Conceived as a journey through memory — imagined here as a shifting landscape — the exhibition pays tribute to the pioneers of Malian photography and the great African capitals of the 1960s and 1970s. Studio portraits, bustling streets, and vibrant nights engage in dialogue with the contemporary visions of 36 artists. More than 35 artists come together, between past and present, photography and sculpture, to turn the ordinary into poetry and celebrate our shared memory.

Because without it, perhaps we would forget.

Exhibition supported by the Carte Blanche program, Région Sud

Yuyan Wang is a video artist born in China and based in France. Her work explores the transformation of materials drawn from the image industry, which she deconstructs and reassembles through editing. By diverting images from their original contexts and from the ways they circulate—whether found, altered, or fabricated—she converts them into immersive sensory experiences.

Weather sketches an atmospheric landscape from images gleaned on social media. Captured by anonymous individuals across a scattered cartography, these wandering images—meteorological phenomena, everyday gestures, fleeting moments of contemplation—form the drifting fragments of a shared visual horizon. Stripped of their provenance and of the codified uses of dominant narratives, they gradually reveal affective layers tied to sensibility. In an age of information overload and the general acceleration of time, this fractured panorama invites us to relearn how to inhabit the real.

The Fondation Vasarely is devoting an unprecedented retrospective to Claire Vasarely (1909-1990), an artist who has remained in the shadows for too long. The exhibition reveals the wealth of her work through paintings, posters, textiles and previously unseen archives, testifying to her role in the 20th century avant-garde.

Produced in partnership with the Vasarely Museum in Pécs (Hungary).

Venue: Galerie Richard Rogers

Ziping Wang transforms the space into a rhythm of captured views and visual fragments. Her vibrant, collage-like paintings engage the gallery’s elongated architecture as both frame and lens—offering fleeting compositions that mirror the image-saturated world we move through daily. The space itself becomes part of the experience: at once window, screen, and kaleidoscope.

Lieu : Auditorium Oscar Niemeyer

Dennis Miranda Zamorano unveils a new body of large-format works that unfold like portals—leading viewers on a mythic journey through memory, ritual, and the unconscious. The space becomes both sanctuary and stage, where painting is not mere representation but remnant, rite, and threshold.

Curated by textile artist and craftswoman Morgane Baroghel-Crucq, the exhibition shines a light on a generation of creators who embrace fluid definitions and reinvent traditional skills in dialogue with contemporary creation. Their works emerge from a process of co-creation with material and time, as well as from a shared practice where one can no longer create without the other. Through gesture, transmission and experimentation, they reaffirm the value of “making together” as a response to acceleration and oblivion.

The artist-craftspeople:
• Grégoire Scalabre. His tiny amphorae come together to form colossal architectures, where the minuscule meets the immeasurable.
• Jérôme Hirson. “By the work, we know the worker.”
• Nelly Saunier transforms feathers into a poetic and sculptural language.
• Baptiste Meyniel. Each object is less an outcome than a patient conversation between material and gesture.
• Nina Fradet. Her solid-wood weavings invent fragile yet powerful architectures, blending takezaiku and cabinetmaking.
• Maxime Bellaunay. Wood, stone and metal guide his hand towards sculpted landscapes.
• Lise Camoin. Her plant-based dyes capture the light of the Luberon — a delicate trace of time held still.
• Aurore Thibout. Her textiles move with the rhythm of bodies, a fabric memory of ancestral gestures.
• Chloé Valorso uses jewellery as a shamanic language.
• Marianne Barrier. Straw becomes refined brilliance, a humble and splendid reflection of passing time.
• Laetitia Costechareyre. Her indigo dyeing turns textiles into acts of memory and resistance.
• Emma Bruschi reinvents rural craft traditions as poetic creations turned towards the future.
• Nicolas Pinon & Dimitri Hlinka reinvent urushi lacquer, at the crossroads of thousand-year-old tradition and contemporary technologies.
• Morgane Baroghel-Crucq. Her monumental weavings are works of patience and silence, setting against the world’s turmoil the slowness of a reclaimed time.

Venue: Pavillon Renzo Piano

Callum Innes has developed a painterly language in which the act of removal is as vital as that of application. Layers of pigment are applied and then dissolved, creating surfaces that oscillate between presence and absence. This process of making and unmaking produces a fragile balance, a visual and material tension that defines his practice. The exhibition brings together recent works from his ongoing Resonance series alongside two large-scale Exposed Paintings.

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

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.

In her practice, Ghita Skali explores the mechanisms behind the production of official narratives, marginalised or censored histories, and the ways in which fiction seeps into fact, and vice versa. During her residency, Ghita Skali wishes to develop a project around the objects that remain after death. These sometimes trivial items become traces, presences, or, on the contrary, things one tries to forget. As if these objects, already inert and silent, became even more so. In her work, Ghita addresses our fear of illness and our relationship to mourning, these “pains” present in different contexts, which we might share. However, class, gender, race, and other markers of inequality shape and alter our relationships to care and to the living. These situations generate different scales of anger, bitterness, and injustice. But is there something shared, something common, in the sorrow of losing loved ones?

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