Perrotin hosted on Spring 2021 the first exhibition by Alain Jacquet upon representation of the Estate. This major presentation, spanning several decades of the artist’s carrer, is displayed on all three gallery spaces in Marais and was conceived in close association with the family of the artist. Alain Jacquet (1939-2008) emerged as a contemporary artist during the remarkable boom in image reproduction techniques. Spanning from his first abstract canvases to his mechanically generated paintings (via silkscreen printing or computer), he continuously experimented with techniques throughout his career yielding an impressive oeuvre of various forms and media. Guided by diverse principles, Jacquet demonstrated an incredible capacity for ingenuity with the examination between abstraction and figuration; the ‘latent image’ within both collective and individual memory; and the appropriation of images from contemporary popular culture and iconic works showcased in museums. From his debut in 1961 working in dialogue with American pop artists to the Mec'Art period, through his Braille and Visions de la Terre series—which anticipated appropriationist art and simulationism. Today, his work echoes a new generation of artists for whom images do not constitute a redoubling of the world but the environment in which for whom images do not constitute a redoubling of the world instead, but one's surrounding environment. Producing variation within repetition, Alain Jacquet presents the viewer with the copies of copies of a world saturated with signs : Such is the horizon that Alain Jacquet proposes to us.

The artist’s aim is ambitious: to give the viewer a chance to remove themselves from the cultural hierarchies that generate mutually exclusive levels of interpretation. We have not learned to view a Renaissance painting in the same way we view a cigarette advertisement. It seems natural to us to attribute different interpretations to a scene pulled from a TV series versus one from a family photo album. We tend to view a rock album differently than a clipping from Daily News. The multiple ways of approaching the images around us mostly lead us to establish ontological hierarchies between, for example, classical painting and advertising, or between journalism and a personal diary.

By creating a series of paintings that flatten hierarchy — in which a death metal band socializes with a Picasso, or the McDonald’s family greets George Washington — MADSAKI creates a universe in which all mutual exclusion evaporates.

Hartung 80 is a comprehensive exhibition of works by Hans Hartung, conceived in three parts: the performance by Abraham Poincheval inaugurated Hartung 80, a presentation of final works by the Franco-German artist. And concurrently, Rothko - Hartung, a multiform friendship (curated by Thomas Schlesser) brings together works by the two masters for the first time, thanks to the exceptional loan of the Musée national d’art moderne - Centre Pompidou of the work N°14 Browns over Dark by Rothko.