La Gauchère is a long-term research and creative project by graphic designer Marion Cachon, exploring a blind spot in design: the place given to left-handed people in everyday systems and uses. From handwriting to the most common tools, practices are largely designed by and for right-handed users, relegating left-handedness to the status of an anomaly. By embracing this imbalance, the project reveals the critical and creative potential of clumsiness, error and deviation.

The exhibition presents a left-handed calligraphy developed by the artist, posters created for the CACN, as well as trials, variations and unfinished forms, shown as an integral part of the process. It also explores the cultural and symbolic representations of the left hand, historically associated with fault or irregularity. The project is accompanied by a book co-published with the Artothèque de Caen and will later travel to La Fenêtre art centre in Montpellier as part of the GraphiMs festival.

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.

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.

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.

Venue: MO.CO. Panacée

Echoing the exhibition that MO.CO. dedicates to the history of the École Supérieure des Beaux-Arts of Montpellier (MO.CO. Esba), MO.CO. Panacée offers a reflection on a true “case study”: the studio of Djamel Tatah at the École des Beaux-Arts of Paris. A professor at the institution for fifteen years, Djamel Tatah trained a generation of artists whose diversity of practices, singular career paths and rapid emergence on the national art scene continue to intrigue.

The exhibition brings together more than 120 works, either recent or specially produced for the occasion. Through painting — oscillating between figuration and abstraction — as well as drawing, sculpture, weaving and installation, the 16 artists open up inner worlds, both real and fictional, situated at the threshold between the present and the collective imagination. Their representations, marked by great formal diversity, draw inspiration from old masters as well as vernacular practices, Persian miniatures, diasporic heritages, contemporary music, and pop and post-internet culture. Often working through fragments, they explore interstices, margins and their many possibilities.

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.

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.

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.

Venue: MO.CO.

Since 2021, SOL ! La biennale du territoire has highlighted the vitality of contemporary creation in Occitanie. For this third edition, MO.CO. and the Musée Fabre have formed an exceptional partnership to pay tribute to a major player in Montpellier’s artistic life: the École des Beaux-Arts.

The exhibition explores a rich, long-standing and sometimes little-known history, where academic heritage, radical experimentation and international openness intertwine. It brings together works by former students, spanning from the school’s origins to 2019. The project also brings together a broad regional network, with major loans from the MRAC Occitanie in Sérignan, the Carré d’Art – Musée d’art contemporain de Nîmes, and the FRAC Occitanie Montpellier. Artistic partnerships have also been established with the FRAC Occitanie Montpellier, the Musée Paul Valéry in Sète, and the city’s non-profit galleries.

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.

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.