Camille Henrot

Camille Henrot was born in 1978 in Paris, France, and currently lives and works in New York City. She studied film animation at the Ecole Nationale Superieure des Arts Decoratifs (ENSAD) in Paris, attending from around 1997 to 2001 and graduating in 2002. Her practice spans film, video, sculpture, drawing, painting, and installation, and she has described training informally with a master from the Sogetsu school of ikebana in Japan while collaborating with the school on an early solo exhibition there, rather than enrolling in the school itself.

Henrot's breakthrough came with Grosse Fatigue, a 13-minute video that layers creation myths, scientific imagery, and internet-era visual clutter into a single, restless narration. The work premiered at the 55th Venice Biennale in 2013 and won the Silver Lion, one of the Biennale's top honors. She followed this with The Pale Fox, an installation of collected objects, drawings, and sculpture that traveled to Chisenhale Gallery in London and venues in Paris, Copenhagen, and Munster, and with major solo presentations including The Restless Earth at the New Museum in New York in 2014 and Days Are Dogs, a Carte Blanche exhibition at the Palais de Tokyo in Paris in 2017. She has continued to exhibit steadily at institutions including Kestner Gesellschaft in Hannover, the Middelheim Museum in Antwerp, and Fondazione ICA Milano, and in 2026 premiered a new film, In the Veins, tied to exhibitions at LUMA Arles and Copenhagen Contemporary.

Henrot's rapid rise, from a relatively unheralded artist to a Silver Lion winner at Venice in 2013, made her one of the most closely watched artists of the past decade. Grosse Fatigue was widely discussed for its attempt to hold the entire history of knowledge inside the pace and visual grammar of internet browsing, and The Pale Fox extended that ambition into physical space, arranging collected objects into a kind of private cosmology. Subsequent solo presentations at the New Museum, the Palais de Tokyo, and a string of European museums, along with the Nam June Paik Award in 2014 and the Edvard Munch Award in 2015, reflect sustained institutional interest in her work's mix of anthropology, myth, and personal association.

Camille Henrot's market is still shallow relative to her institutional standing. The clearest documented open results are on Phillips: Study for Bad Dad sold for GBP 35,000 in London on 8 March 2018, and Untitled (Tropics of Love series) sold for USD 27,720 in New York on 15 November 2018. The aggregator MutualArt references a realized price of roughly USD 342,900 for a sculpture, but without a confirmed work title, sale date, or auction house, so that figure cannot be verified as a specific record. Major databases including Artnet and Gazette Drouot restrict full price histories behind paywalls, so no single all-time auction record for Henrot can be confirmed as of this writing, and collectors should treat any claim of a definitive record with caution.

Henrot's institutional record, a Silver Lion, major museum solo shows, and gallery representation by Mennour and Hauser & Wirth, is considerably stronger than her auction track record, which remains thin and largely confined to modest price levels in open data. There is no catalogue raisonne for her work, so provenance and authentication should be confirmed directly with her galleries. Given how little of her market currently trades at public auction, collectors should be cautious about drawing conclusions from any single sale and should expect continued reliance on primary-market and museum activity as the clearer signal of her standing.