The truth is that I had heard a lot of positive comments about Olga de Amaral’s exhibition at the Fondation Cartier pour l’art contemporain and I went in with high expectations, especially since the photos I had seen seemed to align with the praise. However, I was greatly disappointed because the exhibition was unequal. It was unequal because, upon entering the exhibition space, the right hall created a magical atmosphere with threads that traversed and illuminated the space like luminous fibers, engaging in a complete dialogue with the Fondation Cartier’s interior and garden. In contrast, the left hall felt overly theatrical in its setup, with influences so glaringly derivative that, if not for the artist’s established reputation, one might have described them as poor imitations of artworks by Sheila Hicks and Anni Albers, two renowned artists in the field of fiber art. This discrepancy left viewers puzzled and uneasy, as they struggled in vain to decipher the exhibition amidst the large volumes, sizes, and sheer number of pieces. As I repeatedly searched for the curator’s name, I discovered that the exhibition had been curated by the film director. This revelation confirmed my initial impression: the imbalance and lack of experience in exhibition curation were evident. In stark contrast, the basement showcased Amaral’s artworks at their finest—unique, exceptional, and radiant. Whether made of threads, scraps, tulle, or even plastics, these pieces wove a deeply personal narrative that you couldn’t help but immerse yourself in, inhaling deeply to feel it resonate in the depths of your soul. Uneven, yet undeniably powerful, this exhibition is definitely worth visiting—even if you end up forming your own objections!– Efi Michalarou
The truth is that I had heard a lot of positive comments about Olga de Amaral’s exhibition at the Fondation Cartier pour l’art contemporain and I went in with high expectations, especially since the photos I had seen seemed to align with the praise. However, I was greatly disappointed because the exhibition was unequal. It was unequal because, upon entering the exhibition space, the right hall created a magical atmosphere with threads that traversed and illuminated the space like luminous fibers, engaging in a complete dialogue with the Fondation Cartier’s interior and garden. In contrast, the left hall felt overly theatrical in its setup, with influences so glaringly derivative that, if not for the artist’s established reputation, one might have described them as poor imitations of artworks by Sheila Hicks and Anni Albers, two renowned artists in the field of fiber art. This discrepancy left viewers puzzled and uneasy, as they struggled in vain to decipher the exhibition amidst the large volumes, sizes, and sheer number of pieces. As I repeatedly searched for the curator’s name, I discovered that the exhibition had been curated by the film director. This revelation confirmed my initial impression: the imbalance and lack of experience in exhibition curation were evident. In stark contrast, the basement showcased Amaral’s artworks at their finest—unique, exceptional, and radiant. Whether made of threads, scraps, tulle, or even plastics, these pieces wove a deeply personal narrative that you couldn’t help but immerse yourself in, inhaling deeply to feel it resonate in the depths of your soul. Uneven, yet undeniably powerful, this exhibition is definitely worth visiting—even if you end up forming your own objections!– Efi Michalarou
