Featured Events in Paris in March, 2025 (May Updated)

If the innovations Serge Poliakoff brought to modern painting are numerous—a rigorous composition in abstraction, an inseparability of forms, and a melodious harmony in painting—the impact he had on his contemporaries is even deeper. Exhibiting Serge Poliakoff without including this Parisian generation would offer an incomplete perspective on his work. Poliakoff’s universe is inherently Parisian: it was in Paris that he claimed to have been “born a painter,” alongside a generation of artists who pushed the boundaries of abstraction.

Following on from acclaimed exhibitions of his work at Paris' Musée Bourdelle and Musée de l'Orangerie in 2023, Philippe Cognée is presenting his latest interpretation of landscapes at Galerie Templon. Forests, fields and sea views convey the power of his practice, his unconditional love for the medium of painting and his caustic view of our disenchanted era.

Following on from acclaimed exhibitions of his work at Paris' Musée Bourdelle and Musée de l'Orangerie in 2023, Philippe Cognée is presenting his latest interpretation of landscapes at Galerie Templon. Forests, fields and sea views convey the power of his practice, his unconditional love for the medium of painting and his caustic view of our disenchanted era.

Following on from acclaimed exhibitions of his work at Paris' Musée Bourdelle and Musée de l'Orangerie in 2023, Philippe Cognée is presenting his latest interpretation of landscapes at Galerie Templon. Forests, fields and sea views convey the power of his practice, his unconditional love for the medium of painting and his caustic view of our disenchanted era.

Galerie Maria Wettergren presents the exhibition, Over The Rainbow, the first solo show of Finnish artist Camilla Moberg. The rainbow represents hope in many cultures, and Moberg’s large luminous sculptures, with their vibrant colors, radiate a particularly joyful beauty—despite their otherwise serious underlying message. Handcrafted in blown glass in Nuutajärvi, Finland’s oldest glassmaking village, Moberg’s sculptures reflect her thoughts on biodiversity and its preservation. Their totem-like structure is inspired by the stacking of natural stones observed throughout history and across various cultures, symbolizing unity and the connection between humans and nature.

Galerie Maria Wettergren presents the exhibition, Over The Rainbow, the first solo show of Finnish artist Camilla Moberg. The rainbow represents hope in many cultures, and Moberg’s large luminous sculptures, with their vibrant colors, radiate a particularly joyful beauty—despite their otherwise serious underlying message. Handcrafted in blown glass in Nuutajärvi, Finland’s oldest glassmaking village, Moberg’s sculptures reflect her thoughts on biodiversity and its preservation. Their totem-like structure is inspired by the stacking of natural stones observed throughout history and across various cultures, symbolizing unity and the connection between humans and nature.

Galerie Maria Wettergren presents the exhibition, Over The Rainbow, the first solo show of Finnish artist Camilla Moberg. The rainbow represents hope in many cultures, and Moberg’s large luminous sculptures, with their vibrant colors, radiate a particularly joyful beauty—despite their otherwise serious underlying message. Handcrafted in blown glass in Nuutajärvi, Finland’s oldest glassmaking village, Moberg’s sculptures reflect her thoughts on biodiversity and its preservation. Their totem-like structure is inspired by the stacking of natural stones observed throughout history and across various cultures, symbolizing unity and the connection between humans and nature.

Since the 1990s, he has been developing a body of work centred on the passage of time, largely consisting of videos and related drawings, studies, storyboards and dissertations on various projects. Claerbout invites the viewer to explore the plurality of the experience of duration through perception of often miniscule changes. His film Boom (1996), for example, is a slow, attentive observation of a magnificent tree in the countryside. Only the air flowing through its leaves tells us that the image is in motion, prompting us to view it with a demanding yet contemplative eye. The image, simple and beautiful, exerts an unaccustomed fascination by depicting the self-evidence of the tree’s existence in the world.

Since the 1990s, he has been developing a body of work centred on the passage of time, largely consisting of videos and related drawings, studies, storyboards and dissertations on various projects. Claerbout invites the viewer to explore the plurality of the experience of duration through perception of often miniscule changes. His film Boom (1996), for example, is a slow, attentive observation of a magnificent tree in the countryside. Only the air flowing through its leaves tells us that the image is in motion, prompting us to view it with a demanding yet contemplative eye. The image, simple and beautiful, exerts an unaccustomed fascination by depicting the self-evidence of the tree’s existence in the world.

Marian Goodman Gallery presents Jongsuk Yoon's first exhibition in France. The presentation highlights her colorful pictorial work, with ten new oils on canvas and four gouaches on paper. Somewhere between abstraction and figuration, Yoon's 'landscapes of the mind' lie at the crossroads of Western Abstract Expressionism and the Asian pictorial tradition, and the title of the exhibition, Far East, subtly underlines the artist's deep connection with her native country, which she left thirty years ago.

Through an exceptional collection of nearly 230 works, "L'art est dans la rue" explores the spectacular rise of the illustrated poster in Paris during the second half of the 19th century. Organized in partnership with the Bibliothèque nationale de France, the exhibition is the first of its kind on this scale. In fact, no major event in Paris has ever been devoted to this social phenomenon, bringing together so many outstanding works by the "Masters of the Poster". Bonnard, Chéret, Grasset, Mucha, Steinlen, Toulouse-Lautrec... Conceived as an immersion into the visual universe of the 19th century city, the exhibition traces the golden age of the artistic poster, analyzing the social and cultural changes that favored its development, in dialogue with a unique collection of posters, paintings, photographs, costumes, sculptures and decorative objects that evoke the exuberant world of the street at the turn of the century.

Through an exceptional collection of nearly 230 works, "L'art est dans la rue" explores the spectacular rise of the illustrated poster in Paris during the second half of the 19th century. Organized in partnership with the Bibliothèque nationale de France, the exhibition is the first of its kind on this scale. In fact, no major event in Paris has ever been devoted to this social phenomenon, bringing together so many outstanding works by the "Masters of the Poster". Bonnard, Chéret, Grasset, Mucha, Steinlen, Toulouse-Lautrec... Conceived as an immersion into the visual universe of the 19th century city, the exhibition traces the golden age of the artistic poster, analyzing the social and cultural changes that favored its development, in dialogue with a unique collection of posters, paintings, photographs, costumes, sculptures and decorative objects that evoke the exuberant world of the street at the turn of the century.

Before its five-year hiatus, the Centre Pompidou presents Paris Noir, an exhibition focusing on African artists active in Paris between the 1940s and 2000. African artists have received much attention in recent years, and they have practiced and explored various fields from international abstractionism to African and Atlantic abstractionism, from surrealism to free painting, in order to seek identity recognition. However, many of their works have never been exhibited in France before. The exhibition includes works by 150 artists from the United States and Africa. Five contemporary African artists have specially created five art installations for the exhibition, interpreting the memories of African artists in Paris from a contemporary perspective.

Thanks to the cooperation of many important institutions, the exhibition "Tous Léger!" is on display at the Luxembourg Museum. The exhibition is curated based on the museum's existing collection, and the works of modern art pioneer Fernand Léger (1881-1955) are in dialogue with the works of European and American avant-garde artists from the 1960s to the present. The title of the exhibition has multiple meanings: on the one hand, it directly refers to Fernand Léger's name Léger, emphasizing his central position in the exhibition, while also implying the approachability and integration of art advocated by Léger and his new realism movement into daily life, suggesting a "light (Léger)" and unpretentious attitude.

The Jacquemart-Andre Museum hosts a retrospective of the works of Italian female painter Artemisia Gentileschi (1593-c. 1656), looking back on her fearless life and creative career and exploring her position in the history of 17th century painting.

Before its five-year hiatus, the Centre Pompidou presents Paris Noir, an exhibition focusing on African artists active in Paris between the 1940s and 2000. African artists have received much attention in recent years, and they have practiced and explored various fields from international abstractionism to African and Atlantic abstractionism, from surrealism to free painting, in order to seek identity recognition. However, many of their works have never been exhibited in France before. The exhibition includes works by 150 artists from the United States and Africa. Five contemporary African artists have specially created five art installations for the exhibition, interpreting the memories of African artists in Paris from a contemporary perspective.

Thanks to the cooperation of many important institutions, the exhibition "Tous Léger!" is on display at the Luxembourg Museum. The exhibition is curated based on the museum's existing collection, and the works of modern art pioneer Fernand Léger (1881-1955) are in dialogue with the works of European and American avant-garde artists from the 1960s to the present. The title of the exhibition has multiple meanings: on the one hand, it directly refers to Fernand Léger's name Léger, emphasizing his central position in the exhibition, while also implying the approachability and integration of art advocated by Léger and his new realism movement into daily life, suggesting a "light (Léger)" and unpretentious attitude.

Thanks to the cooperation of many important institutions, the exhibition "Tous Léger!" is on display at the Luxembourg Museum. The exhibition is curated based on the museum's existing collection, and the works of modern art pioneer Fernand Léger (1881-1955) are in dialogue with the works of European and American avant-garde artists from the 1960s to the present. The title of the exhibition has multiple meanings: on the one hand, it directly refers to Fernand Léger's name Léger, emphasizing his central position in the exhibition, while also implying the approachability and integration of art advocated by Léger and his new realism movement into daily life, suggesting a "light (Léger)" and unpretentious attitude.

This exhibition reviews the prosperity and integration of natural science and natural painting under the rule of Holy Roman Emperor Rudolf II (1552-1612). Rudolf II was an avid lover of art and science. Under his encouragement, a large number of European scientists and artists gathered at the Prague court to jointly promote the development of new research and new ideas. The first part of the exhibition presents the intersection of science and art. At the court of Rudolf II, scientists carried ancient knowledge and used new methods of observation, experimentation, research and measurement to explore nature; at the same time, artists used scientific observation perspectives and depiction techniques to use their brushes to establish artistic archives for the animals and plants around them. The second part focuses on how natural research stimulated the innovation of Prague's artistic creation, and how artists developed new techniques, perspectives and ideas under the joint action of plein-airism and scientific research.

This exhibition reviews the prosperity and integration of natural science and natural painting under the rule of Holy Roman Emperor Rudolf II (1552-1612). Rudolf II was an avid lover of art and science. Under his encouragement, a large number of European scientists and artists gathered at the Prague court to jointly promote the development of new research and new ideas. The first part of the exhibition presents the intersection of science and art. At the court of Rudolf II, scientists carried ancient knowledge and used new methods of observation, experimentation, research and measurement to explore nature; at the same time, artists used scientific observation perspectives and depiction techniques to use their brushes to establish artistic archives for the animals and plants around them. The second part focuses on how natural research stimulated the innovation of Prague's artistic creation, and how artists developed new techniques, perspectives and ideas under the joint action of plein-airism and scientific research.

The Jacquemart-Andre Museum hosts a retrospective of the works of Italian female painter Artemisia Gentileschi (1593-c. 1656), looking back on her fearless life and creative career and exploring her position in the history of 17th century painting.

Marian Goodman Gallery presents in Paris beaucoup, peu, rien, a solo exhibition by Ana Jotta, proposed and organized by Ampersand, with whom the artist has collaborated regularly in recent years. Over the decades, Ana Jotta has shaped a unique artistic universe that defies classification and explores a variety of mediums, aesthetic categories and sources of inspiration. For this exhibition, the artist is unveiling a new project, specially designed for the gallery space at 66 rue du Temple.

A pioneer of Neo-Impressionism and a pillar of anarchist and libertarian circles, Maximilien Luce (1858-1941) marked his era with a profound artistic and political commitment. A painter of urban and rural landscapes and the human condition, he captured the social and industrial transformations of his time with a unique sensitivity. The first Parisian retrospective since 1983 dedicated to this major Neo-Impressionist painter, the exhibition is held just steps from where Luce resided from 1887 to 1900, on Rue Cortot. Rooted in the history of Montmartre and the contradictions of his time, the painter's work is highlighted in this exhibition, which aims to reaffirm his importance and introduce his often overlooked oeuvre to the general public. Besides the humanist character that made the man's heart beat and distinguished his entire oeuvre, landscape was the other dominant theme that animated his painting throughout his life. Luce captures light and color, revealing the beauty of urban and rural landscapes with a persistent social sensitivity. For the exhibition "Maximilien Luce, the Instinct for Landscape," the Musée de Montmartre has chosen to present his work through the prism of landscape, taking visitors on a retrospective journey between the two essential centers of his life: Paris and Rolleboise. Visitors are invited to follow the artist's wanderings from Montmartre, where he lived from 1887 to 1900, through the bustle of the Parisian streets, and through his travels from Saint-Tropez to the Pays-Noir of Charleroi, via the Netherlands, Normandy, and London.

Galerie Peter Kilchmann presents its third solo exhibition dedicated to Vlassis Caniaris (1928-2011), which also marks the first major retrospective in France since his passing. The artist had a special connection to Paris, where he lived twice with his family, from 1960 to 1966 and again from 1969 to 1976. In 1970, he was granted a solo exhibition at the Musée d’Art Moderne de la Ville de Paris.

Galerie Peter Kilchmann presents the very first solo exhibition of works by Bernd Ribbeck (born in 1974) in France, hosted in our Project Space in Paris. For this presentation, the artist has created works specifically tailored to the space, including an illusionistic wall installation and several small-scale paintings.

Marian Goodman Gallery presents in Paris beaucoup, peu, rien, a solo exhibition by Ana Jotta, proposed and organized by Ampersand, with whom the artist has collaborated regularly in recent years. Over the decades, Ana Jotta has shaped a unique artistic universe that defies classification and explores a variety of mediums, aesthetic categories and sources of inspiration. For this exhibition, the artist is unveiling a new project, specially designed for the gallery space at 66 rue du Temple.

Galerie Peter Kilchmann presents the very first solo exhibition of works by Bernd Ribbeck (born in 1974) in France, hosted in our Project Space in Paris. For this presentation, the artist has created works specifically tailored to the space, including an illusionistic wall installation and several small-scale paintings.

A pioneer of Neo-Impressionism and a pillar of anarchist and libertarian circles, Maximilien Luce (1858-1941) marked his era with a profound artistic and political commitment. A painter of urban and rural landscapes and the human condition, he captured the social and industrial transformations of his time with a unique sensitivity. The first Parisian retrospective since 1983 dedicated to this major Neo-Impressionist painter, the exhibition is held just steps from where Luce resided from 1887 to 1900, on Rue Cortot. Rooted in the history of Montmartre and the contradictions of his time, the painter's work is highlighted in this exhibition, which aims to reaffirm his importance and introduce his often overlooked oeuvre to the general public. Besides the humanist character that made the man's heart beat and distinguished his entire oeuvre, landscape was the other dominant theme that animated his painting throughout his life. Luce captures light and color, revealing the beauty of urban and rural landscapes with a persistent social sensitivity. For the exhibition "Maximilien Luce, the Instinct for Landscape," the Musée de Montmartre has chosen to present his work through the prism of landscape, taking visitors on a retrospective journey between the two essential centers of his life: Paris and Rolleboise. Visitors are invited to follow the artist's wanderings from Montmartre, where he lived from 1887 to 1900, through the bustle of the Parisian streets, and through his travels from Saint-Tropez to the Pays-Noir of Charleroi, via the Netherlands, Normandy, and London.

Galerie Peter Kilchmann presents its third solo exhibition dedicated to Vlassis Caniaris (1928-2011), which also marks the first major retrospective in France since his passing. The artist had a special connection to Paris, where he lived twice with his family, from 1960 to 1966 and again from 1969 to 1976. In 1970, he was granted a solo exhibition at the Musée d’Art Moderne de la Ville de Paris.

Galerie Peter Kilchmann presents its third solo exhibition dedicated to Vlassis Caniaris (1928-2011), which also marks the first major retrospective in France since his passing. The artist had a special connection to Paris, where he lived twice with his family, from 1960 to 1966 and again from 1969 to 1976. In 1970, he was granted a solo exhibition at the Musée d’Art Moderne de la Ville de Paris.