For four millennia, motherhood has been at the heart of the stories, rituals and images that shape societies. The exhibition “Bonnes Mères” presents Mediterranean motherhood as a social construct, a political issue and an artistic subject, through an immersive, diachronic journey tracing its history from Antiquity to the present day, in a constant dialogue between eras and artworks. From ancient mother goddesses to Marseille’s Bonne Mère, from patriotic mothers to contemporary artists, the exhibition questions representations of motherhood often laden with expectations, and reveals the plurality of maternal experiences.

The scenography is immersive and radiant, guiding visitors along a sensorial journey structured in three sections. “Bonnes Mères” opens with the imaginaries surrounding traditional figures of motherhood, often idealised and romanticised. It then turns to more complex and singular realities, sometimes invisible, shedding light on intimate experiences long kept silent — such as perinatal grief or pregnancy termination. The exhibition concludes with a focus on transmission and mother–child bonds, decoding patterns of imitation and inherited codes.

In this new body of work, Valdrin Thaqi continues to develop a restrained figurative painting, where the image never presents itself as a narrative but rather as a situation. Figures appear within stripped-down spaces, removed from any temporal or social context, held at the threshold of the event. The series unfolds through minimal postures that concentrate a sense of unease without exposing it. Often depicted in three-quarter view, in profile, or with their gaze turned elsewhere, the subjects avoid frontality as one avoids a conclusion.

Sessions: Tuesday 3 and 17 February 2025
Exhibition walkthrough: Saturday 23 May & artistic and civic celebration on 14 July
Highlight event as part of the Printemps de l’Art Contemporain PAC festival: Saturday 23 May

Ghita Skali, an artist from Casablanca based in Amsterdam. Her multidisciplinary practice includes installations, videos, and interventions. She draws on strange news items, rumours, and historical facts to disrupt institutional power structures. Her work blends humour and critique, resulting in projects that circulate beyond exhibition spaces, through alternative merchandise trade, (il)legal documents, and objects one takes home.

An exhibition supported by the Embassy of the Netherlands in France and the Aix-en-Provence Biennale 2026.

A unique dialogue between pieces by Japanese artists of different generations. The exhibition explores the emotional, ecological and his-torical bonds that connect us to our habitats, set against our modern lifestyles and the ensuing envi-ronmental disasters which have made these invisible connections both invaluable and unstable.

Based on the earthquake, tsunami and nuclear accident that hit North East Japan on March 11th 2011, an event that destroyed people’s lives, society and the environment, the exhibition displays pieces crafted post-Fukushima alongside artwork seeped in the history and rapid modernisation of 1970s Japan. The design echoes the FRAC’s architecture by Kengo Kuma and the exhibition demonstrates how the events of March 11th and the pieces they inspired bear the hallmarks of late 20th century Japanese art.

In partnership with Japan Foundation and La Maison de la culture du Japon in Paris

Gallifet’s spring exhibition presents a selection of more than one hundred photographs by the French photographer François Halard, including many that will be seen by the public for the first time.

Based between Paris, the south of France and Greece, his work draws on the history and memory of those places – across the globe but so often Mediterranean – that create a common bond, that tell the tale of lives entwined, their past, present and future.

The artist’s impassioned quest for beauty takes us on a journey through the countryside of Greece and Italy, into the studios of some of the last century’s great modernists, to the gardens of Giverny, and inside a house in Arles where unimagined poetry greets us at every turn.

Invited to conceive a double solo exhibition between Marseille and Avignon — her first institutional presentation in France — the artist Agata Ingarden conceived the two installations as “two distinct atmospheric states through which we perceive the same reality.”

While the exhibition at theCollection Lambertin Avignon unfolds under the sign of moonlight and darkness, the works presented at Triangle-Astérides — all made of glass and playing with the idea of transparency, both literal and metaphorical — instead invite the viewer’s gaze to seep everywhere, pushing the scopic drive to its extreme. In broad daylight, in full view of all.

The Franco-Polish artist views these sculptures as portals, granting access to the enigmatic Dream House World. “Dream House is not a narrative with a beginning or an end, but a fictional infrastructure. What matters is simply understanding that there is an underlying system [to our reality]. We do not know exactly what takes place there, but we can imagine it.”

This 8th edition of the “De leur temps” Triennial gathers more than 130 works from 70 French and international private collections, spanning painting, video, sculpture, performance and installation. Since 2004, the Triennial has highlighted committed collectors and reflected contemporary sensibilities.

This edition questions the climate amid ecological, political, and social upheavals, presenting the collection as a living ecosystem and inviting reflection on memory, preservation, and transformation.

Caldas's furniture, crafted from discarded tree trunks and designed with his fellow canoe-carving friends in his hometown of Salvador de Bahia, the most African city in the Americas, is of the same essence: resourcefulness, inventiveness, and poetry.

British artist Douglas Eynon, based in Brussels, presents his first solo exhibition in Marseille. The title refers to the “angel hour,” a mirrored moment associated with synchronicity, running through an exhibition attuned to fragile apparitions.

An anamorphic painting of a hand and a swaying paper orchid establish a dialogue between body and plant, image and matter. The background landscapes draw inspiration from nightclub lighting designed by his father, sometimes tested in the family living room or garden. From these memories emerge hybrid landscapes, where the domestic meets an almost cosmic light.