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.

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.

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).

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.

Liu Chuang’s video installation, Bitcoin Mining and Field Recordings of Ethnic Minorities, leads us on a speculative journey through technology, infrastructure, ecology and finance.

In collaboration with curator and researcher Yang Beichen, the artist explores the complex links between hydraulic projects and bitcoin mining in south-west China, a region rich in hydroelectric resources and marked by great ethnic diversity. This three-screen projection weaves together archival material and filmed sequences, accompanied by a voice-over in Muya, an endangered language. It reveals the impact of modern development on traditional cultures.

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.

En collaboration avec le centre d’art Triangle-Astérides (Marseille), la Collection Lambert invite l’artiste franco-polonaise pour une grande installation dans l’espace du “Grand L” de l’Hôtel de Montfaucon. Pensée en deux volets — In Broad Daylight in Marseille / In Broad Moonlight in Avignon — the exhibition will present works never before shown in France, as well as new productions conceived specifically for each art centre.

After training in New York and then in Paris, Agata Ingarden now divides her time between France and Greece. In Avignon, she will unfold the full diversity of her artistic research, drawing on post-apocalyptic, alchemical and poetic imagery to construct visual narratives in which the living and the technological merge.

Agata Ingarden invites the viewer’s gaze to seep everywhere, pushing to its extreme an image regime now in constant flow — in broad daylight, in full view of all. The public’s gaze glides across the reflections of bluish industrial glass reused in the Incorporate Elevator series, then passes through the blown glass of the Hermits — sculptures depicting hermitages with no interior, shelters that not only fail to protect but instead expose, in every sense of the word, as their expanding glass surfaces have taken over the entire space.

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.

La Gauchère is a long-term research and creative project by graphic designer Marion Cachon, exploring a blind spot in design: the place given to left-handed people in everyday systems and uses. From handwriting to the most common tools, practices are largely designed by and for right-handed users, relegating left-handedness to the status of an anomaly. By embracing this imbalance, the project reveals the critical and creative potential of clumsiness, error and deviation.

The exhibition presents a left-handed calligraphy developed by the artist, posters created for the CACN, as well as trials, variations and unfinished forms, shown as an integral part of the process. It also explores the cultural and symbolic representations of the left hand, historically associated with fault or irregularity. The project is accompanied by a book co-published with the Artothèque de Caen and will later travel to La Fenêtre art centre in Montpellier as part of the GraphiMs festival.