Of Franco-Iranian origin, Parvine Curie was born in Nancy in 1936. Her childhood in Troyes was marked by the towers, columns…

Biography

Of Franco-Iranian origin, Parvine Curie was born in Nancy in 1936. Her childhood in Troyes was marked by the towers, columns and vaults that dot the city. Her youth, upset by frequent trips, is anchored in the imagination of literature and arts. She studied in Bordeaux, passed her baccalaureate in Paris, where her parents ran a pharmacy, undertook linguistic studies and left to discover England, Austria, Spain and Italy. With a reserved but open character, her curiosity fostered friendships in international circles of artists and intellectuals. The discovery of Catalan Romanesque art prompted her, from 1957, to divide her time between France and Spain.

1957
Guide in Barcelona; a serious accident changes her destiny. Unconscious for twelve hours, she was found a few kilometers from the pileup. Shortly after her release from hospital, the photographer Barguès and his. wife introduced her to the circle of Catalan intellectuals and artists; she meets the astrologer Jean Carteret, the gypsy dancer La Chunga, and the sculptor Marcel Marti.

1958
Marti introduced her the painting. Faced with her abilities, he advises her against academic discipline. It is therefore as an autodidact that she embarks on the career of an artist. Some of the blue drawings and paintings from this first period can be found today in her studio and in the collection of his brother, Gilles Curie.

1959
In Paris she marries Marti. In his studio in Barcelona, ​​on the top floor of the “Casa de les Punxes”, built by the architect Puig i Cadafalch, a disciple of Gaudi, her first sculptures were born.

1960
The birth of her son David reactivates her reflections on the complexity of mother-child relationships. A primitive aspect characterizes her statuettes, masks, human or animal maternities in sandstone, which are figurative, although the emblematic value prevails over realism. Finalist of Salon de Mai in Barcelona, ​​she obtained a first personal exhibition at the French Institute of Barcelona. From now on, Parvine will join her mother Françoise Curie, during her stays in Cadaques in the summer.

1961-62
For masks, she explores the possibilities of raw materials recovered from beaches. Along with sculpture, she makes jewelry and costumes and thus enters fashion shows, decorates bars, restaurants.

1963
Galerie du Siècle in Paris and the Belarte gallery in Barcelona exhibit her works “Barbarian Games”.

1964
A great friendship binds her to the family of the architect Jordi Gali; Teresa Gali is godmother to her son David, their daughter Beth Gali is now an internationally renowned architect. Thanks to Jordi Gali, the Capsa Sal hotel on the Costa Brava, buys for its decoration a hundred of her drawings of mythical characters.

1965
With the use of iron, bronze, and cut aluminum, her work is stylized and constructed. The fashion store “Gales” in Barcelona commissioned her to decorate its windows for Christmas: Fantastic birds, Angels- Mermaids. After an extended stay in New York, Tennessee and Washington, until 1969 she rented a small studio near the Gothic church of Santa Maria del Mar.

1966

In embossed and burnt metal applied in hammered and riveted sheets, it assembles disturbing works: Tribute to Lovecraft, Spirit of Death, Man-Bird. Her Demon mask created from snakeskin painted red on cut aluminum, hung in her studio, manifests the evil power twice; fearing and disasters, the artist destroys it. The sculptures are also of great density, becoming more massive and structured: Couple, Matrix, Cosmos.

1966-68
Twice in a row her engraved Christmas greeting cards were awarded the Prix de Christmas; she executed three murals for the Belloch school residence in Ganollers. On scribbles drawn at random, Marcel Marti reveals the lines of force on her simple sketch; these abstract forms orient her the first series “Première mère”, which she presented to Suzanne de Cönninck at the Arts Integration Center in May 1968.

1969
In Barcelona she created the sculpture Habitacle-Mère and a first series “Première Mère”. Before leaving Spain to settle in Paris, she stayed in England.

1970
She stayed in a studio in the Cité internationale des Arts. As part of the Salon Jeune Sculpture, at the Jardin du Luxembourg, she presents Première Mère, an assembly of very handcrafted glued boards. Large in size, the wood, tinted in a dark color, contrasts with the shiny yellow brass bars, reflecting the light, which now plays an essential role in the composition of her sculptures. This work impresses the sculptor François Stahly.
At the height of her artistic maturity, he recognizes a great affinity with his own work of the time. She made several plaster casts and casts in bronze for the Basel architect Rudolf G. Otto: Mère-Trois Personnages and Mère-Procession show the importance of human connections, to support each other, to protect each other and to move forward. Stahly and his wife Claude invite her to work with them at the Crestet collective studio, where Stahly and his assistants create the Great Labyrinth commissioned in 1969 by Nelson Rockefeller for the grounds of the New York State Capitol, in Albany . It is there that Parvine Curie learns the basics of the trade, the size of wood and stone. Stahly, for his part, recognizes the structuring
influence of Parvine on his work.

1971
She travels to Greece. The principles of his plastic language are in place. The theme of the mother had haunted Parvine from her earliest terracotta virgins and maternity wards. Now, on the advice of Stahly, she builds solid frames in raw solid wood, darkened with a torch. The patinas of the bronzes are also dark, supposed to mask the natural texture of the material which does not predominate. Like Romanesque art, the art of Parvine Curie is stripped down, without frills, to allow only the soul of the work to transcend. With Mère-Porte she begins a reflection on the passage towards the unknown. Here two doors meet, leaving the way lead to the future. In her house in Cadaquès recently acquired and fitted out with the Italian
architect Franco Bombelli, she modeled, in memory of the church which was opposite her studio in Barcelona, ​​the sculpture Mother-Santa Maria del Mar, and Mother-House.

1972
Stahly presents the sculptures of Parvine in the collective workshop of Meudon. At Crestet collective studio, she completed her first monumental sculpture: Mère-Murs, a set of burnt mahogany prisms, slightly inclined inwards, between which the light travels. Two high figures overlook the circulating dwelling of Mother-Citadel, as if to welcome those who enter it. Mère-Croix, bichrome, evokes narrow passages between the walls protecting the cross inside. Susi Feigel exhibits it with Arp, Penalba and Mary Vieira in her Gallery of Modern Art, in Basel. On site, she created the sculpture Mère-Colonne, which, like Mère-Cathédrale (1971), and Mère-Labyrinthe, claims the heritage of the Achaemenid apadana.

1973
Death of Claude Stahly. Françoise Tournié devotes an exhibition to her in the gallery and a personal catalog. The National Contemporary Art Fund commission buys the bronze of Mère-Trois Personnages, from 1970. At the end of the year, Stahly and Parvine leave for America for six months to install the Labyrinth in Albany. The panorama of the Rocky Mountains, as well as the pre-Columbian remains of Mexico and Guatemala resound on the work of the two artists.

1974
Divorce from Marcel Marti. Following the example of the Venta Sculpture Park, at Villa Hermosa, in Mexico, Stahly and Parvine created the association of Friends of the Haut-du-Crestet Forest Park, near Vaison-la-Romaine, to explore the possibilities of collective creation. The overgrown Khmer temples, as well as the rock-integrated constructions of Mesa Verde, in the United States, also served as references for this ambitious project. Thanks to the architect Jean Balladur, she received her first public commission for the Collège Bégon in Blois, Labyrinthe, in burnt mahogany. The two separate elements of Mère-Couple II (1973) now fit together, reflecting the complementary fulfillment found with Stahly, with whom she now shares her life.

1975
Marriage to François Stahly, and second extended stay in America. She creates monumental sculptures with Jean Balladur: Mère-Anatolica for the c.e.s. of Chevreuse and Mère-Ruche for the c.e.s. from Carignan, in the Ardennes. The six solid wood elements of Mère-Forteresse assembled but not sealed, of unequal height, deliver a game inspired by shifts and setbacks. Rigid inside, the backs curved outwards, the forms are oriented towards the center, like a protective fortress.

1976
Monnaie de Paris edited small reliefs, sculptures and later the jewellery, in limited numbered editions. For a c.e.s. in Marseilles, she built Mère-Couple II. The series Matmatas evokes the dwellings buried in the Saharan soil, where the occupants seek freshness and protection. Matmatas by Parvine Curie are one with the ground, space circulates there. The oblique thrusts of City exploded like a gigantic rock crystal translate both the telluric power and the chaos resulting from its manifestations.

1977
It was in search of harmony between architecture, man and nature that she designed the large Écho de la Forêt, built directly on her site in Crestet, rooted in the ground. Its soft contours marry the forms of environment, the sun’s rays penetrate there filtered by the vegetation. Mère-San Pedro de Roda, is inspired by the Romanesque church of the same name, lost in the countryside, which the artist had discovered during her hikes around Cadaques. The Mère-Tour in African teak evokes an intertwined couple. in Cadaquès Parvine is nicknamed la boja que pica (“the mad woman who hits”) and her husband and she los pica-piedras (“the stone tappers”)!

1978
For the Revista Literature Delta 4, in Barcelona, ​​she illustrated with three Indian inks Le triptyque de la Croix, a collection of poems in homage to the Catalan poet José Maria Manent, prefaced by Alex Susanna.

1979
A Jury composed of sculptors Penalba, Waldberg, Hajdu, Etienne-Martin and Couturier awarded her the Bourdelle Prize. Nancy, her hometown, commissioned her for a ceiling in the courthouse, a monumental relief in light iroko wood: Conversation, writing.

1980
She joins with Stahly and her son David Marti, draftsman, painter, and visionary writer, living in India. Seduced by the architecture of the temples dug into the rock, the statuary and Indian philosophy, they go down to Adyar (Madras) to find Krishnamurti. For her exhibition at the Bourdelle Museum, Jacques Lassaigne wrote the preface to the catalog. The large sculpture “Portes de la Nuit” is installed in the park of the Meudon museum, and the two-meter version of the Mère-Cathédrale, in exotic wood, is purchased by the city of Paris for the inauguration of the Museum of Contemporary Sculpture in the Open Air, Quai Saint-Bernard.

1981
She composed another Mère-Cathédrale for Lycée d’Enseignement Technique de Miramas, by aligning pillars and lintels in solid stone from Bonnieux. In this dimension (280 x 300 x 300 cm) the sculpture reveals its affinities with other sacred places, such as Stonehenge or Carnac. Golgotha, carved in Burgundy stone, (public commission for c.e.s Plouzané, Finistère) can be understood as a striking homage to her father Robert Curie, who died in 1979. Like the sumptuous fountains made by Stahly, such as the sculpture at Parc Floral de Vincennes, she designs the Fontaines-Champignons, where an alternation of rigid shapes and cups recall the formation of waterfalls.

1982
She exhibits at the Museum am Ostwall in Dortmund, and the Collection Prisme in Paris devotes a monograph to her. It returns to the theme of Doors and deals with that of Sacred Trees, already explored in 1979. The aerial roots of the Banyan, a fig tree from India, and its multiple arms create sprawling rhythms that evoke both the omnipotence of the god Shiva and the luxuriance of Nature.

1983
The Morada, in elm wood, is a solid block, collected, closed on itself. Small skylights let in the light; it is a tribute to the residence of Saint Teresa of Avila. The upward momentum of Matrie, whose stacking of tiers is supported by powerful buttresses, heralds’ figures such as Personnage Babel in 1989.

1984
Troyes presented a retrospective at the Museum of Modern Art, which she is equipping with a new entrance door in iroko wood on the theme of the Banyan. Meudon commissioned the Monument to the Victims of Nazi Barbarism, in Carrara marble.

1985
Her first trip to Egypt triggered in her whole research on the pyramids, which she appropriated in her own way: Sakkhara (1985-86), Guizeh, Egyptian Suite (1987). She also visits for the first time with Stahly the great Andalusian places, Seville, Cordoba, Granada, Almeria. Jack Lang appointed her a member of the Consultative Commission for the purchase of works of art of the National Fund for Contemporary Art. Mère-Chapelle in teak (1973-1974), whose inclined prisms seem to close on a shelter-sanctuary, entered the collections of the Pontoise museum following the purchase of the Regional Fund for Contemporary Art. Parvine is very motivated by the commission from the Center National d’Arts Plastiques for a bronze double-leaf door for the Romanesque Abbey of Murbach, especially since the integration of a modern work into the medieval architecture fascinates her. Madre-Mar and Mother-Fortress II, in wood, compositions of beams and walls constitute kinds of well-guarded crypts.

1986
She made a Gospel box for the Center National d’Art Sacré in Paris. With the help of Suzanne Veyret, Parvine Curie sews the Histoire de Banyan tapestry. She sculpts several versions of Tree-Heaume in different materials and the Veleta-Weathervane in wood. With Stahly she travels through Spain, Italy, Egypt and Morocco.

1987
The inaugural exhibition in Paris at the Mona von Bismarck Foundation presents the Guizehs, Sakkharas and Egyptian Suites. Creation of Figure ailée, Tour Cadac and Temple-Eau.

1988
She returns to Andalusia with her son David, and to Morocco with Ljuba and Ernesto Wolf. By sculpting Personnage Cadac and Le Voyageur (1990), she translates the poised allure of her husband Stahly during their long walks. The Élysée bought the aluminum sculpture Mère-Corridors from her, a presidential gift to German Chancellor Helmut Kohl.

1989
If the orthogonal architectures of the Tours and Campaniles seem at the heart of her concerns at this time, she regularly feels the need for contrast, breaking the hieratic austerity by softening the forms. The animal world presides over the oblique impulses, the curved flights and the spatial opening of Tête de Cheval (1988), Ailétombé (1989), Cheval (1990), Pégase (1991), Aullé (1991), Le Couple ailé (1992), however, is a self-portrait with Stahly.

1990
The Lambert-Rouland Gallery offers her an exhibition presented by Patrick-Gilles Persin. For the state, she produces a non-commercial edition of twenty-five small pyramids, which President Mitterand will offer to heads of state during the Franco-African summit in La Baule. Samarka, a terracotta painted in black and white, is a separate work, evoking a small mosque.

1991
She approaches the staircase in an original way with Personnage escalier intérieur and La Porte étroite. The latter sums up her obsessions: the staircase for the ascent, the interior protected in a play of shadow and light, the difficult passage, then beyond the unknown. It is one of the rare sculptures in light stone. The artist had glimpsed in a dream reminding her of the dazzling light seen during her accident in Barcelona in 1957. For the “Nouvelles Broderies de Valenciennes” of the Mobilier National, she created two projects of embroidered doilies. With Stahly she undertakes a cruise in Yugoslavia and Greece.

1992
For Parvine Curie, the spire and the dome of Maraba evoke a Marabout.

1993
Travel to Israel, Sinai. During her retrospective exhibition at the Arp Foundation in Clamart, and at the Espace Jacques Prévert in Aulnay-sous-bois, which continued in 1995 at the Orangerie of the Château de Meudon, a catalog was published containing an inventory of sculptures. In addition to gold, silver and bronze, Parvine explores new materials for her jewelry: ebony, glass, stone, alabaster, lapis lazuli, turquoise. The solid mass of her works gives way to a game of balance: Do Desassossego (Intranquillity), and Imbalance.

1994
The couple took literary trips following the footsteps of Lord Byron in Lisbon and Sintra in 1995. In Andalusia, they followed in the footsteps of Rainer Maria Rilke and visited the Rilke museum in Ronda.

1995
For a private house in Tepozlan, the artist designed large ironwork gates painted in warm colors befitting Mexican scorched earth. The Mayan sites trigger the creation of a series of collages on the step pyramids. The City Hall of Constance (Germany) commissioned her to build a Giza pyramid in bronze. She received the Academician’s sword and its case for François Stahly. Travel to Saint-Petersburg, Novgorod and Trieste, to find the castle of Duino, where Rilke composed his elegies.

1996
After a new trip to the Andalusian white villages and to Seville, the sculpture Petite Mère Retour was born. Mère-Poblet, on the other hand, is inspired by the Poblet monastery near Taragonna.

1997
During the summer, her Campaniles are placed in the park of the Château de Fougères. Realization of a wooden door for a collector in Paris.

1998

Third period in Mexico with François Stahly (Tepozlan and Taxco). In December, a brief stay in London made her rediscover the painter Turner, whose poetry she would like to find in her own work. Her current sculptures are advancing with more and more freedom towards space: Chat-grenouille, Petit Envol II, Vol, almost reclining characters. Realization of many collages centered on the theme of the monastery of Pedralbes and the church of Santa Maria del Mar, in Barcelona.

1999
Retrospective at the Gothic monastery of Pebralbes and at the Maeght gallery in Barcelona. She meet Yvan Mécif, editor of the review Rémanences in Bédarieux who becomes a friend and a precious collaborator. He suggests that she participate in the issue of the magazine devoted to André Miquel. Through several works (La Mémoire des Mondes, I, II et II), he contributed to making known the poetic work of her son David Marti.

2000
The French Institute of Barcelona exhibits her works with François Stahly. Philippe Reliquet, who invited her as director.

2003
She exhibited Envol and Thangka at the Centre d’art et de culture de Meudon. Parvine Curie devotes her time to François Stahly whose health is deteriorating.

2004
Last trip with François Stahly to Sri Lanka, according to a wish he expressed. They visit temples together and admire the reclining Buddhas. From 2005, she returns to India every year: Sanchi (Madhya Pradesh); Hampi (Karnataca); Tamil Nadu, country of the Tamils, for its rock-cut temples; Ellora (Andhra Pradesh), famous for its troglodyte architecture and Ajanta (Maharashtra) known for its caves dug in the basalt.

2005
The oppression of women in the regions concerned. She works on the arrangement of folds, of clothing that hides the silhouette: Personnage Burkha (2005); Grande Porte Burkha (2007-2010).

2006
Death of Francois Stahly. Walls with resin sculpture that forms a suggested landscape. The Tribute to Franck Gehry, sculpted in reference to the deconstructed architecture of the Guggenheim in Bilbao, whose multiplied forms impressed her. White fall (white wood and stained wood) on the notion of imbalance.

2007
After a visit to the Archaeological Museum of Athens, she created Hands, studying the symbolism of the handshake. On the occasion of the exhibition at the Yves Gastou gallery on rue Bonaparte in Paris, the gallery owner is restoring La Première Mère (a large sculpture that presided over the meeting with François Stahly in 1970). Death of his son David Marti.

2008-2009
Pjeta, Pjeta II and III, Character at the portico follow the disappearance of his son. An exhibition devoted to David Marti, The Fragile Poet, at L’Isle-sur-la-Sorgue (congregation hall), shows for the first time the large pencil drawings on kraft paper and the drawings illustrating the Chants de Maldoror by Lautreamont.

2009
Retrospective of the work of David Marti, organized by Parvine Curie at the Cadaqués museum (Friendship Society) with the publication of a catalog and a film (Martel-Greiner gallery) on this occasion. She participates in Oppède-le-Vieux (Vaucluse) in the meetings Oppède, land of artists, during which she testifies to the years of life and collaboration with her husband François Stahly.

2010
A fall of the sculpture “Opportune” led Parvine Curie to complete “La Grotte aux Doigts” differently in plaster, which would later be made in bronze. She undertakes a trip to Cambodia with her companion Marc Devinoy to find these Khmer sculptures that she admires. At the end of the year she realizes in stone “Tha Prohm”, a souvenir of these temples in ruins covered with tropical plants.

2011
She begins the realization of “Grand Thangka IV“, made of superimposed veils, which borrows a ritual banner side. It will be destined for a place chosen in the Collegiate Church of Saint Martin in Angers.

2012
Retrospective at the Collegiate Church of St Martin in Angers (Sept. 2012). Sculptures and hangings with musical interventions – “Sculptures de Muses” performed by Patrick Desfossez and Anne Debaecker – as well as poetic itineraries on texts and poems by David Marti.

2013
Mother Anatolica“, unearthed from the college of Chevreuse, opens the retrospective of Pierre Huyghe in Beaubourg. Personal exhibition at the Martel-Greiner gallery “Black Sculptures, White Sculptures”. Trip to Sri Lanka, accompanied by Marc Devinoy. In the summer she participates the exhibition “Les Femmes Sculpteurs” at Villa Datris (Isle-sur-Sorgue) with the bronze “Grande Porte” which announces the exhibition and the “Grotte aux Doigts”. At the same time, she exhibited “Le Vol” in composite materials in the sculpture garden of the Pierre Salinger Museum (Le Thor, Vaucluse). She is decorated Knight of Arts and Letters.

2014
She traveled several times to Greece, where she worked in the foundry of Théodore Papadopoulos. His wife and himself, at the end of each visit, take her on a tour of the islands of Hydra, Santorini, Skyros and the unusual landscape of Meteora.

2015
She again participated in the Datris Foundation exhibition “Architecture and Sculpture”, with “the narrow door”. “The Figure at the Portico”, a sculpture in memory of his son David Marti, is part of the inaugural exhibition of P gallery in Athens. New creations: “Cathèdre”, “Tabour”, “Siege”, “Le Grand Coléoptère”, “Personnage aux Ailes Repliées” and “Réunion” marble stele; she completes “Temple perdu” in wood (1989-2015). Found by Parvine Curie – David Marti Endowment Fund. In July she participated the exhibition “Draw me a collection” at the Museum of Modern Art in Troyes with a gouache inspired by the Porte du Musée made by herself and part of the aforementioned collection. In December she participates in “Talismans” at the Hervé Courtaigne gallery (Paris) with small collages.

2016
BRAFA Brussels with the Martel-Greiner gallery.

Career

Solo show

2022
Sculptures & œuvres sur papier, Galerie Pierre-Alain Challier - du 9 avril au 4 juin 2022, 8 rue Debelleyme, 75003 Paris

2019
Les Solitaires, Galerie Papiers d’Art – 6 Février au 9 Mars, 30 rue Pastourelle, 75003 Paris. Œuvres d’artistes sur papier.

2018
Les Pionnières - Dans les ateliers de femmes artistes du XXème siècle. Galerie Pierre-Alain Challier, 8, rue Debelleyme, 75003 Paris. Catalogue Somogy Editions d’Art, 200 pages / 250 illustrations
Sculptures – La Friche de l’Escalette, Parc d’Architectures légères - Eric Touchaleaume. Marseille
Un miroir d’Obsidienne - Galerie Pierre-Alain Challier, 8, rue Debelleyme, 75003 Paris

2015
Salon Brafa Talismans, plus de cent œuvres de petit format de 1950 à 2014

2013
Rétrospective à la Collégiale Saint-Martin, Angers.
Sculptrices à la Villa Datris, Isle-sur-Sorgue
Association Armitage, dans les locaux du cabinet d'avocats d'Antin-Brossolet, Paris
Parvine Curie : sculptures noires et sculptures blanches, galerie Martel-Greiner, Paris

2012
Rétrospective à la Collégiale Saint-Martin, Angers.

2009
Galerie Martel-Greiner, Paris. (Avec François Stahly.)
Maison Elsa Triolet-Aragon, Saint-Arnoult-en-Yvelines, Yvelines.

2007
Galerie Martel-Greiner, Paris. Galerie Yves Gastou, Paris.

2005
Château, Saint-Cirq-Lapopie, Lot.
Galerie-atelier Lambert-Rouland, Paris. (Avec Raoul Ubac.)

2003
Centre d’art et de culture, Meudon, Hauts-de-Seine.

2000
Prieuré Saint-Michel, Crouttes-Vimoutiers, Orne.
Galerie Patrick Domken, Cadaqués, Espagne.
Institut français, Barcelone, Espagne. (Avec François Stahly.)

1999
Monastère de Pedralbes ; galerie Maeght, Barcelone, Espagne. (Rétrospective de l’oeuvre.)

1998
Galerie Schèmes, Lille, Nord.

1997
Parc du château de Fougères, Ille-et-Vilaine.
Galerie Les Urbanistes, Fougères, Ille-et-Vilaine. (Avec François Stahly.)
Hôtel de ville, Clamart, Hauts-de-Seine. (Avec David Marti.)
Christine et Bruno de Panafieu, Malakoff, Hauts-de-Seine. (Avec François Stahly.)

1996

Galerie Sophie von Schendel, Cadaqués, Espagne. (Avec François Stahly.)

1995
Orangerie du château, Meudon, Hauts-de-Seine. (Rétrospective de l’oeuvre.)
Musée d’Art et d’Histoire, Chaumont, Haute-Marne. (Avec James Guitet.)
Hôtel de ville, Constance, Allemagne. (Avec François Stahly.)
Die Katholische Akademie [Académie catholique], Schwerte, Allemagne. (Avec François Stahly.)

1994
Fondation Jean Arp, Clamart, Hauts-de-Seine. (Rétrospective de l’oeuvre.)
Centre Jacques-Prévert, Aulnay-sous-Bois, Seine-Saint-Denis.
Abbaye de Bouchemaine, Angers, Maine-et-Loire. (Avec James Guitet.)
Galerie de la Cathédrale, Fribourg, Suisse.

1990
Galerie-atelier Lambert-Rouland, Paris.
Salon Saga, Grand Palais, Paris.

1988
Sous-préfecture, Béthune, Pas-de-Calais. (Avec David Marti et François Stahly.)
Galerie Philip, Paris. 1989
Musée Tavet-Delacour Pontoise, Val-d’Oise. (Avec François Stahly.)
Galerie Philip, Paris.

1987
Galerie Philip, Paris.
Fondation Mona von Bismarck, Paris. (Avec François Stahly.)
Galerie Cadaqués, Cadaqués, Espagne. (Avec François Stahly.)

1986
Château de Castanet, Villefort, Lozère.
Galerie Cadaqués, Cadaqués, Espagne. (Avec François Stahly.)
Musée Massey, Tarbes, Hautes-Pyrénées. (Avec François Stahly.)

1985
Galerie La Cité, Luxembourg, Suisse. (Avec Étienne Hajdu et François Stahly.)
Galerie Le Temps de voir, Maillot, Yonne. (Avec Ancel.)

1984
Musée d’Art moderne, Troyes, Aube.

1983
Galerie Le Temps de voir, Maillot, Yonne.
Galerie im Rathausdurchgang, Winterthur, Suisse.

1982
Galerie im Rathausdurchgang, Winterthur, Suisse. (Avec François Stahly.)
Museum am Ostwall, Dortmund, Allemagne.
Galerie Cadaqués, Cadaqués, Espagne. (Avec François Stahly.)

1981
Die Katholische Akademie [Académie catholique], Schwerte, Allemagne.
Galerie Hella Nebelung, Düsseldorf, Allemagne.
Musée d’Art et d’Histoire, Meudon, Hauts-de-Seine. (Avec François Stahly.)

1980
Musée Bourdelle, Paris.
Galerie Françoise Tournié, Paris. (Avec François Stahly.)

1979
Galerie Michel, Bienne, Suisse. (Avec François Stahly.)

1978
Galerie Françoise Tournié, Paris.

1977
Musée de Frauenfeld, Suisse. (Avec François Stahly.)

1973
Galerie Françoise Tournié, Paris.

1972
Atelier collectif de Stahly, Meudon, Hauts-de-Seine.

1967
Galerie Arte Centro, Milan, Italie. 1968
Suzanne de Cönninck, Centre d’intégration des arts, Paris.

1966
Galerie Sur, Santander, Espagne.
Galerie Gres, Barcelone, Espagne.
Récompensée par le prix Christmas (1966-1968), Barcelone, Espagne.

1964
Ateneo [científico, literario y artístico], Madrid, Espagne.
Galerie Belarte, Barcelone, Espagne.

1963
Galerie du Siècle, Paris.
Galerie Belarte, Barcelone, Espagne.

1962
Galerie Paco Rebès, Barcelone, Espagne.

1960
Institut français, Barcelone, Espagne.


Collective exhibitions

2021
Elles font l'abstraction, Centre Pompidou, Paris.
Art For All, galerie Loft, Saint-Germain-des-Près, Paris.

2019
Le Sentier Parvine Curie, inauguré en 2019 au Musée d’art et d’histoire de Meudon.

2013
13 sculptrices au musée Salinger, Le Thor
Rétrospective Pierre Huyghe au MNAM - Centre Georges Pompidou, Paris La pièce Mère Anatolica (ce qu'il en reste) provenant du C.E.S Pierre de Coubertin à Chevreuse est exposée.

2009
Autour de Pierre Cabanne, galerie Guillaume, Paris.
Art et chapelles. Chapelles d’hier, artistes d’aujourd’hui, église Saint-Eusèbe, Gennes (Maine-et-Loire).

2008
Rooms, conversations, Frac Île-de-France — Le Plateau, Paris.

2006
Convergences-divergences, orangerie du domaine de Madame Élisabeth, Versailles, Yvelines.

2005
Pierre et Catherine Descargues, hôtel de vente Drouot-Richelieu, Paris.
Im Mondquadrat. Aspekte der Sammlung Arp-Hagenbach, Stiftung Museum Liner, Appenzell, Suisse.
La galerie Cadaqués, Museo nacional Centro Reina Sofía [Musée national Centre d’art Reine-Sofía], Madrid ;
Macba, Barcelone, Espagne.

2003
7 lieux, 7 matières, Centre d’art Présence Van Gogh, Saint-Rémy-de-Provence, Bouches-du-Rhône.

1999
Parc de la ville de Draguignan, Var.

1998
Les fruits de la passion, Maison Mansart, Paris.

1997
Convergences-divergences, orangerie du domaine de Madame Élisabeth, Versailles, Yvelines.
Hommage à Geneviève Thévenot, musée d’Art moderne, Troyes, Aube.
Une oeuvre, un bijou, galerie Plessis, Nantes, Loire-Atlantique.

1996
Estampes contemporaines, château de Sainte-Suzanne, Mayenne.

1995
El Ampurdán, tierra de artistas, Parque del Retiro [parc du Retiro], Madrid, Espagne.
25 ans d’art contemporain, Centre d’art contemporain, abbaye de Beaulieu-en- Rouergue, Tarn-et-Garonne.
La collection Eva et Denys Chevalier, musée d’Art et d’Histoire, Meudon, Hauts-de-Seine.
Le livre et l’artiste, Centre Albert-Chanot, Clamart, Hauts-de-Seine.

1993
Le cabinet d’un amateur — à l’enseigne de Lambert-Rouland, galerie-atelier Lambert-Rouland, Paris.
Sculptures-visages, galerie-atelier Art public, Paris.

1992
Vingt ans d’arts plastiques, trentenaire des Hauts-de-Belleville, espace M.J.C. Les-Hauts-de-Belleville, Belleville, Paris.
Les états du noir, galerie-atelier Lambert-Rouland, Paris.
Rencontre avec la sculpture, musée Richard-Anacréon, Granville, Manche. L’art en la matière, La Côte-Saint-André, Isère.
Collages, galerie Arcada, Estoril, Portugal.

1991
Coincidenze, collection Marguerite Arp, Bellinzona, Suisse.
Nouvelles broderies de Valenciennes, Mobilier national, Paris.
Les arts l’été — sculpture, Maison des arts et des loisirs, Thonon-les-Bains, Haute-Savoie.

1990
Exposition collective, galerie-atelier Lambert-Rouland, Paris.
L’art pour la vie, Institut Curie, Paris ; Ensba, Paris.

1989
Le relief des années cinquante à nos jours, Centre d’art contemporain, abbaye de Beaulieu-en-Rouergue, Tarn-et-Garonne.
Demi-teintes, galerie Philip, Paris.

1988
François Stahly, Parvine Curie, David Marti, sous-préfecture de Béthune, Pas-de-Calais.
François Stahly, Parvine Curie, David Marti, galerie Cadaqués, Cadaqués, Espagne.

1987
Sculpture, Centre d’art contemporain, Maubeuge, Nord.
Nouvelles tapisseries, broderies, sculptures textiles, tentures de fête, Centre d’art contemporain, abbaye de Beaulieu-en- Rouergue, Tarn-et-Garonne.

1986
Rencontre Art et public, gare de l’Est, Paris.
L’art et le sacré aujourd’hui, abbaye de l’Épau, Yvré-l’Évêque, Sarthe.
Sculptures du xxe siècle, fondation Pierre de Coubertin, Paris.

1985
Sculptures du xxe siècle, musée Tavet-Delacour, Pontoise, Val-d’Oise.
Exposition collective, Frac Île-de-France, musée du Luxembourg, Paris.
Parvine Curie, Étienne Hajdu, François Stahly, galerie La Cité, Luxembourg, Suisse.
Sculpture contemporaine, espace M.J.C. Les Hauts-de-Belleville, Belleville, Paris.
Cent commandes publiques, Cnap, Paris.

1984
Labyrinth, fondation Calouste-Gulbenkian, Lisbonne, Portugal.
Le labyrinthe dans l’art contemporain, Centre culturel portugais, Paris.
La part des femmes dans l’art contemporain, galerie municipale, Vitry-sur Seine, Val-de-Marne.

1983
Sculptures des années 80 pour collectionneurs d’aujourd’hui, musée d’Art et d’Histoire de Meudon, Hauts-de-Seine ;
galerie de l’Epad, La Défense, Paris ; musée du château, Dourdan, Essonne.
En hommage à Alicia Penalba, musée Massey, Tarbes, Hautes-Pyrénées. (Avec César, Étienne Hajdu, Étienne-Martin, François Stahly, etc.) 92 de 92, Centre culturel, Boulogne-Billancourt, Hauts-de-Seine.
Exposition itinérante, 20 sculpteurs et leurs fondeurs — hommage à la fonderie. Hauts-de-Seine : mairie, Levallois-Perret ; musée d’Art et d’Histoire, Meudon ; galerie de l’Epad, La Défense ; musée des Années 30, Boulogne-Billancourt.
En région : musée des Augustins, Toulouse, Haute-Garonne ; musée des Beaux-Arts, Lyon, Rhône ; Enac, Nice, Alpes-Maritimes. Bibliothèque Forney, Paris.
Sculptures du XXe siècle, fondation Pierre de Courbertin, Saint-Rémy-lès-Chevreuse, Yvelines.
Sainte-Thérèse d’Ávila dans l’art contemporain, musée du Luxembourg, Paris.

1982
Tapisseries de sculpteurs, château de Castanet, Villefort, Lozère.

1981
Vingt ans de prix Bourdelle, musée Bourdelle, Paris.
François Stahly, Parvine Curie, David Marti, musée d’Art et d’Histoire, Meudon, Hauts-de-Seine.

1980
2e exposition de sculpture contemporaine, musée d’Art et d’Histoire, Meudon, Hauts-de-Seine.
Bijoux, cailloux fous, Maison de la culture, Amiens, Somme. Inauguration du musée de la Sculpture en plein air, Paris.

1979
Escultura e vida, fondation Calouste- Gulbenkian, Lisbonne, Portugal.
La fête de la sculpture, Fondation des arts graphiques et plastiques, Paris.
Le Haut-du-Crestet, parc forestier, Le Crestet, Vaucluse.
Sculptures, galerie Suillerot, Paris. Trois artistes du Haut-Crestet — Claude Stahly, Parvine Curie, François Stahly, musée des Tapisseries, Aix-en-Provence, Bouches-du-Rhône.
Prix Bourdelle, musée Bourdelle, Paris.

1978
Tours multiple 78. Dessin, textile et bois, 3 pratiques significatives, Tours, Indre-et-Loire.
Exposition au profit de l’église Saint-Pierre — Le Corbusier de Firminy, Centre Georges- Pompidou, Mnam, Paris.

1977
8 sculpteurs, galerie Françoise Tournié, Paris. Lyrisme et paysagisme abstraits en France de 1945 à 1975, musée Cantini, Marseille, Bouches-du-Rhône.
Bilan d’aide à la 1re exposition, Fondation des arts graphiques et plastiques, Paris.
Dialogue, Unesco, Paris. Signes du sacré dans l’art, évêché de Dijon, Côte-d’Or.
L’art dans la ville, l’art dans la vie, Fnac, Paris.

1976
Dix-sept sculptures pour un parc, musée d’Art et d’Histoire, Meudon, Hauts-de-Seine.

1975
Le bois dans la sculpture contemporaine, château, Braux-Sainte-Cohière, Marne.
Festival international d’art contemporain d’Allonnes, Le Mans, Sarthe.
Obtient le 1er prix de la Sculpture.

1974
Concours international de sculpture, monastère Sant Pere de Galligans, Gérone, Espagne.
Prima colletivo di scultori in Versilia, Giardini da Filiè [jardins de Filiè], Querceta, Italie.

1973
11e exposition de sculpture en plein air, Legnano-Castellanza, Italie.

1972
Exposition collective de sculptures : Jean Arp, Alicia Penalba, François Stahly et Mary Vieira, galerie d’Art moderne, Bâle, Suisse.

1967
Quelques artistes de l’École de Paris, bibliothèque municipale, Fontainebleau, Seine-et-Marne.

1962
Vingt-cinq ans d’art espagnol, Ateneo [científico, literario y artístico], Madrid, Espagne.

1959
Arte juvenil, Barcelone, Espagne. 1960 85e promotion d’architecture, Sala Gaspar, Barcelone, Espagne.
Exposition nationale des Beaux-Arts, Paris.


Biennials, fairs and exhibitions

2012
Design Elysées, Avenue des Champs-Elysées, Paris.

2011
Paris Fine Art, Palais des Congrès, Paris.

2010
Foire internationale des antiquaires Brafa,
Bruxelles, Belgique.
Foire internationale des antiquaires Brafa,
Salon de mai, galerie Martel-Greiner, Paris.
propriété Caillebotte, Yerres, Essonne.

2009
73 sculpteurs. 2e Biennale de sculpture, galerie Martel-Greiner, Lille, Nord.
1re Foire européenne d’art contemporain, des Tuileries, galerie Martel-Greiner, Paris.
12e Pavillon des arts et du design, jardin galerie Martel-Greiner, Bruxelles, Belgique,
Salon du Collectionneur, Paris,
PAD Pavillon des Arts et du Design, Londres, Berkeley Square.

2008
53e Foire des antiquaires. Tour et Taxis, galerie Martel-Greiner, Bruxelles, Belgique.
52e Foire des antiquaires. Tour et Taxis, propriété Caillebotte, Yerres, Essonne.

2007
41 sculpteurs. 1re Biennale de sculpture, Belgique,
Salon du Collectionneur, Paris,
Art Elysées, Avenue des Champs-Elysées, Paris: «Hommage à Gilioli».

2006
Biennale des antiquaires, Bruxelles,
Salon des Antiquaires, Pont Alexandre III, Paris, Cadaqués, Espagne.
de 2005 à 2013
PAD Pavillon des Arts et du Design, Jardin des Tuileries, Paris.
BRAFA, Brussels Antiques and Fine Art Fair, Tour et Taxis, Bruxelles.

2005
25e édition de Miniprint International, Salon du Collectionneur, Paris.

2002
Salon Tryptique, Angers, Maine-et-Loire.
Paris.

1997
2e Salon Coup de coeur, espace Cardin,
Grand Palais, Paris.

1993
Grands et jeunes d’aujourd’hui,

1991
Salon Découvertes, Grand Palais, Paris.

1990
Salon Saga, Grand Palais, Paris.
Meurthe-et-Moselle.
jardin de La Pépinière, Nancy,

1987
Biennale de Nancy, Eté de la sculpture,

1982
Salon de Montrouge, Hauts-de-Seine. Grand Palais, Paris.

1981
2e Triennale européenne de la sculpture, jardin du Palais-Royal, Paris.

1978
1re Triennale européenne de la sculpture, Padoue, Italie.

1977
11e Biennale internationale du petit bronze, bronze, Padoue, Italie.

1975
10e Biennale internationale du petit (présence régulière jusqu’en 1978), Paris.
orangerie du jardin du Luxembourg

1971
Salon de mai ; Salon de la jeune sculpture, du jardin du Luxembourg, Paris.

1970
Salon de la jeune sculpture, orangerie

1960
4e Salon de mai, Barcelone, Espagne.

1959
Salon de novembre, Barcelone, Espagne.


Public collections

Donation au Musée d'Art et d'Histoire de Meudon Abbaye de Beaulieu, Centre d’art contemporain,
collection Geneviève Bonnefoi, Beaulieu-en- Rouergue, Tarn-et-Garonne.
Centre national d’art sacré, Paris.
Cnap, musée du Florival, Guebwiller, Haut-Rhin.
Conseil général des Yvelines, Versailles.
Fnac Paris.
Fondazione [Fondation] Marguerite Arp, Locarno, Suisse.
Frac Île-de-France.
Fram Île-de-France.
Hôtel de ville, Constance, Allemagne.
Musée d’Art et d’Histoire, Meudon, Hauts-de-Seine.
Musée d’art moderne, Troyes, Aube.
Musée de la ville, Mont-de-Marsan, Landes.
Musée Massey, Tarbes, Hautes-Pyrénées.
Musée Tavet-Delacour, Pontoise, Val-d’Oise.
Museum am Ostwall, Dortmund, Allemagne.
Palais de l’Élysée, Paris.
Parc national du Crestet, Vaucluse.


Public orders in France

Blois, Loir-et-Cher, C.E.S. Michel-Bégon, sculpture, bois d’acajou brûlé.
Carignan, Ardennes, C.E.S., sculpture, béton cellulaire enduit.
Chevreuse, Yvelines, C.E.S. Pierre-de-Coubertin, sculpture, agrégat de pierre noire.
Marseille, Bouches-du Rhône, C.E.S., sculpture, béton cellulaire enduit.
Meudon, Hauts-de-Seine, monument aux victimes de la barbarie nazie, marbre de Carrare.
Miramas, Bouches-du-Rhône, lycée d’enseignement technique, sculpture, pierre de Bonnieux.
Murbach, Haut-Rhin, porte de l’abbaye, bronze.
Nancy, Meurthe-et-Moselle, Cité judiciaire, relief, bois d’iroko clair.
Paris, musée de la Sculpture contemporaine en plein air, sculpture, bois exotique (teck).
Plouzané, Finistère, C.E.S., sculpture, pierre de Bourgogne.
Troyes, Aube, porte d’entrée du musée d’Art moderne, bois d’iroko.