Antoni Tàpies will be the subject of a retrospective this coming winter at the Jeu de Paume, co-organised by the Guggenheim. In the meantime, recent work can be seen at Galerie Lelong until 10 May, where the great artist can afford to take risks, sure in the knowledge of his reputation. Michelangelo Pistoletto did not wait for international recognition before subverting the courses of traditional art by any means (painting, installation, performance, theatre). Since his association with Arte Povera in the Sixties, Pistoletto has specialised in the use of the mirrors, first for painting on, then for including in his installations. At Durand Dessert from 9 April to 4 June some recent reworkings of this theme are to be found.
American artist Richard Tuttle presents his increasingly fragile and tentative work at Yvon Lambert, imbued with a strangely potent power to destabilise. Noone should be fooled by the modesty of these pieces: tiny but monumental, constructed in subtle and abstract dimensions. Until 30 April.
From 7 April Galerie de France will show work by two artists, Eugene Leroy and Jean-Pierre Bertrand. Leroy has cultivated a heavily worked style since the Thirties, a maelstrom of colours where figures disappear little by little. Recently rediscovered, his work attracts serious attention these days. Bertrand, the subject of a celebratory retrospective at the Musée d’art moderne de la ville de Paris, emphasises transparency and reflections, combination and assymmetry. Until late May.
Jean-Pierre Pincemin, who seems to work on the principle of changing his gallery every show, has this time chosen Lucette Herzog to exhibit new work until 14 May. As prolific as he is changeable, this one-time practitioner of Support-surface in the 1970s, has since devoted himself to a polymorphic and casual sort of sculpture.
Far more orthodox, Bernard Pages at Aline Vidal (until 7 May) was also familiar with the years dominated by late Sixties theorising before embracing the joys of the establishment.
New York artist Marcia Hafif has long remained faithful to the idea of monochrome. Her work is practically unknown in Paris, but Arnaud Lefebvre is showing around eight of her last paintings (9 April to 5 May). Small in scale, they are painted in acrylic, a medium the artist has not used since 1972. Meyer Vaisman, one of the post-modernist bunch, will present his latest feathered fowl, stuffed and enlarged with kitsch accessories. Turkeys, turkey hens, peacocks, geese: the main point lies in the stuffing, naturally enough.
Elaine Strutevant was one of the first to make the copying of her contemporaries an entire subject. Since then, the practice has become widespread, to the satisfaction of impoverished collectors who cannot afford a Warhol. Taddaeus Ropac (9 April to 14 May).
Originally appeared as 'Nostalgia is back'