Venue: Parc des Ateliers - Les Forges

Encompassing sculpture, installation, video, and sound, spanning 2018 to the present, People Planet Profit explores how the signifiers, symbols, and infrastructures of capitalism vie for our attention, endlessly circulating, choreographing our movements, shaping our perceptions, and emotions.

As part of the major event OTHONIEL COSMOS ou les fantômes de l'amour, Jean-Michel Othoniel is taking over 10 emblematic venues in the papal city with 250 artworks, including 160 previously unseen.

At the Collection Lambert, Othoniel collaborates with a display of works from the permanent collection (by Robert Ryman, Sol LeWitt, Donald Judd, Louise Lawler, Roni Horn and Nan Goldin, among others) that have had a major influence on Othoniel's work.

Venue: La Tour / Galerie des Archives Vivantes, Niveau - 2

The first exhibition in France to focus on this landmark mid-twentieth century initiative, which brought together hundreds of key avant-garde artists and the engineers who ushered in the information age.

Inspired by Vincent’s correspondence, 21 modern and contemporary artists take up the themes he addressed and present their works to him as if they were letters. In doing so, they fulfill Van Gogh’s wish to be “a link in the chain of artists.”

With: Harold Ancart, Jacopo Benassi, Martin Boyce, James Castle, Louise Chennevière, Gérard Collin-Thiébaut, Rineke Dijkstra, Simone Fattal, Gustave Fayet, Dominique Ferrat, Joseph Grigely, Nathanaëlle Herbelin, Isidore Isou, Ann Veronica Janssens, Hans Josephsohn, Anselm Kiefer, Mark Manders, Sylvain Prudhomme, Louise Sartor, Wolfgang Tillmans, Rico Weber
& Vincent van Gogh.

Vivian Suter travaille quotidiennement, en plein air, dans son jardin de Panajachel au Guatemala, où elle vit depuis les années 1980. Elle laisse ses toiles au dehors et intègre dans sa peinture les facteurs externes tels que l’humidité, la lumière, la flore et la faune constituant ainsi une documentation de son environnement de vie. Sur certaines d’entre elles, des brindilles ou feuilles sont venues s’y coller, on devine des traces de pattes de chiens ou de la pluie qui a délavé la peinture.

Comme pour chaque occurrence de l’exposition Disco, précédemment dévoilée au MAAT à Lisbonne et au Palais de Tokyo à Paris, les toiles réalisées ces dernières années sont réagencées de manière libre et spontanée en fonction de l’architecture des lieux. Elles s’accumulent et se superposent sur toute la hauteur des murs, flottent dans le vide, sont suspendues à des structures ou s’amoncellent à même le sol. Près de 400 œuvres viennent dialoguer à Nîmes avec l’architecture de Norman Foster pour proposer une nouvelle immersion au regardeur dans une saturation de l’espace.

L’exposition Disco de Vivian Suter a été organisée par le MAAT, Lisbonne et le Palais de Tokyo, Paris. Elle bénéficie du soutien à la production artistique et du partenariat de ArtWorks.

At the Collection Lambert, German artist Constantin Nitsche is presenting his first major solo exhibition in a public institution. In the vaulted basement rooms of the Hôtel de Montfaucon, he showcases around twenty works specially created in his Marseille studio.

Constantin Nitsche’s paintings are delicate constructions where figures and scenes from his everyday life blend with fictional objects and situations, alongside references drawn from the history of modern and classical art, as well as cinema. Animals, still lifes, human figures—his wife, his children, Joseph, an artist friend—appear suspended in space and time, ethereal, their gazes unreadable. In the rooms with luminous ceilings reminiscent of Stanley Kubrick’s 2001: A Space Odyssey, the works unfold like a series of epiphanies emerging from the artist’s memory, carried along in a choreography that evokes the movement of Tchaikovsky’s Waltz of the Flowers.

Venue: La Tour - Underground, Niveau - 3

More than a simple portraitist, Armstrong, who died in 2014, captured the essence of a generation and a particular attitude in the face of life, which he immortalized in a series of images as intimate as they are striking. The exhibition shows how, from the outset, Armstrong depicted not only people, but also an attitude in the face of life and its disappointments–an attitude that is at once heady and exuberant, disenchanted and idle.

Venue: La Mécanique Générale

Phantom Day and Stranger Tales features five immersive multimedia installations spanning two decades, alongside a new commission, Phantoms of Endless Day that draws from an unfinished film—now resequenced, re-constructed, and narrated through Artifi cial Intelligence processes—to raise the spectre of the last days of the Second World War in his homeland, with Japanese and British soldiers and Communist Guerrilas trapped in the jungle with mystical creatures, including a Shamanesque weretiger

Venue: La Tour - Glassroom, Niveau - 2 - Galerie Est, Niveau 0

The largest presentation of KOO JEONG A’s work in France to date, the exhibition brings together a major body of works spanning from 2007 to the present. Showcasing sculptures, an olfactory installation, and a series of phosphorescent paintings, as well as more intimate ink drawings, the exhibition extends KOO’s enduring exploration of movement, weightlessness, levitation, and voids.

The American-Portuguese artist and filmmaker has been invited to the Collection Lambert for his first major exhibition in France. Internationally acclaimed for his films — including Diamantino, which won the Critics’ Week Grand Prize at the Cannes Film Festival in 2018 — he will showcase in Avignon the full breadth of his work, where video installations, films, paintings, and drawings intertwine, and where new technologies meet poetry with power and elegance.

Inside the Hôtel de Montfaucon, he will present a series of recent drawings, paintings, and videos, including the large-scale installation Bardo Loops, commissioned in 2024 by CAM Gulbenkian in Lisbon and unveiled for the reopening of its modern art center. Through this wide range of media, all mastered with disarming virtuosity, Gabriel Abrantes portrays a strange world in which algorithms and artificial intelligence appear to have taken control.

Final installment of the trilogy “Symptoms of the Living”, presented at the Grenier à sel since 2023, this exhibition explores the animal kingdom and its specific modes of communication and existence in relation to others. To delve into this question, it brings together artists from diverse backgrounds who approach creation as a space for dialogue with the living world.

Mostly working with digital tools—whether responding to internet culture, artificial intelligence and interactivity, robotics, sound art, hand-drawn animation, or more traditional media such as film, video, and installation—the featured artists each explore, in their own way, the mysteries of the animal world: its gestures, its emotions. In a world that has lost the thread of dialogue and is driving species to extinction, animals clearly still have much to tell us, if only we are willing to listen.

With : Erik Bünger, France Cadet, Dominique Castell, Nicolas Darrot, Lab212, Jean Painlevé, Daniel Spoerri, Tout/reste/à/faire, Knud Viktor, Filipe Vilas-Boas.

elipe Romero Beltrán’s artistic projects are largely grounded in the exploration of social issues, playing with the tension that new narratives can introduce into the realm of documentary photography. His practice is defined by a commitment to long-term projects that require meticulous research.

Bravo unfolds in the liminal space of the Rio Bravo (the other name for the Rio Grande), a zone of constant tension and migration where identity and geography intersect. Focusing on a 270-kilometre stretch of the river, Romero Beltrán constructs an elusive visual narrative in which the river itself becomes a silent protagonist, shaping the lives of those who come near it, though they rarely appear within the frame. Through stripped-back portraits, austere interiors and marked landscapes, Bravo captures the suspended time of migration, as its subjects wait — sometimes for years — in the shadow of an uncertain crossing.

Exhibition organised by Fundación MAPFRE in collaboration with Carré d’Art – Musée d’art contemporain de Nîmes.

Venue: La Tour / Galerie des Archives, Niveau -2 / Galerie du Cerisier, Niveau -2

The 5th chapter of the Hans Ulrich Obrist Archives, the first major exhibition in over twenty-five years in France devoted to Maria Lassnig (1919–2014).

The exhibition brings together five artists from the Occitanie region, a land marked by aridity and vulnerable to climate change. Through their works, each one draws our attention to small failures, mistakes or misunderstandings that might at first appear insignificant. Using the forms of painting, sculpture, video or installation, they reveal fractures, fragmented objects, reworked or even stitched back together. Confronted with unfinished narratives and fading stories, we become spectators of the cracks. There are enigmas here to unravel, sometimes formal, sometimes narrative. The works of Socheata Aing, Salomé Angel, Émilie Franceschin, Sam Krack and Suzy Lelièvre gradually respond to one another as visitors move through the labyrinth of CACN’s galleries.

In partnership with Document d’artistes Occitanie.