Internship Spotlight: Oceane Filion – Maski Archaeological Research Project - McGill University

Exhibiting a ghostly figure: «Prophétesse» by artist Océane Buxton at the Galerie de l’

The fair keeps 'getting more and more traction,' a dealer said. Everyone is here.

What’s the vibe in Paris, you may be asking? While the detritus of the weekend’s protests marks many of the city’s arrondissements, the art world is proceeding with business as usual, with events and openings going on as planned Monday night and Tuesday, culminating in the opening of Art Basel Paris’s Avant Première preview at 3 p.m. Around 10 minutes before opening, only a short line had formed to enter the Grand Palais, the architectural marvel that is home to Art Basel’s French fair. It was an indication that this year’s affair seemed a bit less busy than last year’s debut of Avant Première, the ultra-VIP event that now precedes the fair’s regular VIP opening days. That early observation proved all too true throughout the following four hours: aisles were full but navigable, and the blue-chip booths were brimming with buyers. The fair and the galleries had seemingly edited down their lists of VVIPs to only the most serious of collectors.

Institutions, especially well-resourced museums, foundations, and cultural organizations, have no excuse for relying on generative tools instead of paying writers. Reading art writing shouldn't feel like this. (edit Valentina Di Liscia/Hyperallergic; video Getty Images, photo public domain via Wikimedia Commons)

'I like the paradox of an object that has such a strong physical presence, yet whose image is almost entirely made up of whatever surrounds it,' says the french designer, who has spent more than a decade of his practice reworking the mirror through different forms and materials. sofia lekka angelopoulou October 20, 2026 9 min prefer designboom on googleThe mirror as an object to look and to be looked at ‘The mirror is, after all, a utopia, since it is a placeless place,’ said Michel Foucault in a 1967 lecture, explaining that in a mirror you see yourself where you are not, ‘in an unreal, virtual space that opens up behind the surface.’ He then called it a heterotopia as well, since the mirror does exist in reality, where it ‘exerts a sort of counteraction’ on the position you occupy. No other object in a house behaves this way, since everything else in a room is looked at while a mirror hands the room back with its viewer inside it. That duality, between what the object looks like and what it does to whoever stands in front of it, has given the mirror an unusual position in design.