Die Mädchen von Olmo II [Les Filles d’Olmo II] [The Girls of Olmo II] 1981 Huile sur toile Oil on canvas 250 x 249 cm

Musée national d’art moderne, Centre Pompidou, Paris © Georg Baselitz, 2021 Photo © Centre Pompidou, MNAM-CCI / Bertrand Prévost / Dist. RMN-GP

October 20th > March 7th 2022

Baselitz – La rétrospective is the first exhaustive exhibition by the German artist, born in 1938, curated by Bernard Blistène, with the complicity of the artist. Some six decades of creation are broached in a chronological visit that highlights the artist’s most striking periods of work.
From his early paintings to the Pandemonium manifesto at the start of the 1960s or the Heroes series, from the Fractures to his upside-down motifs from 1969 onwards, the exhibition also looks at the successive series of artworks in which Baselitz experimented with new pictorial techniques. Various aesthetics are presented, inspired by references to art history and his intimate knowledge of the work of many artists such as Edvard Munch, Otto Dix, or Willem de Kooning, as well as to Russian painting and the self-reflexive creations Remix and Time.

Gallery 1, Level 6.

Curator: Bernard Blistène

Georgia O’Keeffe Red, Yellow and Black Streak, 1924 Huile sur toile, 101,3 × 81,3 cm Centre Pompidou, Musée national d’art moderne, Paris.

Don de la Georgia O’Keeffe Foundation, 1995 (AM 1995-178) Ph © Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. RMN-GP  © Centre Pompidou, MNAM-CCI

September 8th > December 6th 2021

The Centre Pompidou presents the first retrospective in France of Georgia O’Keeffe (1887–1986), one of the greatest figures of North American art of the twentieth century. A richly diverse presentation of over a hundred paintings, drawings, and photographs, the exhibition provides a thorough overview of her artistic career. Living to the venerable age of 98, Georgia O’Keeffe traversed the better part of the aesthetic adventures of the previous century. In the 1920s, she belonged to the tight circle of the inventors of American modernism, later participating in the search for identity prevalent in the United States in the 1930s, before becoming a pioneer of ‘hard edge’ abstract painting in the 1960s. 

Curator: Didier Ottinger, deputy director of the Musée National d'Art Moderne,

Gallery 2, Level 6. 

Ettore Sottsass, Maquette spatiale, 1946-47 Tôle, fil métallique, bois, 53,3 x 17 x 18,5 cm

Coll. Mnam/Cci © ADAGP, Paris, 2021 Ph © Centre Pompidou, MNAM-CCI/Georges Meguerditchian/Dist. RMN-GP

October 13th > January 3rd 2022

The exhibition Ettore Sottsass, l'objet magique, presented from 13 October 2021 to 4 January 2022 at the Centre Pompidou, brings together an unique ensemble of major historical works by the Italian designer Ettore Sottsass (1917–2007), from the 1940s to the 1980s. Over four hundred artworks (drawings, paintings, design objects), five hundred photographs, and two hundred original documents from the archives of the Bibliothèque Kandinsky, highlight all of the creative components of his work.
Painting, sculpture, literature, modern avant-gardes, and radical architecture are deployed within a chronological visit. One of the highlights of the exhibition is the partial reconstruction of a historical exhibition from 1969, in Stockholm, featuring an exceptional collection of monumental ceramics contributing to his ‘magical design’ approach. For Sottsass, there is no difference between a pottery work, a piece of furniture, a photograph, or a text, since each one is the ritual punctuation of a cosmic whole.
Designer, architect, writer, Ettore Sottsass Jr. (Innsbruck, Austria, 1917–Milan, Italy, 2007) was a precursor to every period of his life. Opposing rationalism, he constantly asserted an emotional experience of objects. He saw design as a way of revising the fundaments of architecture, as well as weaving a new connection between humans and objects: ‘I have always thought that design starts where rational processes stop and where those of magic begin.

Gallery 3, Level 1

Curator:
Marie-Ange Brayer, curator, head of the design and industrial prospection department
Céline Saraiva, conservation attaché

Sara Cwynar, Girl from Contact Sheet II, 2013. Epreuve à jet d’encre pigmentaire 76,2 x 61 cm

Don des Amis du Centre Pompidou, Groupe d’Acquisition pour la Photographie, 2018 Collection Centre Pompidou, Paris Musée national d’art moderne - Centre de création industrielle © DR  Photo © Centre Pompidou, MNAM-CCI/Audrey Laurans/Dist. RMN-GP

September 15th > January 13th 2022

The collective exhibition L’image et son double brings together artworks stemming from artists’ fascination for reproduction, one of the principal properties of photography, if not its most essential one. Historical and contemporary works will be compared, as this exhibition sheds light on the nature of photography and its relationship with other artistic disciplines.

Curator: Julie Jones. 

Soiree Prix Marcel Duchamp 2018 ADIAF - CM Studio - Cecile Muzard Photographe-26

October 6th > January 3rd 2022

The Marcel Duchamp Prize, in partnership with the ADIAF, resolutely aims to showcase the French art scene in the eyes of the widest possible audience. It highlights the creative melting pot of the French art scene. It recognises the most representative artists of their generation and promotes abroad the diversity of practices at work in France today.

The 2021 nominees: Julian Charrière, Isabelle Cornaro, Julien Creuzet, Lili Renaud-Dewar
The winner will be announced on 18 October 2021.
Gallery 4, Level 1
Curator: Philippe Bettinelli

Centre Pompidou

Place Georges Pompidou, accès par la Piazza

75004 Paris

www.centrepompidou.fr

T.+33 (0)1 44 78 12 33

On the left : Anne Imhof, Untitled (Natures Mortes), 2021
Courtesy of the artist, Galerie Buchholz and Sprüth Magers

Center : Anne Imhof, Passage, 2021
Courtesy of the artist, Galerie Buchholz and Sprüth Magers

On the right : Wolfgang Tillmans, An Der Isar II, 2008
Courtesy Galerie Buchholz (Berlin, Cologne, New York)

Photo credit : Andrea Rossetti

May 22nd > October 24th 2021

After laying siege to the German pavilion with her exhibition and performance Faust, which won the Golden Lion at the Venice Biennale in 2017, Anne Imhof takes possession of the whole Palais de Tokyo to compose a total and polyphonic œuvre. She merges space and bodies, music and painting, her artworks and those of her accomplices, including the artist and composer Eliza Douglas and her thirty or so guest artists.

Palais de Tokyo

13, avenue du Président Wilson

75116 Paris

www.palaisdetokyo.com

T.+33 (0)1 81 97 35 88

Valentin Sérov, Portrait du collectionneur de la peinture moderne russe et française Ivan Abramovitch Morozov, Moscou, 1910

Tempera sur carton 63,5 × 77 cm

Galerie Trétiakov, Moscou

September 22nd > February 22nd 2022

From 22 September 2021 to 22 February 2022, this landmark exhibition dedicated to the Morozov Collection will assemble nearly two hundred masterpieces of French and Russian modern art by Muscovite brothers Mikhail Abramovich Morozov (1870–1903) and Ivan Abramovich Morozov (1871–1921).
This event – the second chapter of the major event Icônes de l’Art moderne – is organised in partnership with the Pushkin State Museum (Moscow) and the State Tretyakov Gallery (Moscow).
Presented for the first time outside of Russia, the Morozov Collection assembles major artworks by Cézanne, Gauguin, Van Gogh, Renoir, Monet, Bonnard, Denis, Matisse, Derain, and Picasso alongside emblematic Russian artists such as Vrubel, Malevich, Repine, Larionov, and Serov.

Fondation Louis Vuitton

8 Avenue du Mahatma Gandhi

75016 Paris

www.fondationlouisvuitton.fr

T.+33 (0)1 40 69 96 10

Urs Fischer, Untitled, 2011
Cire, pigment, mèches, acier / Wax, pigment, wicks, steel
© Urs Fischer
Vue d’exposition, « Ouverture » / Exhibition view "Ouverture". Courtesy Pinault Collection. Photo Maxime Tetard
© Tadao Ando Architect & Associates, Niney et Marca Architectes, agence Pierre-Antoine Gatier. 

May 22nd > January 2022

Ouverture, the inaugural sequence of the Bourse de Commerce – Pinault Collection is the manifesto of a new connection to Paris for contemporary art. A museum created through a collector’s desire, influenced by his perspective, and the power of his relationship to artists built up over many long decades. Within the logic of the exhibitions presented in Venice since 2006 and touring experiences since 2007, this sequence affirms the passionate, personal, and deeply implicated dimension that characterises the Pinault Collection’s cultural project, as an integral part of the programming process

Bourse de Commerce – Pinault Collection 

2 rue de Viarmes

75001 Paris

www.pinaultcollection.com/fr/boursedecommerce

T.+33 (0)1 55 04 60 60

Ron Nagle, Captive Morgan, 2012

Faïence, émail, polyuréthane catalysé et résine époxy

H. 13,3 cm x L. 14,6 x l. 14,6 cm

Collection particulière

© Ron Nagle, Courtesy Matthew Marks Gallery

Ocotber 15th > Febryary 6th 2022

The exhibition proposes an immersion in the medium of ceramics and associates over four hundred pieces, from the Neolithic period to the present day, creating an original and enriching dialogue between object typologies from various ages and contexts, seeking to detect both influences and coincidences.

19 JA + AA Dessau Meisterhauser

September 10th > January 9th 2022

This original exhibition dedicated to Anni and Josef Albers brings together over three hundred and fifty artworks (paintings, photographs, furniture, graphic artworks, and textiles).
Beyond the very thorough presentation of their respective creations, it is the first exhibition in France dedicated to the artists as a couple.
 

Musée d'Art Moderne de Paris

11 avenue du Président Wilson

75116 Paris

www.mam.paris.fr

T.+33 (0) 1 53 67 40 00

View from Damien Hirst's studio Photograph by Prudence Cuming Associates. ©Damien Hirst and Science Ltd. All rights reserved, DACS 2021

July 6th > January 2nd 2022

The Fondation Cartier pour l’art contemporain is pleased to present Cerisiers en fleurs, Damien Hirst’s first institutional exhibition in France.

The Cherry Blossoms series reinterprets the traditional and popular subject of floral representation with joyful irony. On canvas, Damien Hirst combines thick brushstrokes and projections of paint, in reference as much to impressionism and pointillism as to action painting. The monumental canvases, entirely covered in bright, saturated colours, envelope the viewer in a vast green landscape, oscillating between figuration and abstraction.

Cherry Blossoms are both a reappropriation and a tribute to the major art movements of the late nineteenth and the twentieth century. They pursue the pictorial research that Damien Hirst has consistently conducted.

After dedicating three whole years to this series, Damien Hirst finished his Cherry Blossoms in November 2020: ‘The pandemic enabled me to live with my paintings and take the time to contemplate them, to the point where I was certain they were all finished.’ The complete series includes 107 canvases (all reproduced in the exhibition catalogue) divided into simple panels – diptychs, triptychs, quadriptychs and even a hexaptych – all in very large format. The exhibition, that responds to an invitation by Hervé Chandès extended to Damien Hirst at a talk in London in 2019, presents thirty paintings that they have chosen together. Invading the space by Jean Nouvel, the vibrant canvases immerse the spectator in the painting.

Fondation Cartier pour l'art contemporain

261 Boulevard Raspail

75014 Paris

www.fondationcartier.com

T.+33 (0)1 42 18 56 50

© Martin Margiela

October 20th > January 2nd 2022

For his first monographic exhibition, Lafayette Anticipations invites Martin Margiela to occupy and transform all of its rooms. The exhibition, designed as a total artwork, pursues Martin Margiela’s obsession with metamorphosis. It brings together a vast collection of original artworks, most of which were created on site in the Foundation’s workshops, based on themes that have long motivated the artist: the passage of time, disappearance, chance, mystery, and aura.

Lafayette Anticipations

9 rue du Plâtre

75004 Paris

www.lafayetteanticipations.com

T.+33 (0)1 57 40 64 17

Max Burchartz, Lotte (Œil), 1928.
Épreuve gélatino-argentique, 30,2 × 40 cm. The Museum of Modern Art, New York. Collection Thomas Walther. Acquis grâce à la générosité de Peter Norton. 1646.2001.
© ADAGP, Paris, 2021

September 14th > February 13th 2022

In 2001 and 2016, the New York Museum of Modern Art acquired over three hundred and fifty photographs belonging to Swiss collector Thomas Walther. This ensemble is presented for the first time outside of New York, in an exhibition convoking around two hundred and thirty iconic works by European and American avant-garde photographers from the first half of the twentieth century.

Nathalie Richard, dans Boum ! Boum !, un projet de film en cours de Noëlle Pujol. Photo : Noëlle Pujol, 2021

September 14th > February 13th 2022

The exhibition series Travaux en cours aims to render the creative process visible: presenting what goes on behind the scenes for three filmmakers during the preparation of their films, elements that usually remain hidden behind the moving images, but that form the vital pathway of the work’s conception and creation.

Jeu de Paume

1 place de la Concorde

75008 Paris

www.jeudepaume.org

T.+33 (0)1 47 03 12 50

Ilya Répine, Portrait de Youri Répine enfant, 1882. Galerie nationale Trétiakov, Moscou

Ocotber 5th > January 23rd 2022

The Petit Palais presents the first French retrospective dedicated to Ilya Repine, one of the greatest glories of Russian art. Little known in France, his work is nevertheless considered an essential milestone in the history of Russian painting of the nineteenth and twentieth centuries. Attesting to the upheavals in the Russia of his day, Repine was particularly attentive to the historical and social transformations that his country experienced and echoed them through his artworks. Around one hundred paintings, notably on loan from the State Tretyakov Gallery in Moscow, the State Russian Museum in Saint Petersburg, and the Ateneum Museum of Art in Helsinki, trace his career and provide a better understanding of this painter of the Russian soul.

Jean-Michel Othoniel, Gold Lotus, 2019

Photo : Claire Dorn / Courtesy of the Artist & Perrotin ©  2021 Othoniel, ADAGP, Paris

September 28th > January 2nd 2022

From 28 September 2021 to 2 January 2022, at the invitation of the Petit Palais, Jean-Michel Othoniel fills all of the museum’s rooms and its garden. This will be the artist’s biggest solo show in Paris since his retrospective My Way held at the Centre Pompidou in 2011. This exhibition is concerned with re-enchantment and the theory of reflections that the artist has been developing for nearly ten years, inviting us to dream and allowing us to resist our disillusionment with the world, for a spell, during our visit.

Petit Palais - Musée des Beaux Arts de la Ville de Paris

Avenue Winston Churchill

75008 Paris

www.petitpalais.paris.fr

T.+33 (0)1 53 43 40 00

On the left : Auguste Rodin, Le Penseur
© musée Rodin - photo Hervé Lewandowski

On the right : Pablo Picasso, La Grande Baigneuse au Livre, Paris, 18 février 1937, huile sur toile, 130 x 97,5 cm, Musée national Picasso-Paris, dation Pablo Picasso, 1979, MP160. Photo (C) RMN-Grand Palais / Mathieu Rabeau, 
© Succession Picasso 2021

May 19th > January 2nd 2022

For the first time, the Musée Rodin and the Musée national Picasso-Paris are joining forces to present the major exhibition Picasso–Rodin.

This exceptional partnership between two major monographic museums offers an original perspective on these ingenious artists who paved the way of modernity in art. Their masterpieces are presented simultaneously within the two historic monuments that house these national museums.

The exhibition invites us to a comparative reinterpretation of the works of Rodin (1840–1917) and Picasso (1881–1973), these two great artists who revolutionised the artistic practices of their time for generations to come. It is not a question of showing that Picasso borrowed from Rodin, but rather of examining the meaningful overlaps that emerge between Rodin’s œuvre and several periods of Picasso’s production. This comparative reading of their works will take the form of various chapters within the two venues, at the Musée Rodin, on the one hand, through the crisis of representation of the early twentieth century, and at the Musée Picasso on the other, showing the creative processes established by the two artists. In different periods and contexts, Rodin and Picasso contributed to a decisive historical turning point and this is perhaps one of the keys to their similarities. Each in their own way, they invented a new mode of representation: expressionist for Rodin, cubist for Picasso. For Rodin, as for Picasso, the studio was a privileged site of experimentation into forms and materials. Work in series, fragmentation, assemblage, and reappropriation represent some of their unique and innovative approaches. The work of artists in perpetual motion, exploring a motif in constant flux. Through a systematic dialogue, this exhibition, featuring over five hundred artworks, paintings, sculptures, ceramics, drawings, archive documents, and photographs, invites the visitor to partake in an original reinterpretation of the development of their prolific and innovative art.

Musée Picasso

5, rue de Thorigny

75003 Paris

www.museepicassoparis.fr/

T.+33 (0)1 42 71 25 21

Gustave Caillebotte (1848 - 1894)
Le pont de l’Europe (On the Pont de l’Europe) 1876-1877, oil on canva 105,7 x 130,8 cm
United States of America, Texas, fort Worth, Kimbell Art Museum Photo © Kimbell Art Museum

September 28th > January 16th 2022

Not seeking to present a chronology of inventions, the exhibition Enfin le cinéma ! is deliberately synchronic and thematic. It brings French film production from the years 1895–1907 into conversation with the history of the arts, from the invention of photography to the early years of the twentieth century, tracing a few major subjects, including the fascination for spectacle in the city; the desire to record the rhythms of nature; the desire to test and exhibit bodies; the dream of an ‘augmented’ reality through the restitution of colour, sound, and relief, or through immersion; and finally, the taste for history. 

Charles Baudelaire, 2020 oil on canvas 40 x 30 cm Courtesy Marlene Dumas
Photo : © Peter Cox, Eindhoven

October 8th > January 30th 2022

To celebrate the bicentenary of the birth of Baudelaire (1821–1867), the artist Marlene Dumas created a series of paintings inspired by Parisian spleen, presented at the musée d’Orsay this autumn. This project emerged from her collaboration with writer and translator Hafid Bouazza (1970–2021).

Musée d'Orsay

9 quai Anatole-France

75007 Paris

www.musee-orsay.fr

T.+33 (0)1 40 49 48 14

Chaïm Soutine (1893 – 1943) La colline à Céret, 1921

Oil on canva, 74,3 x 54,93 cm

Los Angeles (CA), LACMA. Digital Image Museum Associates/LACMA/Art Resource NY/Scala, Florence

September 15th >  January 10th 2022

This exhibition brings into conversation the artworks of Chaïm Soutine (1893–1943), a painter of the École de Paris born in Russia (today’s Belarussia) and Willem de Kooning (1904–1997), an American abstract expressionist of Dutch origins. The exhibition will focus more specifically on exploring the impact of Soutine’s painting on the pictorial vision of the great American painter.

David Hockney, Une année en Normandie (Projet)

Musée de l’Orangerie, 2021 / © David Hockney

September 15th >  January 10th 2022

Since his rediscovery of Normandy in 2018, Hockney has visited the Musée de Bayeux many times and Queen Mathilde’s tapestry made a big impression on him. This planted the seed for the project of depicting the arrival of spring in the form of a narrative cycle. While the world was immobilised, Hockney created over a hundred images on his iPad over the course of several weeks. Presented in the main gallery of the Orangerie Museum, Une année en Normandie will present this succession of seasons in the form of a long frieze spanning ninety metres, echoing the format and ambition of Monet’s Nymphéas [Water Lilies]. 

Musée de l'Orangerie

Jardin des Tuileries

75001 Paris

www.musee-orangerie.fr

T.+33 (0)1 44 77 80 07

© Institut Giacometti

20th October > 9th January 2022

The Institut Giacometti awards carte blanche to the French-American artist Barbara Chase-Riboud. Sculptor, poetess, novelist, Barbara Chase-Riboud met Giacometti in the early 1960s, when she had just moved to Paris. Her work was initially aligned with his, but soon departed from it. Her monumental works offer points of contact with those of the sculptor: a search for verticality, expressivity, relief, bronze work, fascination with ancient Egypt, with ‘monuments’, and their mutual connection with poetry.

Curator: Émilie Bouvard

Institut Giacometti

5, Rue Victor Schoelche

75014 Paris

www.fondation-giacometti.fr/

T.+33 (0)1 44 54 52 44

Leonor Antunes © Droits réservés

October 14th > November 28th 2021

The work of Leonor Antunes finds its origins in a history of modernity, highlighting the grey areas to which many women designers, architects, or artists have been relegated. In the exceptional setting of the Chapelle des petits Augustins, various figures will emerge: Japanese artist Michiko Yamawaki, resident of the Bauhaus (1930–1932), or Charlotte Perriand, with the artworks produced during her time in Japan (1940–1942, 1953–1955). An original ensemble of ceramic sculptures and fixtures placed in the centre of the nave will juxtapose the collections of castings, the vestiges of the former Musée des monuments français. This exhibition is produced by the Festival d’Automne, in association with the Beaux-Arts de Paris. With the participation of the Calouste Gulbenkian Foundation.

 © Nicolas Brasseur

October 14th > November 21st 2021

Teen Spirit, Faits divers [News in Brief], Écoute voir [Listen and See], Aura par procuration [Aura by Proxy] and Pendant que d’autres écrasent des nuits encore moites [While Others Are Still Smashing Clammy Nights]: in their own way, each of these exhibitions travels through time by confronting the heritage artworks of the school’s collections with contemporary works by teachers and students. Within the framework of the Théatre des expositions, designed and developed by the students of the Artists & Exhibition Careers department and the young curators in residence at the Beaux-Arts de Paris. 

Beaux-Arts de Paris

14 Rue Bonaparte

75006 Paris

beauxartsparis.fr/fr

T.+33 (0)1 47 03 50 00

Henri Cartier-Bresson, Sous le métro aérien, boulevard de la Chapelle, 1951

Collection Fondation Henri Cartier-Bresson © Fondation Henri Cartier-Bresson/Magnum Photos

June 15th > October 31st 2021

For its first temporary exhibition, the Musée Carnavalet – Histoire de Paris joins forces with the Fondation Henri Cartier-Bresson to highlight the importance of Paris in the life and work of Henri Cartier-Bresson, one of the greatest French photographers of the twentieth century. The museum revisits the connections with the city woven by the artist, where he had always lived and that sustained him artistically.

Musée Carnavalet 

16 rue des Francs-Bourgeois

75003 Paris

www.carnavalet.paris.fr

T.+33 (0)1 44 59 58 58

Fait au hasard, Li Ts'ing Tchao (1084-1155 ?), écrit et peint par Jean Cortot, 1992.

Paris, BnF, Réserve des livres rares.

Photo BnF. Jean Cortot © Adagp, Paris 2021

October 12th >  January 23rd 2022

The Bibliothèque nationale de France pays homage to Jean Cortot, French painter and illustrator (1925–2018), a lover of words, which he strove to illustrate in colour throughout his life. The exhibition reveals a painter-poet at work, inspired by the symbiosis between painting and writing, and by the close ties he maintained with authors such as Paul Valéry, Raymond Queneau, Henri Michaux, or Michel Butor. Over the years, he developed an exceptional œuvre that placed the exploration of symbols at the heart of his creation. Through a selection of artists’ books, correspondence, photographs, and paintings, the visit invites the viewer to follow Jean Cortot in the intimacy of his studio, where he developed the alchemy of his pictorial language. His wife, Bébé Cortot, has donated one hundred and twenty artists’ books, manuscripts and prints, etchings and paintings to the BnF, thus constituting the largest French collection dedicated to the artist.

Guiseppe Penone, Pensieri e linfa (Sève et pensée). 2017/2018

Toile, pigment végétal, encre. 50 x 2700 cm. Collection particulière

© Adagp, Paris, 2021, photo © Archivio Penone

October 12th >  January 23rd 2022

The Bibliothèque nationale de France hosts Italian artist Giuseppe Penone, a key figure of contemporary art, for his first major exhibition in Paris since 2013. Penone, whose work powerfully and poetically questions humanity’s connections with nature, has created for the occasion Pensieri e linfa [Sap and Thought], a spectacular installation based on the imprint of a tree around which a text written by the artist is deployed. Facing this emblematic artwork, original and monumental works are presented alongside drawings, photographs, bibliophile and artists’ books, as well as an exceptional series of eighteen etchings recently created by Penone, which he has donated to the Bibliothèque.

Bibliothèque Nationale de France

Quai François Mauriac

75013 Paris

www.bnf.fr/fr

T.+33 (0)1 53 79 49 49

View from the exhibition of the 64th Salon

Credits : Scarface – Matthieu Camille Colin 

October 21st > October 31st 2021

Thanks to the work of Ami Barak and Marie Gautier, the 65th Salon de Montrouge brings a cutting-edge perspective to contemporary creation. It provides an overview of the art of today: an art scene originating from all walks of life, but also a more egalitarian one, in which women have a stronger presence and their work is valued and showcased.

Salon de Montrouge

Le Beffroi

2, Place Emile Cresp

92120 Montrouge

www.salondemontrouge.com/

L'Empereur Napoléon Ier se couronnant lui-même (gris) © Yan Pei-Ming

Courtesy of the artist and Massimo de Carlo_Adagp, Paris 2021

7th May > 3rd February 2022

The contemporary visit Napoléon ? Encore ! invites you to discover how today’s artists are appropriating the heritage and personality of the Emperor. Wander through all of the spaces of the Hôtel national des Invalides and discover the artworks that strike up a conversation with the architecture of the site and the exceptional collections of the Musée de l’Armée. Pascal Convert, Ange Leccia, Fabrice Hyber, Marina Abramović, Julian Schnabel, Georges Tony Stoll, and Hélène Delprat, among others...
Enjoy a discount on admission, negotiated especially for you! Enter the code FIAC2021 when reserving your ticket at the online ticket office of the Musée de l'Armée (visit: https://musee-armee.tickeasy.com/fr-FR/produits)

Musée de l'Armée

Hôtel national des Invalides

129 rue de Grenelle

75007 Paris

www.musee-armee.fr/accueil.html

T.+33 (0)1 44 42 38 77

Image: Rahima Gambo

October 15th > 30 January 30th 2022

KADIST, Paris and the Centre for Contemporary Art, Lagos, Nigeria (CCA, Lagos) are pleased to present Diaspora at Home, a collective exhibition that sparks various conversations regarding the question of mobility within the African continent. After an initial chapter presented at the CCA in November 2019, the exhibition returns to KADIST with artworks produced in Lagos and new adaptations.

In a context in which the ‘north-south exodus’ dominates media discourse and when the Mediterranean becomes the most fatal migratory route in the world, statistics show that the majority of Africans are moving within their own country as part of a rural exodus, or to other countries in the same region, thereby creating diasporas both within their country and abroad. While the term ‘diaspora’ is still used today to refer to all groups of migrants and their descendants who conserve a connection with their country of origin, it is rarely applied to African populations within the continent. This is all the more surprising when we juxtapose two persistent themes in many of the discussions on the continent: a history and practice of immigration prior to colonisation, and the close attachment of the populations to their home.

Diaspora at Home is based on a collaboration with Bisi Silva (1962–2019), the founder of the CCA, Lagos, and is dedicated to her, as well as to her commitment to the promotion of cultural exchanges and the creation of new networks throughout Africa. 

Kadist

21 rue des Trois Frères

75018 Paris

kadist.org/paris/

T.+33 (0)1 42 51 83 49

Digital moiré. 2022, Espace Niemeyer.

October 19th > October 24th 2021

For one week, from October, 19th to October, 24th 2021, Franck Marlot presents the virtual reality installation Digital Moirés by artist Miguel Chevalier at the Espace Niemeyer.

Digital moirés is a generative and immersive virtual-reality artwork projected onto the thousands of metal strips that compose the cupola. It is also an original creation by the artist, who pursues his research into movement and lighting as an artistic material. This work comes within the continuity of visual research by artists of the kinetic art and op art movements. Miguel Chevalier created a new piece of software, with computer scientist Claude Micheli, comprising geometrical grids that are superimposed and set in motion, creating surprising iridescent effects. Using this digital tool, he experiments with the interaction between the various grids.

Digital moirés creates new perceptual experiences. Digital moirés emits a radiant energy within the dome, and highlights the exceptional architecture designed by Oscar Niemeyer. This generative virtual-reality installation aims to present new forms of contemporary art and introduce a wide audience to research and discoveries in the digital field. This creation shows how digital art can invest a heritage monument and provide a new interpretation of it.

Espace Niemeyer

2 place du Colonel Fabien

75019 Paris

https://espace-niemeyer.fr/

T.+33 (0)1 40 40 12 10

Yutaka Murata, Pavillon du groupe Fuji, Exposition universelle d’Osaka, 1970

© Yutaka Murata © Photo courtesy of Osaka Prefectural Government.

Ocotber 6th > February 14th 2022

While humans have dreamed of flying since Icarus, the idea of an inflatable envelope, substituting the deployment of wings, only came into play from the eighteenth century onwards. The history of inflatables, parallel to that of aeronautics, is that of the development of a relationship that is more organic than aerial. The envelope is a metaphor for skin, a protection for a body, enabling an immediate proximity with the air. Inflatables intrinsically relate to pneuma or breath: an immediate rapport with the living world, the event, and life itself. The exhibition reveals this human dimension of the ‘pneumatic’, from the early industrial and military uses (dirigibles, weather balloons, floating ensembles, and inflatable decoys, etc.) to the experiments developed by numerous artists, designers, and architects.

Cité de l'architecture et du patrimoine

1 Pl. du Trocadéro et du 11 Novembre

75116 Paris

www.citedelarchitecture.fr/fr

T.+33 (0)1 58 51 52 00

Brice Dellsperger, Body Doubles explosion, 2021 

October 1st > October 30th 2021

JOY is an association that invites one artist every month to produce a 4 x 3 metre poster on an advertising billboard. Since September 2020, Anne Bourse, Florian Bézu, Clément Rodzielski, Sylvie Auvray, Simon Bergala, Hélène Fauquet, Isabelle Cornaro, Morgan Courtois, Marina Xenofontos, Shanta Rao, Özgür Atlagan, and Joan Ayrton have created a poster for a panel located at 124 rue Henri Barbusse in Aubervilliers. 

For the month of October 2021, thanks to the support of the Département de la Seine-Saint-Denis, and the city councils of Aubervilliers, La Courneuve, Pantin and the ADAGP, JOY extends its action to six billboards in these three cities, inviting Xinyi Cheng, Thomas Hirschhorn, Jennifer Caubet, David Douard, Paul Mignard and Brice Dellsperger to create their posters.

At the same time, and thanks to the support of the Fondation d’entreprise Pernod Ricard, JOY publishes and sells the projects of the nineteen artists invited since September 2020, in the form of A2 format publications, limited to twenty copies, printed by the Ateliers Bordas. The publications will be available at the Fondation’s booth at FIAC, at its bookshop in the seventeenth arrondissement in Paris, as well as on Joy’s website: https://joy-screen.com/

Visit : 

Xinyi Cheng, The midnight fire, 2020, En face du parvis du marché portugais de la porte de la Villette, Pantin

Thomas Hirschhorn, La grande Simone Weil, 2021, 124, rue Henri Barbusse, Aubervilliers

Jennifer Caubet, Jardin des vertus, 2021, 49, rue Charles Tillon, Aubervilliers

David Douard, Birdzhandz and us, 2021, 131, rue Charles Tillon, Aubervilliers

Paul Mignard, Mois de la viande étroite, 2019, Pont Palmer, en face du 97 rue de la Convention, La Courneuve

Brice Dellsperger, Body Doubles explosion, 2021, 39, avenue Henri Barbusse, La Courneuve

JOY

1 rue Magenta

75019 Pantin

César’s Poule à ailettes, 1980 installed in the dovecote at the Château de Boisgeloup / Courtesy of Almine Rech and Fondation César © SBJ / ADAGP Paris 2021.

October 2nd > October 24th 2021

Almine Rech is delighted to announce a momentous exhibition of the work of French sculptor César, celebrating the centenary of his birth, taking place in Picasso’s historic studio at Boisgeloup (Gisors, France), in collaboration with the Fondation César.

César (born 1 January 1921, Marseille, France—died 6 December 1998, Paris) is best known for his use of compressed cars or ‘Compressions’, recycled metals, fantastic representations of animals and insects, and expansions. This exhibition will feature a selection of works by the artist set throughout the enchanting setting of the eighteenth century Château de Boisgeloup, from Picasso’s former studio itself to the thirteenth century chapel and dovecote.
After studying fine arts from 1935 to 1939 in Marseille, then in Paris from 1943 to 1947, César met Pablo Picasso in Paris in 1956 at the Lucien Durand gallery, while working on his first iron and plaster sculptures.
The presentation will commemorate the two artists’ friendship and mutual admiration.

The photographs taken in 1932 by Brassaï in Picasso’s studio at Boisgeloup, revealing his work as a sculptor, inspired Almine Rech’s vision for in this in-situ exhibition. César’s work, as exhibited in Picasso’s empty studio, echoes and creates a dialogue between the two masters, in turn evoking the feeling of César’s own studio.
The special presentation will be on view for four weekends only during the month of October, 2021.

Chateau de Boisgeloup

27140 Gisors

www.alminerech.com

T.+33 (0)1 45 83 71 90

Cur Gaël Charbau - Villa Emerige - Crédits photo Rebecca Fanuele

October 15th > November 14th 2021

The Emerige Revelations Grant

Created in 2014, under the impetus of Laurent Dumas, Chair of the Emerige Group, the Emerige Revelations Grant is addressed to artists, without distinction as to their practice, aged under 35, who are either French nationals or living in France, and who are not represented by a professional gallery. This year, the work of the twelve finalists, chosen from among almost a thousand applications, will be presented during Fireplaces, a collective exhibition designed by exhibition curator Gaël Charbau. Elected by a jury comprising personalities from the art world, the winner, whose name will be announced on 19 October 2021, will enjoy professional guidance, access to a studio for a year, and a 15,000 euro grant to create their first solo exhibition. For this eighth edition, the Galerie Semiose is committed to supporting this year’s future laureate.

Fireplaces

Since its creation, the Emerige Revelations Grant has constantly explored the playing fields of young contemporary artists. Their world is shifting, grappling with the present, and fuelled by the alarm bells of our complex world, in crisis and undergoing radical change. The great diversity of the forms that they devise or the mediums they use are mapping today’s collective imaginary: what remains to be invented, what dots can we connect, what new perspectives can we bring to bear on the forms, trends, and ideas that surround us, sustain us, or disturb us? With these multiple approaches, there is no longer a centre, no longer a movement that would constitute a ‘school’, but there is a cascade of simultaneous possibilities. There is no taste dictated by a milieu, but instead a multiplication of sparks, an artistic wind borne by a centrifugal force.

Emerige Revelations establishes a crossroads for these young artists: by giving them space, we are helping them to gain a little more of the public’s attention. In this adventure, the essential complicity that is formed with the gallery we invite for each edition is decisive. The great finesse with which Benoît Porcher – founder of the Galerie Semiose – evaluated the applications for this edition has enabled us to establish a highly diverse selection, that leaves no doubt as to the magnitude of their artistic commitment. The twelve artists presented this year, in the fields of painting, sculpture, film, photography, and performance definitely have this in common: their intensity.
Gaël Charbau, exhibition curator
The nominees: Annabelle Agbo-Godeau , Amie Barouh, Lucile Boiron, Lisa Boostani, Madison Bycroft, Hugo Capron, Ymane Chabi-Gara, Hadrien Gérenton, Juliette Green, Cécile Guettier, Louis Jacquot, and Antoine Medes.

EMERIGE - Beaupassage

16 boulevard Raspail

75007 Paris

www.emerige-corporate.com › art-mecenat

Shen Yuan, Fragments de mémoire, 2021 (croquis préparatoire) Aquarelle sur papier  © ADAGP Shen Yuan Courtesy de l’artiste et kamel mennour, Paris/London

October 14th > January 30th 2022

"The comb is a personal item that can accompany us throughout our lifetime. In the morning, it is used to remove the remains of yesterday’s dreams and to pave the way for new channels of thought. Dreams are the buds of memory that decompose into light, fragile fragments, like dandruff that detaches from the scalp.

When Mr. Eric Lefebvre, director of the Musée Cernuschi invited me to create a work in the room dedicated to the Chinese collection, I want to establish a dialogue with these ancient artworks and reflect on the relationship between time and memory. These objects from the collection are witnesses of time past, and they make the past visible so that we can then imagine it. They also represent numerous stories from the past and my comb installation is a new object that tells a new story. The connections that are woven between these stories thus form our history."
Shen Yuan 29/07/2021

Born in 1959 in Xianyou, China, Shen Yuan has lived and worked in Paris since 1990. 

Musée Cerunschi

7 Av. Velasquez

75008 Paris

www.cernuschi.paris.fr/

T.+33 (0)1 53 96 21 50

Courtesy of the artist and Galerie Greta Meert

October 23rd > October 24th 2021

During FIAC, the transdisciplinary centre of art and agriculture 91.530 Le Marais hosts Edith Dekyndt’s exhibition Visitation Zone Chapter III.

In all of her work, Edith Dekyndt explores the relationship between time, place, material, and emotion. For the artist, Visitation Zone Chapter III constitutes a place to take stock, a pause within the continuous process of grieving. Short videos created with mobile phones or the burying of fabric on the estate of Le Marais, are just some of the ways that she records the process of transformation that the objects of life and the life of objects constitutes.

Visiting 91.530 Le Marais provides a rural respiration during the Parisian fair, 35 km from the Grand Palais Ephémère, on the domain of the Château du Marais, one of the best preserved historic monuments of the eighteenth century in Ile-de-France.

By appointment only: contact@91530lemarais.com

91530 Le Marais

1, route des Bruyères,

91530 Le Val-Saint-Germain

http://lechateaudumarais.fr/

T.+33 (0)1 64 58 91 33

 © Vincent Leroux

October 19th > October 24th 2021

To welcome and present his new collection of furniture, Ithaque, un voyage nécessaire [Ithaca: A Vital Journey], Charles Zana has chosen to associate Philippe Ségalot to his project. An eighteenth-century hôtel particulier located at 72 Rue de l’Université, in Paris provides the setting for this exhibition. Within a décor where time has stood still, between Hammershoi and Proust, the latter has invited the young French-Israeli painter Nathanaëlle Herbelin. From one painted landscape to the next, she celebrates the banal atmosphere of intimate places, highlighting the beauty of the objects.

Nathanaëlle Herbelin is a painter living and working in Paris. Her research is based entirely from painting her entourage and surroundings, she creates bridges between the intimate and the political. She obtained her Master’s degree from the École Nationale Supérieure des Beaux-Arts de Paris (ENSBA) in 2016 and was invited in 2015 to follow a training at the Cooper Union (New York, United States). Her work has been presented, among others, at Bétonsalon (Paris, 2019), the Espace Bonnevalle (Noisy-le-Sec, 2018), In Box (Brussels, 2018), the Collection Lambert (Avignon, 2017), the Fondation d’entreprise Ricard (Paris, 2017) as well as at the museums Abbaye Sainte-Croix (Sables d’Olonne, 2019) and Beauxarts de Rennes (2018) that acquired two of her paintings in their collections. She has also had solo exhibitions in France, Belgium, China and the United States and is preparing her next solo at the galerie Jousse Entreprise and her first personal exhibition in Israel for 2021.

Tuesday, October 19th 5pm-9pm

Wednesday, October 20th to Sunday, October 24th 11am-7pm

Charles Zana

Hôtel de Guise 

72 rue de l'Université

75007 Paris

Photo. Joseph Schiano Di Lombo © Jeanne Vicerial

October 16th > November 14th 2021

After the musician and electronic music composer Thylacine in 2019, it is now over to the artist and researcher Jeanne Vicerial to occupy the Magasins généraux, within the framework of an exhibition-residency entitled CLINIQUE VESTIMENTAIRE.
For this first solo presentation of her work,  Jeanne Vicerial takes possession of the Magasins généraux for a month, transforming them into a huge laboratory dedicated to an examination of the body and clothing. At the intersection of fashion, design, craft, contemporary art, and science, she presents her latest research and creations, while continuing to create on site, initiating new projects and collaborations with artists, musicians, and performers.
This event comes under the framework of the dissemination of research undertaken by Jeanne Vicerial during her doctoral thesis SACRe-PSL (Sciences, Arts, Création, Recherche) as part of the research group SoftMatters at the EnsadLab, the laboratoire de recherche de l'École des Arts Décoratifs de Paris, and at the École des Mines ParisTech, as well as during her residency at the Académie de France à Rome – Villa Médicis (2019–2020).
Curators: Anna Labouze & Keimis Henni, artistic directors of the Magasins généraux Académie de France in Rome – Villa Médicis, CARATS, École des Arts Décoratifs

Magasins Généraux

1 rue de l'Ancien Canal

93500 Pantin

magasinsgeneraux.com/fr/

Credits : La Fab.

September 24th > October 23rd 2021

The new season of La Fab. will be dedicated to graffiti and agnès b.'s historical relationship with this movement since 1985. Graffiti will be everywhere, in the collection, in the gallery, and even on the Place Jean-Michel Basquiat... 

La Fab.

Place Jean-Michel Basquiat

75013 Paris

la-fab.com/

T.+33 (0)1 87 44 35 73

À la source des lignes lointaines, 2021, Installation view, Set of Indian ink drawings on paper, set of watercolour and coloured pencil drawings on paper, set of painted birds (stone, wood, plastic) on Plexiglas plate, wallpaper, video © Adagp, Paris, 2021 Courtesy of the artist and Galerie Anne-Sarah Bénichou, Paris

September 10th > October 24th 2021

For its sixtieth birthday, diptyque is celebrating a taste for travel, art and perfume, with the exhibition Voyages Immobiles - Le Grand Tour [Immobile Voyages – The Grand Tour]. Under the curatorship of Jérôme Sans, nine contemporary artists give their vision of travel, by interpreting the iconic destinations of diptyque. A visit punctuated with perfumes, from France to Japan, via Italy, Greece, and Lebanon.
Voyages Immobiles takes a look at the extraordinary polysemy of the ‘journey’ in the age of globetrotting, and after the sudden shift of our world into stasis.
 

Espace d’exposition de la Poste du Louvre 

52, rue du Louvre

75001 Paris

www.diptyqueparis.com/fr_fr/

René Lalique (1860-1945), Drawing of a “Hortensias” tiara

Pencil, ink and gouache on vegetal paper B F K – Rives, circa 1900

Van Cleef & Arpels Jewelry Culture Fund

October 14th > February 14th 2022

Not often studied or published, and even more rarely exhibited, jewellery design remains little-known to the general public. It nevertheless plays an essential role, serving as a reference to the many hands that intervene in the creation of the jewel. Since the Renaissance, drawing jewellery has constituted the first – and somewhat primordial – phase in its design; the element that allows the idea to come to fruition.

It is to this object that has long been neglected – a technical tool in service to professionals, but also to the sensitive œuvre – that L’ÉCOLE, School of Jewelry Arts wishes to pay tribute, focusing on its history, technique, auteur designers, and status.

L’ÉCOLE is proud to hold the first exhibition dedicated to this theme!

L'Ecole des Arts Joailliers

31 Rue Danielle Casanova

75001 Paris

https://www.lecolevancleefarpels.com/fr/en/exhibition/designing-jewels

Nacho Carbonnel, Table Cocoon 16 (44/2016), 2016

Metal Mesh, Metal Frame, Cork, Silicone Cable, Light Figngs

235 x 100 x 80 cm 

Courtesy of Carpenters Workshop Gallery

Crédit : Carpenters Workshop Gallery

October 21st > November 14th 2021

The Maison Guerlain has always opened its doors to artists and participates in the distribution and showcasing of their work. Quand la matière devient art focuses on the materiality of the artwork and will be the fourteenth edition of exhibitions within the framework of FIAC’s Parcours Privé.

This is a question that, over the last twelve months, has been constantly evolving, with a digital offensive assailing almost every field of everyday life, including cultural and artistic experiences. Talking about matter alone would, however, be far too limited, since the question posed derives more from the transformation, the immaterial creative act, from the artistic execution that gives rise to the artwork. Hence the process is no longer concealed, but instead remains visible and becomes lived experience. Thanks to subtle dissonances, the eye is stimulated, ready to question visual habits and physical laws. By presenting NFT-certified digital works, the artistic material becomes immaterial and the boundary between these two realities diminishes. The guest artists of this fourteenth edition will go further and practice alchemy, conversion, metamorphosis, or transfiguration. All in all, a political art that is at once sustainable or, on the contrary, organic and perishable. A subject that concerns the Maison Guerlain, which has placed Art and Nature at the heart of its raison d’être and, for fifteen years, has represented ‘New Luxury’, reinventing the codes of luxury to more profoundly connect them with sustainable development. 

Guerlain

368 Avenue des Champs-Elysées

75008 Paris

www.guerlain.com/fr/fr-fr#anchor-section-0

The installation, entitled Spacetime, expands the creative and cultural universe of the Manufacture by exploring the relationship between the three physical dimensions of space and the fourth dimension, the dimension of time. The watch he chose to represent is the new Reverso Tribute Nonantième, which displays time in an entirely different way on each of its dials.

October 21st > December 22nd 2021

On the occasion of the ninetieth anniversary of the emblematic Reverso, created in 1931, Jaeger-LeCoultre invites lovers of fine timepieces to partake in an immersive and cultural experience.

Visitors will be able to trace the milestones of one of the most beautiful legends of the clockmaking industry: the history of Reverso, a unique and timeless expression of the Art Deco movement.

They can also discover the artwork especially  commissioned by Jaeger-LeCoultre from the American artist Michael Murphy, the anamorphic Spacetime. It allows you to dive through the three physical dimensions of space and the fourth dimension of time – an entrancing and polymorphic installation.

Before or after the exhibition, visitors are welcome to enjoy a gourmet moment at the 1931 Café, an elegant, convivial, and typically Art Deco venue.

Jaeger-Lecoultre

15 rue du Faubourg Saint-Honoré

75008 Paris

www.jaeger-lecoultre.com/eu/en/home-page.html

The exhibition "Florae" invites you to a dreamlike walk in an imaginary garden.

Credit: © Takuji Shimmura

September 10th > november 14th 2021

Van Cleef & Arpels gave carte blanche to photographer Mika Ninagawa to devise an exhibition in tribute to flowers, juxtaposing her artworks and the House’s floral creations. Within an immersive scenography designed by architect Tsuyoshi Tane, more than one hundred pieces from the heritage and contemporary jewellery collections of Van Cleef & Arpels converse with the vibrant colour photographs of the Japanese artist. Presented from 10 September to 14 November 2021 at the Hôtel d’Évreux, Place Vendôme, in Paris, Florae invites you on a dreamlike stroll through an imaginary garden.

Van Cleef & Arpels

Hôtel d'Evreux - 19 place Vendôme

75001 Paris

www.vancleefarpels.com/fr/fr/home.html

Studio des Acacias - Exhibition No Apologies Reiffers Art Initiatives

October 22nd > November 20th 2021

Reiffers Art Initiatives, an endowment fund for young contemporary creation and cultural diversity, is pleased to announce the inaugural exhibition of its mentorship programme: NO APOLOGIES by French artist Kenny Dunkan, under the mentorship of internationally renowned  artist Rashid Johnson, at the Studio des Acacias by Mazarine from 22 October to 20 November 2021.
Winner of the first Reiffers Art Initiatives mentorship, the French artist born in Guadeloupe maintained an in-depth dialogue with his mentor for several months. Informed by his discussions and the advice of the African-American artist, Kenny Dunkan will present an exhibition for the opening of FIAC, in the form of an initiatory pathway featuring three original, monumental, and immersive installations, as well as new sculptures, videos, and photographs.
NO APOLOGIES deepens the artist’s examination of his Caribbean heritage. Each installation forms a powerful microclimate within the rich Guadeloupean cultural diversity: from the aesthetic and symbolic power of the carnival to the magical and religious mythologies and beliefs. It is also a way for Kenny Dunkan to discuss the post-colonial legacy of his island. The body is one of the artist’s recurrent themes, at the heart of his systems – a fragmented, plural, and evolving body – and  he does not hesitate to stage his own Black body.
For Kenny Dunkan, the title NO APOLOGIES refers to all the violence perpetrated today on bodies – whether they are black, gay, etc. – and the refusal to pardon it. “I have too often apologised for being who I am,” the artist explains. “Owing to my skin colour, my sexuality… Today, I no longer want to apologise for being the person I am.” – Kenny Dunkan.

Studio des Acacias

30 rue des Acacias

75017 Paris

studiodesacacias.com

View from the exhibition of the 22nd Fondation Pernod Ricard Prize.

Photos Thomas Lannes

September 7th > October 30th 2021

This exhibition hosts a generation of artists with diverse and multifarious practices, dealing with tumultuous questions of society, identity, and the planet, evolving in a murky era with an uncertain future, whose haziness and unpredictability is exacerbated by the current crisis.

Fondation Pernod Ricard

1 cours Paul Ricard

75008 Paris

www.fondation-pernod-ricard.com

T.+33 (0)1 70 93 26 00

Exhibition Napoleon © Monnaie de Paris

September 18th > March 6th 2022

The exhibition Pour le meilleur et pour l’Empire - Sur les pas de Napoléon Ier à la Monnaie de Paris is deployed within the spaces of the museum and offers a spotlight on the birth of the Germinal Franc as well as into the workings of the Napoleonic legend, in which medals and symbols play a decisive role in service to power.

© Juliette Minchin - POUSH Manifesto

October 13th > October 31st 2021

After endless months of confinement and closure of cultural venues, the Sans relâche exhibition has decided to hold a marathon performance at the Monnaie de Paris, the first and last working factory in the heart of the capital. For three weeks, four artists from the POUSH artists’ studios will take turns, in courtyards that Parisians are altogether too unfamiliar with, to weave a permanent choreography combining objects, materials, and architecture. The artists will deploy endurance and perseverance around this composite and evolutive work, which is as much sculptural as it is human.

Like a manufactory within the manufactory, Juliette Minchin, Edgar Sarin, Laura Sellies, and Pierre Pauze – POUSH artists – will come to invent in-situ creations daily, in the courtyards of the Monnaie de Paris.

Exhibition curator : Yvannoé Kruger

Monnaie de Paris

11, quai de Conti

75006 Paris

www.monnaiedeparis.fr

T.+33 (0)1 40 46 56 66

Jonathan Bréchignac, Stone Balancing (0020-20), Natural rock and various composite materials, 28 x 19 x 15 cm, 2020 © Jonathan Bréchignac

September 23rd > January 31st 2022

Founded in 1997 in Shanghai, ICICLE explores a natural and durable fashion inspired by the Chinese philosophy of finding harmony between man and nature. To stylishly close the year of the Earth, the inspiration behind all its 2021 collections, ICICLE invites you to a dreamlike journey with ‘ROCKS!’, a new exhibition curated by the agency Doors and hosted by the ICICLE cultural space at 35 avenue George V, Paris 8. 

"ROCKS!" brings together five French and Chinese artists' views of minerals: Zhan Wang (1962), Jonathan Bréchignac (1985), Charlotte Charbonnel (1980), Noémie Goudal (1984) and Shao Wenhuan (1971).

The exhibition is inspired by a Chinese tradition in which scholars used to pick-up eroded stones or rocks to decorate their gardens and studios. This tradition finds a distant echo in cabinets of curiosities, a collection of either natural or man-made objects that functions as a miniature replica of the world.  

These Five contemporary artists reenchant the mineral world and unveil the mysteries of the stones.   

ICICLE

35, avenue George V

75008 Paris

https://www.icicle.fr/en/culture/rocks-exhibition/

T. +33 (0)7 86 12 12 10

Iéva Saudargaité DOUAIHI, Le dernier temps, 2020. Photographie tirée sur mousseline, 135 x 195 cm

September 21st > January 2nd 2022

A year after the explosion of 4 August 2020 which ravaged the Port of Beirut, the Institut du monde arabe pays tribute to the vitality and resilience of the Lebanese art scene. With the exhibition LUMIÈRES DU LIBAN. Art moderne et contemporain de 1950 à aujourd’hui (21 September–2 January 2022), the IMA celebrates the prodigious creativity of Lebanon’s modern and contemporary artists and its diasporas, since the early days of its Independence in 1943 up until the present day, featuring artworks by Shafic Abboud, Etel Adnan, Saliba Douaihy, Paul Guiragossian, Hussein Madi, Assadour, Chaouki Choukini, Ayman Baalbaki, Zad Moultaka, Serwan Baran, Hala Matta, Hiba Kalache, Zena Assi, and Tagreed Darghouth. On this occasion, the IMA will inaugurate a brand new exhibition and training space: “The Donors’ Space”.

Institut du Monde Arabe

1 rue des Fossés Saint-Bernard

75005 Paris

www.imarabe.org

T.+33 (0)1 40 51 38 38

Le Mobile n°4, 2017

Carbone, acier inoxydable, résine polyuréthane peinture polyuréthane, liège, polyamide

270 x 180 cm

Courtesy Perrotin

Photo © Claire Dorn ; Xavier Veilhan / ADAGP, 2021

October 13th >January 24th 2022

From 13 October 2021, the work of Xavier Veilhan, Le Mobile n°4 (2017), will be installed at the Louvre. During FIAC 2021 (which will be held in the Tuileries Garden, among other locations), the artist is generously lending one of his creations to the museum. This installation will occupy the landing of the Salle de la Chapelle, harmoniously integrating with the architecture.

An artist of international renown, Xavier Veilhan has exhibited all over the world: at the Château de Versailles, Centre Pompidou, Musée d'Art Moderne et Contemporain de Strasbourg, the Musée d'Art Moderne et Contemporain de Genève, but also in Seoul, New York, Tokyo, or at the Venice Biennale. Blending tradition and modernity, the French artist’s creations are diverse and include paintings, sculptures, photographs, videos, or performances. His monumental Mobile n°4 will be shown at the Musée du Louvre for three months, until 24 January 2022.

Iakovos Rizos, Soirée athénienne, Athènes

© National Gallery- Alexandros Soutsos Museum _Photo Stavros Psiroukis

September 30th > February 7th 2022

Organised for the bicentenary of the Greek Revolution of 1821, the exhibition aims to highlight the connections uniting Greece with European culture, notably tracing relations between Paris and Athens.
In the seventeenth and eighteenth centuries, the ambassadors en route for the Sublime Porte discovered an Ottoman province in Greece, which was of great interest to artists and intellectuals.
In 1821, the Greek War of Independence, militarily and financially backed by certain European countries, roused popular enthusiasm. Liberated in 1829, Greece proclaimed Athens as its capital in 1834. Influenced by the German and French presence on its territory, the new Greek state constructed its modern cultural identity through the sources of French and German neoclassicism. The defence of national heritage and European collaboration, marked by the creation of archaeological institutes, such as the French school of Athens in 1846, constitute the origins of a revolution in  knowledges concerning Greece’s material past. For the first time, the exhibition intends to compare this history of archaeology with the history of the development of the Greek state and modern arts. The excavations of Delos, Delphi, or the Acropolis form the basis for the rediscovery of a vibrant Greece, far-removed from the canons of neoclassicism. In the late nineteenth century, the major World’s Fairs presented a new, modern Greek art, marked by the recognition of Greece’s Byzantine and Orthodox identity.

Curators: Anastasia Lazaridou, director of the Archaeological Museums, Exhibitions and Educational Programmes at the Hellenic Ministry of Culture and Sports; Marina Lambraki-Plaka, director of the National Gallery in Athens; and Jean-Luc Martinez, president and honorary director of the Louvre Museum, assisted by Débora Guillon.

Antonio Tempesta, La Pêche des perles aux Indes, détail, musée du Louvre

© RMN-Grand-Palais (Musée du Louvre) / Thierry Ollivier

Sepember 22nd > July 4th 2022

For its sixth season, the Petite Galerie accompanies the exhibition cycle that the museum is dedicating in 2021–2022 to the discoveries and explorations of lands both near (with Paris-Athènes: Naissance de la Grèce moderne 1675–1919) and far (with Pharaon des Deux Terres. L’épopée africaine des rois de Napata). Through materials and objects, the exhibition presents exchanges between remote lands, exchanges that predate their exploration. Since earliest antiquity, carnelian, lapis-lazuli, ebony, and ivory were circulating along trade routes: these materials were also precious because they came from afar. This fascination was heightened by the myths surrounding their origins. Beyond the stones, shells, and plants came live animals, which travelled between continents, often as politics dictated: crowds and artists alike discovered ostriches, giraffes, and elephants. The manmade objects followed the same routes and, beyond the well-known infatuation of Europeans for exoticism, these many return voyages wove a more complex story: forms, techniques, and themes were intertwined, creating new objects that reflect all of the complexity of our world as it could be perceived in Europe from the late Middle Ages onwards.

Curators: Philippe Malgouyres, Musée du Louvre, and Jean-Luc Martinez, president and honorary director of the Musée du Louvre

Musée du Louvre

Rue de Rivoli

75001 Paris

www.louvre.fr

T.+33 (0)1 40 20 50 50

Alan Strutt, Yasmin Le Bon (Londres, 1997). Collection La Chimère, haute couture automne-hiver 1997-1998 © Alan Strutt

September 30th > 24 April 24th 2022

From September 30th, 2021 until April 24th, 2022, the Musée des Arts Décoratifs in Paris will present Thierry Mugler, Couturissime, initiated, produced and circulated by the Montreal Museum of Fine Arts (MMFA) in 2019. This major and unparalleled exhibition will retrace the work of Thierry Mugler, a singular artist who has revolutionized the worlds of fashion, haute couture and perfume throughout his distinguished career.

The stage offered by the Musée des Arts Décoratifs for Mugler’s exceptional creations will mark the return of this visionary artist to Paris, where his fame began nearly five decades ago. From ready-to-wear and haute couture silhouettes to stage costumes, photographs, films and unpublished archives dating from 1973 to 2014, Thierry Mugler, Couturissime will showcase the fascinating universe of this creator and his multiple collaborations in the fields of entertainment, music and cinema. Curated by Thierry-Maxime Loriot, a collective scenography with the MMFA will include digital performances by entertainment and audiovisual professionals.

Étui à cigarettes (détail), Cartier, Paris, 1930 Or, platine, lapis-lazuli, turquoises, diamant. Nils Herrmann, Cartier Collection © Cartier

October 21st > February 20th 2022

From October 21st, 2021 to February 20th, 2022, the Musée des Arts Décoratifs in Paris presents ‘Cartier et les arts de l’Islam. Aux sources de la modernité’, co-organized by the Musée des Arts Décoratifs, Paris and the Dallas Museum of Art, thanks to an exceptional collaboration with the musée du Louvre and the support of Cartier. This exhibition shows the influence of Islamic Art on the high jewellery Maison Cartier in its design of jewellery and precious objects from the beginning of the 20th century to the present day.

More than 500 pieces including jewellery and objects from Cartier, masterpieces of Islamic art, drawings, books, photographs and archival documents, trace the origins of the jeweller’s interest in Oriental motifs. The exhibition explores the origins of this influence through the Parisian cultural context and the figure of Louis and Jacques Cartier, two of the founder’s grandsons, who played a major role in creating a new aesthetic suffused with modernity. The American architectural firm DS&R (Diller Scofidio & Renfro) was commissioned to design the exhibition’s scenography.

Musée des Arts Décoratifs

107 rue de Rivoli, entrée au jardin du Carrousel

75001 Paris

T.+33 (0)1 44 55 57 50

madparis.fr

View of the exhibition Désir d’humanité. Les univers de Barthélémy Toguo

© musée du quai Branly – Jacques Chirac, photo Léo Delafontaine

April 7th > December 5th 2021

Carte blanche to the Fondation Dapper: Cameroonian artist Barthélémy Toguo. Political and sensitive art that explores the malfunctioning of today’s world so as to denounce it, by drawing on African cultures, among others.

From watercolours of suffering bodies, sometimes strewn with nails, to monumental installations asking questions about our planet’s future, the angle of intimate and collective experiences is used by the Fondation Dapper to explore the works of Barthélémy Toguo in a monograph coordinated by the foundation’s director, Christiane Falgayrettes-Leveau.

Following an original theme, some of the artist’s works are compared with pieces of old African art. Barthélémy Toguo (born 1967) is a central, pioneering figure in the international art world. He lives and works between Cameroon and France. Through his creations, he seeks to raise social wareness. Driven by the need to create in order to make statements, he designs works that respond directly to the upheavals of today’s world (wars, abuse of power, immigration, famine and dangers).

Drawings, watercolours, sculpture, photography, installations, or performance, Barthélémy Toguo uses these various mediums to question our humanity.
An exhibition devised by the Fondation Dapper, under the curatorship of Christiane Falgayrettes-Leveau as part of Saison Africa 2020. 

Kakusitue no Oryu, Rina Yoshioka © musée du quai Branly – Jacques Chirac, photo Pauline Guyon

Créé par Rina Yoshioka, à la demande du musée du quai Branly - Jacques Chirac

September 28th > January 16th 2022

Shaolin monks and samurai, warrior mythology, kung fu and sword fighting films... The exhibition “Ultimate Combat. Asian Martial Arts” takes visitors to the heart of Asian martial arts through their history, their philosophies and their practices, which have now become globally renown. 

What are the origins and specific characteristics of Asian martial arts? With over 300 ancient and contemporary works, and through a gallery of historic figures and fictional heroes, the exhibition Ultimate combat. Asian Martial Arts retraces the history of martial art techniques. An exhibition circuit interspersed with references to popular art and culture, particularly cinema, with the emblematic Bruce Lee.

The exhibition starts with the representation of combat in Hindu/Buddhist art, both as an image of the power of the military elite that shaped them but, above all, as a metaphor for freedom and knowledge. The combat is internal. The exploration continues within Asian martial arts schools: although they draw on military knowledge, they also form part of very ancient systems of representation of the body, nature and the world. In China, the Shaolin monks use the breathing of Buddhist meditation to work on their physical and mental strength; Japanese martial arts have their origins in the ancient warfare techniques of the Samurai, steeped in Buddhist Zen.

By gradually moving away from their role in warfare, martial arts have become more theoretical and have strengthened their message, becoming what could now be known as methods for personal physical and spiritual development. 

Musée du Quai Branly

37, quai Branly

75007 Paris

www.quaibranly.fr

T.+33 (0)1 56 61 70 00

Lala Rascic, Europa Enterprise-0, 2018

October 14th > November 11th 2021

Following the link between unsettled geographies and the politics of belonging, the exhibition evokes neoliberal machinery that occupies lands and bodies, destroys nature and commons, and toxicates social relations and our minds. Taking an imaginative leap from the future into antiquity and back, the exhibition is set against the backdrop of current issues of a common society – all aboard a non-territorial spaceship called EUROPA ENTERPRISE. 

Based on the inversion of some essential tropes set in the ancient times, this spaceship starts its journey by artistic investigation of patriarchal and colonizing mythological formulas of a violent origin of Europe and its hegemonic past. Departing from the myth of Arachne as an ancient metaphor of women’s resistance shaped by politically engaged webs of art, the exhibition is here to agitate for all subjected languages, economies, knowledge, spaces and lives. 

Though different forms of exposures that gradually build a complex system of co-relations between mythology, science, fiction, art and social critique, EUROPA ENTERPRISE takes a tour through a common, non-aligned world that, with its power and resources, belongs equally to all of us. 

Cité internationale des arts

18 rue de l'Hôtel de Ville

75004 Paris

www.citedesartsparis.net/

Jean Claracq - Animal studies from a notebook - 2021 - Oil on wood - 26,5 x 24 cm

Photo credits : Romain Darnaud

Courtesy : Jean Claracq & Galerie Sultana

October 17th > November 1st 2021

Jean Claracq was born in 1991 in Bayonne, France. He lives and works in Paris.

Jean Claracq's painting could be described as painting after screen as others once painted after nature. In his smooth canvases - which recall as much the brilliance of a glossy photo paper as the homogeneous luminosity of the screen surface - the culture of the image is omnipresent. Citations multiply through references to art history as well as to the vernacular register. Painting openly displays its relationship with photography, even more so it uses one of its most widespread channels of diffusion: Instagram. The immensity of the world is now reflected by the screen at the heart of the device.

Audrey Illouz

Musée national Eugène Delacroix

6, rue de Fürstenberg

75006 Paris

www.musee-delacroix.fr

T.+33 (0)1 44 41 86 50

Crédit : Manifesto

October 23rd 2021

Manifesto invites you to visit the studios of the 220 POUSH artists during a Professional Day on Saturday, 23 October, from 11am to 7pm. 

Several exhibitions will be presented during this event. 

A privileged opportunity to discover this unique place dedicated to contemporary creation, which hosts over 220 artists on 8 floors.

POUSH. Manifesto

6 Bd du Général Leclerc

92110 Clichy

https://www.poush-manifesto.com/programmation/journee-pro-04/

T. +33 (0)1 85 09 04 52