Massimo De Carlo gallery unveils Paris outpost by Kengo Kuma
Intended for single-work exhibitions, Massimo De Carlo Pièce Unique is small, minimal, yet ambitious, proposing a new exhibition model that emphasises the connection between viewer and artwork
- (opens in new tab)
- (opens in new tab)
- (opens in new tab)
- Sign up to our newsletter Newsletter

Massimo De Carlo Pièce Unique may be tiny, but it’s ambitious in concept. Located in the Marais, and breaking with the local tradition of hiding top galleries within enclosed courtyards, this first Parisian space of the influential Italian gallerist is scheduled to open to the public on 9 February. Unusually, it will only present a single art piece at a time.
Pièce Unique is ‘small by choice, in favour of the quality of the programme’, says gallerist Massimo De Carlo. ‘Art is always about ideas, never about scale. My desire was to question the true nature of a gallery, challenge the art system, and give artists a possibility to enhance new conversations between their work and the viewers. Its dynamic environment will give me – and more importantly, the artists – the chance to operate in a radically different way from the usual gallery exhibitions.’
The branding of Massimo de Carlo Pièce Unique is deliberately minimal, better to focus attention on the artwork that will be on display.
The philosophy is echoed in the space’s understated design by Kengo Kuma, who worked hand-in-hand with London-based studio PiM (Maria-Chiara Piccinelli and Maurizio Mucciola). The renowned Japanese architect – whose latest projects include the Japan National Stadium, which international audiences will hopefully get to discover this summer for the Tokyo Olympic Games – was also willing to strip back and switch scales. ‘Our idea was to introduce as little as possible in terms of design elements, so the focus remains on the exhibited artwork,’ says Kuma, showing a respect for heritage that is characteristic of Japanese culture.
We wanted to show the true essence of the existing materials of the historic building in their original roughness.
De Carlo was drawn to the architect’s reverent approach. ‘I felt the light and elegant Japanese touch of Kengo Kuma would be perfectly consistent with the nature of the project, for which the small detailing and the choice of materials are so important. The relationship we built was very meaningful,’ says De Carlo from Milan, where he has two large gallery spaces.
The compact space is intended to display one artwork at a time. Kuma left the wood of the ceiling is exposed to highlight the building's heritage, while installing a richly textured clay floor.
RELATED STORY
With Kuma directing the project remotely from Tokyo, his team carefully removed the plaster covering the space’s Lutetian limestone wall and wooden beams, to reveal the surfaces in their weathered beauty. As a calming counterpoint, the floor remains smooth, covered with beige clay and seamlessly connected to the wall by limestone skirting. The façade is a simple glazed vitrine, ‘to recreate the transparency of the shop window and maximise the visibility of the gallery’s interior from the street’, explains the architect. Above the window hangs a rectangular sign with a black frame, its white surface left intentionally blank.
Although the show can be appreciated from the street, perfect for the era of social distancing, it’s worth stepping inside to visit the office area, located just behind the white plywood wall which serves as a backdrop for the art piece on show. There stands a custom reception desk crafted from rough limestone, a piece that Kuma is particularly proud of. It commands the space like a huge block of nougat, sliced smoothly at the top – as if laser-cut – and then sealed with resin. On the left, a minimal and smartly functional shelf was also specially designed by the architect.
Above: Kuma's custom reception desk for the gallery, made from Parisian stone and with deliberately rough surfaces that call to mind a huge nougat. Below: the office space in the gallery.
The inaugural show of Massimo De Carlo Pièce Unique comprises a new work titled Clay Baby (m.l.) by Kaari Upson, whose work reveals intimate inner worlds and fits perfectly with the gallery’s vision, says De Carlo. As for future shows, ‘experimentation shall always remain at the core of everything that we do, as the best artists always teach us’, he adds.
A post shared by MASSIMODECARLO Pièce Unique (@massimodecarlopieceunique) (opens in new tab)
A photo posted by on
Photographed in 1989, the original Galerie Pièce Unique in Saint-Germain-des-Prés, with window concept and design by Cy Twombly
INFORMATION
Massimo De Carlo Pièce Unique opens on 9 February 2021 with Kaari Upson’s Clay Baby (m.l.)
57 Rue de Turenne, Paris 3e; @massimodecarlopieceunique
Minako Norimatsu is a Japanese journalist and consultant based in Paris. Extremely curious about everything creative, her field ranges from fashion to art, dance, hospitality and travel. She has interviewed many Japanese fashion designers and artists for Wallpaper*, as well as non-Japanese creatives whose inspirations are drawn from Japan.
-
Sabato De Sarno is appointed new creative director of Gucci
Italian designer Sabato De Sarno – formerly of Valentino – is the new creative director of Gucci, replacing Alessandro Michele who left the house last November
By Jack Moss • Published
-
Sotheby’s to auction Marie-Antoinette’s armchairs, amid other regal lots, in aid of French château
Sotheby’s Paris will auction works from the collection of interior designer Jacques Garcia in aid of Château du Champ de Bataille
By Martha Elliott • Published
-
Marco Campardo wins Design Museum’s emerging designer prize
The Design Museum, London, announces Marco Campardo as winner of The Ralph Saltzman Prize, an annual accolade to celebrate and support emerging designers
By Rosa Bertoli • Published
-
Paris art exhibitions: a guide to exhibitions this weekend
As Emily in Paris fever puts the city of love at the centre of the cultural map, stay-up-to-date with our guide to the best Paris art exhibitions
By Harriet Lloyd-Smith • Published
-
Cyprien Gaillard on chaos, reorder and excavating a Paris in flux
We interviewed French artist Cyprien Gaillard ahead of his major two-part show, ‘Humpty \ Dumpty’ at Palais de Tokyo and Lafayette Anticipations (until 8 January 2023). Through abandoned clocks, love locks and asbestos, he dissects the human obsession with structural restoration
By Harriet Lloyd-Smith • Published
-
2022 NGV Architecture Commission is an evolving, artist-led reimagining of a Greek icon
Temple of Boom, the 2022 NGV Architecture Commission, is an evocative reimagining of The Parthenon designed by architects Adam Newman and Kelvin Tsang with interventions by Australian artists
By Martha Elliott • Published
-
Francis Gallery Los Angeles is a haven of harmony, natural materials and Korean art
We speak to gallerist Rosa Park, founder of the new Francis Gallery Los Angeles, which has opened with a show of six emerging and established Korean artists
By Tilly Macalister-Smith • Last updated
-
Christo and Jeanne-Claude’s final work, L‘Arc de Triomphe, Wrapped, is preserved in a new limited-edition book
A new book ‘Christo and Jeanne-Claude, L’Arc de Triomphe, Wrapped, Paris’, chronicles how the artists’ final work, 60 years in the making, came to fruition
By Harriet Lloyd-Smith • Published
-
Laure Prouvost unveils inaugural Light Hall commission at National Museum in Oslo
The Turner Prize-winning artist takes over the cavernous space atop Oslo’s new National Museum with an ethereal installation
By Will Jennings • Published
-
Remembering Pierre Soulages (1919-2022), a pioneer of post-war abstraction
Pierre Soulages, the pioneering French printmaker, sculptor and ‘painter of black’, has died aged 102
By Diane Theunissen • Published
-
Alicja Kwade’s installation ‘brings the stars down’ onto Place Vendôme
Polish-German artist Alicja Kwade has adorned Place Vendôme with an interactive installation comprising natural stone spheres and concrete stairs, as part of the Paris+ par Art Basel ‘Sites’ project
By Flora Vesterberg • Last updated