April 2, 2026 | Art & Culture
SCULPTURES that RESEMBLE FURNITURE
words Onur Basturk
photos Alexis Narodetzki
At its newly opened space in Paris, Pulp Galerie presents an exhibition centred on Gaetano Pesce’s 1994 Chiat/Day New York offices. Now lost, the project proposed a radical alternative to the workplace—fluid, non-hierarchical spaces without fixed desks or standardisation. On view until May 30, the exhibition revisits Pesce’s work through a contemporary lens.
We spoke with Pulp Galerie founders Paul Ménacer-Poussin and Paul-Louis Betto about the exhibition and the thinking behind the gallery.
WEE SEE OURSELVES AS AN ART GALLERY,
NOT A FURNITURE STORE
What led you to start Pulp Galerie in 2022? Was it driven by a gap you noticed, or more by instinct?
A deep attraction to design was at the origin of Pulp Galerie—first the 1970s, then the 1980s. From the outset, the intention was to highlight a distinct selection, shaped by our eye and our own vision of beauty.
Your selection places form before function. How do you define this position today?
For us, we are an art gallery, not a furniture store. Our aim is to present sculptures that resemble furniture. This leads to pieces where the user must adapt, sometimes moving away from traditional ergonomics. We are drawn to the creative freedom of designers from that era, when codes had yet to be defined and conventions were being rethought. Today’s design embraces this idea of creation, but perhaps with less freedom, as pieces must appeal to editors and have the potential to become commercial successes.
IT WAS A DREAM, AND WE HAVE MADE IT A REALITY
What does opening on rue de Seine change for you?
For us, opening in this neighborhood is a true achievement. It was a dream, and we have made it a reality. The galleries on rue de Seine represent, to us, the heart of the international historical design scene. Being there gives our gallery a new level of credibility—almost like an internationally recognized “rue de Seine” stamp. This space also opens up new possibilities for presenting our selection. Our goal is to create thematic exhibitions that best showcase our key discoveries and favorites.
Your current exhibition focuses on Gaetano Pesce. How did you approach it—and why does his work feel relevant today?
For several years now, Pulp Galerie has become well known for its specialization in the work of Gaetano Pesce. The offices designed for the agency Chiat/Day are, for us, one of his most important projects. We spent a year and a half acquiring pieces in order to present them in a comprehensive thematic exhibition, with a strong curatorial approach. This exhibition is accompanied by our first book, written like an investigation, bringing together interviews with people who inspired the project, took part in its creation, or worked within those spaces.
What directions will define your upcoming programme?
We have chosen to focus our upcoming programme on thematic and monographic exhibitions. At PAD Paris, we will present a curated selection featuring key pieces such as a Square Lamp by Gaetano Pesce and a Liquid Bench by Ross Lovegrove. This will be followed by Debout les Meubles!, an exhibition exploring anthropomorphic furniture, and later a monographic show dedicated to Yves de la Tour d’Auvergne, a French sculptor and designer who bends material like origami.
