Alberto Giacometti

Past exhibition - From 31 October to 19 January 2020

Alberto Giacometti, Grande Femme II (1960). Courtesy of the Fondation Louis Vuitton. © Succession Alberto Giacometti (Fondation Alberto et Annette Giacometti).
© Adagp, Paris 2019. Photo: Marc Domage
Alberto Giacometti
Abroad

Alberto Giacometti, Grande Femme II (1960). Courtesy of the Fondation Louis Vuitton. © Succession Alberto Giacometti (Fondation Alberto et Annette Giacometti).

© Adagp, Paris 2019. Photo: Marc Domage

For its opening, the Espace Louis Vuitton Seoul is proud to annonce an exhibition entirely dedicated to major artist Alberto Giacometti. 

 

For its very first exhibition, the Espace Louis Vuitton Seoul presents eight emblematic sculptures by Giacometti, that belong to the Collection: Tête sur tige [Head on a rod] (1947), Trois hommes qui marchent [Three men walking] (1948), Homme qui chavire [Man who capsizes] (1950), Femme de Venise III [Woman of Venice III] (1956), Grande Femme II [Tall Woman II] (1960) and Têtes d’homme [Heads of a man] (Lotar I), (Lotar II) and (Lotar III) (1964-65). These works, considered as key masterpieces of Giacometti’s oeuvre, pay tribute to the virtuosity of the iconic Swiss artist.

 

Born in 1901 in Switzerland, Alberto Giacometti moved to Paris in 1922. He set his sights on the Montparnasse district, where he lived and worked until his death in 1966. 

Despite the almost instant recognition of his work, and the friendship he forged with several personalities such as André Breton, Georges Bataille, André Masson and Michel Leiris, Giacometti quickly turned away from surreal objects that made him famous to refocus on the model. This solitary breakaway, in which he had “no other purpose than to try to set up a human head”, led him away from subservience to any movement, preferring to concentrate on the sources of creativity. Supported by his knowledge of prehistoric, ancient Egyptian, Sumerian and archaic Greek art, his work combined daily experience of the model with timeless forms of ancient models.

From 1935, he devoted himself entirely to the living model which became the sole obsessive subject of his work. Meanwhile, he took an interest in ratios of scale and the way figures occupy and activate the space around them. In the 1950s, his bodies became increasingly thin, reduced to the essential lines of their precarious existence: “[...] a man walking in the street weighs nothing, is much lighter in any case than the same dead or unconscious man. He is balanced on his legs. His weight is not felt. This is subconsciously what I wanted to reproduce... that lightness, by refining my silhouettes ...” (Interview with Jean Clay, 1963).

 

Giacometti felt a sense of lingering failure over his inability to reproduce his models as he perceived them and achieved extreme simplification that paradoxically orchestrates a striking emergence of the figure. Beyond an emotional expression, the artist imposed an optical approach of his works, such as dots or lines in a dense space. As expressed by Jean Genet, “their (Giacometti’s sculptures’) beauty seems to me to stand in an incessant, continuous toing and froing from the most extreme distance to the closest familiarity: that toing and froing is never-ending and is how we can say they are in movement”.

The artist

Alberto Giacometti

Born in Borgonovo (Switzerland) on October 10, 1901, Alberto Giacometti, at an early age, was introduced to Post-Impressionism and Symbolism by his father, a painter. In 1919, he left school to study at the Fine Arts College of Geneva. He moved to France in 1922 where he studied the nude at the Académie de la Grande Chaumière, sculpture with Antoine Bourdelle and often visited the Louvre. His work brought him close to the post-Cubism movement (in particular, Le couple [The couple] (1926) and Femme Cuillère [Spoon Woman] (1927)), and then developed within the Surrealist group (the Boule suspendue [Suspended Ball] sculpture (1930), exhibited at Galerie Pierre alongside works by Joan Miró and Jean Arp, marked this turning point). In 1935, breaking away from avant-garde circles, he began to work exclusively on the living model.

During the World War II, in 1941 he returned to Switzerland where he met his future wife, Annette Arm, who became one of his favorite models. In the after-war period, he started to create new tall and spindly figures. In the 1950s, Giacometti’s reputation grew considerably. In 1956, he represented France at the Venice Biennale where he presented Femmes de Venise [Women of Venice] (he would later win the Biennale’s Grand Prix for Sculpture in 1962). Before leaving Paris for the last time in 1965, Giacometti made three portraits of photographer Eli Lotar, who became his final model. Giacometti died on January 11, 1966 at the Cantonal Hospital of Coire.

The essential

From 31 October to 19 January 2020

Your visit

Espace Louis Vuitton Seoul

454 Apgujeong-ro,

Gangnam-gu,

Seoul 06015

Korea

 

T. +82 2 3432 1854

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Alberto Giacometti. Tête d'homme (Lotar I), 1964-65 / Courtesy of the Fondation Louis Vuitton

© Succession Alberto Giacometti (Fondation Alberto et Annette Giacometti,

Paris) © Adagp, Paris 2019

Photo credits: © Primae/Claude Germain


Alberto Giacometti. Trois hommes qui marchent, 1948 / Courtesy of the Fondation Louis Vuitton

© Succession Alberto Giacometti (Fondation Alberto et Annette Giacometti,

Paris) © Adagp, Paris 2019

Photo credits: © Fondation Louis Vuitton/Marc Domage


Alberto Giacometti. Tête sur tige, 1947 / Courtesy of the Fondation Louis Vuitton

© Succession Alberto Giacometti (Fondation Alberto et Annette Giacometti,

Paris) © Adagp, Paris 2019

Photo credits: © Fondation Louis Vuitton/Marc Domage


Alberto Giacometti. Buste d'homme (Lotar II), 1964-65. / Courtesy of the Fondation Louis Vuitton

© Succession Alberto Giacometti (Fondation Alberto et Annette Giacometti,

Paris) © Adagp, Paris 2019

Photo credits: © Fondation Louis Vuitton/Marc Domage


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