Anne Goyer is not an artist who simply uses colour: she creates it. The result of fifteen years of research into a pigment-free blue, this exhibition brings together works at the intersection of art and science. Here, light becomes an experience in its own right, and colour a physical phenomenon. Developed in collaboration with the Institut Lumière Matière in Lyon (CNRS), the blue used by the artist is of the same nature as the colour of the sky itself. Far more than a reflection on colour, 420 Nanomètres opens a dialogue between the infinitely large and the infinitely small through a journey that is at once poetic, conceptual and phenomenological.

Blue is also at the heart of the major exhibition presented by the Fondation Blachère. Bringing together around thirty contemporary artists from Africa and its diasporas, it explores the many resonances of this deeply evocative colour. Different shades of blue – from indigo and navy to sky blue – are connected to a wide range of histories, territories, uses and symbolic meanings. Organised around three themes – Making Blue, Being Blue and Inhabiting Blue – the exhibition offers a sensory journey that encourages both contemplation and reflection. Between sky and sea, intimate narratives, artisanal traditions and contemporary forms, blue emerges as a space for dialogue and transformation through which artists express their relationship to the world, to history and to place.

In this group exhibition, colour acts as a force that complements form, creating a rich dialogue between the works on display. Minimalist geometric shapes, taut surfaces, reflective spheres and coloured textiles come together in an ensemble where each piece seems to respond to another. Here, the eye moves slowly through lines, volumes and chromatic vibrations, following a rhythm of pauses, moments of reflection and subtle encounters. Balancing abstraction and sensation, the exhibition invites visitors less to interpret the works than to experience them directly through the creations of the ten emerging and established artists brought together for the occasion.

In the post-war decades of the second half of the twentieth century, colour struggled to establish itself within abstract art. At a time when vivid hues were often viewed with suspicion, certain painters nevertheless chose to make colour the very core of their practice. Colour became a language in its own right, the hallmark of a form of painting whose expressive power lay as much in abstraction as in the chromatic intensity of its palette. The exhibition L’Abstraction est une couleur (Abstraction Is a Colour) highlights the close relationship between colour and abstraction. Works by around twenty European artists, including Jean Dewasne, Nicolas de Staël, Fabienne Verdier and Simon Hantaï, are presented alongside those of American artists such as Shirley Jaffe, Sam Francis and James Bishop, all within a lineage that openly acknowledges the enduring influence of Matisse.

Sky, sea, sunshine, holidays… The bright and vibrant colours associated with these lesser-explored themes of the Pop Art movement run throughout the exhibition Sea, Pop & Sun. Inspired by Serge Gainsbourg’s famous song, the title evokes a sun-drenched imaginary world shaped by desire, escape and freedom. Sculptures, paintings, photographs and videos by iconic Pop artists form a journey immersed in saturated, luminous colours. Gone are the everyday consumer products and urban motifs typically associated with Pop Art; here, vivid hues serve summer landscapes and scenes of leisure. The exhibition also creates connections with works by contemporary artists such as Théo Mercier, Judy Chicago, Tracey Emin and Tschabalala Self, extending and re-examining the legacy of Pop Art.