nº104 / JÉRÉMY PRADIER-JEAUNEAU / LA TEMPÊTE + HANJIMANIA / PARIS
Updated: Sep 10
September takes off with two major installations by Jérémy Pradier-Jeauneau and starts Paris Design Week 2026: Hanjimania, at the Hôtel de la Marine and La Tempête at the Arc de Triomphe, a monumental installation combining art, craftsmanship, and French heritage.
Review by Zoltan Alexander
JÉRÉMY PRADIER JEAUNEAU sets the storm
LA TEMPÊTE at the Arc de Triomphe, and HANJIMANIA at the Hôtel de la Marine
Jérémy Pradier-Jeauneau represents a new generation of French artists working at the intersection of disciplines of design, fine ornamental craftsmanship, and scenography, to challenge the viewer’s perception.
After starting in French cinema as a producer, he moved into the world of art and design. From sculpture to set design and painting, he initially founded the Pradier-Jeauneau gallery at 32 rue de Verneuil in Paris.
For the past three years, his career has evolved magnificently, beyond his wildest expectations. He never imagined that his creative work would resonate so strongly. Following his previous installations and notable appearances at international design fairs such as PAD Paris and the Salone del Mobile in Milan, it became obvious to create a structure for future projects and proposals. As a natural progression, his agency Supercazzola was born, and a new chapter opened in the Pradier-Jeauneau’s career.
PHOTOS / Jérémy Pradier-Jeauneau at Hôtel de la Marine / Photos © Courtesy of Jérémy Pradier-Jeauneau
SUPERCAZZOLA
When Jérémy Pradier-Jeauneau was an antique dealer, he was offered the opportunity to do a pop-up installation at the Parisian department store, La Samaritaine, when Catherine Lurault was the marketing director, and Carine Roitfeld, acting as patron.
His meeting with Catherine Lurault led to the birth of the Supercazzola studio. Lurault has been a tremendous support on the creative side, and a wonderful professional and personal relationship. This is what a true collaboration means!
Studio Supercazzola was thus born quite recently, over the past few weeks, and the name, which he discovered through his Italian partner-fiancé, was a natural choice for the agency.
Supercazzola is an Italian term taken from a film from 1975. It sounds meaningful but is actually complete nonsense. A word that creates a sense of confusion, which aligns perfectly with Pradier-Jeauneau’s approach. Bending and blending disciplines to create appears to be exactly what they represent and who they are, yet it transports them into a unique, puzzling creation.
As Jérémy Pradier-Jeauneau prepares for a busy autumn, he reflects on the turning point in his journey, his vision of design, and the ambitions fueling Supercazzola.
PHOTO / "Hanjimania" by Jérémy Pradier-Jeauneau at Hôtel de la Marine / Photo © Courtesy of Jérémy Pradier-Jeauneau
Creative work burst into his career fast and unexpectedly. One day, the director of Monoprix visited his gallery, and they got along so well that she proposed a collaboration; shortly after, the collection was created.
In 2024, he launched his debut furniture collection as a designer, cementing a unique approach to "collectable design" in which every piece engaged in a dialogue with heritage, cinema, literature, and collective memory.
We learnt his name in 2025, when Marie Lavandier, the president of the Centre des Monuments Nationaux, approached him, and he created Le Labyrinthe (The Labyrinth), his first monumental solo project with great narratives, from Daedalus to the present day. The exhibition, which also took place during Paris Design Week, brought together all the different creative roles through his immersive journey.
Le Labyrinthe was a sensitive, poetic installation structured as a three-chapter journey, spanning the main courtyard of the Hôtel de la Marine, the state rooms, and the loggia, facing the Place de la Concorde.
This year, Jérémy Pradier-Jeauneau returns to the Hôtel de la Marine with the installation Hanjimania.
PHOTOS / "Hanjimania" by Jérémy Pradier-Jeauneau at Hôtel de la Marine / Photos © Courtesy of Jérémy Pradier-Jeauneau
HÔTEL DE LA MARINE
Catherine Lurault developed a concept involving Korea, as she has strong ties to the country, and that is how the Hanjimania exhibition came to life. She brought the project to fruition alongside Korean curator An Kangeun.
“I am also focusing on my other installation at the Arc de Triomphe, though I am delighted to be designing a piece for Hanjimania.” Jérémy Pradier-Jeauneau
Although the two installation projects are distinct and each driven by a different person, they complement each other perfectly. He has been working on both of them for over a year, sharing doubts and successes, always supporting his team.
PHOTO / L'Arc de Triomphe by Christo / Photo © Courtesy of Studio Christo / Photo © Courtesy of Zoltan Alexander
THE ARC DE TRIOMPHE
The Arc de Triomphe needs no introduction. It was ordered by Emperor Napoleon Bonaparte to honour the French military after his victory at Austerlitz, years later, in 2021, wrapped by Christo, and in 2026, Jérémy Pradier-Jeauneau sets a storm at the Place de l’Étoile with an extraordinary installation La Tempête, a journey through the interior of the Arc.
La Tempête is a solo show, an art exhibition rather than a curated show, whereas Hanjimania is a true, curated design exhibition. Together, they allow the artist to showcase the full spectrum of his practice. Notably, he chose to recreate Victor Hugo’s deathbed.
“Inside the Arc de Triomphe, I am recreating a scene from my childhood: my grandmother sitting on her plastic chair under her parasol, pretending to read while actually keeping an eye on me.” Jérémy Pradier-Jeauneau explains. “The idea is to create an intimacy inside the monument, keep it human, and forget the overwhelming history behind.”
PHOTO / "La Tempête" by Jérémy Pradier-Jeauneau at l'Arc de Triomphe / Photo © Courtesy of Jérémy Pradier-Jeauneau
How does the artist feel before the storm?
Maybe it is a transitional rebirth from being a designer and becoming an artist.
Designed as an immersive experience, this journey offers a contemporary reinterpretation of this iconic landmark, revealing its history and architecture from a fresh perspective. The visitors encounter a series of works transforming the ascent of the monument into a spectacular, sensory experience.
At the same time, the Arc de Triomphe is an imposing and intimidating monument; the work becomes increasingly powerful and chaotic. Since the artist had so much to express, particularly some personal issues, the work transformed into a storm, echoing the concept of Gesamtkunstwerk (total work of art), championed by Wagner back in the 19th century. It is what one could call the sensorium: where each visitor is stimulated across multiple dimensions and senses, such as a fragrance that alters the scent of the monument and evokes a different kind of perception.
The fragrance for the Arc de Triomphe was created by perfumer David Benedek, le Nez of BDK. Benedek contacted Dominique Ropion, and together they interpreted the concept of La Tempête through their creative visions to craft the olfactory identity of the visitors’ experience.
The same applied to Simon Broggini of l'Étude Lumière, who handled the lighting design for the installation. He had previously created exhibitions at Les Gobelins, collaborated with Chanel on runway sets at the Grand Palais, and the Métiers d'Art show in the New York subway. He also collaborated with the Atelier Coudray, Pierre Frey, and the American brand Schott.
PHOTO / (top) "La Tempête" by Jérémy Pradier-Jeauneau / Photo © Courtesy of Zoltan Alexander
PHOTO / (middle) "La Tempête" by Jérémy Pradier-Jeauneau / Photo © Courtesy of Jérémy Pradier-Jeauneau
PHOTO / (bottom) "La Tempête" by Jérémy Pradier-Jeauneau / Photo © Courtesy of Zoltan Alexander
“It’s a bit like chasing a memory” he admits, “very Proustian with a 2026 twist. He is one of my favourite authors; I even have his portrait tattooed on my body. Anyway, I hope to rediscover that sense of wonder I felt when I first read that passage from ‘In Search of Lost Time’ (À la recherche du temps perdu).
“That’s what I hope to see, a spark: a sense of wonder. Even when faced with things that aren't easy, or are downright strange, like the Green Suite, a hotel-like space inspired by a series of paintings by Edvard Munch.”
The gallery is closed now, and there is a plan to sell the space at the flea market at Saint-Ouen. It’s a transition time, wrapping up current commitments to make room for new projects. The studio currently continues to evolve along several key lines, such as cultural production that showcases the talents of other designers, featuring their curation projects with scenography.
There’s a saying from his grandmother that he often quotes: “Other people's talent takes nothing away from my own. Once you learn not to feel insecure in the face of others, everything becomes extraordinary”. Jérémy Pradier-Jeauneau
INDEX
COVER
“La Tempête” / Jérémy Pradier-Jeauneau
Photo © Courtesy of Jérémy Pradier-Jeauneau
Cover design © ZOLTAN+MEDIA Paris
PROJECT
“La Tempête” / Jérémy Pradier-Jeauneau
L’Arc de Triomphe
Paris (France)
“Hanjimania“ / Jérémy Pradier-Jeauneau and Catherine Lurault
Hôtel de la Marine
Paris (France)
PHOTOGRAPHERS
© Jérémy Pradier-Jeauneau Studio
© Zoltan Alexander
VISUALS & WEBDESIGN
© Zoltan Alexander ZOLTAN+MEDIA Paris
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