Marcello Maloberti, CIEL, 2026
Presented by Raffaella Cortese
Born in 1966 in Codogno, lives and work in Milan.
94 × 350 cm (neon)
Installation
A neon sign reading “CIEL” (French for “sky”) is suspended 20 metres in the air. The word is written by hand by the artist—Marcello Maloberti, who often stages large, temporary works in public space to create moments of spectacle. It is, however, written upside down, as if it were meant to be read by the sky rather than by anyone standing below. Installed on a cherry-picker’s outstretched arm, the artwork intentionally looks like a construction site in flux.
Visual: CIEL, 2023.
Yinka Shonibare, Abstract Bronze VIII, 2026
Presented by Mennour
Born in 1962 in London, lives and works in London.
200 x 146.8 x 126.4 cm
Bronze, hand-painted with Dutch wax pattern
Yinka Shonibare works across sculpture, textiles, and painting to explore cultural ownership, globalization, and belonging. In this sculpture, a bronze form twists and folds as if caught in the wind, its heavy metal made to look weightless, like billowing fabric frozen mid-motion. The surface is hand-painted with Dutch wax patterns—a motif with roots in Indonesia, which was later mass-produced by Dutch companies and sold to buyers in West Africa, where it became a defining part of local style. Through the pattern, Shonibare points to the complex trading history between Africa and Europe.
Simone Fattal, Door, 2024
Presented by Karma International, Balice Hertling, Greene Naftali, kaufmann repetto, and Hubert Winter
Born in 1942 in Damascus, lives and works in Paris.
120 x 118 x 75.3 cm
Bronze
Simone Fattal’s sculptures draw upon mythology, archaeology, architecture, and her experiences of migration and exile. Cast in patinated bronze while preserving the marks of the artist’s hand, Door exemplifies Fattal’s distinctive visual language. Two vertical elements appear like remnants of a gateway or fragments of a broken wall. Their weathered surfaces evoke eroded stone, unfired clay and even human skin, lending Door a sense of vulnerability. Long nails pierce the sculpture, suggesting an attempt to hold its parts together while exposing the violence that has marked them.
Niki de Saint Phalle, Cat Head Totem, 2000
Presented by Georges-Philippe & Nathalie Vallois
Born in 1930 in Neuilly-sur-Seine, died in 2002 in San Diego
335 x 213 x 140 cm
Polyurethane foam, resin, steel armature & base, fused millefiori glass inserts, glass pebbles, tumbled stone, mirrored and stained glass
Niki de Saint Phalle often drew on her personal life as a source of inspiration. Between 1972 and 1993, she created the Tarot Garden, a sculpture park in Tuscany which features 22 monumental figures covered in vibrant, reflective mosaic. After moving to California in the 1990s, she began a second garden in the same spirit: Queen Califia’s Magical Circle, her first American garden and final major project. Drawing on Californian history, Native American mythologies and Mesoamerican culture, the garden includes ten sculptures, including an edition of Cat Head Totem.
Manfred Pernice, bank-group, 2026
Presented by Anton Kern and Neu
Variable dimensions
Concrete benches
Manfred Pernice’s work often blurs the line between art and everyday objects. Public benches are recurring motifs in his practice; by transforming this familiar object into sculpture, Pernice draws attention to the social and political dimensions of urban design. In bank-group, four low concrete benches—fitted with metal rods and decorative ceramic details—function as seating, sculpture, and architectural markers. Installed along avenue Winston Churchill, the benches look monumental but also unfinished or maybe even destructed or broken, as if went through some troubles.
Visual: Wien-Bank, 2008
Alicja Kwade, L’Élévation des Mondes, 2026
Presented by Mennour
447 x 162 x 162 cm
Rainbow Sandstone, Azul Macaubas, Black Marble, Viscont White, Fusion Wow, Pink Bubble, Carrara marble, Vasa, Verde Maculato, Breccia
Working mostly with stone, mirrors, and steel, Alicja Kwade creates sculptures that question the systems humans have developed to explain and organize the world. In L’Élévation des Mondes, ten spheres of polished stone have been stacked into a massive, precarious-looking tower. Bearing an uncanny resemblance to planets, the stone spheres are sourced from different parts of the Earth, each one with a distinct colour and billions of years of geological history of transformation and time. The stack recalls the Tower of Babel and its warning: some manmade systems are often just a moment away from collapse.
Carmen Herrera, Angulo Amarillo, 2017
Presented by Lisson
Born in 1915 in Havana, died in 2022 in New York.
213.4 x 307 x 48.3 cm
Acrylic, aluminium
Carmen Herrera was a pioneering hard-edged abstractionist known for her geometric paintings made from flat planes of colour. In the late 1960s, she began translating those compositions into plans for three-dimensional works—known as Estructuras— saying that the paintings “were really crying out to become sculpture.” In 2017, she introduced a new form: the Angulo. Conveying movement and rhythm, its chevron shape recalls triangular and diamond forms in her paintings. This work presents both the solidity of a sculptural object and the weightlessness of a celestial shape ascending towards the sky. This sculpture has been requested for loan for the upcoming retrospective of Carmen Herrera's work at the Guggenheim Museum Bilbao in Spring 2027.
Keita Miyazaki, A Symbiotic Form, 2025
Presented by Rosenfeld
Born in 1983 in Tokyo, lives and works between London and Tokyo.
350 x 550 x 550 cm
Car parts, waterproof Japanese paper
Keita Miyazaki is known for his sculptural installations that fuse contrasting materials such as recycled car parts and Japanese paper. In 2011, his practice was influenced by the Tōhoku earthquake and tsunami, which left him thinking about fragility, transformation, and how new life can emerge from destruction. Made from salvaged exhaust pipes, mufflers, and brightly coloured pleated paper, A Symbiotic Form behaves like a living system, appearing to spread, evolve, or mutate in response to the Grand Palais.