Roberto Plate

When the scenography meets the painting Untitled, 1975. Oil in canvas, 194 x 200 cm | 76 x 78 in

Untitled, circa 1987. Oil on canvas 146 x 114 cm | 57.5 x 44.9 in

"Jornada de la mirada" - The time of the gaze | Installation 1967 and 2013 Today, International Workers’ Day Placed at the entrance to the Tableau de Scène exhibition, this is a variation on the installation *Jornada de la Mirada*, created in Buenos Aires in December 1967 at the Vignes Gallery. An industrial object taken out of its usual context and signed by the artist. A ready-made in the tradition of Marcel Duchamp’s works. A time clock inviting the public to participate in an experience; to create a limited, numbered series stamped by the visitors themselves in the order of their arrival at the exhibition by punching their invitation cards. A time clock found in all companies, factories, and government offices to track work hours, yet no longer directly linked to productivity. An installation that measures the rhythm and flow of visitors to gauge success, to bear silent witness; a “guest book” without a single sentence or word. A unique experience. A memory, a trace, proof of a visit, of the day and time, signed by the machine’s intransigence. A message stolen from technology, A distancing. A text by @mariebinetofficiel #robertoplate #robertoplaté #readymadeart #readymadeartist #readymadeartwork #1mai #internationalworkersday #laborday

"What is earth was...........flat" "Plate" meaning "flat" in french. Some sentences from that interview. #flatearth #robertoplate #robertoplaté

Good thursday everyone! The Alif, used in a sufi meditation practice on thursdays. Untitled, 1996. Oil on canvas 90 x 116 cm | 35.4 x 45.7 in ----- Bon jeudi à tous ! L'Alif, utilisé dans une pratique de méditation soufie le jeudi.

"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.

Sailing ships were among Roberto’s earliest and most enduring passions. Raised in San Isidro, just north of Buenos Aires, he grew up at the nautical club and spent his youth sailing on his parents’ boat. After stealing a boat at 16 for a brief escapade and being caught, he was punished by being sent to work in a metal stamping workshop. There, he learned to shape metal, to make dies and stamps. The mark of this experience would surface again later in his career. Watercolor 30 x 22.5 cm | 11,8 x 8,6 in Roberto's first a spoon-forming die 1956 - Les voiliers comptent parmi les passions les plus anciennes et les plus durables de Roberto. Élevé à San Isidro, au nord de Buenos Aires, il grandit dans l’univers du club nautique et passe sa jeunesse à naviguer sur le bateau de ses parents. Après avoir dérobé à 16 ans une embarcation pour une brève escapade, puis avoir été rattrapé, il est puni en étant envoyé travailler dans un atelier d’estampage sur métal. Il y apprend à façonner le métal, à réaliser matrices et estampes. La trace de cette expérience réapparaîtra plus tard dans son œuvre. Aquarelle 30 x 22.5 cm | 11,8 x 8,6 in Première matrice de cuillère de Roberto 1956

Dépôt Rose, 2010. Oil on canvas 65 x 81 cm | 25,6 x 31,9 in

Confidences d’un tour de mains ✨ The stunning collaboration unveiled by Hartis and CMS Collection brings into dialogue the works of Roberto Platé with a curated selection of design furniture by Hugo Besnier. This is, without hesitation, the finest exhibition I have seen during Paris Art Week this month. The exchange between art and design is striking and poetic. Every detail feels intentional. The result is a true delicacy for the eyes. ✨ Very happy and proud to have been collaborating with them on such a unique project. 📍 11 Quai Anatole France, 75007 Paris RSVP  [email protected] The exhibition is on until April 25, 2025 by appointment only @art_cmscollection @hugobesnier_ @robertoplate @hartisparis_ @joannachevalier @hervemikaeloff @fsnb @alexandre_plate @aurorevullierme 📷 @matthieusalvaing

We would love to welcome you from April 8 till April 12, 2026 10:30 AM - 6:00 PM 11 Quai Anatole France, 75007 Paris RSVP [email protected] The exhibition is on until April 25, 2026 by appointment only @hartisparis_ @robertoplate @hugobesnier_ @joannachevalier @hervemikaeloff @fsnb @manon_canto @alexandre_plate 📷 @matthieusalvaing

“There are several ways to use this set. This model is interesting because it depicts a theater within a theater. It’s a mise en abyme. On the stage left and stage right, there are dressing rooms where the actors can enter and exit, and there is also a stage depth that allows for the use of multiple spaces that appear or disappear depending on the different moments in the play.” Roberto starring, @isabelleadjaniofficiel as Marguerite Gautier The Lady of the Camellias, 2000. Play by Alexandre Dumas, adapted by René de Ceccatty. Directed by Alfredo Arias at the @theatre_marigny ----- "Il y a plusieurs manières d'utiliser ce décor. Cette maquette est intéressante car elle représente le théâtre dans le théâtre. C'est une mise en abyme. Côté cour et côté jardin, il y a les loges où peuvent entrer et sortir les acteurs, et il y a aussi une profondeur de scène qui permet de jouer sur plusieurs espaces qui apparaissent ou disparaissent selon les différents moments de la dramaturgie." Roberto avec Isabelle Adjani comme Marguerite Gautier La Dame aux camélias, 2000. Pièce d'Alexandre Dumas, adaptée par René de Ceccatty. Mise en scène d'Alfredo Arias au @theatre_marigny Photos © Marianne Rosenstiehl, Agence Enguerand

A little teaser from our upcoming exhibition in Paris, in collaboration with Hugo Besnier. Confidences d’un tour de main We’ll soon be unveiling another iconic series of paintings by Roberto Platé, one you haven’t seen yet ✨ @robertoplate @hugobesnier_ @hartisparis_ @joannachevalier @hervemikaeloff @fsnb @manon_canto