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.

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.

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.

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”.

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.

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.

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.

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.