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Image credits© Marc Camille Chaimowicz · Fonds d’art contemporain – Paris Collections · Photo : Julien Vidal / Parisienne de Photographie
Marc Camille Chaimowicz — Shoe Waste? (1971–2005), photograph from the series held by Paris Collections.
© Marc Camille Chaimowicz · Fonds d’art contemporain – Paris Collections · Photo : Julien Vidal / Parisienne de Photographie
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Marc Camille Chaimowicz · 4 min read

Shoes without their pairs

Shoe Waste? gathers worn shoes painted silver. Losing the pairs transforms an object attached to the body into a collective presence on the floor.

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Marc Camille Chaimowicz — La Suite de Varsovie, 1993–1994 — Image credits© Marc Camille Chaimowicz · Collection FRAC Bourgogne, Dijon · Photo : A. Mole / MAMC+ · Courtoisie de l’artiste et Cabinet, Londres
Marc Camille Chaimowicz — La Suite de Varsovie (1993–1994), detail shown at MAMC+: decorative patterns and painting brought together on large panels.
© Marc Camille Chaimowicz · Collection FRAC Bourgogne, Dijon · Photo : A. Mole / MAMC+ · Courtoisie de l’artiste et Cabinet, Londres
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Marc Camille Chaimowicz · 4 min read

The Warsaw Suite brings painting back

Movable panels and paintings brought together give Chaimowicz’s return to painting a form that remains close to installation.

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Marc Camille Chaimowicz — Spice Container, 2018 — Image credits© Marc Camille Chaimowicz · The Jewish Museum, New York · Collection 2019-35
Marc Camille Chaimowicz — Spice Container (2018), silver spice container. The Jewish Museum, New York.
© Marc Camille Chaimowicz · The Jewish Museum, New York · Collection 2019-35
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Marc Camille Chaimowicz · 4 min read

Fourteen centimetres of silver, between London and Mexico

Spice Container, designed in 2018, makes cooperation between an artist and manufacture visible. The Jewish Museum preserves this small-scale object.

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Marc Camille Chaimowicz — Gravure 4 — Image creditsMarc Camille Chaimowicz · Gravure 4 · Swiss Art Gallery · Photographie de la galerie
Marc Camille Chaimowicz — « Gravure 4 ». Another work by the artist, chosen as a visual connection to the story.
Marc Camille Chaimowicz · Gravure 4 · Swiss Art Gallery · Photographie de la galerie
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Proportional resizing and WebP conversion, without cropping.

Marc Camille Chaimowicz · 4 min read

Basel Sequence: the motif becomes a wall

Five painted panels of 2011 place decorative motif between painting and architecture. Their scale transforms the viewer’s relationship to painting.

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Marc Camille Chaimowicz — Celebration? Realife Revisited, 1972–2000 — Image credits© Marc Camille Chaimowicz · Sammlung Migros Museum für Gegenwartskunst · Photo : Stefan Altenburger Photography, Zurich
Marc Camille Chaimowicz — Celebration? Realife Revisited (1972–2000), installation view: objects, lights and reflections spread across the floor.
© Marc Camille Chaimowicz · Sammlung Migros Museum für Gegenwartskunst · Photo : Stefan Altenburger Photography, Zurich
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Marc Camille Chaimowicz · 4 min read

Celebration?: a party returns in another time

Created in 1972, the installation takes form again in 2000. Music, light and objects let an artistic situation survive without confusing it with a party actually recovered.

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Marc Camille Chaimowicz — Curtains for MvdR, 2008 — Image credits© Marc Camille Chaimowicz · Photo : A. Mole / MAMC+ · Courtoisie de l’artiste et Cabinet, Londres
Marc Camille Chaimowicz — Curtains for MvdR (2008), on the right, with Silk Scarf (1984) and Parasol (2009). Exhibition view at MAMC+.
© Marc Camille Chaimowicz · Photo : A. Mole / MAMC+ · Courtoisie de l’artiste et Cabinet, Londres
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Marc Camille Chaimowicz · 4 min read

Curtains for Mies’s façade

In 2008 Chaimowicz’s fabrics encounter the large glazed surfaces of Berlin’s Neue Nationalgalerie. A decorative gesture changes how architecture is seen.

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Image creditsMarc Camille Chaimowicz · Two works · Image : Christie’s
Marc Camille Chaimowicz — Two works, two mixed-media works on paper. Other works by the artist, chosen as a visual connection to the story.
Marc Camille Chaimowicz · Two works · Image : Christie’s
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Marc Camille Chaimowicz · 4 min read

Doubts: twenty-five minutes for two audiences

A performance of 1977, recorded at the Paris Biennale, becomes a video work preserved at the Centre Pompidou. Its subtitle already distinguishes camera and audience.

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Marc Camille Chaimowicz — Four Rooms, 1984 — Image credits© Marc Camille Chaimowicz · Photo : A. Mole / MAMC+ · Collection Schöder · Courtoisie de l’artiste et Cabinet, Londres
Marc Camille Chaimowicz — Four Rooms (1984) on the wall; on the floor, Desk… on Decline (model, 1982–1984) and Sideboard (1983).
© Marc Camille Chaimowicz · Photo : A. Mole / MAMC+ · Collection Schöder · Courtoisie de l’artiste et Cabinet, Londres
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Marc Camille Chaimowicz · 4 min read

Four Rooms: entering a shop, looking at a theatre

In 1984 Chaimowicz participates in a commission for Liberty in London. His interior is presented at a distance, with furniture designed to create an image.

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Marc Camille Chaimowicz — Gravure 3 — Image creditsMarc Camille Chaimowicz · Gravure 3 · Swiss Art Gallery · Photographie de la galerie
Marc Camille Chaimowicz — « Gravure 3 ». Another work by the artist, chosen as a visual connection to the story.
Marc Camille Chaimowicz · Gravure 3 · Swiss Art Gallery · Photographie de la galerie
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Proportional resizing and WebP conversion, without cropping.

Marc Camille Chaimowicz · 4 min read

Almost a thousand metres of ribbons for the museum

Chaimowicz’s collaboration with Neyret in Saint-Étienne transforms six motifs into ribbons. The result connects an exhibition with its territory’s industrial history.

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Marc Camille Chaimowicz — Jean Cocteau, 2003–2014 — Image credits© Marc Camille Chaimowicz · Photo : Andrea Rossetti · Courtesy Fondazione ICA Milano, Nicoletta Fiorucci Foundation et les artistes
Marc Camille Chaimowicz — Jean Cocteau (2003–2014), view of the room presented at Fondazione ICA Milano in 2026.
© Marc Camille Chaimowicz · Photo : Andrea Rossetti · Courtesy Fondazione ICA Milano, Nicoletta Fiorucci Foundation et les artistes
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Marc Camille Chaimowicz · 4 min read

A room for Cocteau, without reconstructing his room

The Cocteau Room composes an indirect portrait of the writer through furniture, objects and works. The interior is real as an installation, fictitious as a historical dwelling.

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