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Honey, I rearranged the collection!
Works from the Philippe Cohen’s collection

Paul McCarthy.
Pinocchio Pipenose Householddilemna (party pack), 1994.
Installation (10 costumes) and video. Installation view /Vue d’installation, Honey I Rearranged the collection, Petach Tikva Museum of Art, 2013. Photo Elad Sarig.
Courtesy l’artiste et galerie Air de Paris, Paris.
Collection Philippe Cohen Paul McCarthy.
Pinocchio Pipenose Householddilemna (party pack), 1994.
Installation (10 costumes) and video. The visitors had to get dressed with the Pinocchio suit before entering the screening room and watch the video. 
43'50''.
Installation view /Vue d’installation, Honey I Rearranged the collection, Petach Tikva Museum of Art, 2013. Photo Elad Sarig.
Courtesy l’artiste et galerie Air de Paris, Paris.
Collection Philippe Cohen Dan Vo.
Untitled, 2013.
Etching on paper.
Courtesy l’artiste et galerie Chantal Crousel, Paris.
Collection Philippe Cohen Annette Messager.
Pièce montée n°2, 1986.
Acrylic, oil on black and white photographs mounted on canvas.
Collection Philippe Cohen Shilpa Gupta.
Untitled (security belt with whistles).
2008.
Security belt, whistles.
Courtesy the artist and Yvon Lambert, Paris.
Photo Didier Barroso.
Collection Philippe Cohen Matthew Day Jackson.
Apollo Suit Felt (after Beuys), 2008.
Photo Adam Reich.
Collection Philippe Cohen Cindy Sherman, Richard Prince.
Untitled (Double Portrait), 1980.
Courtesy les artistes et galerie Metro Pictures, NY.
Collection Philippe Cohen Cindy Sherman, Richard Prince.
Untitled (Double Portrait), 1980.
Courtesy les artistes et galerie Metro Pictures, NY.
Collection Philippe Cohen Philippe Parreno.
Speaking to the Penguins, 2007.
Color photograph under diasec.
Collection Philippe Cohen Alfredo Jaar.
Le siècle Lévi-Strauss.
2009.
Inkjet photographic print and white neon.
View of the exhibition «Three Women», kamel mennour, Paris, 2011.
Courtesy the artist and kamel mennour, Paris.
Photo Charles Duprat.
Collection Philippe Cohen Louise Lawler.
It Could Be Elvis, 1994.
Cibachrome print.
Photo Juliette Deschodt.
Collection Philippe Cohen Exhibition view Exhibition view Exhibition view Exhibition view Exhibition view Exhibition view Exhibition view Exhibition view Exhibition view Exhibition view

Paul McCarthy. Pinocchio Pipenose Householddilemna (party pack), 1994. Installation (10 costumes) and video. Installation view /Vue d’installation, Honey I Rearranged the collection, Petach Tikva Museum of Art, 2013. Photo Elad Sarig. Courtesy l’artiste et galerie Air de Paris, Paris. Collection Philippe Cohen

Paul McCarthy. Pinocchio Pipenose Householddilemna (party pack), 1994. Installation (10 costumes) and video. The visitors had to get dressed with the Pinocchio suit before entering the screening room and watch the video. 43'50''. Installation view /Vue d’installation, Honey I Rearranged the collection, Petach Tikva Museum of Art, 2013. Photo Elad Sarig. Courtesy l’artiste et galerie Air de Paris, Paris. Collection Philippe Cohen

Dan Vo. Untitled, 2013. Etching on paper. Courtesy l’artiste et galerie Chantal Crousel, Paris. Collection Philippe Cohen

Annette Messager. Pièce montée n°2, 1986. Acrylic, oil on black and white photographs mounted on canvas. Collection Philippe Cohen

Shilpa Gupta. Untitled (security belt with whistles). 2008. Security belt, whistles. Courtesy the artist and Yvon Lambert, Paris. Photo Didier Barroso. Collection Philippe Cohen

Matthew Day Jackson. Apollo Suit Felt (after Beuys), 2008. Photo Adam Reich. Collection Philippe Cohen

Cindy Sherman, Richard Prince. Untitled (Double Portrait), 1980. Courtesy les artistes et galerie Metro Pictures, NY. Collection Philippe Cohen

Cindy Sherman, Richard Prince. Untitled (Double Portrait), 1980. Courtesy les artistes et galerie Metro Pictures, NY. Collection Philippe Cohen

Philippe Parreno. Speaking to the Penguins, 2007. Color photograph under diasec. Collection Philippe Cohen

Alfredo Jaar. Le siècle Lévi-Strauss. 2009. Inkjet photographic print and white neon. View of the exhibition «Three Women», kamel mennour, Paris, 2011. Courtesy the artist and kamel mennour, Paris. Photo Charles Duprat. Collection Philippe Cohen

Louise Lawler. It Could Be Elvis, 1994. Cibachrome print. Photo Juliette Deschodt. Collection Philippe Cohen

Exhibition view

Exhibition view

Exhibition view

Exhibition view

Exhibition view

Exhibition view

Exhibition view

Exhibition view

Exhibition view

Exhibition view

Moscow, 23.IX.2014—19.X.2014

exhibition is over

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Curator: Ami Barak

Curator: Ami Barak

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Video

Opening day photos

Ami Barak Philippe Cohen, Olga Sviblova and Ami Barak Ekaterina Inozemtseva, Philippe Cohen, Olga Sviblova and Ami Barak Ida Lolo Franko Moroni and Svetlana Konegen Annushka and Pierre Brochet John Mann Maksim Anton Belov Kira Sacarello and Vasily Tsereteli Madina Gogova Igor Mukhin Izolda Ishhanishvili

For mass-media

Dr. Philip Cohen is what one might call a connoisseur of contemporary art. His collection was founded in the 80s. It was much refined in the 90s, and has become in recent years one of the most consistent and exemplary sets in the league of contemporary enthusiasts who, as we know, is international. To introduce these works to a wide audience means first and foremost to break into an intimate world, to peep into the life of an uncommon personality. For years, out of his sheer love for art, he has built a collection which was at first intended to remain confidential — a personal story, a private history. But there comes a day when the willingness to share disarms the confidential environment and allows the public to benefit from the grip of such a subjective enterprise. Collecting relies first of all on making a personal choice in the selection of works, then on keeping these safe. Above all it means to learn more, if not to know more than anyone else.

The art history of the past 20 years can be perceived in the works of this collection through iconic landmarks and relevant references. Browsing through the different parts and processes at work, trends appear that do not vary, revealing philosophical bases that more or less imply temptations that define chapters and modules. By virtue of its conceptual and cultural affinities, in contact with these works, a propensity towards the different types of language appears, towards the treatment of the idea of time and space and last but not least, towards artistic intelligence. In view of the diverse works of the collection, especially the video works but also all the pieces that deal with the moving image, we will discover an exceptional interest for a space-time that allows a certain number of appropriations to be made by the sole spectator.

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