Pablo Reinoso

Page 1





8 Preface

Claire Wrathall

13 Plates 4 1 Interview

StĂŠphane Custot & Pablo Reinoso

4 5 Plates 69

List of Works

7 0 Biography


As a child in 1960s Buenos Aires, the French-Argentinian artist Pablo Reinoso loved to watch his grandfather, a keen amateur joiner, transform wood into objects. At weekends, he told the art critic Henri-François Debailleux in 2012, ‘I would spend hours in his workshop,’ where he was ‘allowed to play with every machine except the circular saw’. By the time he was six, he had a workbench of his own. At 13, a trip to the Rodin Museum in Paris convinced him he would become a sculptor. And two years later, in 1970, he made his ‘first true sculpture,’ Tronc articulé (Articulated Trunk) in wood. Unlike the essentially human figures he had been taught to scrutinise, Reinoso drew inspiration from a rustic chair: ‘I really liked the way the different parts fitted together, and I became interested in the principle of articulation as it related to the human body,’ he told Debailleux. For in replicating the form of a seated figure, a chair can both support the body and become a matrix for it. ‘A chair is a fetish object for a designer,’ he has said, and ‘also for an architect,’ the profession for which he subsequently trained. ‘And I found the theme of articulation suited me, the idea of links, of assembling things and putting them together and combining them.’ Since then Reinoso has worked in materials ranging from marble (he spent several years in Carrara, learning to carve), to parachute silk and the fabric used to construct Zeppelins, for his Respirantes or Breathing Sculptures of the late 1990s and early 2000s, works that  — thanks to tiny motors — inflate and deflate like lungs. But wood is the material to which he keeps returning. And seating, too, has become an enduring trope. Fascinated by the archetypal bentwood Vienna coffee-house chair, No 14, designed by Michael Thonet in 1859, an object comprised of just six pieces of wood, 10 screws, two nuts and a woven raffia seat,

Thonet 3, 2006 acrylic on paper

Retour Végétal, 2015 Chinese ink on paper

he embarked on a series of sculptures, Thonetando (pp.33–34) , based on the chair. This was followed by a series of chairs designed to be worn (Prêt-à-Thonet) and video and performance pieces (Luthoneterias). But by 2006 he was ‘afraid of being conditioned by’ Thonet’s chairs and began to look elsewhere for inspiration, settling eventually on a park bench, specifically the banc gondole designed in the 1850s by the French architect Gabriel Davioud as part of Haussmann’s transformation of Paris. And so the Spaghetti Benches (pp.13–20) were born. Carved from wood and fusing art with craft and design insofar as they can (usually) be sat on, each Curly Bench has a number of slats that extend beyond the conventional edges of the seat. Snaking outwards and upwards, they seem to grow into a billowing tangle of exquisitely wrought wooden linguine, at once abstract and evocative of nature as a resilient, unstoppable life force that, given a chance, ‘invades and colonises everything’. ‘A sculptor needs to understand the connection to space,’ he told Debailleux. And just as nature abhors a vacuum, so it seems does Reinoso. If the baroque was, at its heart, an artistic response to Aristotle’s horror vacui or fear of emptiness, his benches are a contemporary reinvention of rococo; seats with tendrils that creep up walls and around corners, and in one instance sweep up through the atrium of the Museo de Arte Latinoamericano de Buenos Aires (MALBA) to link benches on separate floors. If their forms evoke wildness and nature, those benches are nevertheless too fragile for display outside. So Reinoso works in painted steel too, hence his series Garabatos, ‘sculpted scribbles’ (their name is Spanish for scrawl or extravagant hand gestures) with benches at their heart that can withstand the elements; and Spider (pp.45–49) , where the three slats of the seat extend into six creeping arachnid limbs.

But not everything Reinoso makes can be sat on. Take his Frames (pp.28–37) , strips from the serried edges of which appear to have broken free from their quadrilateral constraints to rebel against their original purpose. Ordinarily a frame is, he says, ‘a secondary object that goes around a painting’. He, however, gives them licence ‘to go crazy, to conquer the space of the painting,’ and become works of art in themselves. Where painters use brushes, Reinoso uses chisels to create works that speak of something burgeoning and organic and yet also relate to the painting they might have framed. His Laocoonte, for example, obliquely references the composition — all sinuous men and sea serpents  — of El Greco’s painting of Laocoön in Washington’s National Gallery of Art (though Reinoso orientates it vertically), while Les Trois Grâces (pp.28–31) was based on three paintings Reinoso made himself. But ultimately it is the materials he uses that determines the outcome of his work: ‘I know them and I apply them like a painter applies colour.’ Lately, however, he has been thinking more figuratively, though no less conceptually, about trees (pp.22–27) . Last year during Art Basel Miami Beach, he installed Still Tree among the palms of Miami’s Collins Park. The work featured a trifurcated trunk that had fallen near his Paris workshop, which he enclosed in an armature of galvanised steel that both protects and memorialises the dead tree by seeming to recreate what would have been the outline of its tree canopy. If his benches and frames celebrate nature in all its unfettered exuberance, this is a memento mori, a reminder that trees need to be protected if the Earth is to survive. ‘We are the ones who messed them up and prevent them from living,’ he says. ‘We have to make systems for them to thrive again.’

Uprooted Falling Trees, 2020 Chinese ink on paper

Déroulé, 2018

Curly Bench, 2019

Articulation VI, 2020

Les Trois Grâces, 2012

Marco Buenos Aires I, 2018

Cadre bois mai 2012, 2012

Marco Paris I, 2019

Silla Peluda, 2006



Many thanks, Pablo, for taking the time today to discuss your work. My first question is around something that you have spoken of before, which is the frontier between design and art. Many people agree that your sculptures are true works of art. Could you elaborate on this distinction?


For me, it’s important to understand what design is, and what art is. I have no problem with moving from one discipline to another and vice versa. However, it’s important to not lose sight of the essence of each of these disciplines. Design is a discipline that shapes objects to solve problems. For example, a tool is designed to work: if it’s a shovel, it has to fit into the ground. It has to be designed so that it doesn’t break, and the handle must be ergonomic. But this shovel can also become a work of art if the artist makes it his own. The shovel may no longer relate to a specific function but it will rather become part of the work that the artist is developing. Since I often make works that you can sit on, people will tell me I’m in design. But I don’t always allow people to sit on the sculpture, so while the idea of sitting remains present, the seat itself is no longer utilitarian. This creates an oxymoron which I like to play on to show that the borders between the disciplines of design and art are porous. It is by moving from one place to another that we redefine territories and move forward.

Double Talk, 2017 painted steel

SC   Continuing with the idea of seating, I get the sense that you are at your very best when your work includes a place to relax, to sit or lie down. Has this, do you think, become something of a signature?

PR   Of course! It is something that surprised me, and it is something that came gradually. It is also something that is in the natural order when I contemplate art: to spend a moment looking at a work, to concentrate on that work and then, in the case of my work, one can also sit down. I put all this at the center of my art. It has become a signature. I wasn’t expecting it, but I’m quite proud of it. SC

And, somehow, you can almost walk into your sculpture and, when you sit down, look at it from the inside… PR   That’s it. I have a sculpture called Nid d’amour, which is a sculpture where you can sit, lie down and look at a landscape. So I’m making a cocoon in which someone arrives and feels something of their own. Yet somehow the whole space is controlled by me. So I make a kind of interactive installation without it appearing to be one. That’s one reason why I have such a strong relationship with the works I create. SC

Thinking about this physical interaction with your sculptures, I find it interesting that they are frequently installed in public places, such as the AGORA Biennale, Bordeaux in 2017 and the Jardin des Tuileries, Paris in 2018. What do you like about public art and how does it affect your approach? PR

For me, public installation is very important because I like my sculptures to be accessible. Moreover, when I imagine a work, I imagine its multiple possibilities for use. In this, I find myself partly in the field of design: a designer has to anticipate the ways in which what he is making will be used. However I also anticipate the emotions the sculpture will engender. That’s why I like my work to be placed in public spaces because it allows different people to live an experience. For me, this experience is intrinsic to the work. However, public spaces also have constraints: they are not easy spaces to use and there can be aggressiveness, vandalism. So, when we think of a work for the public space, we have to take into account the environment in which the work will be placed, to avoid its degradation. SC   You are absolutely right, and I imagine that not all artists think about that, even though it’s a very important point for the work to have a longevity. PR   When we put the chair in the Jardin des Tuileries, I knew it was a difficult space to control, with dust and a lot of traffic. Placing the sculpture in the fountain pool was a very good solution as it allowed me to protect my work and its environment. It was essential. As a result, I had installed a chair on which no one could sit, which was surrounded by a circle of chairs around the fountain. As people sat on them looking at the empty chair in the middle of the pool, emotions and questions arose. There was a mise en abime between chairs looking at each other. SC

Let’s talk about the materiality of your sculptures, which have such wonderful textures, which often combine basket work, wood, stone and metal. How do these materials inspire you? What messages do they convey? PR   For me, the materiality of the work is essential. I love wood, metal, stone, and lately I have managed to combine them all. Each material evokes things, feelings: you don’t approach wood like you

approach metal. I work on these emotions and I combine them to obtain effects. It’s a bit like a painter who works with colour; they make us vibrate with their colours, often brilliant, and that’s their working material. With some materials, you feel like getting closer; with others, you feel like taking distance. I know these emotions and I build the work around and with these ingredients. For me, materials are like musical notes, and I use them in my creation. SC   You combine wood and metal in sculptures such as Articulation IV and Uprooted where metal frames support uprooted trees. As they hint at the fragility of nature, what are your thoughts on the relationship between art and the climate crisis? PR

It’s the result of living within my time. When I was young, I didn’t have any particular thoughts on the balance of nature. During my schooling, the word ‘ecology’ was never mentioned, but it became prominent in the 1970s and 1980s as I was finishing university. Ecology came to me then as it did to everyone else. It’s quite natural for an artist to work with the problems of his time. Moreover, I am very much connected with the idea of function in my work: working with the climatic balance is the work of the supreme function of life on earth. It is through this equilibrium that I entered the climate consciousness. When I take a tree today, it is no longer a tree that I cut down in the forest, it is a tree that has fallen to the ground. I try to straighten it up so that it can live again. That’s the metaphor. I’m not a pioneer of ecology, but am someone who has understood its message and taken it into his work to express it through contemporary language and extend it within the global discourse of our time.

Spider Bench, 2011

Double Talk, 2017

Talking Bench, 2011

Up Rooted (Medium), 2020


13 – 17 D éroulé,

2018 carved chestnut and painted steel 18⅛ × 28⅜ × 107⅛ in 46 × 72 × 272 cm

4 5 –4 9 S pider

Bench, 2011 painted steel 37⅜ × 227¼ × 86⅝ in 95 × 577 × 220 cm

5 0–5 3 D ouble 18 – 20 C urly

Bench, 2019 carved chestnut and steel 102⅜ × 141¾ × 51¼ in 260 × 360 × 130 cm

Talk, 2017 painted steel 48 × 374 × 63 in 122 × 950 × 160 cm

5 5 –5 7 Talking 22– 27 Articulation

VI, 2020 wild cherry tree and galvanized steel 80⅜ × 112⅝ × 39⅜ in 204 × 286 × 100 cm

Trois Grâces, 2012 carved chestnut 98½ × 275⅝ in 250 × 700 cm

Bench, 2011 copy number 1 from an edition of 8 plus 4 artist’s proofs painted steel 248 × 118⅛ × 110¼ in 630 × 300 × 280 cm

28 – 3 1 L es

3 3 M arco

Buenos Aires I, 2018 carved walnut 27 × 11⅞ × 3¾ in 68.5 × 30 × 9.5 cm

bois mai 2012, 2012 carved chestnut 33⅞ × 15¾ × 3¾ in 86 × 40 × 9.5 cm

5 8 –6 2 Up

Rooted (Medium), 2020 galvanized steel and patinated bronze 122½ × 39⅜ × 33⅞ in 311 × 100 × 86 cm


3 4 C adre

9 Thonet

3 7 M arco

1 0 Retour

3 9 – 4 0 S illa

1 1 Uprooted

Paris I, 2019 carved chestnut 35½ × 22 × 8¾ in 90 × 56 × 22 cm

Peluda, 2006 ash and plant fibres dimensions variable

3, 2006 acrylic on paper 19¹¹⁄16 × 25²⁵⁄64 in 50 × 64.5 cm Végétal, 2015 Chinese ink on paper 11³⁹⁄64 × 16¹⁷⁄32 in 29.5 × 42 cm

Falling Trees, 2020 Chinese ink on paper 21²⁷⁄32 × 29²¹⁄64 in 55.5 × 74.5 cm


Pablo Reinoso (b.1955, Buenos Aires, Argentina) is an interdisciplinary artist whose work traverses the boundary between art and design. Reinoso learned carpentry from his grandfather at an early age, and his work evolves from organic materials including wood, marble, slate and sand. During a trip to Paris in 1968, he encountered the work of sculptor Auguste Rodin (1840–1917) and was influenced by the allegorical subjects and naturalism of his sculptures. In the mid-1970s, Reinoso enrolled to study architecture at Universidad de Buenos Aires, but in order to escape the dictatorship following the military coup d’état in Argentina, Reinoso moved to Paris in 1978. That same year, the artist won a scholarship to study marble sculpting in Carrara, Tuscany. Manipulation of the qualities of marble featured in Reinoso’s series Paysages d’eau (Landscapes of water) (1981) where marble was carved in such a way as to emulate the appearance of water. This series was exhibited at the XII Paris Biennale, Musée d’Art moderne de la Ville de Paris, in 1982. In the mid-1990s, Reinoso began making his ‘breathing sculptures’ from parachute silk. These conceptual, translucent sculptures are wholly dependent upon the movement of air, and Reinoso likened their ephemeral presence to notions of mortality. In 2002, his sitespecific installation Ashes to Ashes was shown at Casa de Américas, Madrid. A major work within his oeuvre, Ashes to Ashes confirmed his preoccupation with the elements: water, fire and air. The installation presented order versus chaos, a visual contradiction between an industrially manufactured chair and a broken cascade of wooden floorboards; the duality recalled an essay written by Reinoso’s father titled ‘Rupture et ouverture’ (‘Breaking and opening’). Embodying both the complements and contradictions inherent within oppositions, in particular those between man-made and natural forms, is consistently explored by Reinoso’s practice. Frequently, each work unveils the scope for fluidity between these two severed positions, in turn emphasizing the symbiotic nature of the relationship between the man-made and the organic. Reinoso continued his explorations into the perceived boundaries between function and sculpture in his Thonet series which the artist began in 2004. The iconic Thonet chair was first produced in 1859; it was revolutionary in its simplicity of form and the functionality of its design. Reinoso’s humorous performance piece Thoneteando (2006) demonstrated the irony of disassembling and disabling furniture. This open and playful approach remained in his subsequent series, Spaghetti Bench and Garabatos (‘scribbles’). With these works Reinoso adapted the ubiquitous yet anonymous public bench and translated its function through an engagement with natural forms, harking back to the essence of these organic materials. Freeflowing and continuous forms emulate gnarled roots, creeping vines and tangled branches; the organic forms are reminiscent of Reinoso’s earlier series Articulations (1970–80). The bench sculptures have been installed in various public places including beside the River Thames in London, along the Quai Gillet in Lyon, and on the south terrace of the Elysée Palace in Paris. Reinoso’s work is held in public collections worldwide, including Société des Amis du MNAM Centre Georges Pompidou, Paris; Fonds national d’art contemporain, Paris; Musée des Arts Décoratifs, Paris; Museo de Arte Moderno de Buenos Aires, Argentina; Museu de Arte Moderna de São Paulo, Brazil. Pablo Reinoso lives and works in Paris. He is represented in the UK by Waddington Custot.

Pablo and the Thonet chairs, 2008


20 19 Busan Infinity Line, Busan T he Ark, Lincoln Square, London Aires de Buenos Aires, Plaza Ramón Cárcano, Buenos Aires 20 18 P ause Lapin, Musée de Cluny, Paris 20 17 L ignes de Vie, Maternité de la Clinique Rhéna, Strasbourg E ntre(s)actos, Centro Cultural Kirchner, Buenos Aires 20 16 R acines de France, Palais de l’Elysée, Paris B anc-Serpentin, French Embassy, Buenos Aires O nly Childrens Bench and We Watch You Too Bench, Riverwalk, London 20 15 R encontre Alsacienne, Ecole Alsacienne, Paris B anc d’amarrage and Twin Bench, Cannes 20 14 Fauteuils Croco de Ville, Bordeaux 20 13 N ouages, Quai Gillet, Lyon 20 12 C hateau de Chaumont-sur-Loire 20 11 H ôtel du Marc, Reims 20 10 G loriette Lebanon, Beirut 20 0 9 Façade du Collège Hôtel, Lyon 20 0 1 B anc, Fukuroi Art City Project, Fukuroi 20 0 0 P aysage d’eau, D.I.T.G., Tours 19 9 7 M émorial, Colegio Nacional de Buenos Aires 19 9 5 Table d’Orientation, Collège R. Doisneau, Paris 19 9 4 T he Potato harvester, Faret Tachikawa,Tokyo 19 9 1 R odin-belvédère, Issy-les-Moulineaux, Paris


Museum of Modern Art of Bueons Aires Fonds national d’art contemporain Paris Museum of Modern Art Sao Paulo MACRO Rosario MUSAC Léon Malba Buenos Aires


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upernature, curated by Jérome Sans, Polygone S Riviera, Cannes L’Arche, Petit Palais, Paris L e Cercle, Jardin des Tuileries, Paris U n monde renversé, curated by Jérôme Sans, Maison de l’Amérique latine, Paris G alerie Xippas, Geneva L iving sculptures, One Central, Macau X ippas Arte Contemporaneo, Punta del Este X ippas Arte Contemporaneo, Punta del Este Pablo Reinoso: A Solo Exhibition, Art Plural Gallery, Singapore M aison Particulière, Brussels F undación YPF, Arte en la Torre, Buenos Aires M useo de Arte Latinoamericano, MALBA, Buenos Aires I nstallation Bamboo Light System, School Gallery, Paris C arpenters Workshop Gallery, London T honeteando, Galeria Ruth Benzacar, Buenos Aires

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uages d’ombre, Instituto Cervantes, Paris N C onspirations, Galerie Pièce Unique, Paris C onspirations 2, Galerie Variations, Paris Poltrona Frau, Paris L’air Reinoso, Centre d’art André Malraux, Colmar Cocina y comedor, Galería de Arte Ruth Benzacar, Buenos Aires A shes to ashes, Casa de América, Madrid L’Observé, Galeries Lafayette, Paris A shes to ashes, Casa de América, Madrid T he Living room II, Espace d’art Yvonamor Palix, Paris O Euvres récentes 2000–2001, Arsenal, Soissons F undación YPF, Arte en la Torre, Buenos Aires G alería Gianni Giacobbi, Palma de Mallorca M aison des Arts, Malakoff Palais des Congrès, Barcelona Alegoría, Hillside Gallery, Art Front Gallery, Tokyo G alería de Arte Ruth Benzacar, Buenos Aires C entre Culturel Borges, Buenos Aires M usee National d’Art Moderne de Bahia, Salvador C entro Cultural Borges, Buenos Aires G alería Fernando Quintana, Bogota C entro Cultural Recoleta, Buenos Aires D écouvertes, Galerie Carlhian, Paris G alerie Fred Lanzenberg, Brussels G alerie Levy, Hamburg G alería Sur, Punta del Este G alería Arte Múltiple, Buenos Aires G alería Van Riel, Buenos Aires


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isegno Neobarroco, Museo Franz Mayer, Mexico City D E choing Trees, Galerie Xippas, Paris S pringbreak, Custot Gallery, Dubai G lasstress, Fondation Berengo, Venice D esign on Air, curated by Chris Meplon, Centre d’innovation et de design, Grand-Hornu, Belgium E stivales, Sceaux B ienalsur, ‘Desde El Otro Lado’, curated by Diana B. Wechsler, Buenos Aires Disruptions, Art Basel Cities: Buenos Aires D e Calder à Koons, bijoux d’artistes – La collection idéale de Diane Venet, Musée des arts décoratifs, Paris R andom x, Xippas Arte Contemporaneo, Punta del Este T he world meets here, Custot Gallery, Dubai T rip, Xippas Gallery, Montevideo F rom Earth and Metal: Contemporary Sculptures, Art Plural Gallery, Singapore M y Buenos Aires, Maison Rouge – Fondation Antoine de Galbert, Paris L’or par Claude Lévêque et Pablo Reinoso, galerie miniMASTERPIECE, Paris S HOEting Stars: Shoes in Art and Design, Kunsthaus, Vienna B eyond Magic, Ruth Benzacar @ Xippas, Paris S ITTING-LYING-SWINGING: Furniture from Thonet, Grassi Museum, Leipzig

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ntre le ciel et la terre. Douze regards sur Le Greco, 400 ans E après sa mort, Musée de sculpture de Valladolid, Real Academia de Bellas Artes de San Fernando, Madrid A Book Between Two Stools, Boghossian Foundation, Brussels A gainst the Grain, Museum of Art, Nova Southeastern University, Fort Lauderdale, Florida A ménagement des bords de Saône, Public Commission, Lyon S trong Appearance! Experimental shoe design, Grassi Museum, Leipzig A gainst the Grain, Museum of Arts and Design, New York A gainst the Grain, Mint Museum, Charlotte, North Carolina Festival des Jardins, Château de Chaumont-sur-Loire B eyond Limits, Chatsworth M useum für Kunst und Gewerbe, Hamburg S udeley Castle, Carpenters Workshop Gallery, London M usée de l’Hospice Saint Roch, Tilt, Issoudun T honetando (film), Centre Pompidou, Paris M useo Reina Sofia, Madrid T honeteando (film), Festival à Reijkjavik I ’ll Show you how to dance, Blanca Li, Museo de Arte Contemporáneo, Leon M atières à Cultiver, VIA, Paris S econd Life, Museum of Arts and Design, New York T he Face of Lace, Musea Brugge, Bruges D esign Référence Paris, Musée du Guandong, Guangzhou D esign Référence Paris, 1933, Shanghai KunstWerke, Thoneteando (film), Berlin D esign London, Carpenters Workshop Gallery, London T ropico, Prêt-à-Thonet, Museo de Arte Moderno de Buenos Aires, Buenos Aires C entre d’art André Malraux, Colmar E xistencias, Museo de Arte Contemporáneo, Leon C uerpo diseñado, Centro Cultural de la Recoleta, Buenos Aires 5 0e Anniversaire du Salon de Montrouge, Montrouge G onflables! Inflables, Gonfiabili, Aufgeblasen, Centre de Tri, Lille E l final del eclipse, Museo de Arte y Salas de la Fundación Telefónica, Lima R encontre A3, Foire Saint Germain, Place Saint Sulpice, Paris E l final del eclipse, Fundación Telefónica, Santiago El final del eclipse, Museo Nacional de Bellas Artes, Buenos Aires E l final del eclipse, Museo de Arte Contemporáneo, Monterrey R encontre A3, Foire Saint Germain, Place Saint Sulpice, Paris L’enjeu du jeu, Espace d’art Yvonamor Palix, Paris E l final del eclipse, Museo de Arte Moderno, Mexico City L a force de l’esprit, Espace Pierre Cardin, Paris E l final del eclipse, Sala Abrantes, Colegio Fonseca, Salamanca O rganic/Mechanic, John Michael Kohloer Arts Center, Sheboygan, Wisconsin El final del eclipse, Museo de Arte Extremeño e Iberoamericano, Badajoz Multiplunic, Salon Maison et Objet, Villepinte A rte contemporáneo internacional, Museo de Arte Moderno, Mexico E l final del eclipse, Diputación de Granada, Granada P uerta Real, Granada, Instituto de América, Granada E l final del eclipse, Fundación Telefónica, Madrid E scenarios domésticos, Koldo Mixtelena, San Sebastian Paris pour escale, Musée d’Art Moderne de la Ville de Paris, Paris

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low Up, Vitra Design Museum, Basel B L e corps morcelé, Fondation d’Art Contemporain D. et F. Guerlain, Les Mesnuls E chigo-Tsumari Art Triennial 2000, Tokamachi Information Center, Tokamachi Air-Air, Grimaldi Forum, Monaco L es 100 Sourires de Mona Lisa, Prefectoral Art Museum, Hiroshima Air on forme, Musée des Arts Décoratifs de Lausanne C ontinental Shift, Ludwig Forum, Aix-la-Chapelle Les 100 Sourires de Mona Lisa (The 100 Smiles of the Mona Lisa), Shizuoka Prefectural Museum of Art, Shizuoka; Metropolitan Art Museum, Tokyo T he Balloon Art Festival, HOT AIR, Granship, Shizuoka The Garden of Forking Paths, Nordjyllands Kunstmueum, Aalborg The Garden of Forking Paths, City Art Museum, Helsinki The Garden of Forking Paths, Edsvik Konst & Kultur, Stockholm The Garden of Forking Paths, Kunstforeningen, Copenhagen B ienal de Pontevedra, Pontevedra S ur Invitation, Centre Culturel de Montrouge, Montrouge O bjets d’artistes, Musée d’Art Moderne, Paris L a Biennale di Venezia, Venice C ross-cultural Currents in Contemporary Latin American Arts, Edinburgh College of Art, Edinburgh C entre Georges Pompidou, Paris Avant-Première 89, Grande Halle de la Villette, Paris M useo Nacional de Arte Moderno, Buenos Aires Anthologie de la Biennale de Paris, Musée Sara Hilden, Tampere X II Biennale de Paris, Musée d’Art Moderne de la Ville de Paris, Paris P remio Marcelo De Ridder, Museo Nacional de Bellas Artes, Buenos Aires


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e Cercle de Lecture, Paris L T honeteando, Paris S éances (Designer’s day), Paris P aris/Soissons, Paris M estiçagem, Brazil Une proue pour la Démocratie, Paris; Buenos Aires

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Pablo Reinoso 4–26 September 2020 (in the gallery) 4 September–25 October (online) First published in the United Kingdom in 2020 by Waddington Custot. Waddington Custot 11 Cork Street London W1S 3LT Official copyright © 2020 Waddington Custot, London Artworks © Pablo Reinoso, 2020 Artwork, portrait and studio photography © Rodrigo Reinoso, 2020 pp.9–12 © Claire Wrathall pp.41–44 © Stéphane Custot & Pablo Reinoso All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or other information storage and retrieval systems, without prior permission in writing from the publishers. Edited by Louise Malcolm and Emma Hodgson Proofread by Noémie Freymond Designed by A Practice for Everyday Life ISBN 978-1-9164568-8-4 To find out more about Waddington Custot publications, please visit, where you can browse our catalogues and buy any titles that are of interest. Cover: Up Rooted (Medium), 2020 (detail)

Limited edition