Occupying a 300 sqm (3200 sq ft) space, rearchitectured by Jean Nouvel, in Paris's Bastille neighborhood since 1989, Galerie Patrick Seguin has brought the talents of French interior designers such as Jean Prouvé, Charlotte Perriand, Pierre Jeanneret, Le Corbusier and Jean Royère into the international spotlight.

Patrick Seguin’s expertise has led for the gallery to become consultant for exhibitions at the Centre Pompidou in Paris, MoMA in New York, the Vitra Design Museum in Weil-am-Rhein, the Kunstverein Ludwigsburg, and the Musée des Beaux Arts in Nancy, France.

The quality of the works selected by Patrick Seguin and their meticulous presentations have resulted in unique exhibitions in the design field: the Jean Prouvé retrospective at Sonnabend Gallery in New York in 2003; the Charlotte Perriand- Jean Prouvé exhibition at Gagosian Gallery in Los Angeles in 2004; the Jean Prouvé exhibition in Seoul and Tokyo in 2005, the exhibition of Pierre Jeanneret's Chandigarh furniture in 2006; and Jean Royère exhibition in 2008, both at Sonnabend Gallery.

Present at all the major international fairs, the Galerie Patrick Seguin has presented 1950s design at the Biennale des Antiquaires in Paris, the Biennale des Antiquaires in Monaco, FIAC in Paris, DesignMiami and DesignMiami Basel.

At the same time, the gallery developed an editorial line of monographic books that accompany the exhibitions and works strenuously to promote the demountables houses of Jean Prouvé.



Ever since 2002 Galerie Patrick Seguin has invited, for the FIAC, an international contemporary art gallery, leaving them entirely free to organize an exhibition in a dedicated space. This is the ninth edition of Carte Blanche as organized by Galerie Patrick Seguin ; among participants : Gagosian Gallery, Paula Cooper Gallery, Massimo De Carlo, Sadie Coles HQ, Galerie Eva Presenhuber, Hauser & Wirth, Jablonka Galerie,…

This year, during the FIAC and until November 26, Galerie Patrick Seguin is happy to welcome kurimanzutto gallery, with a presentation, for this exhibition, of a selection of works by Damián Ortega, Gabriel Kuri, Jonathan Hernández, Gabriel Orozco, Jimmie Durham, Gabriel Sierra and Rirkrit Tiravanija.
Starting from existing similarities in the practice of these artists, this exhibition unfolds around considerations on the themes of accessibility to the public, of restriction to domestic use, but also of travel experience, of exile and areas of conflict.

kurimanzutto was established in 1999, in Mexico City, with the aim of bringing together and supporting the work of a group of young artists, both Mexican and foreign. At the start, without a fixed exhibition area, kurimanzutto showed the various projects in a wide range of venues, such as a fruit and vegetable market, a movie theater, among other places, but always as a response to the specific needs of the artists as well as of the intended exhibitions. Later, and and in parallel with this travelling exhibition approach, a former warehouse was opened as a new venue for the Gallery ; without any predefined agenda, this space will also be used as a venue for exhibitions and as a studio by the artists.
In 2008 the Gallery was permanently established in its present premises, aiming to become a meeting place and a place for research and a welcoming home for artists ; this space is also becoming the main venue for the Gallery’s exhibitions and operations. Today kurimanzutto continues to unfold its ‘outdoor’ projects, notably in national and international Galleries and Museums.



The bookshelf designed for the new Cité universitaire de Nancy met the requirements for durability and economy laid down in the call for tenders in 1930. Like other items of furniture created for the same brief, it comprised a metal frame painted dark red with components in solid polished wood. The uprights had folded edges and were joined at the back by two flat iron bars, and welded to each were recesses into which slid the slightly protruding shelves. This self-supporting unit was intended to hang on a wall or stand on the floor. The sixty bookshelves made may have been followed by others, such as the variations designed shortly afterwards for sanatorium bedrooms.
A few years later the principle was adapted to a bookshelf specially designed for Pierre Chartreux, owner of the Vauconsant firm to which Ateliers Jean Prouvé subcontracted the making of wooden furniture: three triangular bent steel uprights, whose upper edge was cut on a slant, held five angled wooden shelves, one of which was wider than the others and served as a writing table.

The easy chair created in 1930 for the new University dormitory in Nancy was the first small-series model to come out of the Ateliers Jean Prouvé. This model drew on Prouvé’s designs and prototypes for the mechanically complex, adjustable easy chairs taht were being individually made at the same time. This armchair met the requirements of a different market for « reading » chairs combining economy, solidity and easy maintenance.

Although they showed slight differences in size and detailing, the few examples of the guéridon bas marketed during the War already possessed all the characteristics of the model that went perfectly with the « Cité » Armchair.

NEWS - quotidien de l’art – September 25, 2014


Création majeure de la modernité, Chandigarh fait l’objet d’une attention soutenue du marché et des collectionneurs depuis quelques années. Publié par la galerie Patrick Seguin (Paris), un ouvrage de référence riche en documents inédits vient couronner un long processus de reconnaissance du formidable travail de Pierre Jeanneret, cousin de Le Corbusier avec qui il fit sortir de terre cette cité pionnière, précurseur de Brasilia. En 2006, Patrick Seguin avait exposé chez Sonnabend à New York le mobilier de Le Corbusier et Jeanneret pour Chandigarh. « Je suis ravi que Jeanneret prenne enfin toute sa place », confie Patrick Seguin…


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