MASA

Facade panels in their original condition, designed for the André Argouges School in Grenoble, France (1965) by Jean Prouvé, in powder-coated aluminum, from Galería Córdoba.

Each panel: 68 h × 43½ w × 2½ d in (173 × 110 × 6 cm).

Jean Prouvé was born in Nancy, France, in 1901. Prouvé‘s father Victor founded the École de Nancy, an Art Nouveau school that focused on hand-made objects. Apprenticing with an ironsmith as a teenager, he learned the value of simple forms and metalworking techniques. Prouvé founded his studio, Ateliers Jean Prouvé in 1923 and created restrained metal objects that rejected excess decoration. Within his workshop, he favored industrial materials like sheet steel, stainless steel, and aluminum. Engineers employed these materials in the emerging aircraft industry, and these materials inspired Prouvé to design a pre-fabricated houses with Le Corbusier in 1923 that was reminiscent of aircraft design. Working with Pierre Jeanneret and Charlotte Perriand, Prouvé created breathtaking furniture that forged the process of prefabrication. Prouvé tirelessly focused on finding creative and useful solutions to design problems throughout his career, crafting everything from aluminum vacation homes to university bookcases, living by his words that one should “never design anything that cannot be made.”

For inquires [email protected]

Photography by and an image of the school from an archive.

Charlotte Vander Borght “Untitled (Morning Glory),” 2025 in conversation with Hollie Bowden “Space Cowboy,” 2020, at our current exhibition CasaMASA on view at our gallery until December 6, 2025.

For inquieres [email protected]

Photography by

MASA
The House Show
Opening Thursday, September 25, from 5–9 pm at our gallery in Mexico City.

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Rubber Bed by Photography Adriana Galvadino for Ark Journal.

Last day to see! MASA at Duet is open today until 7pm at the building.

Selections of works in conversation by Ana Pellicer and are presented as part of the debut WSA fair, responding to the curatorial prompt of the Duet. Thoreen’s ongoing investigations with beeswax, wood glue, and paper—materials more commonly used in construction—include a suite of stacked paper armchairs and a monumental new cast wallwork. These are paired with pieces by the late Ana Pellicer, whose formidable explorations of copper as jewelry for both giants and mortals highlight the enduring legacy and reward of material investigation.

Pictured:

BRIAN THOREEN
Information/Composition 001, 2025
Cast bees wax
155 x 284 cm
61 x 111 3/4 in
Unique

Paragraphic in Four Stacks, 2024
Manila paper and glue
66 x 228 x 180 cm
26 x 90 x 71 inches
Unique

Photography by

Ana Pellicer “Hacha Tarasca,” 1992 on view at our Duet exhibition at the WSA building. On view until Monday September 8, 12-7pm.

Hammered Copper and Polished Metal
220 x 67 x 60 cm
86 5/8 x 26 3/8 x 23 5/8 in
Unique

Ana Pellicer (1943-2025, Mexico City) was a pioneering sculptor, educator, and environmentalist whose work bridges the realms of contemporary art, artisanal heritage, and social transformation.

Pellicer studied plastic arts at The Art Students League and The New School in New York before returning to Mexico to apprentice under sculptor James Metcalf in Santa Clara del Cobre, Michoacán — a town renowned for its pre-Hispanic coppersmithing tradition. She immersed herself in this tradition, becoming one of the few contemporary artists to master and reinvent copper as a sculptural medium through traditional forging and smelting techniques.

Living and working in Santa Clara del Cobre for over five decades, Pellicer became a pivotal figure in reviving and expanding the local artisan culture. She co-founded the Adolfo Best Maugard School of Arts and Techniques with James Metcalf in 1973, introducing technical training and opening the field of coppersmithing to women for the first time. Her efforts helped redefine the identity of the town and its artisans, merging ancient techniques with new forms of expression.

Photography by