Charged with commercial, emotional or artistic values, printed images permeate our lives as consumers, making them more beautiful. Escaping their ephemeral destiny, some become collectors' items. These include the tissue paper that wraps around citrus fruits, of which the MIAM owns thousands of specimens, thanks to donations from major collections. Often anonymous, these letterings, signs and images that cross borders nourish our imagination and convey the image of a globalised agri-food industry of which we are heirs.

By echoing this collection with other modern artworks and ephemera, this exhibition explores the boundary of modest and applied arts, a territory that MIAM and La Fenêtre, under the impetus of their respective directors, Françoise Adamsbaum and Gaëlle Maury, have explored for several years.

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.

As part of its Contemporary Art Season, the museum is hosting Nicolas Daubanes, a leading figure on the contemporary art scene, whose work explores the world of incarceration through drawings, installations, and videos. The exhibition showcases a significant selection of his works, featuring iron filings drawings and new, never-before-seen creations.

With a pop-inspired aesthetic and materials — sometimes even objects — drawn from the worlds of luxury, fashion, cosmetics, and automobiles, Sylvie Fleury reveals the paradoxes of a culture fixated on image and appearances. Rather than selling a product, she borrows the language of advertising and marketing to explore the very machinery that fuels consumer desire. Her work includes iconic installations such as Shopping Bags — a ready-made piece created from a day of shopping — along with sculptures and paintings that playfully twist minimalist works by American modern artists. She also presents neon pieces emblazoned with advertising slogans, videos featuring women and vintage cars, paintings inspired by makeup palettes from well-known brands, and a site-specific wall painting paying homage to Daniel Buren.

This retrospective exhibition of Pierre Alechinsky's works on paper brings together around a hundred pieces of various formats and techniques, spanning from the 1940s to his most recent works, in a colorful and dynamic journey.

A Belgian painter and printmaker who later became a naturalized French citizen, Pierre Alechinsky (1927–1993) was a member of the CoBrA group (COpenhagen, BRussels, Amsterdam) alongside Jorn, Dotremont, Appel, and others. His first collaboration with PAB dates back to 1957. Together, they created over 25 bibliophile books until Pierre André Benoit's passing. At the PAB Museum, Alechinsky exhibited Paintings and Books in 1990, followed by The Printing Wheel in 2001. In 1991, he created an enamel lava fresco, Petite falaise illustrée, which welcomes visitors at the entrance. The museum holds a remarkable collection of his works from 1948 to 2004, including oil paintings, prints, ceramics, and stained glass.

Yvonne Rainer: A Reader explores the legacy of the choreographer and filmmaker born in 1934, a pivotal figure of the New York avant-garde. From the 1960s onward, she shifted away from minimalism to question emotions, as well as social and political relations, articulating a critical, feminist, and queer perspective. The exhibition adopts the format of a reader — a collection of texts — expanded into a multidisciplinary space bringing together dance, cinema, performance, visual arts, literature, and archives. Alongside a complete retrospective of her films, numerous contemporary artists (Atlas, Boudry/Lorenz, Maheke, Ntjam, Pendleton…) engage in dialogue with her work. A bilingual publication accompanies this groundbreaking project, making her writings, interviews, and essential reflections available in French for the first time.

The new exhibition of the collections at the Mrac Occitanie takes its title, ALLONS, from a mural painting by the artist MCMitout. This injunction can express consolation, affection, encouragement, annoyance, or even impatience. This multifaceted word has made it possible to bring together and foster dialogue between works by more than 40 artists in this new display of the collections.

In this exhibition, the focus is on artists whose work resonates with contemporary concerns—whether ecological, political, or poetic. These artists maintain a connection to the present while opening up new horizons that contribute to the construction of a shared space.

Armelle Caron develops a body of work that questions places in their memorial, geographical and structural dimensions, drawing on the language of poetry and colour.

At the Mrac’s Print Room, she transports us into what might be seen as an unfolding of her studio — a heterotopia that brings together multiple sites, connected by the voids that shape them. Gathering drawings, sketches, objects, models and several in situ wall interventions, Armelle Caron creates a silent tangle that evokes different places. The exhibition thus becomes a single space which, like dreams, overlays fragmented worlds to reveal a unified narrative.

The exhibition brings together five artists from the Occitanie region, a land marked by aridity and vulnerable to climate change. Through their works, each one draws our attention to small failures, mistakes or misunderstandings that might at first appear insignificant. Using the forms of painting, sculpture, video or installation, they reveal fractures, fragmented objects, reworked or even stitched back together. Confronted with unfinished narratives and fading stories, we become spectators of the cracks. There are enigmas here to unravel, sometimes formal, sometimes narrative. The works of Socheata Aing, Salomé Angel, Émilie Franceschin, Sam Krack and Suzy Lelièvre gradually respond to one another as visitors move through the labyrinth of CACN’s galleries.

In partnership with Document d’artistes Occitanie.

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.

Anna Meschiari, the seventh recipient of the 2024 Occitanie Médicis Prize, is presenting a new exhibition at the Mrac in Sérignan.

During her three-month residency at the Villa Medici in Rome, she explored a wide range of influences, from Etruscan art to the projects of architect Marta Lonzi (a member of the 1970s “Rivolta Femminile” movement), as well as delving into the figure of Plautilla Bricci (the first recognised female architect and Baroque painter in history). These explorations were enriched by research carried out in Italian and French libraries and museum archives.

Drawing on this repertoire of forms, ideas and intentions, Anna Meschiari presents an immersive installation that, for the first time, brings together video, paintings on unstretched canvas, sculpture and architecture within a single space.