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Un portrait habité de la peintre allemande Paula Modersohn-Becker (1876-1907), artiste avant-gardiste à la carrière fulgurante, morte à seulement 31 ans des suites de son premier accouchement.
For his first intervention at Palais de Tokyo, Tadashi Kawamata presents two site-specific, monumental works. In keeping with his interventions on public and private buildings since the 1980s, first in Japan and then worldwide, Kawamata claims both the exterior and interior spaces of Palais de Tokyo, allowing his work to engage with the public sphere and the daily flow of the building.
This exhibition revisits the work of the late British photographer Martin Parr, bringing together a selection of series produced since the 1970s that find new resonance in light of the growing disarray of the contemporary world. For over fifty years, Parr travelled the globe not as an activist but as a relentless and amused observer, offering a lucid and unsparing portrait of global imbalances and the excesses of contemporary life: the grotesque face and damaging effects of mass tourism, the rise of car culture, our dependence on technology, unbridled consumerism, and our ambivalent relationship with other living beings.
The Ōsaka-born artist Takesada Matsutani takes our North Gallery for his first exhibition in London, UK in over a decade, coinciding with his 60th year of living and working in Paris, France. The artist’s diverse practice is concerned with the reshaping of matter, namely his signature materials of vinyl glue and graphite. This exhibition, organized with Olivier Renaud-Clement, ranges from the sensational sculpture ‘The Magic Box’ (1988) to brand-new works that epitomize his experimentation with glue.
With Chromoscope and Mute – Fabienne Verdier, the Cité is launching a new exhibition series curated by Matthieu Poirier, bringing contemporary art into dialogue with our collections. Bridging the legacy of American Color Field painting and contemporary creation, these two exhibitions engage with medieval and classical architectures, where heritage meets abstraction.
From November 7, 2025, to March 22, 2026, Caumont-Centre d’Art presents an exceptional exhibition bringing together works from the collection of Oscar Ghez, a Tunisian-born industrialist and passionate art collector. Through a chronological and thematic journey, visitors are invited to trace the evolution of French painting at the turn of the 20th century.
Almine Rech New York, Tribeca is pleased to announce 'Last Watch before Dawn,' Ali Cherri’s first solo exhibition with the gallery, on view from January 16 to February 28, 2026. I am obsessed with Ali Cherri’s watercolors. More recently, the artist has described his practice as having “two main branches”: sculptural objects and moving-image works.
GALLERIA CONTINUA is pleased to present Navigation privée, Jorge Macchi’s first solo exhibition in its Paris Marais space.
The exhibition presents a new constellation of works that unfolds as a subtle and unsettling investigation into perception, absence, and the fragile mechanisms through which meaning is constructed. Conceived as a sequence of interruptions, suspensions, and rhythms, the exhibition invites the viewer into a space where what is missing becomes as active as what is present.
Following on from the retrospective show of his work at Musée Paul Valéry in Sète (2025) and the acclaimed exhibitions at the Bourdelle and Orangerie museums (2023), where he alternately delved into the domestic grace of flowers and the wildness of forests, painter Philippe Cognée now returns to a core theme of his work: architecture as a metaphor for the human condition.
David Zwirner is pleased to announce The Last Dyes, an exhibition of new dye-transfer prints by William Eggleston opening at the gallery’s 533 West 19th Street location in New York. Eggleston pioneered the use of dye-transfer printing for art photography in the 1970s, and—as the title suggests—these photographs are the final prints ever made of Eggleston’s images using this analog process. The presentation itself constitutes the last major group of photographs ever to be produced using this printing method, making it a unique opportunity to see a number of works by Eggleston in the format in which he originally presented them.