Among Xavier Veilhan’s seventh solo exhibition at the Galerie Perrotin are two faceted, larger-than-life, stainless steel sculptures of Richard Rogers and Renzo Piano. The pair were forged in 2013 but completed in 2017 – their forms date back to 2009 when Veilhan exhibited a series of architects at the Château de Versailles, with Jean Nouvel, and Tadao Ando also honoured.
Whereas those originals were painted inky black, these variations appear in shades of green that should register to Parisians. Rogers, standing casually with his hands in his pockets, resembles the uniforms and vehicles of the city’s public cleaners; Piano, comfortably seated with his arms crossed, assumes the hue of the city’s public furniture — its lamp posts and benches. Fittingly, they are destined to become Veilhan’s first public installation Paris, landing in the Place Edmond Michelet alongside the Centre Pompidou, which marked a major achievement shared by the architects 40 years ago. Not by coincidence, both greens can also be detected in the building itself.
As a donation to the Musee National d’Art Moderne by the Galerie Perrotin and the Beaumarly Group (the hospitality mini-empire founded by Gilbert and Jean-Louis Costes), they arrive in time for Fiac and just ahead of the museum’s exhibition of their work (the public-private arrangement also involves the Mairie of the 4th arrondissement of Paris).
Installation view of ‘Flying V’, by Xavier Veilhan, at Galerie Perrotin. © Xavier Veilhan / ADAGP, Paris, 2017. Courtesy of Perrotin
It’s safe to say the two men will make a bold statement, especially since they will stand five-metres high once placed on open plinths through which people can pass. But for now, hanging out in the Marais gallery, their faceless depictions of indeterminate age transmit an approachable vibe; figuratively speaking, at least, Veilhan has not put them on a pedestal.
‘Richard is the coolest guy on earth; you can see his body language – it’s très, très easy. It’s not glorious,’ he confirms to Wallpaper* during a walkthrough. ‘The two of them, they are true gentleman.’ Still, given the ambiguity of their features and absence of ceremonial context, they could also be perceived as two ordinary guys facing each other – a reading that doesn’t bother the artist. ‘Even Napoleon or De Gaule may not be recognised after all these years when they are shown in public spaces,’ he suggests. ‘It’s like they merge into the buildings and the street. I like the way [public art] dissolves the identity of the person.’
He addresses similar questions of identity in his continuing series featuring music producers, with Pharrell, Swizz Beatz, Nigel Godrich and Philippe Zdar rendered as a group portrait that traces their full-length silhouettes as a mirror. ‘You can’t recognise them,’ he says, noting they typically assume an invisible role in the industry. ‘They are ghosts in a way, but always behind everything. It’s the artists who interpret them.’
Installation view of ‘Flying V’, by Xavier Veilhan, at Galerie Perrotin. © Xavier Veilhan / ADAGP, Paris, 2017. Courtesy of Perrotin
The three figures – sans Pharrell – return as smaller birch plywood sculptures on black carbon bases. So freshly finished, the scent of oil varnish lingers on their striated surface. The interesting aspect here is how the wood stacking never aligns with the sculpture’s axis, so that the different planes of their bodies and clothes reveal an enhanced artisanal technique despite the digital nature of their appearance. Yet another portrait of Swizz Beatz, this time in silver, manages to simultaneously capture the stance of someone posing on the red carpet and mid-movement like Rodin’s Walking Man. ‘He was just doing his own tough guy pose, but I’m always aware of classic forms through history of art,’ explains Veilhan.
The show’s title, ‘Flying V’, underscores his ongoing interest in exploring acoustics within the visual dimensions of art and architecture. The Gibson guitar reference is realised as an oversized, rudimentary homage that vaguely borrows from constructivist art. Meanwhile the three-part wall series in black steel and carbon, Les Rayons (Flying V) could be alternately compared to the evocations of an instrument, or else a sleek Doppler-esque interpretation of sound waves. His take: ‘I like how it’s static and dynamic at the same time.’
The grouping of works, a new monochromatic smoky grey mobile included, came together as Veilhan was conceiving – and still currently overseeing – the French Pavilion at the Venice Biennale, where a classical building from 1912 has been transformed into a working recording studio. ‘I am so deeply exhausted but it’s very good. I’m not exaggerating when I say it’s truly been a journey,’ he admits. ‘There are so many things I didn’t know related to music recording. I watch [the musicians] work and it’s incredible.’ Sounds like he’s making the most of this moment.
Installation view of ‘Flying V’, by Xavier Veilhan, at Galerie Perrotin.© Xavier Veilhan / ADAGP, Paris, 2017. Courtesy of Perrotin
INFORMATION
‘Flying V’ is on view until 23 September. For more information, visit the Galerie Perrotin website
ADDRESS
Galerie Perrotin
76 rue de Turenne
75003 Paris
-
‘Water is coming for the city, how do we live with that?’ asks TBA21 in VeniceArt advocacy and activism platform TBA21's Venetian project, Ocean Space, addresses the climate issues the city is facing
-
In Shanghai, Hermès conjures a ‘cosmopolitan explorer’ for its one-off show on the Huangpu RiverNadège Vanhée, artistic director of Hermès’ womenswear collections, presented ‘The Second Chapter’ of her A/W 2025 collection earlier this evening (13 June 2025) against the futuristic skyline of Shanghai
-
Out of office: the Wallpaper* editors’ picks of the weekIt was a jam-packed week for the Wallpaper* staff, entailing furniture, tech and music launches and lots of good food – from afternoon tea to omakase
-
A song for the dead – Josh Homme on performing for six million souls in the bowels of the Paris CatacombsA rock band, a brush with death and an underground tomb coalesce in haunting new Queens of the Stone Age film, ‘Alive in the Catacombs’. Wallpaper* meets frontman Josh Homme and director Thomas Rames
-
The glory years of the Cannes Film Festival are captured in a new photo book‘Cannes’ by Derek Ridgers looks back on the photographer's time at the Cannes Film Festival between 1984 and 1996
-
Technology, art and sculptures of fog: LUMA Arles kicks off the 2025/26 seasonThree different exhibitions at LUMA Arles, in France, delve into history in a celebration of all mediums; Amy Serafin went to explore
-
Contemporary artist collective Poush takes over Château La CosteMembers of Poush have created 160 works, set in and around the grounds of Château La Coste – the art, architecture and wine estate in Provence
-
‘David Hockney 25’: inside the artist’s blockbuster Paris show‘David Hockney 25’ has opened at Fondation Louis Vuitton in Paris. Wallpaper’s Hannah Silver took a tour of the colossal, colourful show
-
Jack White's Third Man Records opens a Paris pop-upJack White's immaculately-branded record store will set up shop in the 9th arrondissement this weekend
-
‘The Black woman endures a gravity unlike any other’: Pharrell Williams explores diverse interpretations of femininity in ParisPharrell Williams returns to Perrotin gallery in Paris with a new group show which serves as an homage to Black women
-
What makes fashion and art such good bedfellows?There has always been a symbiosis between fashion and the art world. Here, we look at what makes the relationship such a successful one
