For the fourth consecutive year, Support Station presents the work of resident artists from La Station and their guests, within a staging device specially designed for the event. Support Station highlights the practices of the artists who compose it and bring it to life. This exhibition also helps financially support the association Starter, the initiator of the La Station project. The exhibited artworks will therefore be offered for sale. The proceeds from this sale will generate additional resources for the association, which are essential to the smooth running of the artist-run space.

Featuring artists: Tom Barbagli, Suska Bastian, Arnaud Biais, Jules Boillot, Camille Franch-Guerra, Lucille Jallot, Jeanne Leclercq, Donia Ouassit, Eleonora Paciullo, Phane Design, Philippe Paradis, David Raffini, Omar Rodriguez-Sanmartin, Sayo Senoo, Clémentine Taupin, Cédric Teisseire, Agathe Wiesner and Anne-Laure Wullai.

Venue: Galerie des Musées du Palais de l’Europe

Around a hundred masterpieces from the Séverin Wunderman collection are on display in this seven-part exhibition: from the series of self-portraits by Jean l'Oiseleur to the iconic posters of Sarah Bernhardt by Alfons Mucha.

In temporary residency at La Station since September, Sayo Senoo presents The Shameful Chrysanthemum II as the culmination of her residency. She showcases works created through printer and scanner experiments, in which two images overlap: the medal-covered chest of a Japanese political leader from the late 19th–early 20th century, and close-ups of anuses.
These decorations, inspired by Napoleonic honours and sometimes based on the chrysanthemum — an imperial symbol that is also slang for the anus in certain Japanese communities — echo Japan’s colonial and expansionist past. By confronting these images, the artist asks: which chrysanthemum is truly shameful?

Born in Japan and now based in France, Sayo Senoo trained in painting at Musashino Art University in Tokyo. During a long recovery from cancer, she turned to photographic imagery, which became her artistic language. Her work has been shown in numerous venues across France and Europe (Palais de Tokyo, Maison de la Culture du Japon, Kunsthalle Düsseldorf…) and is included in several public collections, including the Bibliothèque Kandinsky and the Klingspor Museum.

This exhibition concludes her temporary residency at La Station, supported by DRAC PACA.

This new chronological and thematic hanging illustrates the permanence and recurrence of the themes explored by the artist since his early years. On the one hand, the self-portrait—alone or as a couple—holds a prominent place in Chagall’s work. On the other hand, the themes of the circus and dance partly find their origins in the Hasidic Jewish celebrations the artist experienced during his childhood. Chagall depicts the acrobat as an allegory of the artist and the circus as a satirical metaphor for society, where fantasy and cruelty coexist. Finally, the Bible occupies a central place in Chagall’s oeuvre. For more than fifty years, he continued to represent biblical episodes with a poetic and spiritual dimension, driven by his desire to convey an allegorical message of universal peace.

This autumn’s display also aims to showcase, for the last time before their departure in 2026 for a major exhibition in Seoul, the monumental paintings from the collection, on loan from the National Museum of Modern Art.

Venue: Villa Sauber

This exhibition explores the diversity of cacti and succulent plants, symbols of the French Riviera and Monaco. It reveals their iconographic and artistic history, blending ancient and contemporary art objects in a dialogue between science and art.

This exhibition both examines the tools used to produce Bacon's prints and illuminates the circumstances of the works' creation. Through a selection of lithographs and engravings, it also explores the recurrent themes that nourished the painter's imagination.

Co-organized by the Musée Matisse Nice and the Baltimore Museum of Art, the exhibition sheds light on the Stations of the Cross created by Henri Matisse for the Chapel of the Rosary in Vence and retraces its genesis. While the chapel has been the subject of numerous publications, the Stations of the Cross has inspired only a handful of studies, despite being a monumental ceramic panel. Radically different from the chapel’s other decorations, as well as from Matisse’s pictorial production as a whole, this work stands out as unique—one for which the artist produced an exceptional number of sketches and preparatory studies.

The exhibition brings together three groups of drawings—held at the Musée Matisse in Nice, the Chapel of the Rosary, and in private collections—a total of 84 works, complemented by archival materials tracing the project’s evolution from the first ideas to its final realization.

This exhibition brings together the work of 55 artists from the 2024 and 2025 graduating classes of Villa Arson. Featuring exclusively works created during their years of study, the exhibition summons their individual reflections born from the time spent within the same institution. Practices developed in personal contexts converge here, opening onto their confluences and, at times, shared concerns.

This project warmly acknowledges the appearance of institutional archives within the exhibition. Collecting collective moments, their correspondence highlights how memory, here, shifts and unsettles itself in order to debate and shape perspectives for tomorrow. Yours truly, at the bottom of the page, signs this letter affectionately to its new recipients.