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: 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.

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.

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.

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).

For the fall 2025 program, the Bonisson Art Center wished to pay tribute to Richard Nonas, the American sculptor born in Brooklyn on January 3, 1936, and who passed away in New York on May 11, 2021. Richard Nonas was a sculptor of space, inventing a unique vocabulary for each artwork in dialogue with its surroundings. Through his practice, he sought above all to inhabit and enliven a place, carrying with him a reflection that was both philosophical and deeply emotional.

Curated by Anne-Laure Mino
With the support of Galerie Christophe Gaillard (Paris, Brussels)

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.

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.

Venue: Galerie Bastide / Galerie des Anciens Chais

Retrospective in character, Ark derives its name from a 1987 series of photographs made of a single drop of water. As in many of Fuss’s typologies, the natural world is distilled toward a symbolic and spiritual essence. Beginning in the 1980s, Fuss began exploring a wide range of non-traditional photographic techniques, pin-hole, photograms, and daguerreotypes, with the emphasis of making photographs without the use of a camera. His images are born of direct encounters between light and light-sensitive paper. They are not depictions but imprints, the trace of an event.