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

Asia Now Paris Asian Art Fair returns to Monnaie de Paris during Paris art week October 17–20 to celebrate its tenth edition. More than an art fair, Asia Now is both a curated platform with a selection of international galleries presenting artists from across Asia and its diaspora, and an ambitious public program curated by guest curators featuring commissioned site-specific installations, performances, conversations and artist workshops.

Sting Paris is set to captivate audiences at the renowned AccorArena in Paris on October 9, 2025, at 20:00. This highly anticipated event promises an unforgettable evening as the legendary artist Sting graces the stage with his timeless hits and mesmerizing performance. Known for his distinctive voice and eclectic musical style, Sting's concert in Paris is a must-attend for music enthusiasts. With tickets priced at 68 EUR, attendees will experience an intimate yet electrifying atmosphere in one of Paris's premier venues. The AccorArena, located in the heart of Paris, offers state-of-the-art facilities and exceptional acoustics, ensuring a memorable experience for all. This event is expected to draw a diverse crowd, celebrating Sting's illustrious career and his contributions to the music industry. Don't miss the chance to witness this iconic performance in the City of Light.

Held in the heart of the French capital, within the Grand Palais, it builds bridges with France’s cultural industries, creating an iconic arts event that radiates throughout the city and integrates into its unique cultural ecosystem.

Held in the heart of the French capital, within the Grand Palais, it builds bridges with France’s cultural industries, creating an iconic arts event that radiates throughout the city and integrates into its unique cultural ecosystem.

Paul Poiret, the legendary French designer who led the revolution, opened the prototype of modern fashion in the 20th century with his mysterious design elements that advocated oriental aesthetics, and once created the amazing "Oriental style clothing". As a fantasy master in the fashion industry and an aesthetic dictator who is regarded as the "King of Fashion", Paul is also the first designer to establish a perfume company. His talent extends to interior design and he has become the ancestor of the fusion of fashion and lifestyle. In 2025, the Museum of Decorative Arts in Paris will launch a special exhibition to commemorate the figure of this legendary master who ignited the fashion revolution with the flowing clothing silhouette and colorful colors. The exhibition content will focus on Paul Poiret's fashion design, decorative art, and perfumery, and then go deep into topics such as party style and food taste, recreating the dreamlike fashion scene in the early 20th century and remembering the master together.

Paul Poiret, the legendary French designer who led the revolution, opened the prototype of modern fashion in the 20th century with his mysterious design elements that advocated oriental aesthetics, and once created the amazing "Oriental style clothing". As a fantasy master in the fashion industry and an aesthetic dictator who is regarded as the "King of Fashion", Paul is also the first designer to establish a perfume company. His talent extends to interior design and he has become the ancestor of the fusion of fashion and lifestyle. In 2025, the Museum of Decorative Arts in Paris will launch a special exhibition to commemorate the figure of this legendary master who ignited the fashion revolution with the flowing clothing silhouette and colorful colors. The exhibition content will focus on Paul Poiret's fashion design, decorative art, and perfumery, and then go deep into topics such as party style and food taste, recreating the dreamlike fashion scene in the early 20th century and remembering the master together.

Paul Poiret, the legendary French designer who led the revolution, opened the prototype of modern fashion in the 20th century with his mysterious design elements that advocated oriental aesthetics, and once created the amazing "Oriental style clothing". As a fantasy master in the fashion industry and an aesthetic dictator who is regarded as the "King of Fashion", Paul is also the first designer to establish a perfume company. His talent extends to interior design and he has become the ancestor of the fusion of fashion and lifestyle. In 2025, the Museum of Decorative Arts in Paris will launch a special exhibition to commemorate the figure of this legendary master who ignited the fashion revolution with the flowing clothing silhouette and colorful colors. The exhibition content will focus on Paul Poiret's fashion design, decorative art, and perfumery, and then go deep into topics such as party style and food taste, recreating the dreamlike fashion scene in the early 20th century and remembering the master together.

Guillaume Bottazzi a réalisé un tableau fruité en face du parc Montsouris. Il est visible de l’extérieur, au 34-36 avenue Reille, à Paris dans le 14ème arrondissement. Ce tableau apporte l’art ou on ne l’attend pas forcément et accompagne le quotidien des habitants. Cette huile sur toile de lin mesure 0,90m de haut par 1,80m de large. Elle a été conçue pour habiller l’entrée d’un bâtiment et dialogue avec les éléments qui l’entourent. L’artiste a déjà créé plus de 65 œuvres dans des espaces publics, comme un polyptique de 100m² à Paris La Défense, à Hong-Kong ou au Japon où il est l'auteur de la plus grande peinture du Pays, commandée par le Musée International d'Art Miyanomori. Ses œuvres font partie de collections muséales, notamment en Asie et aux Etats-Unis.

Guillaume Bottazzi a réalisé un tableau fruité en face du parc Montsouris. Il est visible de l’extérieur, au 34-36 avenue Reille, à Paris dans le 14ème arrondissement. Ce tableau apporte l’art ou on ne l’attend pas forcément et accompagne le quotidien des habitants.Cette huile sur toile de lin mesure 0,90m de haut par 1,80m de large. Elle a été conçue pour habiller l’entrée d’un bâtiment et dialogue avec les éléments qui l’entourent. L’artiste a déjà créé plus de 65 œuvres dans des espaces publics, comme un polyptique de 100m² à Paris La Défense, à Hong-Kong ou au Japon où il est l'auteur de la plus grande peinture du Pays, commandée par le Musée International d'Art Miyanomori. Ses œuvres font partie de collections muséales, notamment en Asie et aux Etats-Unis. Site internet de Guillaume Bottazzi : https://www.guillaume.bottazzi.org

The Musée national Picasso-Paris collection is the fruit of an extraordinary history, made possible by the dation procedure - today it is the largest public collection of works by Picasso, the "Picassos of Picasso". Coming from the artist's studios, this collection gives us a better grasp of the aesthetic explorations of a Picasso who was by turns disconcerting, plural, contradictory, reflexive, gestural and conceptual, an aesthete and a committed activist, a tinkerer and a poet. Is he symbolist, cubist, classical, surrealist or simply figurative and political?

The Musée national Picasso-Paris collection is the fruit of an extraordinary history, made possible by the dation procedure - today it is the largest public collection of works by Picasso, the "Picassos of Picasso". Coming from the artist's studios, this collection gives us a better grasp of the aesthetic explorations of a Picasso who was by turns disconcerting, plural, contradictory, reflexive, gestural and conceptual, an aesthete and a committed activist, a tinkerer and a poet. Is he symbolist, cubist, classical, surrealist or simply figurative and political?

At the invitation of the Musée national Picasso-Paris, Argentine artist Guillermo Kuitca (b. 1961) has created a site-specific work in the chapel of the Hôtel Salé. Since his intervention at the Venice Biennale in 2007, Kuitca has developed a new language, echoing the architecture, which the artist calls ‘cubistoid painting’, in which a set of intersecting lines, like so many folds in the plane, is deployed directly on the walls, forming a new pictorial space. Kuitca describes his place on ‘the carousel of modern art’ :

At the invitation of the Musée national Picasso-Paris, Argentine artist Guillermo Kuitca (b. 1961) has created a site-specific work in the chapel of the Hôtel Salé. Since his intervention at the Venice Biennale in 2007, Kuitca has developed a new language, echoing the architecture, which the artist calls ‘cubistoid painting’, in which a set of intersecting lines, like so many folds in the plane, is deployed directly on the walls, forming a new pictorial space. Kuitca describes his place on ‘the carousel of modern art’ :

However, Berthe Weill’s name, which almost sank into oblivion for a while, is yet to blaze in the firmament of art dealers where Daniel-Henry Kahnweiler, Paul and Léonce Rosenberg, Ambroise Vollard and Paul Guillaume feature so prominently.The exhibition, organised by the Grey Art Museum in New York, the Museum of Fine Arts in Montreal and the Musée de l’Orangerie in Paris, aims to highlight a still little-known chapter in the history of modern art. At the beginning of the century, Berthe Weill committed herself to supporting artists under the slogan “Place aux jeunes” (Make way for the young), which was printed on her business cards. From Picasso (whose works she helped sell even before her gallery opened) to Modigliani (whose only solo exhibition in his lifetime she organised in 1917), she took part in the recognition of fauvism, regularly presenting exhibitions of works by the group of Gustave Moreau’s pupils gathered around Matisse. A little later on, she engaged with the cubists and School of Paris artists in battles for art and the emergence of its news forms as well as against conservatism and xenophobia. Despite the vicissitudes of fortune, her interest in young artists never wavered and she was fierce in her defence of very different figures, some of whom did not belong to any specific movement, giving them a chance by organising one or more exhibitions. She also promoted a number of women artists, without bias to gender or school, from Émilie Charmy, whose work she exhibited regularly from 1905 to 1933 and whom she described as a “friend of a lifetime”, to Jacqueline Marval, Hermine David and Suzanne Valadon, who was much in the public eye at the time. By 1951, the year she died, she had presented over three hundred artists at her gallery’s four successive addresses: 25 Rue Victor-Massé; 50 Rue Taitbout from 1917; 46 Rue Laffitte from 1920 to 1934, and finally 27 Rue Saint-Dominique. She organised hundreds of exhibitions until her gallery finally closed in 1940.

However, Berthe Weill’s name, which almost sank into oblivion for a while, is yet to blaze in the firmament of art dealers where Daniel-Henry Kahnweiler, Paul and Léonce Rosenberg, Ambroise Vollard and Paul Guillaume feature so prominently.The exhibition, organised by the Grey Art Museum in New York, the Museum of Fine Arts in Montreal and the Musée de l’Orangerie in Paris, aims to highlight a still little-known chapter in the history of modern art. At the beginning of the century, Berthe Weill committed herself to supporting artists under the slogan “Place aux jeunes” (Make way for the young), which was printed on her business cards. From Picasso (whose works she helped sell even before her gallery opened) to Modigliani (whose only solo exhibition in his lifetime she organised in 1917), she took part in the recognition of fauvism, regularly presenting exhibitions of works by the group of Gustave Moreau’s pupils gathered around Matisse. A little later on, she engaged with the cubists and School of Paris artists in battles for art and the emergence of its news forms as well as against conservatism and xenophobia. Despite the vicissitudes of fortune, her interest in young artists never wavered and she was fierce in her defence of very different figures, some of whom did not belong to any specific movement, giving them a chance by organising one or more exhibitions. She also promoted a number of women artists, without bias to gender or school, from Émilie Charmy, whose work she exhibited regularly from 1905 to 1933 and whom she described as a “friend of a lifetime”, to Jacqueline Marval, Hermine David and Suzanne Valadon, who was much in the public eye at the time. By 1951, the year she died, she had presented over three hundred artists at her gallery’s four successive addresses: 25 Rue Victor-Massé; 50 Rue Taitbout from 1917; 46 Rue Laffitte from 1920 to 1934, and finally 27 Rue Saint-Dominique. She organised hundreds of exhibitions until her gallery finally closed in 1940.

Disturbed Paris, an electrifying event set to take place in the heart of Paris, promises an unforgettable evening of music and energy. Scheduled for October 12, 2025, at 19:30, this highly anticipated concert will be held at the iconic Zenith venue, located at Zenith·Paris, France. Fans of the renowned band Disturbed can expect a night filled with powerful performances and their signature hard-hitting sound. With ticket prices set at 75 EUR or 141 USD, this event is a must-attend for rock enthusiasts. Zenith, known for its exceptional acoustics and vibrant atmosphere, provides the perfect backdrop for Disturbed's intense and captivating show. As the band takes the stage, attendees will be treated to a dynamic setlist featuring both classic hits and new releases, ensuring a thrilling experience from start to finish. Disturbed Paris is not just a concert; it's a celebration of music, passion, and the enduring spirit of rock.

The project, titled DALY, standing for Dessiner Avec Les Yeux (Drawing with my Eyes), is implemented with the help of an eye tracker (an oculometric procedure that highlights eye activity, the visual path, its fixation points and movements). So the eye rather than the hand becomes the tool. For the last thirty or so years, the artist has collaborated with numerous laboratories in creation of these works, including at the Louvre, the Centre Pompidou, the MUDAM in Luxembourg, the Zentrum Paul Klee in Berne, the Dadu Museum in Beijing, the Nouveau Musée National in Monaco and the Centre d’Art Verrier (CIAV) in Meisenthal. Michel Paysant focuses in particular on interpretation of artistic heritage, revisiting art history, “looking at” works through the filter of his own creation. In 2022, he was overcome by a desire to draw Claude Monet’s Water Lilies with his eyes. Initially, perhaps, because of the paradoxical nature of such an ambition: wanting to draw huge paintings characterised by their scope, their lack of beginning and end, regarded as one of the birth certificates in the west for a decentred, “all-over” form of painting, where no one part of the painting holds primacy over any other. The project, titledDALY,standing forDessiner Avec Les Yeux (Drawing with my Eyes), is implemented with the help of an eye tracker (an oculometric procedure that highlights eye activity, the visual path, its fixation points and movements). So the eye rather than the hand becomes the tool. For the last thirty or so years, the artist has collaborated with numerous laboratories in creation of these works, including at the Louvre, the Centre Pompidou, the MUDAM in Luxembourg, the Zentrum Paul Klee in Berne, the Dadu Museum in Beijing, the Nouveau Musée National in Monaco and the Centre d’Art Verrier (CIAV) in Meisenthal. Michel Paysant focuses in particular on interpretation of artistic heritage, revisiting art history, “looking at” works through the filter of his own creation. In 2022, he was overcome by a desire to draw Claude Monet’sWater Lilieswith his eyes.Initially, perhaps, because of the paradoxical nature of such an ambition: wanting to draw huge paintings characterised by their scope, their lack of beginning and end, regarded as one of the birth certificates in the west for a decentred, “all-over” form of painting, where no one part of the painting holds primacy over any other.

The project, titled DALY, standing for Dessiner Avec Les Yeux (Drawing with my Eyes), is implemented with the help of an eye tracker (an oculometric procedure that highlights eye activity, the visual path, its fixation points and movements). So the eye rather than the hand becomes the tool. For the last thirty or so years, the artist has collaborated with numerous laboratories in creation of these works, including at the Louvre, the Centre Pompidou, the MUDAM in Luxembourg, the Zentrum Paul Klee in Berne, the Dadu Museum in Beijing, the Nouveau Musée National in Monaco and the Centre d’Art Verrier (CIAV) in Meisenthal. Michel Paysant focuses in particular on interpretation of artistic heritage, revisiting art history, “looking at” works through the filter of his own creation. In 2022, he was overcome by a desire to draw Claude Monet’s Water Lilies with his eyes. Initially, perhaps, because of the paradoxical nature of such an ambition: wanting to draw huge paintings characterised by their scope, their lack of beginning and end, regarded as one of the birth certificates in the west for a decentred, “all-over” form of painting, where no one part of the painting holds primacy over any other. The project, titledDALY,standing forDessiner Avec Les Yeux (Drawing with my Eyes), is implemented with the help of an eye tracker (an oculometric procedure that highlights eye activity, the visual path, its fixation points and movements). So the eye rather than the hand becomes the tool. For the last thirty or so years, the artist has collaborated with numerous laboratories in creation of these works, including at the Louvre, the Centre Pompidou, the MUDAM in Luxembourg, the Zentrum Paul Klee in Berne, the Dadu Museum in Beijing, the Nouveau Musée National in Monaco and the Centre d’Art Verrier (CIAV) in Meisenthal. Michel Paysant focuses in particular on interpretation of artistic heritage, revisiting art history, “looking at” works through the filter of his own creation. In 2022, he was overcome by a desire to draw Claude Monet’sWater Lilieswith his eyes.Initially, perhaps, because of the paradoxical nature of such an ambition: wanting to draw huge paintings characterised by their scope, their lack of beginning and end, regarded as one of the birth certificates in the west for a decentred, “all-over” form of painting, where no one part of the painting holds primacy over any other.

The project, titled DALY, standing for Dessiner Avec Les Yeux (Drawing with my Eyes), is implemented with the help of an eye tracker (an oculometric procedure that highlights eye activity, the visual path, its fixation points and movements). So the eye rather than the hand becomes the tool. For the last thirty or so years, the artist has collaborated with numerous laboratories in creation of these works, including at the Louvre, the Centre Pompidou, the MUDAM in Luxembourg, the Zentrum Paul Klee in Berne, the Dadu Museum in Beijing, the Nouveau Musée National in Monaco and the Centre d’Art Verrier (CIAV) in Meisenthal. Michel Paysant focuses in particular on interpretation of artistic heritage, revisiting art history, “looking at” works through the filter of his own creation. In 2022, he was overcome by a desire to draw Claude Monet’s Water Lilies with his eyes. Initially, perhaps, because of the paradoxical nature of such an ambition: wanting to draw huge paintings characterised by their scope, their lack of beginning and end, regarded as one of the birth certificates in the west for a decentred, “all-over” form of painting, where no one part of the painting holds primacy over any other. The project, titledDALY,standing forDessiner Avec Les Yeux (Drawing with my Eyes), is implemented with the help of an eye tracker (an oculometric procedure that highlights eye activity, the visual path, its fixation points and movements). So the eye rather than the hand becomes the tool. For the last thirty or so years, the artist has collaborated with numerous laboratories in creation of these works, including at the Louvre, the Centre Pompidou, the MUDAM in Luxembourg, the Zentrum Paul Klee in Berne, the Dadu Museum in Beijing, the Nouveau Musée National in Monaco and the Centre d’Art Verrier (CIAV) in Meisenthal. Michel Paysant focuses in particular on interpretation of artistic heritage, revisiting art history, “looking at” works through the filter of his own creation. In 2022, he was overcome by a desire to draw Claude Monet’sWater Lilieswith his eyes.Initially, perhaps, because of the paradoxical nature of such an ambition: wanting to draw huge paintings characterised by their scope, their lack of beginning and end, regarded as one of the birth certificates in the west for a decentred, “all-over” form of painting, where no one part of the painting holds primacy over any other.

A new invitation-only art fair that held its first edition in the 10th arrondissement of Paris in 2024. It combines the non-profit arts organization The Community, a platform for supporting artistic projects, and the gallery network of NADA, presenting programming at the intersection of art, music, fashion and publishing. The last edition was presented in October during Paris Art Week.

Orchestre : Hélios Chœur : Hélios Éphémère Direction : Matthieu Cabanes Programme : « Nocturne N°20, Valse en La mineur », Valse op.70 N°2, Valse N°15, Valse Op 34 N°2, Valse op 69 N°2 de Chopin / Requiem de Mozart Revivez le concert en hommage des funérailles de Chopin à l’église de la Madeleine en date du 30 octobre 1849. Chopin décida avec son entourage l'exécution du Requiem de Mozart lors de ses funérailles à l’église de la Madeleine. A onze heures du matin, le 30 octobre 1849, trois mille personnes emplissent l'église, toute drapée de noir. Pendant la montée du cercueil de la crypte, un orchestre joua la Marche funèbre de Chopin dans un arrangement de Napoléon Reber. Puis, l'organiste Louis Lefébure-Wély exécuta les Préludes en mi mineur et en si mineur. A l'issue de la cérémonie retentit le Requiem de Mozart, exécuté par l'orchestre et les choeurs de la Société de concerts du Conservatoire, sous la direction de Narcisse Girard, avec les solistes Pauline Viardot et Luigi Lablache. Dynamique et éclectique, l’orchestre Hélios s’est imposé depuis sa création en 2014. Son directeur artistique, Paul Savalle, favorise l’insertion professionnelle des jeunes musiciens par la pratique d’orchestre. Ainsi, de jeunes diplômés se mêlent aux musiciens d’orchestre, aux chefs et aux solistes expérimentés, dans des conditions de travail optimales. De la musique baroque à la musique contemporaine, les programmes sont variés, le répertoire est à la fois symphonique et choral, l’orchestre s’associant aux chœurs départementaux et régionaux. Grâce à la collaboration avec différents chefs, les musiciens abordent un répertoire très riche en élargissant leur palette d’interprétation. Ils sont tous issus des grands conservatoires français, certains appartenant à un orchestre national. Du quatuor à cordes à l’orchestre symphonique, en passant par l’ensemble de cuivres, l’orchestre élargit toujours son audience en modulant sa composition. La formation « cordes » se produit dans les plus prestigieuses églises de Paris, ce qui permet au public de découvrir un patrimoine architectural très riche. Sa formation à géométrie variable permet à l’orchestre Hélios d’aborder un répertoire très large avec une curiosité passionnée. Information Source: orchestre Hélios - Classique à tout prix | eventbrite