Inaugurated in 1972, Villa Arson was conceived from the outset as a highly innovative institution, fulfilling several essential and complementary functions in support of artistic creation: teaching, research, experimentation, production, dissemination, promotion, and mentorship. Villa Arson's uniqueness lies in the synergy of its various activities— a national higher school of art, a contemporary art center, and an international residency program— whose interactions enrich artistic experiences. The contemporary art center develops an exhibition program with a strong international focus, emphasizing emerging creation.

Villa Arson © Manuel Bougot
Villa Arson © Manuel Bougot
Villa Arson © Manuel Bougot
Villa Arson © Manuel Bougot
Villa Arson © Georges Dupin
Villa Arson © Georges Dupin

Inaugurated in 1972, Villa Arson was conceived from the outset as a highly innovative institution, fulfilling several essential and complementary functions in support of artistic creation: teaching, research, experimentation, production, dissemination, promotion, and mentorship. Villa Arson's uniqueness lies in the synergy of its various activities— a national higher school of art, a contemporary art center, and an international residency program— whose interactions enrich artistic experiences. The contemporary art center develops an exhibition program with a strong international focus, emphasizing emerging creation.

Programme

Nathalie Magnan actionnant son œuvre Now/Then, Rencontres internationales de la photographie, Arles, 1983. © Fonds Nathalie Magnan, INHA-Collection Archives de la critique d'art, Rennes.
Nathalie Magnan actionnant son œuvre Now/Then, Rencontres internationales de la photographie, Arles, 1983. © Fonds Nathalie Magnan, INHA-Collection Archives de la critique d'art, Rennes.
Nathalie Magnan à Santa Cruz, années 1980. © Fonds Nathalie Magnan, INHA-Collection Archives de la critique d'art, Rennes.
Nathalie Magnan à Santa Cruz, années 1980. © Fonds Nathalie Magnan, INHA-Collection Archives de la critique d'art, Rennes.
Nathalie Magnan à la barre, années 2000. © Fonds Nathalie Magnan, INHA-Collection Archives de la critique d'art, Rennes.
Nathalie Magnan à la barre, années 2000. © Fonds Nathalie Magnan, INHA-Collection Archives de la critique d'art, Rennes.
Photogramme du film Donna Haraway reads the National Geographic on Primates réalisé par Paper Tiger Television, collectif dont faisait partie Nathalie Magnan, 1987. Diffusion : Heure exquise ! © Paper Tiger TV et Nathalie Magnan.
Photogramme du film Donna Haraway reads the National Geographic on Primates réalisé par Paper Tiger Television, collectif dont faisait partie Nathalie Magnan, 1987. Diffusion : Heure exquise ! © Paper Tiger TV et Nathalie Magnan.
Photogramme du film Internautes de Nathalie Magnan, 1996. Diffusion : Heure exquise !
Photogramme du film Internautes de Nathalie Magnan, 1996. Diffusion : Heure exquise !
Nathalie Magnan à Santa Cruz, année 1980 © Fonds Nathalie Magnan, INHA Magnan, INHA-Collection Archives de la critique d'art, Rennes.
Nathalie Magnan à Santa Cruz, année 1980 © Fonds Nathalie Magnan, INHA Magnan, INHA-Collection Archives de la critique d'art, Rennes.

Magnanrama

A group exhibition dedicated to Nathalie Magnan, media theorist, filmmaker, cyberfeminist and hacktivist, navigator of seas and internets, who passed away in 2016. Bringing together numerous archival materials and films retracing her journey, and gathering around her artists with whom she collaborated or whose practices extend her own, the exhibition forms a collective biography that sheds light on the contemporary relevance of an important yet still too little-known figure in the history of media, technologies, feminism and LGBTQIA+ struggles. From the 1980s to the 2010s, Nathalie Magnan brought these fields of thought and action into dialogue, and at times into productive collision.

With Nathalie Magnan, Shu Lea Cheang, Cindy Coutant, Chloé Desmoineaux with Bobby Brim and Ada LaNerd, Guerrilla Girls, DeeDee Halleck, Barbara Hammer, Old Boys Network, Paper Tiger TV, Julia Scher, The Yes Men, VNS Matrix.

Video still, Hito Steyerl, Mechanical kurds, 2025 ; Courtesy the artist, Andrew Kreps, and Esther Schipper Berlin / Paris / Seoul.
Video still, Hito Steyerl, Mechanical kurds, 2025 ; Courtesy the artist, Andrew Kreps, and Esther Schipper Berlin / Paris / Seoul.
Video still, Hito Steyerl, Mechanical kurds, 2025 ; Courtesy the artist, Andrew Kreps, and Esther Schipper Berlin / Paris / Seoul.
Video still, Hito Steyerl, Mechanical kurds, 2025 ; Courtesy the artist, Andrew Kreps, and Esther Schipper Berlin / Paris / Seoul.
Video still, Hito Steyerl, Mechanical kurds, 2025 ; Courtesy the artist, Andrew Kreps, and Esther Schipper Berlin / Paris / Seoul.
Video still, Hito Steyerl, Mechanical kurds, 2025 ; Courtesy the artist, Andrew Kreps, and Esther Schipper Berlin / Paris / Seoul.
Video still, Hito Steyerl, Mechanical kurds, 2025 ; Courtesy the artist, Andrew Kreps, and Esther Schipper Berlin / Paris / Seoul.
Video still, Hito Steyerl, Mechanical kurds, 2025 ; Courtesy the artist, Andrew Kreps, and Esther Schipper Berlin / Paris / Seoul.

Hito Steyerl - Mechanical Kurds

Through a video installation blending fiction, documentary and critical speculation, the German artist explores invisible chains of micro-labour, the geopolitics of images, and the mechanisms of delegation that shape so-called “autonomous” technologies. By reactivating the figure of the “Mechanical Turk” in the age of digital platforms, Hito Steyerl sheds light on the bodies, territories and conflicts concealed behind the making of AI.

Hito Steyerl (born in 1966 in Munich) is a German artist, filmmaker and theorist whose work examines the relationships between images, power and contemporary technologies. Trained in documentary filmmaking and philosophy, she has, since the 2000s, developed a practice that combines visual essay, video installation and critical speculation. Her work investigates the circulation of images in the digital age, automation, the militarisation of technologies, and the invisible infrastructures that shape perception.

Access

Villa Arson
20, avenue Stephen-Liegeard
06100 Nice
Tram Le Ray
A8, sortie Nice Nord
+33 (0)4 92 07 73 73
villa-arson.org

The Villa Arson is open from Wednesday to Monday, from 2pm to 6pm, and until 7pm in July and August.

Locate other art venues in the vicinity on the map.

Discover our address book

PLACES TO DISCOVER

Castle Hill Park : climbing the hill of the Castle to enjoy a royal view of the Baie des Anges, a fresh and timeless walk near the beautiful neo-classical cemetery.

collected objects and furniture.

PLACES TO EAT

Le Plongeoir : a beachfront Mediterranean gourmet restaurant in a chic setting.
Bocca : the new food and lifestyle experience in Nice: a sharing restaurant, a luxuriant rooftop and a cheerful atmosphere.
Le Lavomatique : a bistronomic cuisine, delicious food to share in the old town.
Le Local : a preserved address in the harbour district, high-quality Italian products and cuisine at an affordable price, elegant service.
La Buvette du musée Chagall : fast food, a pleasant and bucolic break in the heard of Nice!
Garden of the Chagall Museum, open to all during the Museum’s opening hours.
Socca du Cours Saleya : a "Nissarde" cuisine as we like it, to go!
Castel Plage : bistronomic cuisine, sunshades and deckchairs.
Le Galet : lounge bar, spa and deckchairs, facing the Albert Ier gardens.

PLACES TO DRINK

• Place du Pin : the inhabitants of Nice call it their “Petit Marais”. Located in the Vieux-Nice.
Le Negresco : an iconic place with a hotel, two restaurants and a bar.

All the great beachfront hotels have their rooftop. Ideal for a cocktail, a lunch or a coffee.

PLACES TO STAY

Le Windsor, Jungle Art Hotel : a charming hotel with bedrooms decorated with contemporary artworks. A beautiful garden to enjoy your breakfast or your cocktails…
Hôtel Amour : le dernier né de la famille Amour : 38 bedrooms, a restaurant, a swimming pool on the roof, a tree-filled patio,

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