Instagram Story Save

Philippe Decrauzat’s second solo exhibition at DEVALS, Dedans Dehors is extended through June 7.

« From the inner world, the outer world sways, and I am drawn back to that outward intimacy that is the experience of perception,» Muriel Pic writes as she reflects on her encounter with Philippe Decrauzat. [1]

Dedans Dehors explores the continuous exchange between interior and exterior, tracing the shifting dynamics of perception that animate Philippe Decrauzat’s Feedback Loop works.

Dedans Dehors
April 3–May 23, 2026
37–38 Galerie de Montpensier, 75001 Paris
Jardin du Palais-Royal
(Access via the garden or through 24 rue de Montpensier)

Image: Feedback Loop, Running Entire Lens, Double, 2023
Courtesy of the artist and DEVALS — Photo: Mike Derez

[1] Muriel Pic, Escamotages, Portrait de Philippe Decrauzat (Lausanne : Art&fiction, 2025), 8. Original quote : « Depuis le monde intérieur, le monde extérieur tangue, et je suis rappelée à cette intimité du dehors qu’est l’expérience de la perception »

Philippe Decrauzat’s second solo exhibition at DEVALS, Dedans Dehors is extended through June 7.

« From the inner world, the outer world sways, and I am drawn back to that outward intimacy that is the experience of perception,» Muriel Pic writes as she reflects on her encounter with Philippe Decrauzat. [1]

Dedans Dehors explores the continuous exchange between interior and exterior, tracing the shifting dynamics of perception that animate Philippe Decrauzat’s Feedback Loop works.

Dedans Dehors
April 3–May 23, 2026
37–38 Galerie de Montpensier, 75001 Paris
Jardin du Palais-Royal
(Access via the garden or through 24 rue de Montpensier)

Image: Feedback Loop, Running Entire Lens, Double, 2023
Courtesy of the artist and DEVALS — Photo: Mike Derez

[1] Muriel Pic, Escamotages, Portrait de Philippe Decrauzat (Lausanne : Art&fiction, 2025), 8. Original quote : « Depuis le monde intérieur, le monde extérieur tangue, et je suis rappelée à cette intimité du dehors qu’est l’expérience de la perception »

Philippe Decrauzat’s The Shooting is currently on view within Brion Gysin, le dernier musée at the Musée d’Art Moderne de Paris ( @museedartmodernedeparis )

Brion Gysin (1916–1986), poet, painter, performer and musician, developed a practice at the intersection of painting and writing, closely tied to the Beat Generation. Co-inventor of the cut-up technique with William S. Burroughs and co-creator of the Dreamachine with Ian Sommerville, he worked through fragmentation, repetition, and altered perception across poetry, experimental film, sound, and visual art. Moving between Paris, Tangier, London and New York, and engaging with underground scenes, his work reflects a constant circulation of forms and ideas.

The exhibition brings together more than 140 works, tracing this trajectory across the avant-gardes of the 20th century and in dialogue with artists such as William S. Burroughs, John Giorno, Keith Haring, Patti Smith and Ramuntcho Matta.

Decrauzat’s The Shooting operates within the formal lineage of the Dreamachine. Its circular structure echoes the device’s rotational logic, translating it into a visual register akin to a looped film reel: an image in continuous motion, engaging perception directly through the interplay of form, rhythm, and optical activation.

Brion Gysin, le dernier musée is Curated by Olivier Weil, with Hélène Leroy, assisted by Juliette Theureau.

On view through July 12, 2026
Musée d’Art Moderne de Paris
11 avenue du Président Wilson, 75116 Paris

Image 1: Philippe Decrauzat, The shooting, 2006. Courtesy of the artist and DEVALS - Photo: Fabrice Gousset
Image 2,3,4,5,6 : Brion Gysin, le dernier musée, MAM (exhibition views) - Photo: Nicolas Borel

Philippe Decrauzat’s The Shooting is currently on view within Brion Gysin, le dernier musée at the Musée d’Art Moderne de Paris ( @museedartmodernedeparis )

Brion Gysin (1916–1986), poet, painter, performer and musician, developed a practice at the intersection of painting and writing, closely tied to the Beat Generation. Co-inventor of the cut-up technique with William S. Burroughs and co-creator of the Dreamachine with Ian Sommerville, he worked through fragmentation, repetition, and altered perception across poetry, experimental film, sound, and visual art. Moving between Paris, Tangier, London and New York, and engaging with underground scenes, his work reflects a constant circulation of forms and ideas.

The exhibition brings together more than 140 works, tracing this trajectory across the avant-gardes of the 20th century and in dialogue with artists such as William S. Burroughs, John Giorno, Keith Haring, Patti Smith and Ramuntcho Matta.

Decrauzat’s The Shooting operates within the formal lineage of the Dreamachine. Its circular structure echoes the device’s rotational logic, translating it into a visual register akin to a looped film reel: an image in continuous motion, engaging perception directly through the interplay of form, rhythm, and optical activation.

Brion Gysin, le dernier musée is Curated by Olivier Weil, with Hélène Leroy, assisted by Juliette Theureau.

On view through July 12, 2026
Musée d’Art Moderne de Paris
11 avenue du Président Wilson, 75116 Paris

Image 1: Philippe Decrauzat, The shooting, 2006. Courtesy of the artist and DEVALS - Photo: Fabrice Gousset
Image 2,3,4,5,6 : Brion Gysin, le dernier musée, MAM (exhibition views) - Photo: Nicolas Borel

Philippe Decrauzat’s The Shooting is currently on view within Brion Gysin, le dernier musée at the Musée d’Art Moderne de Paris ( @museedartmodernedeparis )

Brion Gysin (1916–1986), poet, painter, performer and musician, developed a practice at the intersection of painting and writing, closely tied to the Beat Generation. Co-inventor of the cut-up technique with William S. Burroughs and co-creator of the Dreamachine with Ian Sommerville, he worked through fragmentation, repetition, and altered perception across poetry, experimental film, sound, and visual art. Moving between Paris, Tangier, London and New York, and engaging with underground scenes, his work reflects a constant circulation of forms and ideas.

The exhibition brings together more than 140 works, tracing this trajectory across the avant-gardes of the 20th century and in dialogue with artists such as William S. Burroughs, John Giorno, Keith Haring, Patti Smith and Ramuntcho Matta.

Decrauzat’s The Shooting operates within the formal lineage of the Dreamachine. Its circular structure echoes the device’s rotational logic, translating it into a visual register akin to a looped film reel: an image in continuous motion, engaging perception directly through the interplay of form, rhythm, and optical activation.

Brion Gysin, le dernier musée is Curated by Olivier Weil, with Hélène Leroy, assisted by Juliette Theureau.

On view through July 12, 2026
Musée d’Art Moderne de Paris
11 avenue du Président Wilson, 75116 Paris

Image 1: Philippe Decrauzat, The shooting, 2006. Courtesy of the artist and DEVALS - Photo: Fabrice Gousset
Image 2,3,4,5,6 : Brion Gysin, le dernier musée, MAM (exhibition views) - Photo: Nicolas Borel

Philippe Decrauzat’s The Shooting is currently on view within Brion Gysin, le dernier musée at the Musée d’Art Moderne de Paris ( @museedartmodernedeparis )

Brion Gysin (1916–1986), poet, painter, performer and musician, developed a practice at the intersection of painting and writing, closely tied to the Beat Generation. Co-inventor of the cut-up technique with William S. Burroughs and co-creator of the Dreamachine with Ian Sommerville, he worked through fragmentation, repetition, and altered perception across poetry, experimental film, sound, and visual art. Moving between Paris, Tangier, London and New York, and engaging with underground scenes, his work reflects a constant circulation of forms and ideas.

The exhibition brings together more than 140 works, tracing this trajectory across the avant-gardes of the 20th century and in dialogue with artists such as William S. Burroughs, John Giorno, Keith Haring, Patti Smith and Ramuntcho Matta.

Decrauzat’s The Shooting operates within the formal lineage of the Dreamachine. Its circular structure echoes the device’s rotational logic, translating it into a visual register akin to a looped film reel: an image in continuous motion, engaging perception directly through the interplay of form, rhythm, and optical activation.

Brion Gysin, le dernier musée is Curated by Olivier Weil, with Hélène Leroy, assisted by Juliette Theureau.

On view through July 12, 2026
Musée d’Art Moderne de Paris
11 avenue du Président Wilson, 75116 Paris

Image 1: Philippe Decrauzat, The shooting, 2006. Courtesy of the artist and DEVALS - Photo: Fabrice Gousset
Image 2,3,4,5,6 : Brion Gysin, le dernier musée, MAM (exhibition views) - Photo: Nicolas Borel

Philippe Decrauzat’s The Shooting is currently on view within Brion Gysin, le dernier musée at the Musée d’Art Moderne de Paris ( @museedartmodernedeparis )

Brion Gysin (1916–1986), poet, painter, performer and musician, developed a practice at the intersection of painting and writing, closely tied to the Beat Generation. Co-inventor of the cut-up technique with William S. Burroughs and co-creator of the Dreamachine with Ian Sommerville, he worked through fragmentation, repetition, and altered perception across poetry, experimental film, sound, and visual art. Moving between Paris, Tangier, London and New York, and engaging with underground scenes, his work reflects a constant circulation of forms and ideas.

The exhibition brings together more than 140 works, tracing this trajectory across the avant-gardes of the 20th century and in dialogue with artists such as William S. Burroughs, John Giorno, Keith Haring, Patti Smith and Ramuntcho Matta.

Decrauzat’s The Shooting operates within the formal lineage of the Dreamachine. Its circular structure echoes the device’s rotational logic, translating it into a visual register akin to a looped film reel: an image in continuous motion, engaging perception directly through the interplay of form, rhythm, and optical activation.

Brion Gysin, le dernier musée is Curated by Olivier Weil, with Hélène Leroy, assisted by Juliette Theureau.

On view through July 12, 2026
Musée d’Art Moderne de Paris
11 avenue du Président Wilson, 75116 Paris

Image 1: Philippe Decrauzat, The shooting, 2006. Courtesy of the artist and DEVALS - Photo: Fabrice Gousset
Image 2,3,4,5,6 : Brion Gysin, le dernier musée, MAM (exhibition views) - Photo: Nicolas Borel

Philippe Decrauzat’s second solo exhibition at DEVALS, Dedans Dehors, is on view through May 23.

The meandering paths traced by the shaped canvases of the Feedback Loop works outline an inner cartography, whose organic quality and dynamism stem from a dual origin, both human and modernist.

In Decrauzat’s practice, painting engages less in a purely optical relationship than in a physiological process: it tests the interaction between the viewer and the forms presented, as well as the more internal connection linking the viewer to their own perceptual system.

Dedans Dehors
April 3–May 23, 2026
37–38 Galerie de Montpensier, 75001 Paris
Jardin du Palais-Royal
(Access via the garden or through 24 rue de Montpensier)

Image: Feedback Loop, The Presence of Immediate, 2021
Courtesy of the artist and DEVALS — Photo: Mike Derez

OPENING TODAY

DEVALS is pleased to present Dedans Dehors, Philippe Decrauzat’s second solo exhibition at the gallery.

Dedans Dehors unfolds as a precise and disorienting system of shaped canvases, where Philippe Decrauzat extends his Feedback Loop into a sustained inquiry on vision and its conditions.

Please join us tonight for the opening of the exhibition:

Friday, April 3, 6–8:30 pm
37–38 Galerie de Montpensier, 75001 Paris
Jardin du Palais-Royal
(Access via the garden or through 24, rue de Montpensier)

Image: Philippe Decrauzat, Dedans Dehors, 2026 (exhibition view) Courtesy of the artist & DEVALS - Photo : Mike Derez

OPENING TODAY

DEVALS is pleased to present Dedans Dehors, Philippe Decrauzat’s second solo exhibition at the gallery.

Dedans Dehors unfolds as a precise and disorienting system of shaped canvases, where Philippe Decrauzat extends his Feedback Loop into a sustained inquiry on vision and its conditions.

Please join us tonight for the opening of the exhibition:

Friday, April 3, 6–8:30 pm
37–38 Galerie de Montpensier, 75001 Paris
Jardin du Palais-Royal
(Access via the garden or through 24, rue de Montpensier)

Image: Philippe Decrauzat, Dedans Dehors, 2026 (exhibition view) Courtesy of the artist & DEVALS - Photo : Mike Derez

OPENING TODAY

DEVALS is pleased to present Dedans Dehors, Philippe Decrauzat’s second solo exhibition at the gallery.

Dedans Dehors unfolds as a precise and disorienting system of shaped canvases, where Philippe Decrauzat extends his Feedback Loop into a sustained inquiry on vision and its conditions.

Please join us tonight for the opening of the exhibition:

Friday, April 3, 6–8:30 pm
37–38 Galerie de Montpensier, 75001 Paris
Jardin du Palais-Royal
(Access via the garden or through 24, rue de Montpensier)

Image: Philippe Decrauzat, Dedans Dehors, 2026 (exhibition view) Courtesy of the artist & DEVALS - Photo : Mike Derez

OPENING FRIDAY APRIL 3rd

DEVALS is pleased to present Dedans Dehors, Philippe Decrauzat’s second solo exhibition at the gallery.

Bringing together three works from the Feedback Loop series, this presentation extends the ocular drift initiated during his first exhibition at the gallery in 2022, exploring the circulation of the gaze within painting as well as the paradox of the preexistence of forms.

Please join us for the opening of the exhibition:

Friday, April 3, 6–8:30 pm
37–38 Galerie de Montpensier, 75001 Paris
Jardin du Palais-Royal
(Access via the garden or through 24, rue de Montpensier)

Image: Philippe Decrauzat, Feedback Loop, Running Entire Lens, Double, 2023 (detail) Courtesy of the artist & DEVALS - Photo : Mike Derez

Now on view- TEFAF MAASTRICHT
Booth SC7

In 1971, Michael Heizer produced Matchdrop Dispersal, a granite sculpture incised with the traced paths of matches dropped onto its surface.

The work belongs to a series of dispersal-based works developed between 1968 and the early 1970s. Related projects include Adze Dispersal 1 (1968–71), in the collection of the Museum Ludwig, and Dissipate from the Nine Nevada Depressions (1968).

The work’s provenance includes Sam Wagstaff, art historian, curator, and early supporter of Heizer, followed by Robert Mapplethorpe, heir to his collection.

@tefaf @tefaf.archive

Now on view- TEFAF MAASTRICHT
Booth SC7

In 1971, Michael Heizer produced Matchdrop Dispersal, a granite sculpture incised with the traced paths of matches dropped onto its surface.

The work belongs to a series of dispersal-based works developed between 1968 and the early 1970s. Related projects include Adze Dispersal 1 (1968–71), in the collection of the Museum Ludwig, and Dissipate from the Nine Nevada Depressions (1968).

The work’s provenance includes Sam Wagstaff, art historian, curator, and early supporter of Heizer, followed by Robert Mapplethorpe, heir to his collection.

@tefaf @tefaf.archive

Now on view- TEFAF MAASTRICHT
Booth SC7

In 1971, Michael Heizer produced Matchdrop Dispersal, a granite sculpture incised with the traced paths of matches dropped onto its surface.

The work belongs to a series of dispersal-based works developed between 1968 and the early 1970s. Related projects include Adze Dispersal 1 (1968–71), in the collection of the Museum Ludwig, and Dissipate from the Nine Nevada Depressions (1968).

The work’s provenance includes Sam Wagstaff, art historian, curator, and early supporter of Heizer, followed by Robert Mapplethorpe, heir to his collection.

@tefaf @tefaf.archive

Now on view- TEFAF MAASTRICHT
Booth SC7

In 1971, Michael Heizer produced Matchdrop Dispersal, a granite sculpture incised with the traced paths of matches dropped onto its surface.

The work belongs to a series of dispersal-based works developed between 1968 and the early 1970s. Related projects include Adze Dispersal 1 (1968–71), in the collection of the Museum Ludwig, and Dissipate from the Nine Nevada Depressions (1968).

The work’s provenance includes Sam Wagstaff, art historian, curator, and early supporter of Heizer, followed by Robert Mapplethorpe, heir to his collection.

@tefaf @tefaf.archive

Now on view- TEFAF MAASTRICHT
Booth SC7

In 1971, Michael Heizer produced Matchdrop Dispersal, a granite sculpture incised with the traced paths of matches dropped onto its surface.

The work belongs to a series of dispersal-based works developed between 1968 and the early 1970s. Related projects include Adze Dispersal 1 (1968–71), in the collection of the Museum Ludwig, and Dissipate from the Nine Nevada Depressions (1968).

The work’s provenance includes Sam Wagstaff, art historian, curator, and early supporter of Heizer, followed by Robert Mapplethorpe, heir to his collection.

@tefaf @tefaf.archive

Now on view- TEFAF MAASTRICHT
Booth SC7

In 1971, Michael Heizer produced Matchdrop Dispersal, a granite sculpture incised with the traced paths of matches dropped onto its surface.

The work belongs to a series of dispersal-based works developed between 1968 and the early 1970s. Related projects include Adze Dispersal 1 (1968–71), in the collection of the Museum Ludwig, and Dissipate from the Nine Nevada Depressions (1968).

The work’s provenance includes Sam Wagstaff, art historian, curator, and early supporter of Heizer, followed by Robert Mapplethorpe, heir to his collection.

@tefaf @tefaf.archive

Now on view- TEFAF MAASTRICHT
Booth SC7

We are pleased to welcome you on Booth SC7 for the second day of TEFAF Maastricht.

We are presenting works by Andy Goldsworthy, Michael Heizer, Alan Sonfist, Nobuo Sekine and Victor Vasarely.

—
Photo: Philip Graysc

@tefaf @tefaf.archive

Now on view- TEFAF MAASTRICHT
Booth SC7

We are pleased to welcome you on Booth SC7 for the second day of TEFAF Maastricht.

We are presenting works by Andy Goldsworthy, Michael Heizer, Alan Sonfist, Nobuo Sekine and Victor Vasarely.

—
Photo: Philip Graysc

@tefaf @tefaf.archive

Now on view- TEFAF MAASTRICHT
Booth SC7

We are pleased to welcome you on Booth SC7 for the second day of TEFAF Maastricht.

We are presenting works by Andy Goldsworthy, Michael Heizer, Alan Sonfist, Nobuo Sekine and Victor Vasarely.

—
Photo: Philip Graysc

@tefaf @tefaf.archive

We would like to thank Tsuyoshi Tane (@tsuyoshi_tane ) for designing our booth dedicated to stones on the occasion of TEFAF Maastricht (@tefaf ). The white box aims at underlining the mineral qualities of the sculptures of Michael Heizer, Andy Goldsworthy, Nobuo Sekine and Alan Sonfist.

Central to Tane’s work is the concept he formulated as “Archaeology of the Future.” Rather than projecting architecture from an abstract vision of tomorrow, Tane begins each project by excavating the historical, cultural, and emotional layers embedded in a site through extensive research involving archives, local stories, materials, and landscapes.

This approach is evident across a diverse body of work, from the scenography of the Fondation Al Thani Collection at the Hôtel de la Marine in Paris (2021) to the Vitra Tane Garden House in Weil am Rhein.

Tane’s research-driven practice has also been presented internationally through exhibitions such as Archaeology of the Future (Tokyo Opera City, the Swiss Architecture Museum in Basel, Cité de l’architecture, Paris) and, most recently, Memoryscapes at the Louisiana Museum of Modern Art in Denmark, exploring how places, stories, and landscapes shape architectural imagination.

We look forward to welcoming you at booth SC7 in the Showcase section, from March 12th to March 19th.

Japanese architect Tsuyoshi Tane (b. 1979, Tokyo) lives and works in Paris.

@ateliertsuyoshi_tanearchitects

UPCOMING | TEFAF MAASTRICHT

For its first participation at @tefaf, in Showcase (stand SC7), DEVALS pays tribute to artists’ enduring fascination with stone.

We are pleased to present a selection of works by Andy Goldsworthy, Michael Heizer, Nobuo Sekine, Alan Sonfist and Victor Vasarely.

“I sought to align the gallery’s program, comprising historical and seminal works from the postwar avant-gardes, with that of TEFAF, an event grounded in the long view of history.

Our booth, dedicated to the mineral sources of sculpture, acknowledges the 7,000 years of history represented at the fair by evoking archaeological vestiges, ancient sculpture, and carved stone blocks from every period.

As the original material of sculpture, stone is presented here as a raw substance. Through seminal works by European, American, and Asian artists associated with Land Art and Mono-ha. The historical significance and emotional resonance of these movements are confirmed fifty years after their creation.”

Alexandre Devals

—

TEFAF MAASTRICHT
MECC Maastricht
Booth SC7
Schowcase Section
14 | 19 March 2026

—

1. Michael Heizer, Matchdrop Dispersal, 1971 (detail), Courtesy DEVALS & the artist, Photo : Nicolas Brasseur
2. Alan Sonfist, Rock Monument of New York City, Manhattan Cross Section, rock drillings from 0 -100 ft. below the city, 1971 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
3. Nobuo Sekine, Phase of Nothingness, 1971 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
4. Andy Goldsworthy, Untitled, 1993 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
5. Victor Vasarely, Les Cailloux - Belle Isle, 1947 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset

UPCOMING | TEFAF MAASTRICHT

For its first participation at @tefaf, in Showcase (stand SC7), DEVALS pays tribute to artists’ enduring fascination with stone.

We are pleased to present a selection of works by Andy Goldsworthy, Michael Heizer, Nobuo Sekine, Alan Sonfist and Victor Vasarely.

“I sought to align the gallery’s program, comprising historical and seminal works from the postwar avant-gardes, with that of TEFAF, an event grounded in the long view of history.

Our booth, dedicated to the mineral sources of sculpture, acknowledges the 7,000 years of history represented at the fair by evoking archaeological vestiges, ancient sculpture, and carved stone blocks from every period.

As the original material of sculpture, stone is presented here as a raw substance. Through seminal works by European, American, and Asian artists associated with Land Art and Mono-ha. The historical significance and emotional resonance of these movements are confirmed fifty years after their creation.”

Alexandre Devals

—

TEFAF MAASTRICHT
MECC Maastricht
Booth SC7
Schowcase Section
14 | 19 March 2026

—

1. Michael Heizer, Matchdrop Dispersal, 1971 (detail), Courtesy DEVALS & the artist, Photo : Nicolas Brasseur
2. Alan Sonfist, Rock Monument of New York City, Manhattan Cross Section, rock drillings from 0 -100 ft. below the city, 1971 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
3. Nobuo Sekine, Phase of Nothingness, 1971 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
4. Andy Goldsworthy, Untitled, 1993 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
5. Victor Vasarely, Les Cailloux - Belle Isle, 1947 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset

UPCOMING | TEFAF MAASTRICHT

For its first participation at @tefaf, in Showcase (stand SC7), DEVALS pays tribute to artists’ enduring fascination with stone.

We are pleased to present a selection of works by Andy Goldsworthy, Michael Heizer, Nobuo Sekine, Alan Sonfist and Victor Vasarely.

“I sought to align the gallery’s program, comprising historical and seminal works from the postwar avant-gardes, with that of TEFAF, an event grounded in the long view of history.

Our booth, dedicated to the mineral sources of sculpture, acknowledges the 7,000 years of history represented at the fair by evoking archaeological vestiges, ancient sculpture, and carved stone blocks from every period.

As the original material of sculpture, stone is presented here as a raw substance. Through seminal works by European, American, and Asian artists associated with Land Art and Mono-ha. The historical significance and emotional resonance of these movements are confirmed fifty years after their creation.”

Alexandre Devals

—

TEFAF MAASTRICHT
MECC Maastricht
Booth SC7
Schowcase Section
14 | 19 March 2026

—

1. Michael Heizer, Matchdrop Dispersal, 1971 (detail), Courtesy DEVALS & the artist, Photo : Nicolas Brasseur
2. Alan Sonfist, Rock Monument of New York City, Manhattan Cross Section, rock drillings from 0 -100 ft. below the city, 1971 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
3. Nobuo Sekine, Phase of Nothingness, 1971 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
4. Andy Goldsworthy, Untitled, 1993 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
5. Victor Vasarely, Les Cailloux - Belle Isle, 1947 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset

UPCOMING | TEFAF MAASTRICHT

For its first participation at @tefaf, in Showcase (stand SC7), DEVALS pays tribute to artists’ enduring fascination with stone.

We are pleased to present a selection of works by Andy Goldsworthy, Michael Heizer, Nobuo Sekine, Alan Sonfist and Victor Vasarely.

“I sought to align the gallery’s program, comprising historical and seminal works from the postwar avant-gardes, with that of TEFAF, an event grounded in the long view of history.

Our booth, dedicated to the mineral sources of sculpture, acknowledges the 7,000 years of history represented at the fair by evoking archaeological vestiges, ancient sculpture, and carved stone blocks from every period.

As the original material of sculpture, stone is presented here as a raw substance. Through seminal works by European, American, and Asian artists associated with Land Art and Mono-ha. The historical significance and emotional resonance of these movements are confirmed fifty years after their creation.”

Alexandre Devals

—

TEFAF MAASTRICHT
MECC Maastricht
Booth SC7
Schowcase Section
14 | 19 March 2026

—

1. Michael Heizer, Matchdrop Dispersal, 1971 (detail), Courtesy DEVALS & the artist, Photo : Nicolas Brasseur
2. Alan Sonfist, Rock Monument of New York City, Manhattan Cross Section, rock drillings from 0 -100 ft. below the city, 1971 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
3. Nobuo Sekine, Phase of Nothingness, 1971 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
4. Andy Goldsworthy, Untitled, 1993 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
5. Victor Vasarely, Les Cailloux - Belle Isle, 1947 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset

UPCOMING | TEFAF MAASTRICHT

For its first participation at @tefaf, in Showcase (stand SC7), DEVALS pays tribute to artists’ enduring fascination with stone.

We are pleased to present a selection of works by Andy Goldsworthy, Michael Heizer, Nobuo Sekine, Alan Sonfist and Victor Vasarely.

“I sought to align the gallery’s program, comprising historical and seminal works from the postwar avant-gardes, with that of TEFAF, an event grounded in the long view of history.

Our booth, dedicated to the mineral sources of sculpture, acknowledges the 7,000 years of history represented at the fair by evoking archaeological vestiges, ancient sculpture, and carved stone blocks from every period.

As the original material of sculpture, stone is presented here as a raw substance. Through seminal works by European, American, and Asian artists associated with Land Art and Mono-ha. The historical significance and emotional resonance of these movements are confirmed fifty years after their creation.”

Alexandre Devals

—

TEFAF MAASTRICHT
MECC Maastricht
Booth SC7
Schowcase Section
14 | 19 March 2026

—

1. Michael Heizer, Matchdrop Dispersal, 1971 (detail), Courtesy DEVALS & the artist, Photo : Nicolas Brasseur
2. Alan Sonfist, Rock Monument of New York City, Manhattan Cross Section, rock drillings from 0 -100 ft. below the city, 1971 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
3. Nobuo Sekine, Phase of Nothingness, 1971 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
4. Andy Goldsworthy, Untitled, 1993 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset
5. Victor Vasarely, Les Cailloux - Belle Isle, 1947 (detail), Courtesy DEVALS & the artist, Photo : Fabrice Gousset

DEVALS welcomes L’Oeil de KO

DEVALS is pleased to announce its second collaboration with L’Oeil de KO, presenting a selection of works across our two Palais-Royal spaces.

For this exhibition, pieces and objects curated by L’Oeil de KO are brought into dialogue with works by Hamish Fulton (@a.walking.artist ) , Sol LeWitt (@lewittstudio )John McCracken, Claudio Parmiggiani, Nobuo Sekine, Bernar Venet (@bernarvenetstudio ), and Antoine Wagner (@antoinewagnerstudio )

15 Galerie de Montpensier
35-37 Galerie de Montpensier
75001 Paris

On view until January 4, 2026

@oeildeko
Photo: @benoit_linero

DEVALS welcomes L’Oeil de KO

DEVALS is pleased to announce its second collaboration with L’Oeil de KO, presenting a selection of works across our two Palais-Royal spaces.

For this exhibition, pieces and objects curated by L’Oeil de KO are brought into dialogue with works by Hamish Fulton (@a.walking.artist ) , Sol LeWitt (@lewittstudio )John McCracken, Claudio Parmiggiani, Nobuo Sekine, Bernar Venet (@bernarvenetstudio ), and Antoine Wagner (@antoinewagnerstudio )

15 Galerie de Montpensier
35-37 Galerie de Montpensier
75001 Paris

On view until January 4, 2026

@oeildeko
Photo: @benoit_linero

DEVALS welcomes L’Oeil de KO

DEVALS is pleased to announce its second collaboration with L’Oeil de KO, presenting a selection of works across our two Palais-Royal spaces.

For this exhibition, pieces and objects curated by L’Oeil de KO are brought into dialogue with works by Hamish Fulton (@a.walking.artist ) , Sol LeWitt (@lewittstudio )John McCracken, Claudio Parmiggiani, Nobuo Sekine, Bernar Venet (@bernarvenetstudio ), and Antoine Wagner (@antoinewagnerstudio )

15 Galerie de Montpensier
35-37 Galerie de Montpensier
75001 Paris

On view until January 4, 2026

@oeildeko
Photo: @benoit_linero

On view at @boursedecommerce : Nobuo Sekine

The exhibition Minimal at the Bourse de Commerce underscores how the 1960s and 1970s marked a decisive shift in sculpture toward a radical attention to matter itself. Within this context, the work of Nobuo Sekine, a central figure of the Japanese Mono-Ha movement, emerges as one of the most significant contributions to an expanded field of minimalism.

Mono-Ha, the “school of things”, sought not to transform matter but to reveal its presence, its internal tensions, and its relations to space. From Phase—Mother Earth (1968) to Phase of Nothingness – Water (1969/2012), currently on view at the Bourse de Commerce, Sekine’s works present form not as an outcome but as a temporary phase of a persistent material. In Phase of Nothingness – Water, the water brought flush to the rim of two lacquered metal vessels becomes a reflective surface that absorbs light, space, and the movement of the viewer, turning the sculpture into a phenomenon rather than an object.

The preparatory drawings Sekine produced throughout the 1970s, discreet and meticulous, reveal the conceptual rigor underpinning this approach. Diagrams, measurements, and geometric projections lay out the internal logic of his works: a topological mode of thinking in which sculpture is defined as a field of relations between gravity, equilibrium, tension, and reflection. Far from being mere technical documents, these drawings constitute the intellectual matrix of his sculptures and attest to Sekine’s pivotal role in the international conversations that linked Mono-Ha with minimalism, land art, and conceptual practices.

Minimal is curated by @jessicaclaremorgan1

Nobuo Sekine
Untitled, 1978
Pencil on paper
30 x 42 cm / 11 3/4 x 16 1/2 in

Nobuo Sekine
Untitled, 1978
Pencil on paper
30 x 42 cm / 11 3/4 x 16 1/2 in

#nobuosekine #devals

On view at @boursedecommerce : Nobuo Sekine

The exhibition Minimal at the Bourse de Commerce underscores how the 1960s and 1970s marked a decisive shift in sculpture toward a radical attention to matter itself. Within this context, the work of Nobuo Sekine, a central figure of the Japanese Mono-Ha movement, emerges as one of the most significant contributions to an expanded field of minimalism.

Mono-Ha, the “school of things”, sought not to transform matter but to reveal its presence, its internal tensions, and its relations to space. From Phase—Mother Earth (1968) to Phase of Nothingness – Water (1969/2012), currently on view at the Bourse de Commerce, Sekine’s works present form not as an outcome but as a temporary phase of a persistent material. In Phase of Nothingness – Water, the water brought flush to the rim of two lacquered metal vessels becomes a reflective surface that absorbs light, space, and the movement of the viewer, turning the sculpture into a phenomenon rather than an object.

The preparatory drawings Sekine produced throughout the 1970s, discreet and meticulous, reveal the conceptual rigor underpinning this approach. Diagrams, measurements, and geometric projections lay out the internal logic of his works: a topological mode of thinking in which sculpture is defined as a field of relations between gravity, equilibrium, tension, and reflection. Far from being mere technical documents, these drawings constitute the intellectual matrix of his sculptures and attest to Sekine’s pivotal role in the international conversations that linked Mono-Ha with minimalism, land art, and conceptual practices.

Minimal is curated by @jessicaclaremorgan1

Nobuo Sekine
Untitled, 1978
Pencil on paper
30 x 42 cm / 11 3/4 x 16 1/2 in

Nobuo Sekine
Untitled, 1978
Pencil on paper
30 x 42 cm / 11 3/4 x 16 1/2 in

#nobuosekine #devals

On view at @boursedecommerce : Nobuo Sekine

The exhibition Minimal at the Bourse de Commerce underscores how the 1960s and 1970s marked a decisive shift in sculpture toward a radical attention to matter itself. Within this context, the work of Nobuo Sekine, a central figure of the Japanese Mono-Ha movement, emerges as one of the most significant contributions to an expanded field of minimalism.

Mono-Ha, the “school of things”, sought not to transform matter but to reveal its presence, its internal tensions, and its relations to space. From Phase—Mother Earth (1968) to Phase of Nothingness – Water (1969/2012), currently on view at the Bourse de Commerce, Sekine’s works present form not as an outcome but as a temporary phase of a persistent material. In Phase of Nothingness – Water, the water brought flush to the rim of two lacquered metal vessels becomes a reflective surface that absorbs light, space, and the movement of the viewer, turning the sculpture into a phenomenon rather than an object.

The preparatory drawings Sekine produced throughout the 1970s, discreet and meticulous, reveal the conceptual rigor underpinning this approach. Diagrams, measurements, and geometric projections lay out the internal logic of his works: a topological mode of thinking in which sculpture is defined as a field of relations between gravity, equilibrium, tension, and reflection. Far from being mere technical documents, these drawings constitute the intellectual matrix of his sculptures and attest to Sekine’s pivotal role in the international conversations that linked Mono-Ha with minimalism, land art, and conceptual practices.

Minimal is curated by @jessicaclaremorgan1

Nobuo Sekine
Untitled, 1978
Pencil on paper
30 x 42 cm / 11 3/4 x 16 1/2 in

Nobuo Sekine
Untitled, 1978
Pencil on paper
30 x 42 cm / 11 3/4 x 16 1/2 in

#nobuosekine #devals

On view at @boursedecommerce : Nobuo Sekine

The exhibition Minimal at the Bourse de Commerce underscores how the 1960s and 1970s marked a decisive shift in sculpture toward a radical attention to matter itself. Within this context, the work of Nobuo Sekine, a central figure of the Japanese Mono-Ha movement, emerges as one of the most significant contributions to an expanded field of minimalism.

Mono-Ha, the “school of things”, sought not to transform matter but to reveal its presence, its internal tensions, and its relations to space. From Phase—Mother Earth (1968) to Phase of Nothingness – Water (1969/2012), currently on view at the Bourse de Commerce, Sekine’s works present form not as an outcome but as a temporary phase of a persistent material. In Phase of Nothingness – Water, the water brought flush to the rim of two lacquered metal vessels becomes a reflective surface that absorbs light, space, and the movement of the viewer, turning the sculpture into a phenomenon rather than an object.

The preparatory drawings Sekine produced throughout the 1970s, discreet and meticulous, reveal the conceptual rigor underpinning this approach. Diagrams, measurements, and geometric projections lay out the internal logic of his works: a topological mode of thinking in which sculpture is defined as a field of relations between gravity, equilibrium, tension, and reflection. Far from being mere technical documents, these drawings constitute the intellectual matrix of his sculptures and attest to Sekine’s pivotal role in the international conversations that linked Mono-Ha with minimalism, land art, and conceptual practices.

Minimal is curated by @jessicaclaremorgan1

Nobuo Sekine
Untitled, 1978
Pencil on paper
30 x 42 cm / 11 3/4 x 16 1/2 in

Nobuo Sekine
Untitled, 1978
Pencil on paper
30 x 42 cm / 11 3/4 x 16 1/2 in

#nobuosekine #devals

On view at @boursedecommerce : Nobuo Sekine

The exhibition Minimal at the Bourse de Commerce underscores how the 1960s and 1970s marked a decisive shift in sculpture toward a radical attention to matter itself. Within this context, the work of Nobuo Sekine, a central figure of the Japanese Mono-Ha movement, emerges as one of the most significant contributions to an expanded field of minimalism.

Mono-Ha, the “school of things”, sought not to transform matter but to reveal its presence, its internal tensions, and its relations to space. From Phase—Mother Earth (1968) to Phase of Nothingness – Water (1969/2012), currently on view at the Bourse de Commerce, Sekine’s works present form not as an outcome but as a temporary phase of a persistent material. In Phase of Nothingness – Water, the water brought flush to the rim of two lacquered metal vessels becomes a reflective surface that absorbs light, space, and the movement of the viewer, turning the sculpture into a phenomenon rather than an object.

The preparatory drawings Sekine produced throughout the 1970s, discreet and meticulous, reveal the conceptual rigor underpinning this approach. Diagrams, measurements, and geometric projections lay out the internal logic of his works: a topological mode of thinking in which sculpture is defined as a field of relations between gravity, equilibrium, tension, and reflection. Far from being mere technical documents, these drawings constitute the intellectual matrix of his sculptures and attest to Sekine’s pivotal role in the international conversations that linked Mono-Ha with minimalism, land art, and conceptual practices.

Minimal is curated by @jessicaclaremorgan1

Nobuo Sekine
Untitled, 1978
Pencil on paper
30 x 42 cm / 11 3/4 x 16 1/2 in

Nobuo Sekine
Untitled, 1978
Pencil on paper
30 x 42 cm / 11 3/4 x 16 1/2 in

#nobuosekine #devals

On view at @boursedecommerce : Nobuo Sekine

The exhibition Minimal at the Bourse de Commerce underscores how the 1960s and 1970s marked a decisive shift in sculpture toward a radical attention to matter itself. Within this context, the work of Nobuo Sekine, a central figure of the Japanese Mono-Ha movement, emerges as one of the most significant contributions to an expanded field of minimalism.

Mono-Ha, the “school of things”, sought not to transform matter but to reveal its presence, its internal tensions, and its relations to space. From Phase—Mother Earth (1968) to Phase of Nothingness – Water (1969/2012), currently on view at the Bourse de Commerce, Sekine’s works present form not as an outcome but as a temporary phase of a persistent material. In Phase of Nothingness – Water, the water brought flush to the rim of two lacquered metal vessels becomes a reflective surface that absorbs light, space, and the movement of the viewer, turning the sculpture into a phenomenon rather than an object.

The preparatory drawings Sekine produced throughout the 1970s, discreet and meticulous, reveal the conceptual rigor underpinning this approach. Diagrams, measurements, and geometric projections lay out the internal logic of his works: a topological mode of thinking in which sculpture is defined as a field of relations between gravity, equilibrium, tension, and reflection. Far from being mere technical documents, these drawings constitute the intellectual matrix of his sculptures and attest to Sekine’s pivotal role in the international conversations that linked Mono-Ha with minimalism, land art, and conceptual practices.

Minimal is curated by @jessicaclaremorgan1

Nobuo Sekine
Untitled, 1978
Pencil on paper
30 x 42 cm / 11 3/4 x 16 1/2 in

Nobuo Sekine
Untitled, 1978
Pencil on paper
30 x 42 cm / 11 3/4 x 16 1/2 in

#nobuosekine #devals

Closing today.

As “En Grisaille” draws to a close, we extend our warmest thanks to the participating artists and all who have visited and engaged with this exhibition. Over the past weeks, « En Grisaille » has traced the many lives of grayness, its historical lineage, its quiet revolutions, and its capacity to sustain new forms of perception.

Through the works of Susanna Fritscher, James Howell, Sol LeWitt, Ed Ruscha, and Hiroshi Sugimoto, the exhibition illuminated the remarkable persistence of this chromatic language: a spectrum that has travelled from medieval workshops to conceptual rigor, from atmospheric subtlety to spatial experimentation. Each artist, in their own way, revealed how the grey scale continues to shape our understanding of volume, light, time, and the thresholds of the visible.

We are deeply grateful for the conversations, reflections, and attention you have brought to the gallery throughout these weeks. Thank you for accompanying us in exploring this delicate and resonant territory of forms.

#hiroshisugimoto @fritschersusanna
@jameshowellfoundation #edruscha @lewittstudio

Closing today.

As “En Grisaille” draws to a close, we extend our warmest thanks to the participating artists and all who have visited and engaged with this exhibition. Over the past weeks, « En Grisaille » has traced the many lives of grayness, its historical lineage, its quiet revolutions, and its capacity to sustain new forms of perception.

Through the works of Susanna Fritscher, James Howell, Sol LeWitt, Ed Ruscha, and Hiroshi Sugimoto, the exhibition illuminated the remarkable persistence of this chromatic language: a spectrum that has travelled from medieval workshops to conceptual rigor, from atmospheric subtlety to spatial experimentation. Each artist, in their own way, revealed how the grey scale continues to shape our understanding of volume, light, time, and the thresholds of the visible.

We are deeply grateful for the conversations, reflections, and attention you have brought to the gallery throughout these weeks. Thank you for accompanying us in exploring this delicate and resonant territory of forms.

#hiroshisugimoto @fritschersusanna
@jameshowellfoundation #edruscha @lewittstudio