A major figure in international artistic circles, Francis Picabia (1879–1953) played a key role in the history of the early 20th-century avant-gardes. In the 1910s and 1920s, shaped by his travels between New York and Barcelona, the artist developed a visual language that was as bold as it was irreverent. The exhibition at the Musée d’Art Moderne de Céret retraces his career from a fresh perspective, highlighting in particular the influence of Iberian culture on his work and on that of his contemporaries.

Bringing together nearly one hundred works by Picabia and by artists from his New York and Catalan circles — from Marcel and Suzanne Duchamp to Albert Gleizes and Juliette Roche, from Robert and Sonia Delaunay to Kees van Dongen, Marie Laurencin, Natalia Goncharova and Pablo Picasso — the exhibition benefits from the support of leading institutions in France and Spain, through exceptional loans from the Musée de l’Orangerie, the Centre Pompidou, the Prince’s Palace of Monaco, the Museo Reina Sofía, the Museo Nacional Thyssen-Bornemisza, as well as the Picasso Museums in Paris and Barcelona.

The exhibition O Horizon brings together a series of sculptures by the duo Xolo Cuintle (Romy Texier and Valentin Vie Binet). The works grew out of research conducted in dialogue with botanists, entomologists, gardeners and researchers at the University of Montpellier, as well as volunteers from the Friends of Montpellier’s Jardin des Plantes association.

This research explores the unseen relationships, interdependencies and biological cycles linking the plant, animal and microbial species that shape ecosystems. Through the exhibition, the duo examines the chains of interaction and cause and effect that shape living environments. Often imperceptible because they take place underground, on a microscopic scale or over timescales different from our own, these processes invite us to reconsider our place within the living world.

To celebrate its twentieth anniversary, the Musée régional d’art contemporain Occitanie in Sérignan has invited curator Fabrice Bousteau to devise an extraordinarily bold, large-scale exhibition featuring more than 400 works from the Occitanie Region’s three contemporary art collections, spanning 1968 to the present day: Frac Occitanie Montpellier, Frac Occitanie Toulouse – Les Abattoirs and Mrac Occitanie in Sérignan.

Far removed from traditional thematic or chronological exhibitions, Stop The Machine! offers a sensory experience that moves from one colour to the next, from shadow to light, from participation to contemplation. The works of 250 artists enter into dialogue, complementing or confronting one another along a free-flowing, labyrinthine route across eras, practices, generations and origins.

Ilia Zdanevitch, known as Iliazd (1894-1975), is a major figure of the 20th-century avant-garde. A poet and visionary publisher, he left his mark on his era with his creative audacity, redefining the boundaries of typography and the dialogue between text and image. The exhibition highlights his legendary collaborations with giants of modern art, including Pablo Picasso, Max Ernst, and Joan Miró.

A solo exhibition by Adrien Fregosi (1980–2024), who spent the last ten years in Sète, where he developed a prolific and poetic body of work that is both fragile and powerful, gentle and serious. His works stem from his drawing practice and are influenced by alternative cultures, ranging from graffiti to fanzines.

This is the first major design exhibition ever presented at the Musée Fabre. Pierre Paulin — who passed away in Montpellier in 2009 — remains one of the most iconic designers of the 20th century, embodying both the spirit of post-war youth emancipation and design at the highest level of the French state. Two works are being shown exclusively for the exhibition: the Élysée Palace smoking room, specially restored for the occasion, and Vidéo Barnum, an immersive and sensory installation.

The exhibition is organised in partnership with the Fonds Pierre Paulin, the Manufactures nationales Sèvres & Mobilier national and Artifort.

The exhibition explores gesture, material, and the removal of boundaries between craft and the visual arts, assembling works that take different approaches: raw or ornamental, poetic or politically engaged, flirting with the sacred or the domestic.

The exhibition offers a set of narratives suspended in works and in space, to recreate meaning by doing: assembling, embroidering, cutting, stretching, engraving, binding, casting, folding, weaving… A veritable assembly of gestures, revealing the richness of contemporary practices and their materiality.

A new exhibition by Angélique Aubrit and Ludovic Beillard, conceived as a new chapter in their vast project Une solitude vraiment terrible. Since the economic system came to a halt on 22 June 2025 and money and property ceased to hold any value, humans have gradually abandoned the major cities, making way for other species. L’Élan is a centre for awakening where six stone martens attempt to establish new forms of exchange and invent a new language.

Since 2021, Angélique Aubrit and Ludovic Beillard have developed a collaborative practice spanning sculpture, installation, video, performance and drawing. Their works feature characters that are both familiar and strange, embodied by sculptural costumes that blur the boundaries between the living and the inanimate, theatre and the visual arts.

Following his research and creative residency at the Bob Calle documentation centre at Carré d’Art – Musée d’art contemporain in Nîmes, artist Sylvain Fraysse presents work exploring themes of destruction, disappearance and absence. Notebooks, drawings and research tables featuring a selection of books explored during the residency are on display in the documentation centre, while the exhibition on the Mur Foster takes a more experimental, visual approach: a sound installation, video, graphic works and wall-based pieces reveal ghostly traces and spectral layers gathered during the artist’s investigations.

This residency was supported by the Occitanie Regional Directorate of Cultural Affairs and the Gard Departmental Council.