1992 reissue of the 1936 monograph published by Cahiers d’Art in 1936. Text and plates in French. The cover features a gouache découpée by Matisse.

Founded in 1926 by Christian Zervos at 14, rue du Dragon in the heart of Saint-Germain-des-Prés, Cahiers d’Art encompasses a publishing house, a gallery, and a revue. The Cahiers d’Art Revue was entirely unique when it was introduced, and it still is: a revue of contemporary art defined by its combination of striking typography and layout, abundant photography, and juxtaposition of ancient and modern art.
Between the 1920s and the mid-1970s, Cahiers d’Art published ninety-seven issues of the Revue and more than fifty books on fine art and architecture, as well as the thirty-three volume catalogue raisonné of Pablo Picasso. After its acquisition and relaunch in 2012 by Staffan Ahrenberg, an editorial board comprised of Sam Keller, Hans Ulrich Obrist, Isabela Mora, and Staffan Ahrenberg was created. Cahiers d’Art has since published several new Revues and art books devoted to Ellsworth Kelly, Rosemarie Trockel, Hiroshi Sugimoto, Alexander Calder, Pablo Picasso, Thomas Schütte, Gabriel Orozco, Joan Miró, Lucas Arruda, Ai Weiwei, Arthur Jafa, Frank Gehry, Christo, and others. From the 1920s till today, Cahiers d’Art has maintained a gallery, exhibiting the artists it publishes.
Cahiers d’Art continues to fulfill its mission to be the cultural bridge between the avant-garde of Picasso, Duchamp, and Le Corbusier, and the leading artists and architects of our time.

Cahiers d'Art

Dessins

This issue of Cahiers d’Art is entirely dedicated to Goya.
Featuring 26 contemporary artists with an extraordinary variety of contributions, from drawings to poems, photographs, and entire bodies of works.
It also includes a comprehensive essay on Goya’s significance by Manuela B. Mena Marqués, and texts by Donatien Grau, Manthia Diawara, and Terri Geis.
The cover has been created with a film still of Philippe Parreno’s new film, shot at night inside the Prado, in the closest possible proximity to the Black Paintings.

Ever Goya, Revue

Herbert Matter Photographs of Alexander Calder and His Work — Standard Edition
Calder by Matter contains approximately three hundred images of Alexander Calder’s sculptures, many of which are published here for the rst time. Given unprecedented access to Calder’s work and life during the course of their friendship, acclaimed photographer and graphic designer Herbert Matter captured Calder’s sculptures at different stages of completion, as well as the artist at work in his studio and at home with his family in Roxbury, Connec- ticut. Published in direct collaboration with the Calder Foundation, Calder by Matter offers a new perspective on Calder’s oeuvre, life, and creative process.
EDITED BY ALEXANDER S. C. ROWER TEXTS BY JED PERL AND JOHN HILL

Calder by Matter

Issue tribute to the artist in collaboration with the Calder Foundation, retracing his relationship with France. 2014 marks the 25th anniversary of Atelier Calder Artist residency, in which more than 40 artists have been able to work. The review includes interviews with some of them, a selection of images of the works of former residents as well as a portfolio of models of sculptures by Monika Sosnowska, resident in 2014. In this special issue, several essays emphasize the relationship maintained between Calder and Christian Zervos. Text by Alexander S.C Rower, grandson of Calder and president of the Calder Foundation, by Susan Braeuer Dam. Participation of Alfred Pacquement, former director of the National Museum of Modern Art, Raphael Bouvier, curator of exhibitions at the Beyeler Foundation, Robert Rubin, architectural historian and Hans Ulrich-Obrist, director of the Serpentine Gallery. These texts are illustrated with photographs of Calder and his works by Ugo Mulas and Agnès Varda.

Calder in France, Revue N°1

This issue explores the work of Chinese artist Ai Wei Wei, through his favorite themes: Antiquity and contemporaneity, relations between East and West, conservation and destruction. Important interview with Hans Ulrich Obrist, series of unpublished works on paper, essay by art historian Ingrid Rowland on the artist and his link to archeology, archival reproduction Art books on art Chinese antique, presentation of the most beautiful pieces of the jade and textile collections collected by Ai Wei Wei, text by the great collector Uli Sigg, photographic reportage on the making of A Tree, gigantic project led by Ai Wei Wei in the heart of the forest Amazonian.

Ai Weiwei, Revue

This issue explores recurrent themes in the approach of contemporary artist Gabriel Orozco: geometry, games, work tables through several texts by Briony Fer, Benjamin Buchloh, André Rottman, interview with Hans Ulrich Obrist.

Gabriel Orozco, Revue 

This Issue is dedicated to artist Hiroshi Sugimoto. This number actually corresponds to number 100 since the founding of the review in 1926. It presents several texts by Sugimoto, an interview with the artist by Hans Ulrich Obrist, a large series of photos of fossils made by the artist, some of which were exhibited in the spaces of Cahiers d’Art.
It includes an unprecedented and never published series of photographs of masterpieces of canonical modern artists (Picasso, Duchamp, Brancusi) produced by the artist at MoMA, but also in situ views of the “Today” project today, the world is dead “produced at the Palais de Tokyo until September 7, 2014. A text by Jacques Herzog is devoted to Sugimoto’s report on architecture.

Hiroshi Sugimoto, Revue N° 1

The new Revue Cahiers d’Art 2018 revisits the works and the relationship between Miró and Cahiers d’ Art through an anthology of the most beautiful texts published in the review. It also presents unpublished objects and pieces from the artist’s collection. The cover of this review is a screenprint from a stencil made by Miró for issue 1-4 of 1934. The issue also includes an interview with Staffan Ahrenberg and Miquel Barceló, as well as works by Helen Marten, Koo Jong A and Karel Malich. Miró is indeed present in Cahiers d’Art from the first year (1926) to the last one (1960). He notably designed several covers of the magazine and it was in issue 4-5 of the year 1937 that he published the famous Help Spain.

Joan Miró, Revue

The American contemporary artist Arthur Jafa curated the Cahiers d’Art Revue.
Arthur Jafa invited artists Mark Leckey, Dana Hoey, Torkwase Dyson, Frida Orupabo, and Rashaad Newsome, who shared in their conversations their artistic practice, race, and digital culture. The issue also features excerpts from Arthur Jafa’s notebooks that he has been keeping since the 1990s, texts by Man Ray and Professor of English and Comparative Literature at Columbia University Saidiya Hartman, as well as the short story Milk of Paradise by new wave science fiction author James Tiptree Jr.

Arthur Jafa, Revue

Pritzker Prize winner Frank Gehry is widely considered to be one of the world’s most important living architects. 
Much of Gehry’s genius can be found in his drawings, works of art in their own right, whose progressions from paper architecture to built poststructuralist reality have changed our own visual landscape forever. Cahiers d’Art will publish the complete collection of the drawings of Frank Gehry, documenting the sketches and studies of one of our foremost artists and designers alongside photographs of the completed maquettes and realized structures.
This multivolume project will be edited by Jean-Louis Cohen, one of the world’s leading experts on modern architecture and the Sheldon H. Solow Chair for the History of Architecture at New York University’s Institute of Fine Arts.

Frank Gehry, Catalogues Raisonnés ﻿of the drawings, Vol. 1

Over the course of twenty years, my work has been a succession of journeys towards the middle. In the visual arts, the middle is a broad and vague concept: space. And it is the obstinate repetition of that obsession that interests me as an artist. Thematizing it. Rebuilding it. Piecing it together. The work always has several possible pathways: it holds all of them. This fascinating chaos is what most appeals to me about the visual arts: doing it is totally liberating (a fact that does not stop it from being used, on occasion, as a mere surrogate for mental crafts). – Cildo Meireles
Cahiers d’Art is most happy to present the latest issue of its historic Revue in homage to Cildo Meireles. A resplendent appraisal of the work of Brazilian artist Cildo Meireles, the issue features previously-unpublished texts and exquisitely-printed plates of his installations, sculptures, and a selection of rarely-shown drawings. The issue is guest-edited by Guilherme Wisnik and Diego Matos.
The issue is available in English and in French. It is presented wrapped in glassine paper, inside a cardboard presentation box.

Cildo Meireles, Revue

Kim Yong-Ik’s monograph emerges the reader into the artist’s work development from the past until today. The publication also focuses on the time the artist spent in Pa- ris in 2018 and at Cahiers d’Art, resulting in an exhibition with prints made at Idem print studio.

Produced in collaboration with Tina Kim Gallery and Kukje Gallery, the book includes texts by Philippe Vergne and Beck Jee-Sook, extracts from the interview between Kim Yong-Ik and Hans Ulrich Obrist, as well as the artist’s statement and foreword by Cahiers d’Art publisher Staffan Ahrenberg.

Kim Yong-lk

The 460-page book, printed on a variety of unique papers, features Simon’s Picture Collection series created from the famous collection of images held at the New York Public Library. Taryn Simon worked on this project for over 8 years.  

THE COLOR OF A FLEA'S EYE: THE PICTURE COLLECTION

Étienne Hajdu

Ellsworth Kelly, Catalogue Raisonné of Paintings, Reliefs and Sculpture, Volume Two, 1954-1958 (2021)
Written by Kelly scholar Yve-Alain Bois in direct collaboration with the artist ‘s estate, this comprehensive multivolume publication contains exhaustive documentation of each of Kelly’s paintings, sculptures and reliefs. This is volume 2 from 1954-1958.
The catalogue includes insightful texts and high-quality images of individual works and preparatory drawings, along with provenance information, exhibition history, and bibliographic information.

Ellsworth Kelly, Catalogues Raisonnés of Paintings, Vol. 2

The cover of this issue features the cover of Clock Owner by German artist Rosemarie Trockel. It presents a special file dedicated to the artist. Numerous reproductions of works (sculptures, ceramics, collages, acrylic woolen fabrics) and texts by Brigid Doherty, Joan Simon and poems by Rolf Dieter Brinkmann. This second issue also presents works by several artists dear to Staffan Ahrenberg: Riccardo Paratore, Inge Mahn, Absalon, Le Corbusieur, Peter Fischli and David Weiss.

Rosemarie Trockel, Revue N°1-2

The Revue Cahiers d’Art is relaunched with this first issue in 2012 dedicated to Ellsworth Kelly. It contains an original lithograph by Kelly, and presents the work of several other artists: Sarah Morris, Cyprien Gaillard and Adrian Villar Rojas. It contains several texts, in particular those of the art historian Yve-Alain Bois, the architect Tadao Ando and Jean-Louis Cohen, historian of architecture and town planning. 

Ellsworth Kelly, Revue N°1 

This issue presents unpublished photographs of Picasso’s studio by big names in photography, and personal photographs from private collections. It focuses on the different techniques used by the artist through seven chapters: sculpture, drawing, ceramics, painting, tapestry, printmaking, and monumental sculpture. Scientific direction provided by Cécile Godefroy and Vérane Tasseau. Each chapter is accompanied by an interview with a contemporary artist highlighting the links between their practice and that of Picasso: Miquel Barceló, George Condo, Sheila Hicks, William Kentridge, Jeff Koons, Robert Longo, and Tatiane Trouvé.

Picasso in the Studio, Special issue Revue

Henri Matisse was a French visual artist, known for both his use of color and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture. The intense colorism of the works he painted between 1900 and 1905 brought him notoriety as one of the Fauves (French for "wild beasts"). Many of his finest works were created in the decade or so after 1906 when he developed a rigorous style that emphasized flattened forms and decorative patterns. In 1917, he relocated to a suburb of Nice on the French Riviera, and the more relaxed style of his work during the 1920s gained him critical acclaim as an upholder of the classical tradition in French painting. After 1930, he adopted a bolder simplification of form. When ill health in his final years prevented him from painting, he created an important body of work in the medium of cut paper collage. His mastery of the expressive language of color and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.

Editions

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Twenty-one artists were invited to pay homage to Goya: Fernando Arrabal, Miquel Barceló, Beatriz González, Jenny Holzer, Cristina Iglesias, Anne Imhof, Alfredo Jaar, Koo Jeong A, Alexander Kluge, Robert Longo, Cildo Meireles, Precious Okoyomon, Philippe Parreno, Raymond Pettibon, Elena Del Rivero, Rachel Rose, Thomas Schütte, Santiago Sierra, Rosemarie Trockel, Luc Tuymans, and Adrián Villar Rojas.

Books

Alexander Calder changed the course of modern art with his three-dimensional kinetic sculptures, which Marcel Duchamp named “mobiles.” Resonating with tenets of Futurism, Constructivism, and early non-objective painting, Calder’s mobiles consist of boldly colored abstract shapes, which are made from industrial materials and hang in lyrical balance. Calder was an international phenomenon during his lifetime. He won the grand prize for sculpture at the 1952 Venice Biennale, where he represented the United States. He earned the French Legion of Honor and the American Presidential Medal of Freedom, among other honors. Calder has been the subject of solo exhibitions at the Museum of Modern Art, the Rijksmuseum, the Louisiana Museum of Modern Art, and the Museo Reina Sofía. His work regularly sells for eight figures on the secondary market. Though Calder is best known for his mobiles, his diverse practice also encompassed standing sculpture, painting, set and costume design, large-scale public installation, and jewelry-making.

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Sculptor, performer, photographer, architect, curator and blogger, he is known internationally for his provocative and political art. He is an opposition figure to the Chinese government and an emblem of freedom of expression in China, openly criticizing the Chinese government’s position on democracy and human rights. Ai was among the first generation of students to study abroad following China’s reform in 1980, and lived in the United States from 1981 to 1993, attending the Arts Students League of New York, the University of Pennsylvania and the University of California, Berkeley.

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Gabriel Orozco attended the Escuela Nacional de Artes Plásticas between 1981 and 1984 and in 1986, moved to Madrid to continue his studies. In 1987, Orozco returned to Mexico City, where he associated with a group of other artists including Damián Ortega, Gabriel Kuri, Abraham Cruzvillegas and Dr. Lakra. This group met once a week for five years to talk about myriad artistic and cultural projects. 
Orozco has had many important solo exhibitions, including the Museum of Contemporary Art in Los Angeles, in 2000; the Hirshhorn Museum, Washington D.C. and the Serpentine Gallery, London in 2004; the Museo Nacional Centre de Arte Reina Sofia, Madrid, (2005); the Museo del Palacio de Bellas Artes, Mexico City and the Museum Ludwig, Cologne (2006). The Museum of Modern Art in New York organized a mid-career retrospective that toured to the Kunstmuseum Basel, the Centre Pompidou, Paris, and ended at the Tate Modern, London, in May 2011.  Other important solo exhibitions include the Guggenheim Museum, New York, 2012, the Museum of Contemporary Art Tokyo MOT, Tokyo, Japan (2015);  and the Aspen Art Museum, Aspen, in 2016. Orozco participated in the Venice Biennale in 1993, 2003, 2005 and 2017, the Whitney Biennial (1995 and 1997), as well as Documenta X (1997) and Documenta XI (2002). 
In 2019, the President of Mexico announced that Orozco would, in conjunction with the Secretariat of Culture, oversee the construction of a major new cultural center within Chapultepec Park in Mexico City. Gabriel Orozco lives and works between Tokyo, Mexico City and New York.

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Through meticulously balanced images that encourage prolonged attention, Sugimoto’s work focuses audience consideration on the ways in which humanity makes sense of itself. Sugimoto moved to Los Angeles in 1971, receiving his BFA from the Art Center College of Design in 1972. In 1974, he moved to New York, and became involved in the Minimal and Conceptual art scenes of the late 1970s. His best-known series, including Dioramas, Theaters, Seascapes, Portraits, Architecture, Conceptual Forms, and Lightning Fields draw heavily upon repetition, unifying disparate locations through shared compositions, and are characterized by use of long exposures, black and white film, and analog processes. In recent years, Sugimoto has begun to design architectural spaces that, like his photographs, use simplicity of form to focus attention on the mechanisms through which we understand the world.  

Sugimoto has had solo exhibitions at the National Museum of Contemporary Art in Osaka (1989), the Museum of Contemporary Art in Los Angeles (1994), San Francisco Museum of Modern Art (2000), the Guggenheim Museum Bilbao and the Neue Nationalgalerie in Berlin (2008), among many other venues. He has received many honors, including the Praemium Imperiale Award for Painting, Tokyo in 2009 and Officier de L’ordre des Arts et des Lettres, in Paris in 2013. In 2017, he was honored as a Person of Cultural Merit in Tokyo. His photographs are in the collections of the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; Tate Gallery, London; and many others.

Joan Miro was a Catalan artist born in Barcelona in 1893. A painter, sculptor, engraver, and ceramist, Joan Miro was one of the main representatives of the Surrealist movement, marked by the exuberant character of his native province. In the beginning, he showed strong Fauvist, Cubist, and Expressionist influences before evolving towards a flat painting marked by a certain naivety and then sliding towards a more dreamlike work in a Surrealist spirit. From 1923 onwards, he created a style free of cubism in which a fantastic universe populated by strange symbols and geometric forms was born from his imagination. Miro tends towards an original combination of sometimes disturbing and sometimes joyful elements that plunge into the unconscious, the imagination, and poetry. His world is often magical and strange. Over time, his paintings become more abstract and the forms more organic, even though a theme is always recognizable.

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In a practice that spans film, photography, and installation, Arthur Jafa confronts the beauty and alienation at the heart of Black American experience. The artist often juxtaposes original and found footage, exploring the possibilities of images and their archives. Jafa studied film and architecture at Howard University. Before focusing on fine art, he enjoyed an illustrious career as a cinematographer and worked on iconic films such as Daughters of the Dust, Crooklyn, and Eyes Wide Shut. His breakout work, 2016’s Love is the Message, The Message is Death, was shown at institutions around the world, including MOCA Los Angeles, ICA Boston, and MCA Denver, among others. He has been included in exhibitions in New York, Los Angeles, Chicago, Amsterdam, and elsewhere. In 2019, Jafa won the Golden Lion Award at the 58th Venice Biennale for his film The White Album.

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Driven by a permanent quest for innovation and meaning, Gehry has designed many major buildings over the last forty years, mainly in the United States and Europe. Notable among them is his residence in Santa Monica, which served as his manifesto, the Guggenheim Museum in Bilbao, the DZ Bank Building in Berlin, the Walt Disney Concert Hall in Los Angeles, the IAC Building and the New York Tower.  In 1989, Gehry was awarded the Pritzker Architecture Prize. At the time, the jury praised Gehry, stating: “Always open to experimentation, he has as well a sureness and maturity that resists, in the same way that Picasso did, being bound either by critical acceptance or his successes.
His buildings are juxtaposed collages of spaces and materials that make users appreciative of both the theater and the back-stage, simultaneously revealed.” In 2006, Gehry was the subject of a Sydney Pollack documentary, Sketches of Frank Gehry. Vanity Fair magazine ran a cover story labeling him “the most important architect of our age.”

Cildo Meireles creates complex installations and sculptures that entice the viewer and challenge political, philosophical, and aesthetic precepts. Meireles’s artistic practice was shaped by the social and political conditions during the dictatorship of Brazil in the 1960s and ‘70s, and by the Neo-Concretism and avant-garde movements. Like his predecessors, Meireles merges physical, cerebral, and sensorial elements in works that elicit audience participation.  While Meireles’s works are often created in response to specific political events and situations, they evoke universal themes that are communicated through the viewer’s experience in a shared, rigorously designed and defined space.
Meireles’s work has been exhibited internationally, including the Biennales of Venice, Italy (1976, 2003, 2005, 2009); São Paulo, Brazil (1981, 1989, 1998, 2010); Documenta, Germany (1992, 2002); and Istanbul, Turkey (2003, 2015). The artist has been the subject of several large-scale and traveling solo exhibitions at renowned institutions, including Sesc Pompeia, Sao Paulo, Brazil (2019); Centro Nacional de Arte Contemporaneo Cerrillos, Cerrillos, Chile (2019); Fundação de Serralves, Portugal (2014) HangarBicocca, Milan, Italy (2014); Museo Nacional Centro de Arte Reina Sofía, Spain (2013); Museu d’Art Contemporani de Barcelona, Spain (2010); Museo Universitario Arte Contemporáneo, Mexico (2010) and Tate Modern, England (2008).

Influenced by Dansaekhwa, the Korean monochrome painting, and the Japanese Mono-ha movement, Kim Yong-Ik established his career in the late 1970s with his Plane Object paintings, a series of airbrush paintings on unstretched canvases that relate to these traditions. In the 1980s, having completed a thesis on Marcel Duchamp, Kim moved from the ‘Plane Object’ series to more abstract and geometric languages. During the 1980s and 1990s, he developed increasingly experimental work by using scraps and thus including forces greater than his own imprint, such as stains, hair or dust. By the early 1990s, Kim develops his “polka dot” series consisting of paintings depicting simple and serialized arrangements of circles.

In 1999, Kim helped establish one of Korea’s leading exhibition spaces known as “art space pool.” He participated in the Gwangju Biennale in 2002; in “SeMA Gold 2012: Hidden Track,” an exhibition at the Seoul Museum to shed light on stellar artworks by mid-career artists of Korea; and the 5th Yokohama Triennial in 2014. In 2016 Kim was the subject of an extensive retrospective at Ilmin Museum of Art in Seoul. His first exhibitions in Europe were at Spike Island, Bristol, and a partner exhibition at the Korean Cultural Centre UK, in 2017.  Kim Yong-Ik’s works are part of the permanent collections of the National Museum of Modern and Contemporary Art, Seoul Art Museum, Leeum, Samsung Art Museum and Tokyo Metropolitan Museum of Art, and the Museum of Contemporary Art in Los Angeles, among others.

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Taryn Simon directs our attention to familiar systems of organization—bloodlines, criminal investigations, flower arrangements—making visible the contours of power and authority hidden within. Incorporating mediums ranging from photography and sculpture to text, sound, and performance, each of her projects is shaped by years of rigorous research and planning, including obtaining access from institutions as varied as the US Department of Homeland Security and Playboy Enterprises, Inc.
Born in New York, where she lives and works, Simon received a BA in semiotics from Brown University in 1997. In 2001 she was awarded a Guggenheim Fellowship for what would become her first major photographic and textual work: The Innocents (2002), which was exhibited at MoMA PS 1. Documenting cases of wrongful conviction in the United States, The Innocents calls into question photography’s function as a credible eyewitness and arbiter of justice.

Étienne Hajdú was a Hungarian-born French sculptor. After emigration to Paris in the '1930, he became a part of the Hungarian circle of artists and writers. He fought in the French Resistance during World War II.

Ellsworth Kelly revolutionary emphasis on pure abstractive forms and innovative treatment of color reshaped the practice of painting in the late 1940s and early 1950s. His approach greatly influenced the nascence of Pop Art, Minimalism, Color Field precipitating the decline of expressionist energetic gestures and the adoption of spare lines and geometries, flatly painted in vivid color.
A sharp observer of the natural world from a young age inspired by the play of light, space and color in the architecture around him, Ellsworth’s use of found compositions was a source of endless inspiration and lifelong artistic openness which he translated into visually powerful multi-panel paintings, sculptures, drawings, prints, and photographs. 
Ellsworth Kelly nurtured a special relationship with France. After serving as a soldier in the liberation of the country at the end of the Second World War, Kelly returned to live in France from 1948 to 1954, and returning to the country regularly throughout his life. 
He befriended Picasso, Calder, Brancusi, Arp and familiarised himself the works of Matisse, Monet and geometric abstraction which would influence his painting, particularly in his quest for balance and intensity of feeling.

Born in Schwerte, Germany, in 1952, she studied at the Werkkunstschule in Cologne and became one of the first artists to exhibit at the Monika Sprüth Gallery, well-known for presenting only female artists. She is a professor at the Kunstakademie Düsseldorf, in Nordrhein-Westfalen. Trockel’s early works include the series Knitted Paintings (1985), created using machine-knitted fabrics stretched over canvases. In these woolen canvases, Trockel depicts generic computer-generated imagery and, in some cases, particular historical iconography such as a Soviet worker with a hammer and sickle.
The artist continues to work in a wide variety of media and genres, including the creation of living sculptures from garden elements as in Less Sauvages than Others (2006). Rosemarie Trockel has received numerous awards, including the Wolf Prize in Arts in 2011 and the Roswitha Haftmann Prize in 2014. She has exhibited extensively worldwide: in 2012 her work was presented at the New Museum in New York in a retrospective organized by the Reina Sofia in Madrid, that traveled to the Serpentine Gallery in London the following year. In 2018, the Moderna Museet in Stockholm mounted a solo show of her work. Trockel is the first woman to represent Germany in its national pavilion at the 1999 Venice Biennale, and continues to exhibit internationally.

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Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, and theatre designer who spent most of his adult life in France. One of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and the anti-war painting Guernica (1937), a dramatic portrayal of the bombing of Guernica by German and Italian air forces during the Spanish Civil War. Picasso demonstrated extraordinary artistic talent in his early years, painting in a naturalistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. After 1906, the Fauvist work of the older artist Henri Matisse motivated Picasso to explore more radical styles, beginning a fruitful rivalry between the two artists, who subsequently were often paired by critics as the leaders of modern art. Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles. Exceptionally prolific throughout his long life, Picasso achieved universal renown and immense fortune for his revolutionary artistic accomplishments and became one of the best-known figures in 20th-century art.

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