Alexandre Plate

"The monsters come from a collage I created that was 25 meters wide by 12 meters high, and the sculpture is an enlargement of a model made by my son Alexandre when he was eight years old. I thought it was perfect—just as good as a sculpture by Henry Moore! Right? [laughs] " Roberto Alexandre talk's about it in an interview for the exhibition we did with @hartisparis_ and @art_cmscollection in the beautiful gazette made by @aurorevullierme Bomarzo, 2003, dir. A. Arias, @teatrocolon in Buenos Aires. Special thanks to Marie Binet for the publication in 2013, "Tableau de Scène". ----- Les monstres sont issus d'un collage que j'ai réalisé dans une proportion de 25 mètres de largeur sur 12 mètres de hauteur et la sculpture est l'agrandissement d'un modelage fait par mon fils Alexandre quand il avait huit ans. J'ai trouvé que c'était parfait, aussi bien qu'une sculpture de Henry Moore ! Non? [rires] " Alexandre en parle dans une interview réalisée pour l'exposition que nous avons organisée avec Hartis et CMS collection, publiée dans la belle gazette rédigée par Aurore Vullierme. Bomarzo, 2003, mise en scène A. Arias, au Théatre Colon de Buenos Aires Meric à Marie Binet pour le livre publié en 2013, Tableau de Scène.

Fragmento de fashion film para Blanco Taller.

Season’s greetings to all ✨ Sharing a glimpse inside Roberto Platé’s studio, surrounded by his drawings and works. It’s been a year filled with meaningful projects and exhibitions, and we are grateful to have accompanied his practice through these chapters. 🌟 We look forward to what comes next. ✨ @robertoplate @alexandre_plate @hervemikaeloff @joannachevalier @fsnb @manon_canto @annalafonta

I know little of Argentinian history, but this hasn’t — and won’t — go forgotten. Thanks to the film @argentina.1985 , I rediscovered the dictatorships of Argentina. The responsables of the atrocities that occurred during those years were brought to trial and prison thanks to the voices — the people’s voices. Luckily for my existence, my dad was forced to flee the country and didn’t have to live through those times, unlike others in my family. Once again, Argentina recalled the power of the people. This summer, during @bienalsurarte in Argentina, @fernandofarina31 invited my dad to recreate the installation that had been the reason for his escape. The installation has now been reproduced three times, as a way to salute the importance of freedom of expression. (Pics of 1998 @fundacion_proa , 2016 @bellasartesargentina and 2025) Designed as restroom without toilets, to trick to public, but it's the public that decided to go in and still make a use of it. People wrote on the walls of these “fake” bathrooms, complaining about the dictatorship — somehow a polling place at the time of the military coup of ’68. The installation ended up being censored, provoking a rebellion among artists and the closing of the important Instituto Di Tella. At the Bienal, they reconstructed these toilets — and as you can tell, people still have a lot to say. Freedom of expression took a break after that first installation in May ’68, but in 1983, it came back. My dad wasn’t involved in politics at the time, but as an artist — and a rebellious character — part of a strong avant-garde movement, his Untitled piece ended up being called Los Baños 68 by newspapers and history books. This time, he gave the canvas to the people. Having heard the story of this installation so many times, I had grown almost indifferent to it. But seeing again its power and necessity — today, in 2025 — I’m reminded that we are fortunate to live in times of information, knowledge, and sharing. May art always allow expression. And with that, perspectives of our times — endless times of repression, you might say — may we keep on learning from them, and trust that it will make a difference in the future.

Roberto Platé’s exhibition at Grand Tour remains open until November 16 ✨ 
A vibrant success since its opening, the show invites visitors to (re)discover the iconic Argentinian artist through a selection of works. ‘Roberto Platé 1990/2000 is therefore an immersion into painting as an essential act, where the set becomes intimate, colours become presences, and the viewer invited to enter the vibrant field of a painter for whom every canvas is a living scene.’ - Anna La Fonta @robertoplate @grandtour.art @joannachevalier @hervemikaeloff @fsnb @manon_canto @annalafonta 📍 Grand Tour, Paris
🗓️ Until November 16 Contact Manon Canto +33 6 41 87 17 09 for a private visit #CMSCollection #GrandTourParis #RobertoPlate #ContemporaryArt #Exhibition #ParisArtScene

Few years ago I decided that I needed to know what was in my dad’s studio, have a picture of all his works. Little did I know, this curiosity, is allowing a great story to be written. Not only do I discover who he is, but also be at peace, with who he is, and with that, be at peace to become who I want to be. It has connected me in new ways with my familly, allowed heart opening conversations. I am discovering the responsibility of telling a story, of managing one’s own company, and aim for far away ideas. I’m sharing a fraction of my journey, walked first by my dad to produce these works, I’m happy to pick mine now, accompanied by his stories, It’s a long path, but it has been so far incredibly well supported. Special thanks to my sisters @jeanne_la_fonta and @leticiaplate Many others have participated in many ways, and I salute all of you.

Save the Date ✨ 
CMS Collection x Grand Tour present Roberto Platé – 1990/2000 
📍 123 rue de Turenne, Paris 3e
📅 October 18 – November 16
🕐 Tuesday to Saturday, 11am – 7pm This exhibition brings together a selection of paintings from the 1990s and 2000s, a pivotal period during which the artist, long established in Paris, asserted his pictorial freedom. These works bear the imprint of a constant dialogue with scenography: bold framings, silhouettes cut out as if on stage, reflections and perspectives that recall his mastery of trompe-l’œil. The painter invites us to enter his universe as one would step into a set, where each colour becomes an actor and every gesture a movement. ✍️ Excerpt from the text written by Anna La Fonta 📍 Join us at Grand Tour to discover the pictorial world of this master of illusion and materiality, whose work continues to vibrate with power. 🎥 By Marie Binet @robertoplate @grandtour.art @joannachevalier @hervemikaeloff @fsnb @annalafonta @alexandre_plate @manon_canto #RobertoPlaté #ColouredPresences #GrandTourParis #CMSCollection #ContemporaryArt #PaintingExhibition #ArgentineArt #ParisArtScene #ArtShowParis

Hier, la fin de l'été a dit la maîtresse. Qu'il continue dans nos cœurs toute l'année s'il nous plait. Je voulais mettre un bout de ce morceau que je vous conseille d'écouter en entier c'est hyper hyper beau 🎀 Henrie ma fille, Alexandre mon frère, le piano @claireruppli et les tableaux de RP @robertoplate

When a meeting you’ve worked months on goes well

I tend to say my dad's on the moon, and here's his work, up on the 72nd Floor in NYC, for a show opening on the full moon of May '25 Honored to collaborate with @art_cmscollection , which were invited to put together the art selection of the stunning .. (Yes stunning; i'm more and more into design now) .. Exhibition tracing the legacy of the pioneering Néotu Gallery, presented in collaboration with @galeriegabriel_ny and @mouvementsmodernes curated by @michaelbargo Various times my dad, Roberto Plate, has been in NYC, and every time it had a huge impact on his style of work. Now I get him! First time in '68 with 28 years old, same age I have now for this show, no comment on the ressemblance. In '76 with his great friend Copi, for Loretta Strong, in the La MaMa Theater '88 for a solo show with only works painted in NYC in a gallery where my sister @leticiaplate was working at. Our solo show of Roberto Plate of this November '25 will be related to. It all loops.. Thanks again to everyone involved ! Pictures mainly by @matt_harrington

Soon it’s my Birthday, and no place would have been as perfect as @clandestinna__ ! What a detailed, passionate and enthusiastic creating force you are @marianna.idirin ! I’m full of multicoloured memories of this experience with shared! Thank you Mañañita, te quiero!

Years in Mexico, literally shoulder to shoulder work. Thanks @a_void.no_thing._ & @alfredoginocchio @aginocchio.loscabos