Moses : born as an instrument of healing, later condemned for becoming an idol. Hoffmann’s crosses exist within the same ambiguity. Neither sacred nor profane, neither shrine nor relic, they question how symbols are formed, abandoned, and reactivated.

Operating as thresholds between presence and disappearance, function and obsolescence, these works do not propose redemption, they propose attention. By transforming discarded industrial matter into unstable icons, Hoffmann exposes the fragile mechanics of belief, memory, and value. These crosses are not monuments, they are remnants, held together just long enough to remind us that meaning, like material, is always eroding and reinventing itself.

Nous sommes heureux de vous présenter l’exposition FRAGMENTS, une rencontre singulière avec les univers de 26 artistes i...
16/02/2026

Nous sommes heureux de vous présenter l’exposition FRAGMENTS, une rencontre singulière avec les univers de 26 artistes issus des ateliers municipaux Marc Chagall.

Cette exposition explore la diversité des formes, des médiums et des visions artistiques à travers des pièces qui, chacune à leur manière, dévoilent un fragment de sens, de matière et d’émotion.

📅 Vernissage mardi 17 février, à partir de 18h au Pavillon Vendôme, en présence des artistes.

🗓 Du 18 février au 2 mai 2026. 

📍2 rue du Guichet, 92110 Clichy. 

🕘 Du lundi au samedi de 9h à 18h (entrée libre et gratuite). 

Claude Viallat’s exhibition has now come to a close.We are deeply grateful to Paul Peralta and the Gallery Peralta for t...
11/02/2026

Claude Viallat’s exhibition has now come to a close.

We are deeply grateful to Paul Peralta and the Gallery Peralta for their trust and collaboration, and to everyone who came to experience the show.

It was a privilege to share Viallat’s work spanning over nearly a 50 year period to see such a strong response in Marseille.

Thank you to all who made this exhibition possible.
curator

𝗪𝗵𝗮𝘁 𝗥𝗲𝗺𝗮𝗶𝗻𝘀 𝗦𝘂𝘀𝗽𝗲𝗻𝗱𝗲𝗱Arthur Hoffmann’s new installation suspends comfort in a state of tension. A chromed mattress—once...
15/01/2026

𝗪𝗵𝗮𝘁 𝗥𝗲𝗺𝗮𝗶𝗻𝘀 𝗦𝘂𝘀𝗽𝗲𝗻𝗱𝗲𝗱

Arthur Hoffmann’s new installation suspends comfort in a state of tension. A chromed mattress—once belonging to the artist’s father and moved out after his death—hovers in levitation, wrapped in barbed wire and held by thin metal cables. An object of rest becomes a vessel of memory, emptied of the body yet charged with its absence.

Below, a grid-like metal pedestal evokes a bed reduced to structure, while a parabole antenna in the background suggests transmission, surveillance, and signals that persist beyond presence. Intimacy turns brittle; protection becomes restraint.

The work speaks of what moves, what comes and goes, what must be flushed away—and what inevitably remains. Avoiding sentimentality, Hoffmann gives form to loss through precision and restraint, holding rest itself in suspension, unresolved between departure and persistence.

𝟬𝟵/𝟬𝟭/𝟭𝟵𝟯𝟱_𝟬𝟱/𝟬𝟵/𝟮𝟬𝟮𝟱Je n’emporterai rien ou presqueNi mon cuir qui m’est un peu « just »Vétéran des concerts de TrustNi...
09/01/2026

𝟬𝟵/𝟬𝟭/𝟭𝟵𝟯𝟱_𝟬𝟱/𝟬𝟵/𝟮𝟬𝟮𝟱

Je n’emporterai rien ou presque
Ni mon cuir qui m’est un peu « just »
Vétéran des concerts de Trust
Ni les santiag qui vont avec

Je les lègue à mon pote Arthur
A l’homme aux semelles de vent
On se fout bien de la pointure
Quand on s’en va les pieds devant

Je n’emporterai pas ces trucs
Non plus ces ramasse-poussière
Troupeau de peluches-laitières
Dieux lares d’une vie en stuc

Je laisserai ici mon vieux hibou
Il veillera sur mon sommeil
Dans la nuit éternelle
Les mulots restent dans leur trou

- Henri Hoffmann

Healing from Healing has been released.A collaborative book by Olivia Ghaliounghi and Ouriel Zeboulon, conceived as an o...
28/12/2025

Healing from Healing has been released.

A collaborative book by Olivia Ghaliounghi and Ouriel Zeboulon, conceived as an ode to Ouriel’s tattoo practice over the past nine years—to the gestures, the encounters, the time spent with bodies, stories, and scars. The book traces tattooing not only as an image, but as a process of care, transformation, and shared vulnerability.

The text, written by Gaya Goldcymer, weaves language through these years of practice, offering a quiet, reflective counterpoint to the images. Together, the book unfolds as a space where healing, repetition, and devotion intersect—where making and mending become inseparable.

Limited to 300 copies
126 pages · 170 × 240 mm

Available at 1909 Bookstore
📍 3 Passage Guilhem, 75011 Paris
or by DM to the artists

A book made to be held and revisited.


curator
@1909.bookstore

𝗥𝗲𝘀𝗶𝗱𝘂𝗮𝗹 𝗔𝗹𝘁𝗮𝗿𝘀 (𝗦𝗮𝗿𝗰𝗼𝗽𝗵𝗮𝗴𝘂𝘀)A sculptural investigation into residue, violence, and transformation. An accumulated mass ...
24/12/2025

𝗥𝗲𝘀𝗶𝗱𝘂𝗮𝗹 𝗔𝗹𝘁𝗮𝗿𝘀 (𝗦𝗮𝗿𝗰𝗼𝗽𝗵𝗮𝗴𝘂𝘀)

A sculptural investigation into residue, violence, and transformation. An accumulated mass of tires—burned, then chromed—bears the marks of fire before returning as reflective matter. The process echoes open-air incineration and the informal burning of wasteland debris, where destruction becomes a method of extraction and loss a condition for reuse.

Barbed-wire legs lift the scorched mass slightly above the ground, forming a precarious elevation that recalls both a funerary platform and an improvised support. Containment and exposure coexist. Destruction is not concealed, only stabilized long enough to be seen.

𝗦𝗮𝗿𝗰𝗼𝗽𝗵𝗮𝗴𝘂𝘀 functions as a threshold—between burial and display, extraction and abandonment, memory and material persistence. Not a site of reverence, but of attention, where residue is held temporarily before meaning disperses again.

𝗠𝗲𝗰𝗵𝗮𝗻𝗶𝗰𝘀 𝗼𝗳 𝗔𝗯𝘀𝗲𝗻𝗰𝗲In this modular installation series, absence becomes a silent engine, an unseen force that organizes...
01/12/2025

𝗠𝗲𝗰𝗵𝗮𝗻𝗶𝗰𝘀 𝗼𝗳 𝗔𝗯𝘀𝗲𝗻𝗰𝗲

In this modular installation series, absence becomes a silent engine, an unseen force that organizes the space as much as the raw materials that occupy it. Sets of manufactured assemblages caught in barbed wire stands like a fragment of disrupted movement — a relic of transit suspended between struggle and inertia. Surrounded by oil barrels whose reflective surfaces distort their surroundings, it evokes the industrial infrastructures that quietly shape our lives, circulating, extracting, transporting — yet often remain invisible, or pointedly ignored.

Behind the sculptures, a luminous and translucent photograph deepens this tension. In this friction between image and disappearance, the work gestures toward the instability of memory, the way landscapes, mental or physical, fade into something ungraspable.

By assembling these disparate elements into a single adaptable spatial encounter, 𝗠𝗲𝗰𝗵𝗮𝗻𝗶𝗰𝘀 𝗼𝗳 𝗔𝗯𝘀𝗲𝗻𝗰𝗲 suggests a system built not on presence but on loss, displacement, and what remains after use. It is a machinery of remnants, a choreography of exiled objects, a landscape where absence itself takes on a material and emotional weight. Here, the missing is not empty; it resonates.

𝗕𝗮𝗿𝗿𝗲𝗻 𝗚𝗿𝗼𝘂𝗻𝗱𝘀 unfolds like a meditation on the overlooked zones that lie between use and abandonment — the wastelands, ...
19/11/2025

𝗕𝗮𝗿𝗿𝗲𝗻 𝗚𝗿𝗼𝘂𝗻𝗱𝘀 unfolds like a meditation on the overlooked zones that lie between use and abandonment — the wastelands, liminal terrains, and “third landscapes” where human intention fades and ambiguity takes root.

In this work, the cold shimmer of a photographic print on aluminium faces off with sculptural clusters of new tires entangled in barbed wire. The materials feel both familiar and estranged : objects tied to mobility and industry, rendered static, bound, and glinting with an almost sterile precision. They echo landscapes shaped not by nature alone, but by extraction, pause, and neglect — places where meaning feels suspended.

𝗕𝗮𝗿𝗿𝗲𝗻 𝗚𝗿𝗼𝘂𝗻𝗱𝘀 captures that unsettling quiet of spaces in transition : zones we pass by without naming, edges of cities where function dissolves, territories neither wild nor domesticated. Hoffmann turns these in-between geographies into a visual language — one that asks how we inhabit, consume, and abandon our surroundings, and what uncanny beauty emerges in the cracks of our built world.

A study of tension, stillness, and the futures imagined in the margins.

curator

𝗡𝗶𝗵𝗶𝗹𝗲 unfolds like a quiet rupture in space : metallic shaped canvases stretched into elongated, blade-like forms that ...
15/11/2025

𝗡𝗶𝗵𝗶𝗹𝗲 unfolds like a quiet rupture in space : metallic shaped canvases stretched into elongated, blade-like forms that hover between painting and sculpture. Their central gap becomes a threshold — a place where something hesitates between being and not-being. These pieces evoke liminal states, moments of passage, the trembling line between life and death. Out of the void, emergence feels possible. Their configurations shift effortlessly, suggesting that each form could adapt to new states of balance and becoming. In these suspended forms, creation seems to arise not from matter, but from absence itself.

curator

Final shots of Arthur Hoffmann’s solo presentation “INTERSTICE” at SWAB Barcelona 202502-05/10Booth 02 curator
14/10/2025

Final shots of Arthur Hoffmann’s solo presentation “INTERSTICE” at SWAB Barcelona 2025
02-05/10
Booth 02

curator

More shots of Arthur Hoffmann’s solo booth “INTERSTICE” at SWAB Barcelona Art Fair 202502-05/10curator
13/10/2025

More shots of Arthur Hoffmann’s solo booth “INTERSTICE” at SWAB Barcelona Art Fair 2025
02-05/10

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