Alongside the exhibition “Francis Picabia. Éternel recommencement / Eternal Beginning,” Ursula presents a film that explores the mysterious paintings from the final years of Picabia’s artistic creation. Following the artist’s return to Paris in 1945, works from this period signal a renewed interest in abstraction, a return to the spirit of Dada anti-painting and the emergence of symbols drawn from medieval and prehistoric sources.

Featuring the voices of Beverley Calté, President of Comité Picabia, art historian Arnauld Pierre and Sarah Allen, Head of Research at Hauser \u0026 Wirth, alongside photographs, articles and reproductions of Picabia’s artwork from Album Picabia—a chronicle complied by Olga Picbia up until 1952, the year before his death.

“Finally, with prehistory he found... that there was no point in trying to engage in this continuous series of ruptures, and that in its place, prehistory offered the model of a kind of eternal stasis, of an eternal beginning.”—Arnauld Pierre

“Francis Picabia. Éternel recommencement / Eternal Beginning” is on view at Hauser \u0026 Wirth in Paris through 12 March 2025 and will travel to New York from 1 May – 25 July 2025. The accompanying book from Hauser \u0026 Wirth Publishers features essays by art historians Arnauld Pierre and Candace Clements.

Ursula is a magazine of contemporary culture by Hauser \u0026 Wirth.

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Hauser \u0026 Wirth is an international contemporary and modern art gallery with spaces in Zurich, London, Somerset, New York, Los Angeles, Hong Kong, Gstaad, St. Moritz, Monaco, Menorca, Paris and Basel.

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