Moderne en hedendaagse kunst in Paris

Dans le cadre de sa saison 2025, le Petit Palais accueille pour sa carte blanche d’art contemporain, le peintre Bilal Hamdad dont les œuvres explorent la solitude urbaine à travers des scènes parisiennes. Diplômé des Beaux-Arts de Sidi Bel Abbes en 2010 et des Beaux-Arts de Paris en 2018, il se distingue par ses grandes peintures à l’huile, souvent inspirées de photographies prises sur le vif. Ses tableaux mettent en lumière des personnages solitaires et anonymes, créant un contraste saisissant avec l’effervescence de la ville. L’exposition au Petit Palais rassemble une vingtaine de ses œuvres, dont deux inédites, créées pour l’occasion, et établir un dialogue avec les collections permanentes du musée. Bilal Hamdad s’inspire de grands maîtres comme Rubens, Manet et Courbet, intégrant des références subtiles à leurs œuvres dans ses propres créations. Par exemple, sa peinture Miroir des Astres (2024) emprunte à l’esthétique baroque, tandis que Sérénité d’une ombre (2024) fait écho à la nature morte de Manet. L’exposition invite les visiteurs à porter un nouveau regard sur les collections du Petit Palais et à explorer les paradoxes de notre époque à travers l’œuvre de Bilal Hamdad. Une exposition organisée avec le soutien de la galerie Templon. Commissariat général Annick Lemoine, conservatrice générale, directrice du Petit Palais. Commissariat scientifique Sixtine de Saint Léger, Responsable des arts décoratifs avant 1800 et de l’art contemporain

Pekka Halonen, un artiste finlandais qui a su rendre les paysages enneigés et glacés aussi mystérieux qu'envoûtants. Cette exposition vous invite à découvrir l'oeuvre de cet artiste majeur de la peinture nordique.

Né en 1967, Philippe Perrot grandit en banlieue parisienne. À quinze ans, il découvre la littérature française d'après-guerre et se plonge dans les écrits d'Antonin Artaud. Il se passionne pour Pier Paolo Pasolini et la Nouvelle Vague italienne et s'inscrit dans une école de cinéma. À travers de courtes vidéos, l'artiste explore l'univers familial et les blessures de son enfance. À partir des années 1990, il abandonne le cinéma pour se consacrer en autodidacte à la peinture, sans toutefois renoncer aux thèmes qui lui sont chers et qui imprègnent l'ensemble de son œuvre. Il décède en 2015 à l'âge de 48 ans, des suites d'une longue maladie. La peinture de Philippe Perrot donne matière au rêve et à l'inconscient. Elle met en scène des personnages flottants et souffreteux qui gravitent autour de quelques figures tutélaires, comme le père ou la mère. Ses tableaux sont autant de représentations d'états d'âme, de visions complexes issues d'hallucinations quotidiennes et de secrets de famille refoulés. Les traumas sont cependant tempérés par l'intrusion constante d'éléments burlesques empruntés à l'univers du dessin animé, qui ramènent plutôt la figuration du côté 'd'une mauvaise blague' selon les mots de l'artiste. Si Philippe Perrot donne quelques clés à la compréhension des images à travers leurs titres, les histoires qu'elles expriment restent souvent dérangeantes et énigmatiques. Peintes à l'huile sur des toiles préparées avec un pigment jaune ocre, ses œuvres se caractérisent par la juxtaposition de plusieurs micro-récits au sein d'une même composition. À l'instar des plans-séquences d'un film, les images s'agencent en une narration que chaque spectateur peut s'approprier librement. L'iconographie violente est renforcée par des couleurs criardes, souvent mélangées à des désinfectants pharmaceutiques (bétadine, éosine). Le bouleversement de la perspective ainsi que la superposition de scènes et d'éléments disparates viennent accentuer les tensions qui se dégagent des œuvres et brouillent leur lecture. Artiste discret, à contrepied du marché de l'art contemporain, Philippe Perrot a très peu produit, trois à quatre tableaux par an, son corpus se limitant à 130 toiles et autant de dessins sur la totalité de sa carrière. Grâce à un généreux don, six œuvres de l'artiste sont entrées en 2019 dans les collections du musée. Cette présentation est complétée par plusieurs prêts provenant de collections particulières.

Mathilde Denize opère un travail de mise en scène de ses toiles, les métamorphosant ainsi en de véritables «tableaux-théâtres». À travers ses installations, elle propose des espaces de perception plutôt que de narration, nous invitant à nous laisser traverser par les formes et les affects.

Maty Biayenda crée un véritable kaléidoscope d’expérimentions esthétiques à l’aide de différents médiums : peintures sur toile ou bois, dessins sur papier ou imprimés sur tissus, installations et vidéos.

L’exposition explore les moments marquants de la trajectoire de Niki de Saint Phalle (https://www.centrepompidou.fr/fr/ressources/personne/cL9ebkp) (1930-2002) et Jean Tinguely (https://www.centrepompidou.fr/fr/ressources/personne/cejbE9K) (1925-1991). Couple exceptionnel uni, au-delà de leur aventure sentimentale, par des liens artistiques indéfectibles dans un enrichissement réciproque, ils ont bénéficié d’une importante visibilité grâce à l’impulsion donnée par Pontus Hulten (https://www.centrepompidou.fr/fr/ressources/personne/c5eeabo) (1924-2006), premier directeur du Musée national d’art moderne au Centre Pompidou . Un parcours à la fois historique et ludique à travers les machines animées de Jean Tinguely, les sculptures et reliefs colorés de Niki de Saint Phalle, ainsi que des films d’archives inédits et une documentation exceptionnelle.

Figure majeure de l’histoire du design et de l’architecture, Andrea Branzi (1938-2023) était fasciné par l’œuvre de Claude Monet (1840-1926) dont la peinture s’est accomplie à travers l’élaboration du jardin de Giverny, « paysage artificiel » où dialoguent nature, peinture et architecture. L’exposition invite à s’interroger sur le rapport du design à la nature au travers de pièces historiques majeures issues de la collection du Centre Pompidou, ainsi que des œuvres inédites des archives du studio Branzi à Milan. En écho, l'accrochage thématique « Collections au jardin » présente un ensemble d'œuvres de la collection du musée de Giverny, où l’influence de Monet se lit tout au long du 20 e siècle, de Bonnard jusqu’à Joan Mitchell.

Prix Marcel Duchamp 2025 26 septembre 2025 – 22 février 2026 Musée d’art moderne de Paris, 16e Créé en 2000 pour mettre en lumière le foisonnement créatif de la scène artistique française , le prix Marcel Duchamp a pour ambition de distinguer les artistes les plus représentatifs de leur génération et de promouvoir à l’international la diversité des pratiques aujourd’hui à l’œuvre en France. Les quatre nommé·es pour le Prix Marcel Duchamp 2025 sont Bianca Bondi, Eva Nielsen, Lionel Sabatte, Xie Lei . L’annonce de l'artiste lauréat de l’édition 2025 aura lieu le jeudi 23 octobre 2025, durant la semaine de l‘art, au Musée d'art moderne de Paris. | Une exposition MAM Paris x ADIAF x Centre Pompidou

Exposition Générale retrace quarante ans d’art contemporain à la Fondation Cartier à partir d’une collection façonnée au fil de sa programmation. En réactivant l’héritage architectural du nouveau lieu de la Fondation Cartier et son ouverture sur la ville, elle esquisse une encyclopédie alternative de l’art contemporain et inaugure, à travers son nouveau dispositif, une approche renouvelée à l’exposition.

À l'occasion de son exposition personnelle à Lafayette Anticipations, Meriem Bennani met en scène un orchestre d'un nouveau genre à la croisée d'une symphonie et d'un soulèvement, et transforme la Fondation en vaste caisse de résonance. Déployée sur toute la hauteur du bâtiment, l'installation sonore Sole Crushing réunit plus d'une centaine de tongs et de claquettes qui jouent une composition musicale. Rendues vivantes, les chaussures frappent de leurs semelles divers supports et créent ainsi un ensemble insolite de percussions. Meriem Bennani explore le vivre ensemble et la place de l'individu dans la collectivité. Tantôt en chœur, tantôt en solistes, à l'unisson ou en réponse les unes aux autres, ces tongs sans corps évoquent les individus d'une foule en mouvement, dans une manifestation, un stade ou une cérémonie de dakka marrakchia.

Dans sa prochaine exposition personnelle, Steffani Jemison propose de déchiffrer des augures. L'artiste états-unienne examine les phénomènes physiques et politiques qui nous immobilisent ou nous meuvent considérant notamment la pesanteur et la gravité comme des forces qui nous retiennent ou qui nous libèrent. Steffani Jemison présente au sein d'une installation une nouvelle sculpture, créée lors de sa résidence à Lafayette Anticipations, ainsi qu'une nouvelle vidéo explorant le mouvement et les instruments d'orientation. Elle croise des temporalités multiples et cartographie les enchevêtrements entre géographies de la violence et pratiques de libération.

Discover the groundbreaking work of Jean-Michel Basquiat in this comprehensive retrospective. Featuring over 100 paintings and drawings, this exhibition traces the artist's career from his early graffiti days to his rise as a leading figure in the downtown New York art scene of the 1980s.

For the inaugural exhibition at Meyer Riegger Wolff, we imagined a project that would allow a glimpse of the energies set in motion by our new space within the ecosystem of contemporary art in Korea. This undertaking lies at the intersection of several research lines—some personal, others shared with the artistic direction of the gallery.

With this exhibition, Tornabuoni Arte pays tribute to two masters of color—two painters long represented in the gallery’s collections, who in the second half of the twentieth century made light their subject and abstraction their poetic universe. Through atmospheric canvases such as Dorazio’s Reticoli and De Maria’s Sono un pittore di casette (1982); gestural works like Dorazio’s Nebulae and De Maria’s Testa baciata dagli angeli belli (1990–91); and more playful compositions, such as Arcanciel nuovo I (Dorazio, 2001) and Romanticismo segreto ribelle (De Maria, 2000–05), the unprecedented pairing of these two artists suggests an imagined passing of the baton during the two decades in which their careers overlapped.

Tornabuoni Art Rome presents ITALIAN WAVE, an exhibition that traces the dynamic evolution of Italian art from the mid 1970s to early 1990s a period marked by a pluralism of artistic languages, expressive experimentation and a strong multi-disciplinary spirit. This journey unfolds through the work of eight key figures in the Italian art scene: Sandro Chia, Francesco Clemente, Enzo Cucchi, Nicola De Maria, Aldo Mondino, Luigi Ontani, Mimmo Paladino, and Mario Schifano. It was a moment that brought painting back to the center of the international cultural debate, restoring Italy's prominent role on the global artistic stage.

Tornabuoni Art is pleased to participate in the exhibition Emilio Isgrò. L'opera delle formiche at the Museo d'Arte Contemporanea del Carmine in Scicli, through the loan of three works by the artist: La lumière de la liberté (2017), La giara di Empedocle (2015), and La giara di Archimede (2015). Curated by Marco Bazzini and Bruno Corà, the exhibition marks the official opening of the MACC, a new cultural hub established within the former Carmine convent, restored and reopened to the public after forty years thanks to the support of the Ministry of Culture. Organized in collaboration with the Emilio Isgrò Archives and with the scholarly contribution of the MAXXI in Rome, this retrospective aims to offer a comprehensive and nuanced view of the artist’s trajectory, from his poetic beginnings in the 1960s to his most recent visual experiments. The exhibition presents approximately seventy works drawn from public and private collections, with particular attention to the artist’s engagement with Mediterranean culture. Among the most significant installations is The Work of the Ants , which symbolically occupies Piazza Busacca and inaugurates the museum itinerary.

The Group Show presents works by a diverse range of artists, exploring themes of identity, culture, and the contemporary world. The exhibition features painting, sculpture, photography, and video installations, offering a vibrant and thought-provoking experience.

This solo exhibition showcases the latest works by Artist Name, known for their distinctive style and exploration of abstract forms. The exhibition features a series of new paintings and drawings, created specifically for this show.

Il n’est pas rare que les gens confondent les termes d’art brut et d’art premier. J’y vois deux raisons principales : l’une liée aux qualificatifs brut et premier qui semblent signaler que nous sommes en présence de productions originelles, à l’état natif. La seconde liée au fait que ces arts induisent un décentrement du regard occidental, la prise en compte d’une altérité souveraine, qu’elle soit culturelle ou intime. L’art brut comme l’art premier ont en commun de se situer à la marge des normes et de l’académie. Bien que l’institutionnalisation de l’art premier ait près d’un siècle d’avance sur celle de l’art brut, les « ailleurs » que ces champs mettent en lumière nous obligent à élargir l’horizon de l’histoire de l’art et, par conséquent, à reconsidérer la définition même de l’art. Bien sûr, là où l’art premier témoigne de mythologies collectives - ce que souligne l’anonymat de ces artistes -, l’art brut rend visible des mythologies individuelles - ce qui est mis en relief par l’insularité de ces auteurs. Et s’il se peut que certaines parentés visibles ne soient que fortuites, les analogies formelles sont en revanche nombreuses qui trahissent un terreau commun, qui laissent deviner une source archétypique semblable. Les artistes du XXe siècle ne s’y sont d’ailleurs pas trompés, collectionnant les uns comme les autres avec l’impression diffuse de revenir à un stade édénique de l’art. Il est en tout cas notable que l’art brut comme l’art premier paraissent procéder de la même quête de réponses aux grands enjeux existentiels. Ces créateurs attribuent à l’art le pouvoir « d’habiter le monde », de le réparer, de construire des passerelles vers l’inconnu, le surnaturel, le sublime. « Premiers » et « bruts » exaltent la notion de secret et de sacré, c’est pourquoi elles nous paraissent profondément habitées. Habitées par les esprits pour les uns et par leurs auteurs pour les autres. Les 20 ans de la galerie, plus qu’une occasion de célébrer, m’ont encouragé à vouloir confier ce commissariat à Daniel Klein et Antoine Frérot, deux très chers amis collectionneurs - en plus d’être des soutiens historiques de la galerie. L’un comme l’autre animés de la volonté de décloisonner les catégories, l’un comme l’autre nourrissant au sein même de leurs collections ces dialogues et ces confrontations comme des révélateurs édifiants auxquels je suis moi-même si attaché.

Projet lauréat de la résidence sonore 2024 Jusqu'au 22 février 2026, découvrez Musika Automatika de Junior Mvunzi dans la...

L’exposition retrace le parcours méconnu de la danseuse Paula Padani (1913-2001) à travers plus de 250 photographies, affiches, documents et costumes. Par sa vision du mouvement comme force de vie, par sa capacité de rebond entre plusieurs pays et cultures, elle aura frayé de nouvelles routes pour son art et joué un rôle pionnier dans l’émergence de la danse contemporaine israélienne.

Ruttkowski;68 is pleased to present Friends With Benefits , a group exhibition bringing together seven artists who—following the invitation of Oskar Rink—allowed their friendships to shape and curate the gallery’s space. The artists’ diverse practices span generations, disciplines, and perspectives, exploring the subtle and powerful dynamics of artistic friendship. From long-standing bonds to connections with emerging peers, the exhibition reflects on what it means to share the artist’s life—its triumphs, frustrations, and quiet intimacies—with others who understand the same compulsions, obsessions, and struggles. The works on display reveal relationships built on mutual support, shared motivation, and sometimes tension. They show that friendships in art are not defined by agreement in style or approach, but by the trust, challenge, and care that arise from being part of an artistic entourage. Through intimate studio visits, late-night conversations, and collaborative projects, these connections create fertile grounds where ideas are tested, failures endured, and new visions emerge. Friendship is not only central to the artists’ practice but also to Ruttkowski;68 itself, where long-term relationships have shaped the gallery’s vision, projects, and ongoing development. Friends With Benefits celebrates the unseen structures of artistic life: the networks, dialogues, and shared persistence that make creation possible.

Monica Kim Garza (b. 1988 in New Mexico, US) presents her third solo exhibition Good Old Raisins and Peanuts (GORP) at Ruttkowski;68 in Paris. Monica Kim Garza has been painting what she calls her “character” since university. Originally more figurative, she has now abstracted it into several circles to represent the head and body (and, sometimes, boobs), with a few lines to mark out defining features — eyes, nose, a buttcrack. In Good Old Raisins and Peanuts (GORP) Garza puts her character outdoors, hiking, rock climbing, and lounging on picnic blankets. The accoutrements — backpacks, t-shirts — are pops of colour on neutral bases, which are made up of so much paint that gobs of texture look like rock faces that have been eroded over years. For some of the paintings, the paint layering took over a year — a technique Garza was inspired to use from Eugène Leroy. If viewed without acknowledging the figurative forms, the paintings can be viewed as their own landscapes, where the paint, hauled across the canvas, creates its own ecosystem of mountains and valleys. Yarn, ribbon and even pieces of cloth — which form belts and shoelaces on outfits — look like bits of detritus left behind by passersby. Like the character, the paintings themselves look like they have been on an adventure.

Carolina Aguirre (b. 1990 in Santiago, Chile) presents her second solo exhibition, Body Takes, with Ruttkowski;68 in Düsseldorf. In a new body of paintings, the tectonic land masses that previously structured Aguirre’s work disperse into open planes across which metamorphosing bodily forms traverse in unconstrained expressions of freedom. In these works, method and meaning are entwined. Richly painted surfaces that evoke the visceral qualities of earth, dried blood and smoke are imprinted by the artist’s body in instinctive yet focused movements. Traces of this ritual-like activity crystallise as more-than-human forms. Borders distort and dissolve to trouble distinctions between the human and the animal, presence and absence, the ghostly and the corporeal. Sitting powerfully in these ambiguities, the paintings convey an understanding of selfhood as diverse and in continuous flux. Marking the first time the artist has worked in bronze, two monolithic forms break apart into composite fragments – their textured grey exteriors revealing bronze bellies inside. With each part holding the contours of the unified whole, an energetic dialogue, or push-and-pull, is established. As with the paintings, this transition from the singular to the plural embraces the expansive possibilities of being.

Heather Bause Rubinstein (b. 1975, US) presents Out of the Woods , her first solo exhibition in New York and her first solo exhibition with Ruttkowski;68. To be out of the woods is to emerge from uncertainty — beyond the tangle of branches where we lose our way, and out from the refuge where we gather strength. Heather Bause Rubinstein’s recent series embraces this paradox, transforming the forest into a metaphor for both struggle and becoming. In recent years, Bause Rubinstein’s practice has carried an urgency of gesture, a restless search marked by fragility and resilience. In these paintings, that urgency takes shape, unfolding in abstractions that dissolve the natural world into rhythm and movement. Here, the woods are not simply trees but monumental ‘inscapes’ that hold the tensions of the physical and inner worlds. Shadows and light. Danger and sanctuary. Bause Rubinstein’s abstractions cast the forest as a place of discovery and rediscovery, where losing the path can mean finding a truer one. With her first solo exhibition in New York, Heather Bause Rubinstein offers a vision of emergence: not a final arrival, but an opening onto what comes next.

Thomas Wachholz (b. 1984 in Cologne, DE) presents his third solo exhibition one, two, three with Ruttkowski;68 in Bochum. His practice revolves around the matchstick and its box as medium and motif, exploring repetition, rhythmic sequences, and the dynamics of relationships. Through overlays, fragments, and oversized forms, he creates sculptural compositions that reframe perception and human connections. Beginning with the simple trick of two matches burning together like a kiss, Wachholz translates this ephemeral image into bronze. Surface traces, edges, and irregularities become markers of industrial culture, yet his works retain a poetic lightness. The weight of the material seems to dissolve into the density of his compositions, whose parts extend into space like drawings transformed into objects. His sculptures appear like puzzles that resist a final resolution, shifting into new constellations as viewers move around them. They recall a musical rhythm, in which repetitions and variations function like jazz riffs. In their formal and conceptual structure, the works enter into dialogue with artists such as Joseph Kosuth and Joel Shapiro. Through this interplay of materiality and idea, Wachholz creates an antithesis to reality, a field where heaviness and tenderness, structure and playfulness, coexist in a delicate balance.

Philip Emde (1976, DE) and Stefan Marx (1979, DE) present 5 Jahre Arbeit with Ruttkowski;68 in Düsseldorf. The exhibition is a culmination of five years of collaborative summer painting sessions of the artists and longterm friends at Emde’s studio in Neustadt (DE). It began five years ago as a shared experimentation on a large, vintage hand screen-printing table and evolved to an ongoing exploration of process and form. Together with their friend, expert and technical advisor Björn Wiede on their side, they delved into the possibilities of this technique. The resulting works are a series of monotypes on canvas, characterized by a painterly aesthetic and a reduced color palette of black, white, and red. Using various rounded “joysticks“ Emde and Marx work their motif through the paint-coated screen, achieving differing line qualities and thicknesses. This technique allows for both to emerge a positive and negative work of the same motif. These motifs range from Stefan Marx’s distinctive handwritten words and phrases to imagery drawn from Philip Emde’s Emdiland – his studio, a playful cosmos inhabited by Steiff animals. They also include elements that reflect the artist’s shared environment and experience—such as bats of the COVID-19 pandemic or ice cream sundaes inspired from a local ice cream parlor in Neustadt. 5 Jahre Arbeit exclusively shows works created during these annual summer painting sessions. The word Harmony is written all around a work by Stefan Marx —a fitting reflection of their shared dialogue, work rhythm and joy that defines this progressing work and artistic friendship.

La Galerie Guillaume expose les œuvres récentes d'Yves Lévêque, dans une présentation...

Deeply rooted in her activity as a shepherd and her flock of pedigree Lleyn sheep flock on her farm in Wexford, Orla Barry’s work offers a singular and comprehensive reflection on the living conditions of a rebellious, feminist 'Punk Bo-Peep', subverting the gendered stereotypes and patriarchal norms that shape the representations of the farming milieu, either idealized or silenced. The exhibition will feature a selection of works by Orla Barry, centred around the performative installation Spin Spin Scheherazade. Composed of various modules, including a podium, printed texts on panels, sculptures and audio recordings, Spin Spin Scheherazade will be activated at several moments by performer and long-time collaborator Einat Tuchman.

delpire & co présente, dans le cadre d’Un week end à l’Est et de PhotoSaintGermain, BUCHAREST/PALIMPSEST , première exposition en solo de l’artiste roumain Mihai Șovăială en France. Depuis quelques années, Șovăială explore les couches urbaines de la capitale de son pays. Avec son centre historique et ses précieux spécimens d’architecture Art Nouveau et moderne rasés par Ceaușescu dans les années 1980, ses immeubles socialistes érigés en leur place, ses façades aujourd’hui dégradées doublées de polystyrène par ses habitants, Bucarest se présente plus que jamais comme une ville dont les strates laissent entrevoir les cycles de l’histoire et dont l’état d’inachèvement reflète une indétermination urbaine autant que politique. L’intérêt de l’artiste pour les processus de transformation et de recouvrement l’a poursuivi à Zurich, où il s’est installé en 2020. Loin d’une ville pittoresque, celle-ci prend sous son objectif des airs de chantier géant, dont les bâches dissimulent autant qu’elles ne révèlent son inconscient. Jouant avec l’idée d’un feuilletage du sens, Șovăială augmente sa photographie par l’impression sur divers matériaux – bâche, pierres lithographiques –, pense ses accrochages comme autant de façons d’investir l’espace et déploie ses projets au mur comme sur la page, à travers une pratique continue de l’autoédition. Ces préoccupations rejoignent celles d’Anton Roland Laub, qui a développé avec Mobile Churches, Last Christmas (of Ceaușescu) et Mineriada une enquête sardonique et accusatrice pointant trois chapitres de l’histoire communiste et post-communiste roumaine aux répercussions encore vives sur le présent tourmenté du pays. La part archivistique de la trilogie est ici spécifiquement mise en avant pour le meuble à tiroirs de delpire & co. » — Sonia Voss

La galerie anne barrault est heureuse de présenter la première exposition personnelle d’Ibrahim Meïté Sikely. Né en 1996, Ibrahim Meité Sikely a été diplômé de la Villa Arson en 2022, et est actuellement étudiant en 5ème année à l’école nationale supérieure des Beaux-Arts de Paris. Sa pratique artistique ne vise pas à archiver des histoires oubliées, mais elle tente plutôt d’écraser le réel en tendant vers une mythologie cosmique, basée sur la réminiscence. Ibrahim Meïté Sikely mêle fiction et réalisme, art classique et contemporain, créant des fables personnelles qui lui permettent d’interroger les déterminismes sociaux. Ses œuvres représentent des mondes imaginaires, où se rejouent et déjouent des rapports de forces et de pouvoirs. En se mettant en scène avec ses proches, par le biais de détournements, comme la figure du super-héros ou une iconographie de la peinture du XIXème, Ibrahim Meïté Sikely insuffle à son art une résonance autobiographique.

[PARA] Museum Hanmi, in collaboration with Magnum Photos, presents Magnum Between Pages 1943–2025 , an expansive exhibition tracing the evolution of the photobook as a powerful creative and political medium. Featuring approximately 150 photobooks from Magnum’s esteemed libraries in New York, London, and Paris, the exhibition marks the first time these volumes have been brought together in a single venue. Rather than simply showcasing the works of individual photographers, the exhibition foregrounds the photobook as a site of experimentation: one that has continually broadened the boundaries of documentary practice and public storytelling. [PARA] The exhibition opens with a look at Magnum’s founding in 1947 by legendary photographers Henri Cartier-Bresson, Robert Capa, George Rodger, and David Seymour. This segment introduces visitors to the cooperative’s ethos and the legacy of its members, whose commitment to visual integrity and independent authorship remains foundational to Magnum’s identity today. [PARA] A key focus of the exhibition is Magnum’s documentation of world events through photobooks that transcend journalistic reportage. Indeed, photographers such as Werner Bischof, Abbas, and Susan Meiselas have captured pivotal moments from the Korean War and Iranian Revolution, to 9/11 and the recent COVID-19 pandemic. The exhibition explores how these images were initially published in global media and later recontextualized in photobooks that invite deeper reflection and long-term engagement. [PARA] Another segment, curated by Magnum photographer Martin Parr, examines the rise of the photobook in the 21st century. Spotlighting a younger generation of Magnum photographers, this incorporates selections from Parr’s own collection and his Sofa Sessions video interviews, which delve into the unique creative processes that underpin key publications. [PARA] Vintage photobooks are also featured alongside original photographic prints from Museum Hanmi’s own collection. These pairings emphasize the physicality of the photobook and recall the analog era’s editing practices, where layout, rhythm, and material structure shaped the reading experience as much as the images themselves. [PARA] A rare glimpse into an unrealized project is offered through Eye to Eye , a collaborative portrait book initiated by Magnum’s New York bureau in the 1980s but never published. Visitors can examine a dummy book and internal correspondence that reveal the collaborative challenges and ambitions behind Magnum’s editorial projects. [PARA] Finally, a segment curated by Korean photographer Kyungwoo Chun takes a deeply human approach. Titled Life-Time , it views each photobook as a metaphor for a life lived. From Chien-Chi Chang’s The Chain , documenting psychiatric patients in Taiwan, to Alec Soth’s Dog Days Bogotá , which reflects on the adoption of his daughter, the selection reveals the emotional and ethical range of the photobook form. [PARA] To deepen engagement, a specially designed reading room invites visitors to browse select photobooks and experience their tactile and structural qualities. A printed tabloid publication accompanies the show, offering extended commentary and context in an accessible, newspaper-style format.

Jakopič Gallery presents a major exhibition of work by Paolo Pellegrin (b. 1964, Rome), one of Italy’s most prominent photographers and a globally acclaimed photojournalist. Over the course of more than three decades, Pellegrin has become a leading visual chronicler of conflict, human suffering, and resilience. A full member of Magnum Photos since 2005 and the recipient of eleven World Press Photo awards and the Robert Capa Gold Medal among others, he is known for a distinctive visual language that blends expressive use of light and shadow with lyrical, deeply empathetic storytelling. An Anthology is not a chronological retrospective, but a carefully curated dialogue among photographic series spanning continents and decades. It opens with three nearly black images of interiors from Gaza, where light enters only through ruptures left by gunfire – fragments of trauma and survival. It concludes with almost entirely white photographs from Antarctica, where cracks in the snow hint at unseen instability beneath a surface of purity. Between these two poles of darkness and light, blackness and whiteness, lies the full complexity of humanity – captured through Pellegrin’s lens attuned to every shade in between. The exhibition takes us from war-torn cities to scenes of environmental collapse, from fleeting moments of hope to the aftermath of destruction. Pellegrin’s early project on ethnic Albanian refugees fleeing Kosovo (1999) already reveals his instinct for intimacy and expressive form. He went on to document major global crises: the second Palestinian intifada (2002–2004), the U.S.-led invasion of Iraq (2002–2003), the conflict in Darfur (2004), the Indian Ocean tsunami (2005), and Israeli airstrikes in Lebanon (2006). His sustained focus on Gaza – from Operation Cast Lead (2009) to young civilians bearing the lasting scars of war (2012) – remains among the most powerful visual testimonies in contemporary photojournalism. In Syria and ISIS-held Mosul (2016), Pellegrin captured the devastation of urban warfare and its toll on civilians. In parallel, his work on migration across the Mediterranean (Libya and Greece, 2015) exposes political failure and human vulnerability. His most recent series from Ukraine (2022/2023) likewise reveals his distinctive approach – a departure from the spectacle of war toward the quiet acts of collective mourning. Rather than scenes of combat, Pellegrin captures civilians kneeling by roadsides as fallen soldiers are returned home – images that foreground grief, solidarity, and dignity. Beyond conflict, his practice extends to environmental issues with stark images from Antarctica (2017) and Australia’s forest fires (2022), confronting viewers with the fragility of nature. Photographs, several among them vintage prints, and videos have been carefully selected from Pellegrin’s personal archive and the archive of Magnum Photos, which also produced the exhibition and collaborated with Jakopič Gallery. An extensive monograph, Event Horizon , published by Marsilio Arte, is available for purchase.

Let the darkness be a doorway brings together three works produced between 2024 and 2025. Together, they continue James Webb's exploration of the invisible, the sacred, and the nuclear. Knowing The Ways is an immersive sound installation created in the former R1 nuclear reactor beneath Stockholm. A choir performs five of the Virtues from Hildegard of Bingen's Ordo Virtutum (1151): Humility, Love, Fear of God, Mercy, and Hope. The voices rise and resonate through the site's underground architecture, captured by sixteen microphones. Six loudspeakers, mounted on scaffolding that appears to support the gallery, transmit these shifting echoes, enveloping visitors in a dialogue between spirituality and science, the subterranean and the celestial. The figure of Hildegard of Bingen reappears in The Tongue Is A Flame | The Flame Is A Tongue, a banner inspired by one of her mystical visions, as depicted in the Scivias manuscript (1151). Originally presented as a flag, a new version of this motif in banner form is shown. These visions—later interpreted as migraine auras—resonate with James Webb's own experience, as he also lives with these neurological phenomena. A poetic video work completes this triptych: a static shot of shimmering light on the surface of Tranbärssjön, an artificial lake created in the former Ranstad uranium mine in Sweden. The sun's reflections visually evoke the sparkles and distortions caused by a migraine aura—a subtle fusion of industrial memory, intimate biology, and altered perception.

Cet accrochage, au sein de la galerie d'architecture moderne et contemporaine, illustre la méthode de l'architecte : fouiller la mémoire des lieux à la recherche de ce qui est oublié ou effacé.

L’art contemporain au cœur des architectures médiévales et classiques Avec Chromoscope et Mute – Fabienne Verdier, la Cité ouvre un nouveau cycle d’expositions, où l’art contemporain s’invite dans nos collections. Entre héritage du color field américain et création contemporaine, Fabienne Verdier investit les espaces de la Cité avec une série de toiles monumentales.

Comment l’architecture transforme-t-elle les « Quartiers de demain » ? Lancée en juin 2023 par le président de la République, cette consultation internationale vise à transformer dix quartiers prioritaires de la politique de la Ville en France (QPV). Son objectif : imaginer des solutions architecturales innovantes pour améliorer le cadre de vie et les conditions dhabitation dans ces quartiers.

Un regard sur le mouvement color field Avec Chromoscope et Mute – Fabienne Verdier, la Cité ouvre un nouveau cycle d’expositions, où l’art contemporain s’invite dans nos collections. Entre héritage du color field américain et création contemporaine...

Prix créé en 1980, le palmarès des AJAP récompense tous les deux ans les jeunes talents de l'architecture et du paysage, professionnels de moins de 37 ans, pour des projets réalisés ou en concours en ...

In October, Derouillon presents ‘Props’ a new group exhibition curated by Marion Coindeau including Uri Aran, Diane Dal-Pra, Tetsumi Kudo, Shuang Li, Liz Magor, Kirill Savchenkov. The show will gather new productions alongside historical works. ‘Props’ approaches absence as a critical experience through which our everyday perceptions are reexamined. In his essay The Weird and the Eerie , Mark Fisher defines the 'eerie' as a feeling of unease arising from the failure of absence - or the failure of presence - that is, when a presence is perceived without any identifiable agent. The works brought together in the exhibition highlight these fractures in the fabric of the world, exploring the in-between space where the familiar gives way to the uncanny, and embracing the inevitability of what escapes our grasp. Moving beyond the humor or melancholy evoked by the eerie, the artists use its unsettling quality to gently surface the forces of domination and the images that structure our everyday lives. Whether unveiling and disrupting implicit social hierarchies, revealing doubt as a political instrument of destabilization and control, or weaving playfully with the fabric of language, the works unsettle our grasp of absence - not as mere immaterial void or non-existence, but as a deeply sensitive and resonant state. For even absence, in being named, slips away from its very essence as language gives way to light and space - what’s said becomes something felt. The works’ tactile and haptic qualities foster a sense of interaction and intimacy - between us and the medium, as well as among the media themselves. ‘Props’ suggests both a deceptive object and something that serves as a support for something else - something that they are not, or not really, or not supposed to be, or not yet. It can be intimate and disconcerting at the same time, giving rise to moments that blend playfulness with melancholy. As Didi-Huberman writes in Ce que nous voyons , ce qui nous regarde : “Let us open our eyes to feel what we do not see” - leading us toward a more sensitive form of knowledge, a space for reflection, for challenging the obvious, and for embracing dissent. Marion Coindeau

Salon 94 welcomes Galerie Derouillon this fall for a space swap between Paris and NYC—launching Alex Foxton’s first U.S. solo show in the gallery’s historic New York headquarters. In his first solo show in New York, Alex Foxton explores masculinity in a moment when it is both overstated and reduced to its most uniformed and rigid codes. The exhibition’s title is drawn from the 17th- century novel Don Quixote . The author, Miguel de Cervantes, referred to his main character as “Knight of the Sorrowful Countenance.” This nickname as later adopted by the 20th-century Spanish matador Manolete—a recurring figure in Foxton’s work who named himself in homage to the literary hero. The three utterances of the epithet present the path by which storytelling and persona draw us into the space between delusion and principle, flamboyance and tradition, personhood and symbolic gesture. Born in the UK in 1980, Foxton works from Paris where he has centered his practice on painting the male figure through the shifting languages of authority and cadence—in groups, or individuals pulled from groups—as they make malleable the components of their personhood just below the surface. From portraying Henry VIII with lipstick and glitter ( Honi soit qui Mal y pense , 2021) to reimagining the masculine wardrobe in charcoal portraits of his own garments ( Hex , 2022), the tensions of fantasy permeate every canvas, questioning the seductive nature of authority itself. Foxton frequently works from photographs that were once headlines— images that are widely known and, to some degree, the details of which have been long forgotten. This open space gives the void for the artist to paint through historical images with counterpoints of intervention and insight, building up thick layers of paint that give the background a dense, palimpsest-like depth, on which the figures emerge with the immediacy of drawing. Glitter often appears on the canvas, recurring in Foxton’s work as a way of softening the bold masculinity of his figures. This spectral reimagining stems from reality, yet through his restrained palette and graphic precision with colors and line that recall Warhol’s screenprint paintings (of yesteryears’ headlines...), he recontextualizes their meaning. Foxton brings these past events into dialogue with our contemporary—future? —anxieties. In the Wood Room, two large canvases (all 2025) portray groups of men in military regalia confront viewers with a forceful presence—a palpable sense of physical domination, five men in each work tower over their audience. These men in uniform capture the moment when individuality dissolves into collective identity—revealing the attraction of conformity and authority—and the dread it carries when the individual is extracted and isolated from the group. From the youthful grace of schoolboys running in Etonians (I) and Etonians (II) we foretell the rigid formations of future militarism (two soldiers are pictured, rank and file, in Cadets .) These works embody the uneasy betweenness of allure and menace, domination and desire, adolescence and adulthood. In the adjacent gallery, group dynamics give way to solitary, subdued figures and cropped portraits. Here, the colors soften and the surfaces appear weathered. Portraits of figures such as Lawrence of Arabia and Roy Cohn emerge as flattened, stylized bodies vibrating with tension— magnetic yet hollow, seductive yet disquieting. With limbs blurring into the background, the figures become uncontained, dissolving like ghosts, with the intoxication of power inevitably eroding into self- destruction. ‘Knight of the Sorrowful Countenance’ is neither parody nor nostalgia. Instead, it stands as an unflinching study of power’s erotic pull, asking what it means to desire the spectacle of authority, when does discipline become militarism and when does tradition become dogma?

Aveycke Press s’installe à Aperto – project space pour une résidence de trois mois. Aperto jusqu'au 19 décembre 2025.

Depuis quelques années, nous avons choisi de confier notre programme de rencontres autour de la performance à des artistes dont la pratique, inscrite pour une part dans ce champ, navigue également dans d’autres disciplines. Après Julie Bena, Flora Bouteille, Pauline Ghersi & Liv Schulman, c’est maintenant Helena de Laurens et Lina Schlageter qui nous accompagneront en 2025-2026.

La première exposition du Nouveau Programme de la Fondation Pernod Ricard Avec Saodat Ismailova, Alexandre Khondji et Hélène Yamba-Guimbi Commissaire : Liberty Adrien

TALK WITH AND ABOUT Cycle de discussions organisée par la Fondation d’entreprise Pernod Ricard à Paris Internationale Une proposition d’Alice Dusapin Du 22 au 25 octobre, tous les jours à 17h Rond-point des Champs-Elysées, 75008 Paris Niveau -1

Le Guest Program de la Fondation Pernod Ricard est un espace de programmation ouvert et flexible, en même temps continuité et approfondissement des activités de la Fondation et sa Librairie. Constitué d'invitations diverses faisant écho aux réflexions et aux formes qui nourrissent l'actualité de la création artistique et de l'édition, il déploie des propositions variées et décloisonnées : lancements de livres, discussions et performances côtoient des rendez-vous plus réguliers lors d'ateliers thématiques autour notamment des pratiques d'artistes, de l'auto-édition, du graphisme et de la traduction.

The Group Show is a collection of works by various artists, showcasing a diverse range of styles and mediums. The exhibition will run from October 16 to November 30, 2025.

Art: Concept is pleased to present Nina Childress’s second solo exhibition. Passionate about cinema and its icons, the artist has created a series of paintings entitled Casting . Continuing her technical research, Nina Childress uses iridescent pigments and chameleon pigments to create scenes and portraits in motion that question the nature of the gaze and the position of the viewer. The viewer becomes an actor in their perception of the image, with colours subtly varying as they move in front of the canvas. Cinematic framing, off-screen effects and striking expressions evoke the world of the big screen.

Xippas Gallery is pleased to present, for the second time in its Geneva space, an exhibition dedicated to the Franco-Argentinian artist Pablo Reinoso. The artist first gained recognition through his monumental interventions in public spaces, both in France and abroad. For this exhibition, he takes over the gallery space with a series of works, some of them previously unseen that engage with a more intimate scale. Through his multidisciplinary practice, Pablo Reinoso moves seamlessly between sculpture, installation, architecture, design, drawing, and painting. His work, often organized in series, explores notions of materiality, function, and space. Using a wide range of materials and media, he questions their intrinsic functions extending, transforming, and reinterpreting them in order to shift them into new aesthetic and conceptual territories.

One hundred years ago, on October 29, 1925, Panayiotis Vassilakis, known as Takis, was born in Athens. The Xippas gallery has chosen to celebrate a double anniversary: the 100th anniversary of Takis’s birth and the 35th anniversary of the gallery, by bringing together a collection of historical works under the curatorship of Alfred Pacquement. A major figure in sculpture since the late 1950s, Takis has set magnetic forces in motion, defying gravity in a universe of light and sound. Fascinated by technology, which he imbues with a poetic dimension, by radars that detect metallic objects in the cosmos, by invisible waves that pass through the atmosphere transmitting messages, Takis chose magnetism as the basis of his visual language. Thus, a simple nail or any other metallic element is levitated by a magnet. In 1960, he pushed this approach to its paroxysm by exhibiting The Impossible, a Man in Space at the Iris Clert Gallery, a portrait of which appears in the exhibition. Suspended in the void and held by magnets, the poet Sinclair Beiles proclaimed «I am a sculpture.» The introduction of light and electromagnets, which add continuous vibrations or sudden, random movements to the devices, broadens the artistic vocabulary. This vocabulary would later include sound, introduced through musical sculptures in which an electromagnet attracts and repels a needle, causing a piano string to vibrate. As early as 1961, Takis dreamed of creating an instrument capable of capturing the music of the beyond, as he wrote in « Estafilades». He further expanded his approach through theatrical performances and monumental installations—such as Trois Totems – Espace musical at the Centre Pompidou (1981)—and by engaging with urban environments, notably with the Light Signals fountain at La Défense (1987). Renos Xippas began working with Takis in 1974. Initially studio director, he quickly became Takis’s confidant and later his gallerist, starting in October 1990 with the opening of his gallery in Paris. Their relationship was marked by an uninterrupted artistic collaboration that spanned 45 years, resulting in over thirty exhibitions in galleries and international institutions. Renos Xippas inaugurated his Paris gallery 35 years ago with what remains, to this day, Takis’s most significant gallery exhibition: a large-scale installation paying homage to Marcel Duchamp, a musical environment, and a forest of light signals that filled every space of the gallery. This new exhibition takes the form of a retrospective anthology, retracing the key moments of the artist’s career. It opens with rare wrought-iron sculptures from 1954, which bear witness to the beginnings of his work, shaped by the dual influence of Giacometti’s hieratic figures and the Greek archaic tradition—an influence echoed in their mythologically inspired titles. Within this selection of historical works retracing the main facets of Takis’s sculpture, one will also find a rare Télésculpture – Jeu d’échecs from 1964, a tribute to Duchamp, as well as a large collection of metal signals, including some of the very first created by the artist. Fascinated by the «iron jungle» he discovered at Calais railway station, Takis began designing his first abstract sculptures by assembling flexible rods with gentle vibrating oscillations, topped with salvaged elements and later enhanced with flashing lights. An «intuitive scholar» as he described himself, Takis succeeded in merging artistic exploration with scientific innovation in a highly original way. Telepaintings and magnetic walls that question the very notion of painting, spherical interior spaces—sometimes exploded—dials with random flashes, pendulums and magnetic balls in constant oscillation, and sound sculptures generating unpredictable music: all of these elements come together in the exhibition, offering a synthesis of a unique visual universe and one of the most essential artistic approaches of recent decades.

Anthological exhibition, works from 1967 to 2025 Curated by Manuel Neves Xippas Gallery is pleased to present, for the first time in its Geneva space, an exhibition dedicated to the Uruguayan artist José Gamarra. The anthological exhibition Whispers in the Forest traces fifty years of creation by this singular artist through an exceptional selection of paintings and drawings. «We must return to the forest where the source of our words lies, the reliquary of signs and forms that haunt us — not knowing whether it threatens us or is favorable to us.» Édouard Glissant In José Gamarra’s 2024 painting La Vigie (the watcher), we see a canoe peacefully crossing a river. Four figures are inside. At the center, Jesus of Nazareth is flanked by a dog and escorted by a demon, both watched over by a Spanish conquistador armed with an arquebus. Everything described appears consistent with the narrative of colonial Baroque art created in the Americas, but the scene is completed by one final figure who not only adds an incongruous and fantastical dimension to the work, but also anchors it in the contemporary context it projects. This final figure, the one steering the boat, is Superman. The famous American superhero is cast as an emblem of North American culture and politics across the American continent (and the Western world). Likewise, in the detailed jungle setting surrounding the scene described above, an Indigenous person can be seen observing the scene.

Berlin-based artist Olaf Holzapfel, who was a guest at Villa Kamogawa from September to December 2024, will appear in the autumn session of the Setouchi Triennale 2025. Ibuki Island is an impressive testament to human settlement and the interrelationship with nature. Up to 4,000 people lived on this small island exclusively from fishing. Their lives were directly connected to the elements, the creatures and their living conditions. The relationship between these life forms always depends on mutual understanding. The same idea was also explored in old stories such as the fairy tale ‘The Fisherman and His Wife’ , written by the Romantic poet Philipp Otto Runge. Holzapfel sets the story in a traditional Japanese house where many children once lived. In a stage setting, three universal craft techniques are presented that have timeless significance in both Japan and Germany: dyeing, straw weaving and carpentry. Japanese actress Miho Takayasu (https://mihotakayasu.com/) narrates the fairy tale in the animated film created by Holzapfel and Moritz Stumm. Like the fairy tale, the installation deals with the relationship between humans and nature, its cycles, the challenges of human desires and the limits of material existence. And with the realization that these limits are also the place of home, like the house in which the installation takes place, like the island that is home to the people. Holzapfel thus takes up a theme that is as familiar to the fishermen of Ibuki Island as it is to other craftsmen: the relationship and balance between our bodies and the elements. Olaf Holzapfel Holzapfel uses the idea of light play to create a unified space that incorporates the installation, the history of the venue, and the island of Ibukijima itself. Olaf Holzapfel created his work with the support of two Japanese craft companies: UEJIMA SANGYÔ (https://kyoto-uejima.com/) , a manufacturer of traditional shimenawa from Wazuka/Kyoto, and SOMAKOSHA (https://www.somakosha.com/) , a company specializing in timber construction from Okayama.

Through a triptych of works, 'Là où s’effondrent les dragons' composes a sensitive narrative between memory, science and fiction. By exploring the visible and invisible forms of the mountain, faithful to itself, Capucine Vever gives voice to threatened landscapes, forgotten telluric forces, and the legends that, for a long time, allowed humans to name the unknown. A project at the crossroads of geopoetics and the archaeology of the sensible, which invites us to think differently about disappearance and collapse – no longer as an end, but as an inevitable metamorphosis.

La constellation de Monsieur S n’est ni une exposition sur les fantômes, ni une exposition sur la mort. Elle s’organise plutôt comme un kaléidoscope de présences ineffables. Elle explore ce qui, dans notre époque, continue d’agir sans être pleinement nommé ou accepté. Il peut s’agir de la beauté fragile des ruines, d’un attachement nostalgique à des architectures imaginaires, ou encore de l’infinité du cosmos, cette terra incognita contemporaine vers laquelle tant de croyances projettent leurs esprits désincarnés. Mais il est aussi question des fantômes numériques, ces avatars sans corps mais non sans pouvoir, qui hantent les réseaux et les discours, parfois avec perfidie. Ou encore de ces morts silenciées, causées par les logiques du capitalisme tardif, et effacées par lui. La dernière salle, enfin, est consacrée aux rituels et au soin des corps, qu’ils soient morts, vivants voire les deux à la fois, comme autant de corps étrangers qui ne peuvent être expliqués malgré tous les efforts concertés par les sciences. La constellation de Monsieur S est une polyphonie de voix silencieuses, un carambolage d’absences passées, une sédimentation de signes discrets. Cette exposition est autant de possibilités pour Monsieur S d’exister, de se manifester, ou d’être vu, à condition de bien vouloir le chercher.

Cet automne, le musée Cernuschi vous invite à placer vos pas dans ceux des lettrés et moines archéologues qui parcouraient montagnes et sanctuaires en quête d’inscriptions antiques gravées sur la pierre ou coulées dans le bronze. Accompagnés par une conférencière, découvrez comment les signes et formes archaïques inspirent des œuvres dont la modernité naît de l’association inédite entre calligraphie, peinture et estampage. Une rencontre qui témoigne de la révolution visuelle en cours dans la Chine du XIXe siècle.

Entre collection et érudition en Chine au XIXe siècle : pratiques lettrés autour des bronzes archaïques. Olivier Venture, Directeur d’études à École Pratique des Hautes Études – PSL. Lieu : auditorium Gratuit, sur réservation en ligne Durée : 1h Emplacement : Auditorium Informations de base : Sur réservation, dans la limite des places disponibles. Gratuit Acheter en ligne (https://framaforms.org/inscription-a-la-conference-du-20-novembre-2025-1760089352)

Lutum is an exhibition conceived in two voices, bringing together the worlds of Alexander Rączka and Javier Carro Temboury. Its title, from the Latin lutum, meaning "mud", recalls that the ancient name of Paris, Lutetia, also finds its origin in this raw material. Mud, both fertile and unstable, here becomes a shared metaphor: that of a common ground, a soil where history, memory, and fictions intertwine. Javier Carro Temboury, Intercontainers (Desert Tales) , 2025, Second-hand ceramics, industrial cut, 51 x 83 x 11 cm © Salim Santa Lucia Just a hundred meters away flows the Seine. Its successive floods and the erosion of its banks bring to light buried artifacts, gradually exhumed by the silt. When the waters recede, they drag along trunks, shopping carts, and washing machines, leaving behind the remnants of a submerged past. Alexander Rączka’s practice unfolds transversally, integrating within painting a diversity of media that expand its expressive possibilities. Some of his series arise from urban research, where the artist collects iconographic forms already present in public space while observing those that emerge more fleetingly. The city appears as a living swamp: submerged relics mingle with contemporary ruins, a continuous sedimentation is at work, weaving a spatio-temporal network of exchanges between places, objects, and individuals. Mud thus becomes a space of memory, where the city’s affects as much as its symptoms are revealed. On this same riverbank, Javier Carro Temboury summons another archaic image: that of a human who, almost intuitively, might have shaped clayey mud for the first time without really thinking about it, leaving it forgotten by the fire, only to find it hardened. Accidental gesture, founding gesture: once fired, mud becomes irreversible. Javier Carro Temboury collects and repurposes found objects, particularly fragments of ceramics, to reveal their historical and symbolic charge. These materials, bearers of everyday uses or forgotten memories, become the starting point for assemblages that place tradition and innovation in tension. From funerary urns to construction bricks, from water pipes to spacecraft, humanity has prolonged its own existence through this transformed matter—both tool and memory of its civilization. Thus, mud connects us. In the contemporary silt as in the archaic hearth, it preserves and invents, it buries and reveals. It offers us fragments of ourselves— those affects we weave with objects, images, ruins, and flows —while opening up a shared narrative where the city, its ailments and its potential, and the very origin of civilization converge. Lutum questions this passage between the sediments of the present and the earliest gestures, between what fades away and what endures. It invites us to think of mud not as a residue but as a matrix: a space of revelation, resurgence, and reinvention.

Solo exhibition by Frédérique Loutz titled 'Le rire n'est pas pur' (Laughter is not pure)

The Art of Now: A New Generation presents a vibrant selection of works by emerging artists from around the world. The exhibition showcases a diverse range of mediums and approaches, offering a glimpse into the future of contemporary art.

Emanuela Campoli is pleased to announce The Pulverized Poem, Nick Mauss’ fifth exhibition with the gallery and his first in Milan. For his exhibition at 48, Foro Bonaparte, Nick Mauss juxtaposes two mirrored murals and a drawing on paper and voile in an apartment that appears suspended in a state of ambiguous habitation -- not yet, or no longer, lived in or vacated. Painting behind glass, Mauss enacts procedures of painting in reverse. Line and color, applied in layers on the verso of the transparent support, produce a meshwork of simultaneous description, figuring fragments of bodies in a gestural vocabulary that shuttles between written language, obliteration, and ornamental cipher. Through a process of silvering, the painted glass is rendered reflective, animated by alchemical swarms of silver deposits and halos of oxidization behind the brushmarks. Corresponding and reacting to the given architecture of the space, and bodies that move in it, these works simultaneously invoke decorative interior schemes, early photographic processes, and the psychological function of mirrors in Baroque paintings and noir cinema. But the fraught implication of decorative painting here also functions as a vandalization of the field of vision, as the viewer finds herself implicated in the collapsed space of these painted mirrors, registering a cross-hatching of gazes. In addition to the mirrored murals, the exhibition includes a paratactic drawing composed of multiple conterminous sheets, seen through a length of voile. Marked with a grid that echoes the sheets of glass, the transparent fabric overlay suggests another interference, or delay, of vision, as much as a sense of fragility and dissolution. "To read this poem," Maurice Blanchot wrote of René Char’s collection The Pulverized Poem , "is to accept....the experience of a certain breaking up, an experience of separation and discontinuity."

Exhibition by Pernille Pontoppidan Pedersen

The Group Show presents works by a diverse range of artists, exploring themes of identity, culture, and the environment. The exhibition features painting, sculpture, photography, and video installations.

This solo exhibition showcases the latest works by Artist Name, focusing on their ongoing exploration of abstract forms and colors. The exhibition includes a series of new paintings and drawings, as well as a site-specific installation.

Présentation Dans la continuité de son importante rétrospective au Palazzo Real de Milan, Valerio Adami présente à Paris à la Galerie Strouk une sélection d’oeuvres récentes. Le maestro aime à déclarer que le rôle de l’artiste est de défendre sa conception de l’art et c’est ce qu’il fait à merveille dans ses nouvelles toiles : son monde allégorique tributaire de ses voyages et de ses références culturelles nourri d’introspection et de mélancolie traduit comme l’écrit Daniel Arrasse «l’imminence d’une tragédie». Avec la peinture et la philosophie qui sont pour lui des instruments du doute, Adami continue de déconstruire l’image qu’il change en interrogation et à force de dessin et d’aplats de couleurs, «le tableau plus qu’une interprétation du réel est un dispositif pour penser. [1] (https://www.stroukgallery.com/#_ftn1) » Pour Adami, peindre, c’est la volonté de déposer son autobiographie. Il traite souvent de rendez-vous coupables et représente des endroits de passages ou des lieux intimes, certains confinés, feutrés, d’autres ouverts à l’aventure. Durant sa période Pop, il signe avec ses collègues de la Figuration narrative un retour à l’image face à la peinture informelle et gestuelle basée sur l’émotion de l’artiste. Il restitue au tableau son contexte social et plus particulièrement l’emprisonnement du corps dans un monde urbain, à la limite carcéral. Par la suite, à partir de ses «mythologies quotidiennes», il s’interroge sur la place de l’homme dans l’histoire, le mythe et la tradition. Apparaissent alors dans ses œuvres des figures tirées de l’Antiquité où dans sa modification des légendes, il propose une archéologie de la pensée, par sa mise en place d’une «diaspora des idées». Comme toujours son dessin aigu s’impose sur «le vide matériel de la couleur» en larges aplats et nourrit une certaine angoisse qui développe le sens d’un tragique intemporel et distancié. Son trait si caractéristique joue sur des associations, des juxtapositions, la fusion d’idées : l’expérience personnelle, la vie, la philosophie, la politique, l’art, l’inconscient… et il déclare : «Au fond, je ne recopie que les élans du cœur dans toutes leurs complexités. Ces impulsions sont faites de mémoire, d’émotion, de désir et de soif du futur. Tout est là, entre l’intelligible et le non-intelligible. Je travaille surtout pour montrer la complexité du cœur. [2] (https://www.stroukgallery.com/#_ftn2) » Dans ses œuvres récentes, Adami propose une sorte d’inventaire des signes de connivence entre l’art et le temps pour rompre « l’ordre menteur de l’impérissable ». Avec ses paysages métaphoriques sous la lune et les étoiles, face au soleil du matin et du soir, il se dégage du temps de l’Histoire pour celui de la Vie, un temps dont sa vie personnelle est la mesure. Il marie ainsi encore une fois de façon magistrale le temps de l’Occident, celui du changement et du quotidien et celui de l’Orient, celui de l’inchangé, de l’immuable et du mythe. Comme il l’explique : «Là résident tout le mystère et la magie de la peinture : créer un mythe, créer ce conflit entre le temporel et l’intemporel.» Renaud Faroux [1] (https://www.stroukgallery.com/#_ftnref1) O. Kaeppelin, Un doute radical , Éditions Strouk, Paris, 2024. [2] (https://www.stroukgallery.com/#_ftnref2) R. Faroux, Le Pop Art en Europe , Éditions Mare Martin, Kremlin Bicêtre, 2017.

Cet automne, la Galerie Loft réunit les œuvres de Arx Lee (Li Chaoxiong), Bernard Quentin, Christos Kalfas, Francesco Marino Di Teana, Liên Hoàng-Xuân, Li Tianbing, Guillaume Piéchaud, Philippe Hiquily, Ma Sibo, Zeng Hao, Qiu Zhijie et Quiberon.

Figure majeure du Pop Art, Andy Warhol (1928-1987) a su capter l’esprit d’une époque marquée par la société de consommation, l’explosion médiatique et la naissance d’une culture globale. Ses Flowers, ses portraits de Liza Minnelli, Man Ray, Sylvia Williams ou encore son jouet réinventé Rollover Mouse incarnent une vision où l’image devient mythe.

At the invitation of the Stephan Witschi Gallery in Zurich, our gallery is honoured to be taking over the walls on Limmatstrasse to present a selection of works by the German photographer Michael Schnabel. Schnabel's work is characterised by a poetic and introspective quality. Combining technical mastery with a contemplative approach, he explores the serene atmospheres of nature in his work. With a naturalistic aesthetic, his photographs invite viewers to experience the plant world and the landscape through contemplation, anchored in an atmosphere of tranquillity. The photographs, mostly in black and white, are rigorously meditative in their approach, with every detail carefully observed. Series such as Stille Berge, Weisses Land and Bäume speak of a spiritual relationship with the environment where time seems to stand still.

In 2025, Galerie Esther Woerdehoff will return to Paris Photo at the Grand Palais, exhibiting in the main sector with a new selection of artists. En 2025, la Galerie Esther Woerdehoff reviendra à Paris Photo au Grand Palais et exposera dans le secteur principal, avec une nouvelle sélection d’artistes.