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Sabrina Bakis

@sabrinabakis

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@zidounbossuytgallery Gallery Director

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Jean Tinguely, Requiem pour une feuille morte, 1967. @large.emerige

Paint, mechanical elements and steel gears 305 x 1105 x 80 cm. Collection du Fonds Renault pour l’Art et la Culture, Boulogne-Billancourt.

Jean Tinguely’s monumental kinetic sculpture Requiem pour une feuille morte [Requiem for a Dead Leaf] was originally created in 1967 for the Swiss Pavilion at Expo 67 in Montreal and later acquired by Renault in 1981. Created in the artist’s Soisy-sur-École studio, the large mechanical relief mesures eleven meters long and three meters high. It is composed of an intricate assembly of gears, wheels, cogs, rods, and pulleys in wood and steel, painted black and propelled by leather belts.

A small white leaf is activated by a gigantic mechanism producing an irregular rhythm of spins, creaks, and metallic clicks. Backlit to cast its components in silhouette, the work was inspired by the artist’s experience designing the mechanical curtain for Roland Petit’s ballet L’Éloge de la folie [In Praise of Folly](1966), in which light and motion became inseparable from performance.

At once playful and reflective, the sculpture oscillates between humor and melancholy. The « dead leaf » evokes
Impermanence, translating a fragment of nature into an automated system whose restless movement seems to continue without purpose or end. This embodies Tinguely’s conviction that mechanics could be « brought back to man, » reclaiming the machine as something expressive, fallible, and alive rather than purely functional.

#JeanTinguely taken in Large Emerige by @sabrinabakis

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15 hours ago

Peter Fischli & David Weiss, The Way Things Go, 1987. @large.emerige taken in Large Emerige by @sabrinabakis

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a day ago

LARGE is open @large.emerige There was simply too much to see and appreciate in one visit ! A new space for contemporary art and conversation. Looking forward to returning.

1. Simon Hantaï, Sérigraphie sur Formica, 1977. Silkscreen ink on Formica. Selection of 8 orange panels of the 13 designed for the Régie Renault. 280 x 850 cm approx. Collection du Fonds Renault pour l'Art et la Culture, Boulogne-Billancourt.

2. Arman, Accumulation Renault en 4 panneaux, 1974.
Renault engine parts (cylinder heads) screwed onto painted wood panels 246 × 568 ×15 cm. Collection du Fonds Renault pour l'Art et la Culture, Boulogne-Billancourt.

#SimonHantaï #Arman taken in Large Emerige by @sabrinabakis

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a day ago

Tuesday past, I hosted my first Cerebral Women in Paris Art Talks salon.

Building on two earlier episodes —
Ep.95 with Kent Kelley in 2022 and
Ep.228 with Elliott Barnes in 2025 — two different approaches to building their art collections, sharing insights and critical perspectives on collecting both figurative and abstract painting.

It was a true delight to bring together like-minded art enthusiasts for an engaging exchange of ideas, perspectives, and a shared passion for art. taken in Hotel Bel Ami by B Signature Hotels & Resorts by @sabrinabakis

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8 days ago

🌬️ by @sabrinabakis

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12 days ago

🍃 🍁 🍂 by @sabrinabakis

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13 days ago

🍃 by @sabrinabakis

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13 days ago

Parmi les nominé•e•s au Prix Marcel Duchamp 2026 : Brognon Rollin, avec 5376 years, 1892 months, 1110 days, 1201 hours.

@centrepompidou
@museedartmodernedeparis

#PrixMarcelDuchamp taken in Musée d'Art Moderne de Paris by @sabrinabakis

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16 days ago

Francis Bacon, Portraits de papes, 1961-1962.

Entre 1951 et 1962, Francis Bacon développe un ensemble de variations autour du Portrait d’Innocent X de Velázquez, transformant cette figure emblématique du pouvoir baroque en un motif central de sa réflexion sur la représentation humaine. Plus de quarante œuvres témoignent de cette confrontation avec l’image canonique, dont les six grands portraits réalisés en 1961 en vue de sa rétrospective à la Tate Gallery.

Loin d’une citation fidèle, Bacon engage un processus de déconstruction : la figure pontificale est isolée dans un espace réduit, souvent structuré par des lignes-cages, et soumise à une lumière qui fragmente le corps. Le visage, lieu de tension extrême, oscille entre apparition et effacement, révélant une vulnérabilité que Velázquez contenait sous la majesté du protocole.

Ces portraits constituent l’un des moments les plus incisifs de l’œuvre de Bacon : ils articulent la tradition et sa mise en crise, et inscrivent la figure du pape dans une modernité où l’autorité se fissure, où le geste pictural devient le vecteur d’une intensité psychique et existentielle.

🤍 by @sabrinabakis

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20 days ago

Pope Leo XIV ✨ Ferveur et joie dans les rue de Paris vendredi ✨

📸 @jp_carpentier by @sabrinabakis

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20 days ago

😍 by @sabrinabakis

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24 days ago

Agnes Martin | 1912 - MAKLINE, CANADA | 2004 - TAOS, USA.

There is a quiet discipline in Agnes Martin’s work, a devotion to lines, grids, and muted tones that feels less like Minimalism and more like a search for inner stillness. After years in New York, surrounded by Abstract Expressionists and the noise of the city, she left everything behind and settled in Taos, New Mexico. In that vast landscape, she found the silence she needed.
Her paintings breathe through small irregularities - a tremor of the hand, a shift in pressure, a line that stops just before the edge.
Nothing mechanical, nothing cold. Only the calm persistence of someone who believed that beauty lives in simplicity, and that serenity can be built one line at a time.
Her work isn’t about the world outside. It’s about the mind, the spirit, and the possibility of peace.

© Photo : Gianfranco Gorgoni by @sabrinabakis

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a month ago