Hauser & Wirth opened a new exhibition and private viewing space in Monaco on the Côte d’Azur in June 2021.

Located in the heart of Monaco, near the historic Hôtel de Paris, Hauser & Wirth’s new gallery features a spectacular main exhibition space, a 290 sq.m. cube with 9 metre high walls, lit from above by a dramatic skylight. The conversion of the site has been conducted by Selldorf Architects, New York, which has collaborated with Hauser & Wirth on its spaces internationally since the founding of the gallery in 1992. In Monaco, Hauser & Wirth occupies the lower spaces of a building designed by Rogers Stirk Harbour + Partners and owned by the Société des Bains de Mer.

Hauser & Wirth was founded in 1992 in Zurich by Iwan Wirth, Manuela Wirth and Ursula Hauser, who were joined in 2000 by partner and co-president Marc Payot. A family business with a global outlook, Hauser & Wirth has expanded over the past 29 years to include outposts in Hong Kong, London, Los Angeles, New York, Southampton, Somerset, Gstaad and St. Moritz. In July 2021 Hauser & Wirth will open an art centre on Isla del Rey in the port of Mahon in Menorca. The gallery’s artists and estates have been instrumental in shaping its identity over close to three decades and are the inspiration for Hauser & Wirth’s diverse range of activities that engage with art, education, conservation and sustainability.

Open from Tuesday to Saturday, from 12pm to 8pm

Place Du casino
98000 Monaco
tel. +377 92 00 04 20

EXHIBITIONJohn Chamberlain, The Poetics of Scale10 May to 2 September 2023

This exhibition pairs John Chamberlain’s early poetry with his ‘Gondolas’ and ‘Tonks’ from the 1980s, years he spent working in a large-scale studio in Florida. These works epitomize the artist’s poetic approach to materials and scale. Hauser & Wirth’s exhibition will be the first time Chamberlain’s poetry will be shown publicly, illuminating a sensitive and little-known aspect of his practice produced at Black Mountain College in the 1950s.

During the 1950s, Chamberlain spent a year at Black Mountain College, where the poet Charles Olson was his teacher and where he experimented with poetry, composing a body of work that would subtly inform his approach to sculptural work. This interlude had a profound impact on the artist—he would later state, ‘My teachers were Kline, de Kooning, Charles Olson.’ Chamberlain would later become known for the creativity and poetry of his titles, which, like his sculptures, were assembled based on ‘fit’. He wrote words on cards, trying different combinations to create beautiful compositions.