Bid online
  • Paris, February 2018 – PIASA’s first auction of Scandinavian Design in 2018, on February 15, yielded a total of €2.1 million. This new sale devoted to the Nordic creativity, replete with big-name masterpieces, confirms PIASA as leaders on the Design market.

  • Viewing


    Wednesday 7 March from 10am to 6pm
    Thursday 8 March from 10am to 6pm
    Friday 9 March from 10am to 6pm
    Saturday 10 March 2018 from 11am to 6pm
    Monday 12 March 2018 from 10am to 6pm
    Tuesday 13 March 2018 from 10am to 6pm
    Wednesday 14 March 2018 from 10am to 6pm
    Thursday 15 March 2018 from 10am to 12pm




    Alix De Saint-Hilaire
    T. +33 (0)1 45 44 12 71



    Clémence Paris
    +33 (0)1 45 44 43 53


PIASA to inaugurate an annual selling exhibition programming in its space Le
For this very first selling exhibition, the auction house invites parisian
contemporary gallery Galerie Nathalie Obadia into presenting Andres Serrano’s
photographs exhibition. There is a lot of history between Andres Serrano and
Cuba, and when the artist travelled there in 2012 for the fist time, he took great
pleasure in depicting the human portrait and architectural of a culture filed with

« I wanted to capture the Breath of a Nation, its land, its people, its future »
Andres Serrano


Born in New York in 1950 to parents from Cuba and Honduras, Andres Serrano went to Cuba for
the fit time on 25 May 2012. He had accepted an invitation from Jorge Fernandez, Director of the
Wilfredo Lam Institute, to be present at the Havana Biennale which the latter oversees. Andres
Serrano seized the opportunity to spend some time on the island of his forebears, nurturing a
secret hope to fathom its essence. To that end, he stayed in the centre of Havana, in the Hotel
Nacional, haunted by memories of such prestigious guests as Nat King Cole, Ernest Hemingway,
and cigar afionado Winston Churchill among many others. He set up his photography studio not
far from the hotel, in a guest house located at the very heart of a working class neighbourhood
which he at fit found agitated and worrisome, before he grew familiar with its inhabitants as they
passed through his lens in turn.
The excessively bright local light during the day forced Andres Serrano to start shooting outdoors
at dawn. He would then start roaming the narrow streets of the city lined by outmoded manorial
homes and dilapidated shacks. His eye was drawn by the polychromy of the facades full of cracks
and in general by the ravages of time that embrittle the buildings in the old quarters left derelict
by the regime. The setting exudes a “poetry of ruins” bathed in nostalgia.
Andres Serrano met his models whilst walking through the city. When evening fell, he invited them
to his studio when he was not invited to their homes. These sessions were dedicated to portraits.
The Cuban woman is given particular pride of place. The faces are weathered by the harshness of
daily life. Irrespective of their age, some accept to pose nude for the camera, always with modesty
and dignity. Andres Serrano depicts as truthfully in his photographs the campesinos whom he
calls “Cuban cowboys”. This series of portraits of men with hats takes us temporarily outside the
capital. They all share an extreme psychological depth rendered by the intensity of the looks.