Mennour

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol. 📍Meet our team at booth 305, @tefaf , Park Avenue Armory, New York. 📩 Contact the gallery by Private Message for more information about the works. — Views of the booth by @sebastianopelliondipersano #tefafnewyork #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974). Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace. At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye. The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain. The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible. — Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman Views of the booth by @sebastianopelliondipersano #alexandercalder #tefafny2026

FRANCIS PICABIA is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “L’Accordéoniste” (c. 1943-1944). Painted during the years Picabia spent in the south of France under the Occupation, L’Accordéoniste belongs to a new figurative vein that marked one of the most decisive ruptures in an already restlessly discontinuous career. From around 1940, and conditioned by the pressures of a peripatetic and increasingly precarious existence in the zone libre — then zone occupée — Picabia turned away from the transparency effects that had characterized his immediately preceding paintings, embracing instead a broadly naturalistic figuration assembled, as is now understood, from photographic sources found in popular illustrated publications and revues de charme of the 1930s. The source for the present work has been identified as a photograph published in Paris Magazine, no. 57, May 1936. The image depicts a young woman in a sleeveless dress leaning into a flat-capped accordionist, the two figures pressed together against an iron railing with a Parisian street receding behind them — a scene of working-class intimacy caught with the candid, slightly rough quality of popular press photography. Picabia lifts the central group directly from this source while eliminating its setting almost entirely, compressing the composition and redirecting all attention onto the figures themselves. The transformation is characteristic of his method: he treats the photograph not as a model to be faithfully transcribed but as raw pictorial material to be heightened, the tonal contrasts deepened, the surfaces rendered with an insistence on paint as paint. — Francis Picabia, L’Accordéoniste, c. 1943 - 1944. Oil on card laid down on board. 105,8 x 75,6 cm Views of the booth by @sebastianopelliondipersano #francispicabia #tefafny2026

LUCIO FONTANA will be featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Concetto spaziale, Attese” (1962). In the late 1940s, Lucio Fontana began puncturing the surface of sheets of paper and canvases in an attempt to blur the distinction between two- and three-dimensionality. In “Concetto Spaziale, Attese”, Fontana covered the canvas with paint and then sliced the picture plane from top to bottom using a utility knife, gently prying each incision open with his hands. He then backed the canvas with black gauze — a final step that not only stabilized the work but created an illusion central to Fontana’s vision: the suggestion of a mysterious space just behind and beyond the canvas itself. Realized in the final years of his life, this work belongs to a large series of works investigating temporal concerns at the height of twentieth- century Modernism. Rather than engaging with the flatness of the canvas or the formal properties of paint in purely abstract terms, Fontana took a philosophical approach — ruminating over an evenly painted surface before committing to a single, decisive motion. Coated uniformly in green across a vertical rectangular format, Concetto Spaziale, Attese contains multitudes within its seemingly simple composition. Three tagli — Fontana’s term for his signature incisions — have been made in the pristine surface with carefully measured restraint. — Lucio Fontana, Concetto spaziale, Attese, 1962. Waterpaint on canvas. 100 x 81 cm #luciofontana #tefafny2026

ALBERTO GIACOMETTI will be featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional bronze ”Bust of Fraenkel” (1960). The “Bust of Fraenkel” (1960) belongs to a series of portraits of close friends and family that Giacometti produced in the last years of his life. Théodore Fraenkel was part of the artist’s inner circle, whom he met in the 1930s through André Breton during his association with the Surrealist group. Giacometti reconnected with Fraenkel in the late 1950s and early 1960s and asked him to pose for him. A Dadaist poet and iconoclastic doctor to many artists, Fraenkel was also Giacometti’s doctor. He proposed himself to the long and demanding posing sessions imposed by the artist, who created at least two sculpted busts of him – only one of which was cast in bronze – and a painting. […] Fraenkel’s face is not idealised. It emerges from the material as if from a force field. The deeply sunken eyes are the focal point of the sculpture: they attract and resist at the same time. The head appears solid yet threatened with erasure. This tension gives the portrait an almost metaphysical dimension. More than a descriptive resemblance, Giacometti seeks a “lived resemblance”: the sensation of being face to face with someone, with an irreducible presence. — Christian Alandete @christianalandete — Alberto Giacometti, Buste de Fraenkel, 1960. Bronze. Cast in 1962 by Susse Fondeur. Height: 28,5 cm 8/ Esquisses de tête de Théodore Fraenkel, circa 1960. Black ballpoint pen on a paper tablecloth. 28,7 x 19,5 cm. Private collection 10/ Exhibition view, Institut Giacometti, Paris, 2025 #albertogiacometti #tefafny2026

FRANÇOIS MORELLET / SOPHIE TAEUBER-ARP • Discover “Au hasard”, a duo show of François Morellet and Sophie Taeuber-Arp curated by Christian Alandete, on view at 47 rue Saint-André-des-Arts, Paris until May 30, 2026. The exhibition brings together two major figures of geometric abstraction, separated by a generation but united by the same desire to reconcile rigor and playfulness. For both Sophie Taeuber-Arp and François Morellet, form arises from the tension between order and chance. An heir to the Dadaist spirit, Morellet borrows from Taeuber-Arp the notion of chance as a structuring principle, transforming the unexpected into method. Both develop protocols in which randomness becomes a measurable variable, integrated into the composition of serial systems, grids, and modular variations. The exhibition highlights this intellectual and artistic lineage. This exhibition is organized in collaboration with the Fondation Arp-Taeuber, Clamart. 🔳 This exhibition is part of 100 x Morellet, an event organized to mark the centenary of François Morellet’s birth, at the initiative of the Fonds de dotation Morellet and the Centre Pompidou. Participating venues: @centrepompidoumetz_ @centrepompidou @villedemassy @chateaudemontsoreau @chateauversailles @citedelarchi @ensa_bourges @espaceartconcret @fracdespaysdelaloire @mennour Galerie de l’Hôtel de Ville, Chinon @le_grand_palais �@macval.musee @museesmarseille @choletagglo @museedartsdenantes @museedegrenoble @musees_angers @mbacaen @mbarennes @museelouvre @museeschagalllegerpicasso @villa_medici — Music: Unnaturally / Gridded / courtesy of #sophietaeuberarp #francoismorellet #100xmorellet

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol. Meanwhile, discover as a preview artworks that will be featured on our booth: 1. Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm 2. Lucio Fontana, Concetto spaziale, Attese, 1962. Waterpaint on canvas. 100 x 81 cm 3. Alberto Giacometti, Buste de Fraenkel, 1960. Bronze. Height: 28,5 cm 4. Lee Ufan, Response, 2026. Acrylic on canvas. 162 x 130 cm 5. Camille Henrot, Study for 73/37 (Abacus), 2025. Bronze. 45 x 40 x 20 cm 6. Francis Picabia, L’Accordéoniste, c. 1943-1944. Oil on card laid down on board. 105,8 x 75,6 cm 7. Ugo Rondinone, the breath + the silence, 2022. Stone. 22 x 19 cm See you soon on booth 305! 📩 Contact the gallery by Private Message for more information about the works. #tefafnewyork #tefafny2026

“I am constantly trying to instill my work with this bright sense of energy. It’s an interesting energy. It’s definitely an energy that you sort of have to delve into the unknown.”— Lee Ufan A major presentation of work by #LeeUfan explores his enduring commitment to bringing materials and gestures into fields of relation that register temporal, spatial, and material conditions. Organized by Dia Art Foundation (@diaartfoundation ) at SMAC Venice (@smac_venice ), the exhibition includes sculptures, paintings, and installations highlighting Lee’s longstanding dialogue with architectural space. Lee Ufan Collateral Event of the 61st International Art Exhibition - La Biennale di Venezia SMAC Venice, Procuratie, Piazza San Marco, 105 May 9 – November 22 A concurrent presentation of Lee Ufan’s paintings and sculptures are now on view at Dia Beacon in Beacon, New York. Learn more at the link in bio. @labiennale #LeeUfan #BiennaleArte2026 #MonoHa

At SMAC Venice, Dia Art Foundation celebrates Lee Ufan with a landmark exhibition unfolding across eight galleries on Piazza San Marco. In dialogue with space, silence and materiality, the artist’s minimalist language transforms the exhibition into a contemplative experience, reaffirming his enduring influence on contemporary art, as he approaches his 90th year. An opening suspended between stillness and perception, at the heart of the Biennale. Read now on Saywho.co.uk #SayWho #LeeUfan #BiennaleDiVenezia 📸 @alelamma 📸 @saymika

LEE UFAN • Now open: “Lee Ufan” at Dia Beacon, curated by Matilde Guidelli-Guidi. As Dia presents a major exhibition of Lee Ufan’s work in Venice this month, a concurrent presentation is now on view at Dia Beacon. Together, the two exhibitions mark the artist’s 90th birthday and reflect the breadth of his practice across decades, disciplines, and geographies. Alongside three sculptures emblematic of his Mono-ha period, the exhibition presents eight paintings dating from the 1970s through the early 1990s, which recently entered Dia’s collection and where the artist foregrounded the canvas as a space populated by both presence and absence. “Characterized by systematic brushstrokes and a cyclical process of material exhaustion, Lee’s paintings weigh presence and absence as a philosophical endeavor, while the dense mineral pigments they are made of glimmer in the natural-light conditions of Dia Beacon,” said curator Matilde Guidelli-Guidi. “Pairing these with a selection of his sculptures, the exhibition demonstrates the key registers of Lee’s exemplary practice, from the playful and the suspenseful to the meditative and the reflective.” — Photos by @bill_jacobson #leeufan #DiaArtFoundation #DiaBeacon

ANISH KAPOOR • During the 61st International Art Exhibition of La Biennale di Venezia, Anish Kapoor presents an ambitious new exhibition at Palazzo Manfrin, the 16th century Palazzo and Venetian landmark in Cannaregio which is home to the artist’s Foundation. “Anish Kapoor: Palazzo Manfrin” brings together around 100 architectural models documenting projects both realised and unrealised from the past 50 years of Kapoor’s practice, alongside a series of large-scale installations and stainless-steel works. “Anish Kapoor: Palazzo Manfrin“ presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it. In the exhibition Kapoor explores the transformational quality of sculpture in new architecturally scaled works. Visitors are welcomed into the Palazzo via a monumental new black-pigment iteration of Kapoor’s seminal work, At the Edge of the World (1998), measuring eight-metres in diameter and suspended from the ceiling. A new towering mirror work is exhibited, alongside the iconic Descent into Limbo (1992). — Photo ©Anish Kapoor. All rights reserved, DACS 2026 Photographs: George Darrell, Courtesy the artist and Lisson Gallery #AnishKapoor #PalazzoManfrin #BiennaleArte2026 #LaBiennaleDiVenezia

Coming soon to #Venice, an exhibition of work by #LeeUfan—organized by Dia Art Foundation (@diaartfoundation ) at SMAC Venice (@smac_venice )—presents a sweeping survey of over six decades of creation. The exhibition convenes historic works alongside new paintings and monumental installations by the artist, who will celebrate his 90th birthday this year, highlighting Lee’s deep commitment to gestures of restraint, resonant silences, and measured encounters between matter and void. Lee Ufan Collateral Event of the 61st International Art Exhibition - La Biennale di Venezia SMAC Venice, Procuratie, Piazza San Marco, 105 May 9 – November 22 Plus: a new display of Lee’s paintings and sculptures opens May 8 at Dia Beacon in New York’s Hudson Valley, coinciding with the presentation in Venice. Tap the link in bio to learn more. @labiennale #LeeUfan #BiennaleArte2026 #MonoHa