{"id":97109,"date":"2025-10-23T19:35:11","date_gmt":"2025-10-23T19:35:11","guid":{"rendered":"https:\/\/www.newsbeep.com\/nz\/97109\/"},"modified":"2025-10-23T19:35:11","modified_gmt":"2025-10-23T19:35:11","slug":"5-pieces-on-our-wish-list-from-design-miami-paris-2025","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/nz\/97109\/","title":{"rendered":"5 Pieces on Our Wish List from Design Miami.Paris 2025"},"content":{"rendered":"

Art Market<\/p>\n

\"\"<\/p>\n

Exterior view of Design Miami.Paris 2025. Courtesy of Design Miami.Paris. <\/p>\n

Awkward in name but elegant in execution, Design Miami.Paris 2025<\/a> returned to the ornate L\u2019H\u00f4tel de Maisons for its third edition in the French capital. <\/p>\n

More than 25 galleries are participating in the fair, which trades the traditional booth model for luxurious hotel room spaces and larger-scale outdoor displays in the tranquil grounds of the 17th-century mansion that was once home to late fashion designer Karl Lagerfeld<\/a>. Designed by the legendary architect Fran\u00e7ois Mansart, the venue embodies the refined sophistication of early French classicism with high ceilings, parquet de Versailles flooring, and decorative wood paneling. <\/p>\n

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Photo by Alain Potignon. Courtesy of Hostler Burrows. <\/p>\n

It all makes for an idyllic venue to host a design fair. There are moments where design objects on view echo the ornamentation of the rooms, and others where they deliberately contrast it. On the fair\u2019s VIP morning, Tuesday, October 21st, guests flooded into the venue to peruse a wide range of pieces, from decorative arts of the early-to-mid 20th century to cutting-edge contemporary forms. <\/p>\n

The enthusiasm from collectors in the opening hours reflected the current energy in the design market at large<\/a>, which has seen a renewed surge in collector interest in recent years. Dealers reported a strong international collector presence and a solid start to sales in the fair\u2019s opening hours. <\/p>\n

Here, Artsy selects the five pieces from the fair that made our wish list. <\/p>\n

Presented by James de Wulf<\/a>Price: $115,000\"James<\/p>\n

American artist James de Wulf<\/a> turned ping pong into something resembling performance art during the fair\u2019s opening day, inviting VIPs to trade forehands on his metallic table. <\/p>\n

But the work is not just a ping pong table, nor even a mere functional table, but a sound piece, too. Six aluminum plates that make up the table\u2019s surface are tuned to an A minor pentatonic scale, resulting in soothing tones that emanate from the table when the ping pong balls land. <\/p>\n

de Wulf got the idea to incorporate sound into the piece when he showed another, more standardized, ping pong table at a recent art fair, and passersby mentioned that they could hear the click-clacks of people playing on it. \u201cI just had a light bulb moment that I should tune the surface of the table,\u201d de Wulf recalled. The revelation sent the designer on a journey: \u201cI went down a tunnel of learning about sound, and tuning, and different materials,\u201d he said. \u201cThe aluminum just resonates so well.\u201d <\/p>\n

Sleek and industrial, the table comes with special racquets, a rubber ball, and a foam ball for \u201cquiet play.\u201d <\/p>\n

Adam Pendelton<\/a>, White Onyx Table, \u2018FF25-002-OX-01,\u2019 2025Presented by Friedman Benda<\/a>Price: $60,000\"\"<\/p>\n

Adam Pendelton, White Onyx Table, \u2018FF25-002-OX-01,\u2019 2025. Courtesy of Friedman Benda. <\/p>\n

One of today\u2019s leading ultra-contemporary names, American artist Adam Pendleton<\/a> is known for his conceptually driven and politically engaged works that span painting, drawing, film, installation, and performance. Now, in a collaboration with design heavyweights Friedman Benda<\/a>, the artist is expanding his practice into design, debuting White Onyx Table, \u2018FF25-002-OX-01\u2019 (2025) on the gallery\u2019s stand. <\/p>\n

Despite its dense volume, this cylindrical marble table is placed gracefully in the corner of the gallery\u2019s lounge room display; its pure, cream-colored form appearing to float slightly above the floor. \u201cThe piece is about a way of seeing the world, and seeing it in geometry,\u201d Astrid Malingreau, director at Friedman Benda Paris, told Artsy. \u201cYou\u2019ll notice the bottom feet that have a particular geometry\u2014this huge piece is actually resting on a very small surface. It\u2019s a beautiful balance.\u201d<\/p>\n

The table won the fair\u2019s Best Contemporary Work award and hints at an exciting new area for one of today\u2019s most acclaimed working artists. Monolithic and minimal, it extends Pendleton\u2019s existing preoccupations with form into the functional realm. In November, Pendleton will open an exhibition of design works with the gallery in New York titled, \u201cWho Owns Geometry Anyway?\u201d<\/p>\n

Presented by: Mitterrand<\/a>Price \u20ac85,000 ($98,543)\"\"<\/p>\n

Fran\u00e7ois-Xavier Lalanne, Lampe Pigeon, 1991. \u00a9 Studio Shapiro. Courtesy of Miterrand. <\/p>\n

Given that they are both from France and in incredibly high demand<\/a>, it felt inevitable that the Lalannes<\/a> would have a strong presence at this fair, and Paris gallery Mitterrand<\/a>\u2019s display featuring the famed design duo did not disappoint. Taking over a vast first-floor room in the mansion, trademark works from the designers\u2019 oeuvre are on view, from alligator-backed bronze chairs to lilypad-shaped tables and, of course, a few sheep. <\/p>\n

My eyes, however, were drawn to Fran\u00e7ois-Xavier Lalanne<\/a>\u2019s Lampe Pigeon (1991), a lamp of, yes, a pigeon, whose belly\u2014a globe of opaline glass\u2014acts as the luminous light source. The work captures the blend of whimsy and craftsmanship that has made the Lalannes so beloved among collectors, radiating warmth and humor while retaining tastefulness. It\u2019s a lamp that\u2019d sit nicely on my shelf, and a gentle reminder that art can illuminate daily life, literally and figuratively. <\/p>\n

Presented by Hostler Burrows <\/a>Price: $12,000\"\"<\/p>\n

Frida Fjellman, Viper with Treasure, 2025. Photo by Alain Potignon. Courtesy of Hostler Burrows. <\/p>\n

Swathed in natural light from the tall windows of the mansion\u2019s upstairs salon, Frida Fjellman<\/a>\u2019s blown glass and monumental ceramic works combine animal forms, organic shapes, and geometric abstraction. <\/p>\n

For this solo presentation with New York and Los Angeles gallery Hostler Burrows<\/a>, the Swedish artist created these works especially for the venue\u2019s refined interiors, drawing inspiration from the Palace of Versailles, Sofia Coppola<\/a>\u2019s film Marie Antoinette, and early 18th-century Rococo aesthetics<\/a>. <\/p>\n

In the center of the display is a striking chandelier, its geometric, jewel-like glass forms attached to gold-toned chains that pour down from the ceiling. Flanking it below are two sculptures of boars on light blue pedestals that appear alert, as if they\u2019re ready to pounce at any moment. <\/p>\n

The whole presentation is a standout, but I became particularly enamored with Viper with Treasure (2025), a smaller piece in the booth\u2019s corner portraying a coiled ceramic snake guarding a large dark green glass orb. The green tones feel both earthly and otherworldly, and the craftsmanship\u2014the fluidity of the snake\u2019s curve, the way light moves over it\u2014gives it a sense of elegance and vitality. It\u2019s beautiful, tactile, and alive with light. <\/p>\n

Axel Einar Hjorth<\/a>, Lounge chair from the \u201ctypenko\u201d series, model 36100, 1931Presented by MORENTZ<\/a>Price: \u20ac47,500 ($55,068)\"\"<\/p>\n

Axel Einar Hjorth, Lounge chair from the \u201ctypenko\u201d series, model 36100, 1931.<\/p>\n

In a velvet\u2013adorned corner room off the mansion\u2019s labyrinthine first floor, Dutch gallery MORENTZ<\/a> brings a selection of 20th-century European and American tables, chairs, and sofas, arranged as if the visitor were entering a carefully curated living room.<\/p>\n

I was immediately tempted to take a seat in Axel Einar Hjorth<\/a>\u2019s Lounge chair from the \u201ctypenko\u201d series, model 36100 (1931), which is positioned near the entrance. Hjorth (1888\u20131959) might be the most famous designer you (or certainly I) have never heard of. He was chief designer for Nordiska Kompaniet, Stockholm\u2019s leading department store, during the early 20th century, when the country\u2019s design was gaining international recognition for its now-commonplace utilitarian approach. <\/p>\n

This chair exemplifies Hjorth\u2019s transition from classical influences to early modernism, combining high-quality craftsmanship with industrial materials\u2014a hallmark of Scandinavian modern design to come. This chair bridges Swedish Grace\u2014a decorative yet restrained offshoot of Art Deco<\/a>\u2014and functionalism, emphasizing utility and simplicity. And, it might have been my tired legs, but this piece also emphasizes comfort, its angled backrest and deep seat inviting a reclining posture. <\/p>\n

AK<\/p>\n

\"AK\"<\/p>\n

Arun Kakar<\/p>\n

Arun Kakar is Artsy\u2019s senior art market editor focused on explaining and unpacking the commercial art world. Before he joined Artsy in late 2022, he held staff positions at titles including the New Statesman, Spear\u2019s Magazine, and Management Today, among others. He holds a BA in philosophy from the University of York and lives in Central London.<\/p>\n","protected":false},"excerpt":{"rendered":"Art Market Exterior view of Design Miami.Paris 2025. Courtesy of Design Miami.Paris. Awkward in name but elegant in…\n","protected":false},"author":2,"featured_media":97110,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[71637,442,498,499,500,71639,501,71641,156,71638,71640,19608,71636,71642,111,139,69,71635],"class_list":{"0":"post-97109","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-adam-pendleton","9":"tag-arts","10":"tag-arts-and-design","11":"tag-artsanddesign","12":"tag-artsdesign","13":"tag-axel-einar-hjorth","14":"tag-design","15":"tag-design-miami-paris-2025","16":"tag-entertainment","17":"tag-francois-xavier-lalanne","18":"tag-frida-fjellman","19":"tag-friedman-benda","20":"tag-james-de-wulf","21":"tag-mitterrand","22":"tag-new-zealand","23":"tag-newzealand","24":"tag-nz","25":"tag-other-fair"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/posts\/97109","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/comments?post=97109"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/posts\/97109\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/media\/97110"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/media?parent=97109"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/categories?post=97109"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/tags?post=97109"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}