Following its presentation at the Centre Pompidou in 2023–2024, the exceptional donation made by Marc Chagall’s granddaughters, Meret and Bella Meyer — entered into the collections of the Musée national d’art moderne in 2022-2023 — is exhibited at the Musée national Marc Chagall in 2026. The exhibition unfolds in two parts, from 7 February to 18 May, and from 23 May to 21 September.

The 141 donated works bear witness to the richness and diversity of Marc Chagall’s creative output. The ensemble brings together, on the one hand, forty-one sketches and maquettes produced for the ceiling of the Opéra de Paris, inaugurated in 1964. On the other hand, it includes sixty-four sketches for stage curtains and costumes designed for the ballet The Firebird by Igor Stravinsky, revived by the Ballet Theatre of New York in 1945 with choreography by Adolph Bolm. Finally, twelve ceramics and sculptures, along with twenty-four collages, reveal the artist’s constant curiosity for new techniques and materials, particularly evident between the 1950s and the 1970s.

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.

Venue: musée Jean Cocteau le Bastion

The portraits of Jean Cocteau’s friends stand alongside his celebrated self-portraits. The Prince of Poets appears through the eyes of his peers, in elegant likenesses that show him young, at the dawn of his twenties. In artistic Montmartre, he moves among the creative circles of his time and sits for leading figures such as Modigliani and Picasso.

The Séverin Wunderman collection also brings together photographs by Philippe Halsman and Irving Penn, as well as a silkscreen by Andy Warhol produced in 1985 for the opening of the museum in Irvine. Warhol acknowledged the profound influence the poet had on his life and work. Among the major works held by the museum is Self-Portrait Without a Face, shown alongside portraits of Cocteau’s close circle: Picasso, Raymond Radiguet, Christian Bérard, and Yul Brynner.

The exhibition unfolds across four sections: Self-Portraits, Sacred Monsters, Dancers and Writers, and Musicians.

What remains when you don’t die young?

The mythification of a youth cut down in its prime is deeply embedded in our society. That Kurt left us too soon—we can all agree on that. One would have liked to hear what his raspy voice might have sounded like at the dawn of his sixties, singing Something in the Way in a world unbalanced on almost every level. Too Old to Die Young.

At once, the phrase overturns expectations and a generational tension emerges: an underground slogan riding on a post-youth aesthetic. In a culture of survival rather than heroism—echoing a Camus-like stance where the absurdity of insisting on staying in this life becomes a militant act—the idea of the collective, and what La Station represents, endures. With humour and cynicism as ramparts, it adopts a stance both half-hallucinated and half-disenchanted in order to move forward, despite everything.

La Station, a mythical site of contemporary creation in the cultural landscape of the French Riviera, is a unique space founded in 1996—an inventive, essential and deeply human artist-run space, celebrating a joyfully ambiguous artistic practice somewhere between ego and the collective. La Citadelle – Centre d’art & Musée is pleased to invite fourteen artists to celebrate the thirty years of La Station through this exhibition.

“One day, soon, tomorrow, everything will change shape”
Drawing on these few words by Victor Hugo, the SUPER ISSUE collective draws on its divinatory talents to offer its own vision of the future (!)—that eternal object of fantasy whose substance never ceases to shift in response to societal, scientific, and climatic transformations, to name but a few… When it comes to exhibitions, SUPER ISSUE extends this dynamic of openness by regularly inviting artists from outside the core collective.

SUPER ISSUE is a collective of visual artists that produces fanzines, artists’ books, screen prints, and other artistic objects in all possible forms, operating in a fully independent and self-funded manner. On the editorial side, each edition is printed in a very limited run and hand-numbered. The collective is based in Nice, but the artists it publishes come from all over France and beyond.

Formed thanks to the generosity of Henri Matisse and his family, the collection of the Musée Matisse Nice brings together works that come directly from the artist’s studio. Paintings, drawings, sculptures, cut-outs, prints and illustrated books make up an exceptional ensemble, offering a comprehensive overview of his work. Also comprising numerous personal objects belonging to Matisse—true models and active protagonists in his art—this collection provides a close insight into his creative process and the breadth of his aesthetic experimentation.

A chrono-thematic display, spread over four levels, illustrates the diversity of the works and highlights recent acquisitions, including Nature morte à la statuette africaine (Still Life with African Statuette, 1907), and the deposit by the Centre national des arts plastiques of four aquatints from the late 1940s.

Since the origins of painting, colour has been the prerogative of painters. Both matter and light, it was the starting point for Fernand Léger's (1981-1955) entire aesthetic approach. Throughout his work, the painter showed a real passion for pure colour, which he used in an infinite range of combinations and variations, in a wide variety of media: drawings, ceramics, stained glass, sets for the world of entertainment and architecture.

Nicolas Poussin (1594–1665) was the first painter to focus not simply on landscape, but on Nature, which he did with lyricism and increasing sensitivity over the course of his career. Given that Poussin founded a school, something of this ‘feeling for Nature’ was passed on to the generations that followed, for example, in the works of Gaspard Dughet and Claude-Joseph Vernet.

But what of today? Although ecological worries are a major concern for our societies, are there any artists who still depict nature elegiacally? It is our aim to show that yes, indeed there are, by bringing together, on each of Villa Paloma’s floors, classical paintings with all manner of contemporary works: sculptures, installations, photographs, videos, films, paintings and drawings. And while these pairings for the most part represent a Franco‑Italian exchange, though not exclusively, they do so as a tribute to Poussin, who, though French, spent most of his career in Rome.