MAZE/ ART GSTAAD 2026

On the occasion of Maze Art Gstaad 2026, Mitterrand presents a curated selection of major post-war and contemporary works.

The presentation includes a historic work by Josef Albers, Study to Homage to the Square:

Signal (1954), exemplifying his fundamental research into perception and chromatic interaction. It is shown alongside a work on paper by Lucio Fontana, Concetto Spaziale, Attesa (1965), in which the pictorial surface is opened through gesture, as well as an ink and wash on Japanese paper by Zao Wou-Ki dated 1995.

Two emblematic works by Yves Klein will be featured : an Éponge bleue Sculpture (1961) and a Fire Painting from the same year, both reflecting his radical experimentation with matter and energy. The selection also includes Tears (1989) by Yayoi Kusama, a painting marked by repetition and emotional intensity.

Sculpture occupies a central place in the presentation with Bois Brûlé II (1958) by Agustín Cárdenas, a carved wooden work that reflects the organic and spiritual dimension of his practice.  A significant ensemble of works by Claude Lalanne will also be presented, notably including Banc Williamsburg (1985), two Fauteuils Crocodile (2015), a Miroir (1990), a Table basse Ginkgo (2004), and a Paire de candélabres (2017).

 Works by François-Xavier Lalanne include, in particular, Âne planté (1990–1999), Mouflon IV (1993–2001), a Paire de Singes Alternatifs (2013), a Table aux Pieds de Cerfs (1995–2015), as well as several lamps and animal sculptures characteristic of his oeuvre.

The selection of works on paper and paintings is further complemented by two works by Sol LeWitt, Horizontal Lines in Color (More or Less) (2003) and Pyramid (1986), along with works by Fred Sandback dating from 1973 and 1987. A painting by Park Seo-Bo, Ecriture No. 940615 (1994), is also included in the presentation.

Two works on paper by Keith Haring from the early 1980s further punctuate the presentation, demonstrating the immediacy and clarity of his graphic language at a formative moment in his career. A drawing by Tom Wesselmann, Study for Proposed Nude Edition (1975), reflects his continued investigation of line, contour and the reduction of the figure to its essential form.

The presentation is completed by a group of sculptural jewels by Julie Hamisky, whose works in electroformed and gilded metals extend the dialogue between sculpture and object. Conceived at the intersection of ornament and structure, these pieces introduce a contemporary dimension while maintaining a formal continuity with the sculptural language articulated throughout the booth.