For this new cycle revisiting the Albers–Honegger Collection, the eac. is inviting seven international artists who have taken part in residencies at the Josef & Anni Albers Foundation to enter into dialogue with the works.

The artists Annie-Marie Akussah, Marie Hazard, Sumiko Oé-Gottini, Damien Poulain, Enrique Veganzones, Matthias Vico Persson and Charlotte von Poehl have thus been invited to immerse themselves in the collection by selecting around ten works with which they feel a particular “resonance”.

Guided by Couëlle’s free and experimental spirit, the programme’s curatorial direction is committed to supporting artists from a wide range of backgrounds, bringing together leading figures from the international art scene such as Mickalene Thomas, Kennedy Yanko, Sable Elyse Smith, and Neville Wakefield, among many others.

The landscaped grounds are home to a sculpture park featuring works by Antony Gormley, Tony Cragg, Claudia Comte, Georg Baselitz, and Alicja Kwade, curated by Maxime Combot, placing Dragon Hill within the tradition of Europe’s great sculptural landscapes.

Throughout the year, Dragon Hill organises exhibitions presenting the outcomes of the residencies, open to the public in partner venues.

The Fondation Marguerite and Aimé Maeght pays tribute to Gérard Gasiorowski (1930–1986), French painter and photographer, on the occasion of the 40th anniversary of his death.

The exhibition brings together ten works from the Foundation’s permanent collection, including Hommage à Manet (1983), a monumental ten-metre-long painting, Les Avertisseurs, Ida, Cossom’s, Croûte – Arc de Triomphe, as well as more intimate formats such as La Ruelle, Le Village and Les Étendues, which revisits the motif of Giacometti’s Walking Man. Several of these works were donated by Adrien Maeght, the artist’s close collaborator at Galerie Maeght, where Gasiorowski held his first exhibition in 1982.

This presentation echoes the major milestones in the recognition of his work, from the retrospective at the ARC – Musée d’Art moderne de la Ville de Paris in 1983, to the Centre Pompidou exhibition in 1995 curated by Jean de Loisy, and the Fondation Maeght exhibition in 2012, “Vous êtes fou Gasiorowski, il faut vous ressaisir…”. It highlights a body of work marked by experimentation, irony and emblematic series such as Flowers, Hats, Amalgams and Crusts.

A singular figure of Mediterranean art, Baya left a lasting mark on the second half of the 20th century with a universe that is both poetic and radiant. Her work unfolds in a profusion of vegetal forms, vivid colors, and exalted female figures, offering a joyful celebration of life and imagination.

This exhibition invites visitors to enter Baya’s enchanting world, populated with birds, music, and figures adorned in sumptuous attire. It offers the opportunity to explore a unique artistic journey, shaped by decisive encounters yet above all driven by a creative freedom that continues to resonate today.

The Espace de l’Art Concret is pleased to present, for the first time in France, the work of Swiss physicist, teacher and artist Jürg Nänni (1942–2019). It all began in 1991 with the now-famous Black Book, published by Jürg Nänni in collaboration with Hans Knuchel by Lars Müller Publishers. The book generated strong enthusiasm among colour enthusiasts for its formal sobriety and conceptual rigour. Drawing on strict mathematical rules and geometric precision, Nänni developed a body of work rooted in concrete art, which remained largely confidential and was rediscovered only recently, following his estate.

The project Jürg Nänni • Art & Science offers a retrospective view of this singular oeuvre, with an exhibition at the eac., accompanied by parallel presentations in Brugg and Biel, Switzerland.

Dedicated to Jean Prouvé (1901–1984), the exhibition highlights his ambition to industrialize construction through archival material, prefabricated elements, and iconic furniture, revealing an architecture in which form derives from structure.

Each work manifests Prouvé’s constructive exactitude and structural lyricism. Set within the 1950s modernist enclave of Fondation CAB, the exhibition reveals the consubstantial bond between architecture and furniture — where technique becomes form, and form attains permanence.

More than seventy years on, Jean Prouvé’s œuvre continues to recalibrate modernity.

To recount the genesis of War and Peace, a political fresco with universal appeal created in 1952, the Alpes-Maritimes National Museums of the 20th Century are launching a new educational initiative in the form of a large-format projection. Aimed at all audiences, this immersive format is designed to enrich the visitor experience and reveal the multiple meanings of this pacifist manifesto.

This exhibition is accessible in French and English, as well as to people with reduced mobility. It has been produced with the exceptional participation of the Centre Pompidou.

The eac. – a contemporary art centre of national interest – in partnership with the Observatoire de l’Espace, the cultural laboratory of CNES, presents the work of eleven contemporary artists who have explored extra-terrestrial art. This manifesto-exhibition aims to lay the foundations for the conceptualisation of extra-terrestrial art in the 21st century.

Taking as its starting point the Space Art experiments conducted in the 1980s, the exhibition seeks to define the framework within which contemporary works can lay claim to extra-terrestrial art. Amid the current effervescence surrounding space exploration and the renewed public interest in the cosmos, contemporary creation is presented with an exceptional opportunity to open a new chapter in the history of art.

A major figure in American art, Ellsworth Kelly (1923–2015) developed a powerful abstract language rooted in close observation of the world. Water captivated him throughout his life—from Belle-Île to New York—its shifting light, colors and reflections translated into paintings, sculptures and collages of striking formal clarity.

This exhibition brings together more than one hundred works to reveal a central yet long-overlooked theme in his practice. The Fondation Maeght also celebrates Kelly’s early and enduring friendship with the Maeght family, as part of an American season of concerts and events.

This major European exhibition marks Elizabeth Colomba’s institutional debut in France, her country of birth.

Bringing together 31 works — including 15 large-scale oil paintings, 14 preparatory drawings, and 2 watercolors, many of which have never been shown before — the event offers a rich and immersive overview of Colomba’s practice, where themes of beauty, power, identity, and historical memory are explored through a distinctly European lens.

From the baroque splendor of Vermeer and Caravaggio to the orientalist fantasies of Ingres and Constant, and the refined portraits of Sargent to the rococo grace of Vigée Le Brun, Colomba engages in a dialogue with the very canons that once projected wealth, prestige, and power. Her canvases, lush with silks, pearls, gemstones, and opulent interiors, also abound with historical references and symbolism — recalibrated to subvert inherited codes.

Brought together for the first time for this exhibition, the works of Nassos Daphnis and Rita McBride — two American artists seemingly distant in time and practice — resonate together within a shared space, at the boundary between functionality and poetry, between authority and freedom.

The exhibition creates a dialogue between Nassos Daphnis’s paintings, with their large, stretched planes of color spanning several periods from the 1950s to the 1990s, and the sculptures, installations, and architectural models produced by Rita McBride over the past thirty years.

At the beginning of 1953, in Vallauris, André Villers’ path crosses destiny: Pablo Picasso. From this encounter emerges a friendship and a creative complicity that will last ten years. Pablo Picasso offers him his first Rolleiflex, this “sewing machine” that becomes his instrument of alchemy. From Diurnes (1962) to Pliages d’Ombres (1977), André Villers asserts himself as an experimenter, cutting, layering, and transforming the image. Faithful to the spirit of Michel Butor, André Villers shifts the boundaries of visual narrative. The image is no longer a documentary mirror, but a fracture; it questions the distance between the author, the subject, and the viewer.

Even today, we are invited to rethink photography, to conceive it as a living organism, a pigmented body composed of signs and matter. With Elsa Leydier and Clara Chichin, the photographic act rediscovers the slowness and precision of artisanal gesture. The photographer once again becomes a nomadic gatherer, a sower of images, a patient companion of the living world. It is worth lingering here: photography can—and must—remain a living organism, a pigmented body composed of signs, emulsions, and vibrating micro-elements.

Since the origins of painting, colour has been the prerogative of painters. Both matter and light, it was the starting point for Fernand Léger's (1981-1955) entire aesthetic approach. Throughout his work, the painter showed a real passion for pure colour, which he used in an infinite range of combinations and variations, in a wide variety of media: drawings, ceramics, stained glass, sets for the world of entertainment and architecture.

On the occasion of the centenary of François Morellet’s birth, and at the initiative of the Centre Pompidou, a series of events will pay tribute to this major artist within French institutions connected to his work.

Accordingly, the nine works by François Morellet from the Albers-Honegger Collection will be presented, along with two in situ installations created using adhesive tape in accordance with a protocol defined by the artist during his lifetime.

Created in 2022 by collector Gilles Fuchs, the Centre d’art des collines de Grasse invites Cédric Teisseire for a monographic exhibition presented at the Musée Jean-Honoré Fragonard. A native of Grasse, Teisseire teaches at the Toulon School of Art and co-founded La Station in Nice in 1996. His practice focuses on painting and its materiality, privileging processes of fabrication over the final image.

Conceived as a “hike,” the exhibition echoes his close relationship with the landscapes of the Alpes-Maritimes. Recent series explore the tension between abstraction and representation through experimental techniques: ink poured onto tarpaulin, burned canvas, stretched pixels, layers of lacquer dripped onto stacked screens, or inverted frames. Joined by Suska Bastian, Arnaud Biais, David Raffini and Christian Vialard, the artist extends this sensitive wandering, where landscape becomes a pictorial experience and a transformation of reality.