Featured Events in Paris in June 2025 (April Updated)

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.

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.

From the creation of the journal Présence Africaine to Revue Noire, "Paris Noir" traces the presence and influence of Black artists in France from the 1940s to the 2000s. The exhibition highlights 150 African and Afro-descendant artists, from Africa to the Americas, whose works have often never been shown in France. All contributed to a cosmopolitan Paris—a place of resistance and creativity—that fostered a wide variety of practices, from identity awareness to the search for transcultural artistic languages. Their impact is particularly significant in the redefinition of modernities and postmodernities.The exhibition explores half a century of struggles for emancipation, from African independence movements to the fall of apartheid, including battles against racism in France.

From the creation of the journal Présence Africaine to Revue Noire, "Paris Noir" traces the presence and influence of Black artists in France from the 1940s to the 2000s. The exhibition highlights 150 African and Afro-descendant artists, from Africa to the Americas, whose works have often never been shown in France. All contributed to a cosmopolitan Paris—a place of resistance and creativity—that fostered a wide variety of practices, from identity awareness to the search for transcultural artistic languages. Their impact is particularly significant in the redefinition of modernities and postmodernities.The exhibition explores half a century of struggles for emancipation, from African independence movements to the fall of apartheid, including battles against racism in France.

Jean Chatelus, who passed away in 2021 at the age of 82, was a Lyon-born historian and lecturer at the Sorbonne. Throughout his life, he amassed a collection unique, driven more by an impulse to accumulate than by a traditional collector’s approach. Comprising nearly 400 pieces—sculptures, installations, paintings, photographs, drawings, votive and vernacular objects—the collection explores themes of the body, death, and the fleeting nature of life.Presented almost in its entirety, the collection reflects Chatelus’s evolving tastes: from an early fascination with Surrealism and repurposed objects, to a later focus on body art. It also reveals his keen interest in non-Western ethnographic artifacts, folk traditions, and the works of contemporary art’s outsiders and enfant terribles, including Cindy Sherman, Mike Kelley, Christian Boltanski, Yayoi Kusama, Michel Journiac, Daniel Spoerri, Robert Filliou, Nam June Paik, Joana Vasconcelos, Andres Serrano, and Wim Delvoye.

Jean Chatelus, who passed away in 2021 at the age of 82, was a Lyon-born historian and lecturer at the Sorbonne. Throughout his life, he amassed a collection unique, driven more by an impulse to accumulate than by a traditional collector’s approach. Comprising nearly 400 pieces—sculptures, installations, paintings, photographs, drawings, votive and vernacular objects—the collection explores themes of the body, death, and the fleeting nature of life.Presented almost in its entirety, the collection reflects Chatelus’s evolving tastes: from an early fascination with Surrealism and repurposed objects, to a later focus on body art. It also reveals his keen interest in non-Western ethnographic artifacts, folk traditions, and the works of contemporary art’s outsiders and enfant terribles, including Cindy Sherman, Mike Kelley, Christian Boltanski, Yayoi Kusama, Michel Journiac, Daniel Spoerri, Robert Filliou, Nam June Paik, Joana Vasconcelos, Andres Serrano, and Wim Delvoye.

Jean Chatelus, who passed away in 2021 at the age of 82, was a Lyon-born historian and lecturer at the Sorbonne. Throughout his life, he amassed a collection unique, driven more by an impulse to accumulate than by a traditional collector’s approach. Comprising nearly 400 pieces—sculptures, installations, paintings, photographs, drawings, votive and vernacular objects—the collection explores themes of the body, death, and the fleeting nature of life.Presented almost in its entirety, the collection reflects Chatelus’s evolving tastes: from an early fascination with Surrealism and repurposed objects, to a later focus on body art. It also reveals his keen interest in non-Western ethnographic artifacts, folk traditions, and the works of contemporary art’s outsiders and enfant terribles, including Cindy Sherman, Mike Kelley, Christian Boltanski, Yayoi Kusama, Michel Journiac, Daniel Spoerri, Robert Filliou, Nam June Paik, Joana Vasconcelos, Andres Serrano, and Wim Delvoye.

This project, labelled by the National Mission for the 80th Anniversary of the Liberation, was made possible thanks to loans from the following institutions: The Heritage and Photography Media Library (MPP), the National Audiovisual Institute (INA), the Contemporaine Library, the Communication and Audiovisual Production Agency for the Department of Defense (ECPAD), France Press Agency (AFP), the Liberation Museum, Hauts-de-Seine Départemental Archives, National Archives in Washington, the Liberation of Paris Museum –General Leclerc Museum –Jean Moulin Museum, and Gamma Rapho Keystone.

The Musée d’Art Moderne in Paris presents the first retrospective in France devoted to the German artist Gabriele Münter (1877-1962). Co-founder of the Munich circle of the Blue Rider (Blaue Reiter), Gabriele Münter is one of the most eminent female artists of German Expressionism. In an artistic world dominated by men, she was able to create an extremely personal and diverse body of work that spans six decades.

The Musée d’Art Moderne in Paris presents the first retrospective in France devoted to the German artist Gabriele Münter (1877-1962). Co-founder of the Munich circle of the Blue Rider (Blaue Reiter), Gabriele Münter is one of the most eminent female artists of German Expressionism. In an artistic world dominated by men, she was able to create an extremely personal and diverse body of work that spans six decades.

The Musée d’Art Moderne in Paris presents the first retrospective in France devoted to the German artist Gabriele Münter (1877-1962). Co-founder of the Munich circle of the Blue Rider (Blaue Reiter), Gabriele Münter is one of the most eminent female artists of German Expressionism. In an artistic world dominated by men, she was able to create an extremely personal and diverse body of work that spans six decades.

This exhibition deliberately makes such blurriness a key that opens another interpretation of a whole area of modern and contemporary visual creation. Initially defined as “loss of distinctness”, blurriness has shown itself to be the favourite means of expression in a world where instability reigns and visibility is clouded. It was on the ruins left by the Second Word War that this out-of-focus aesthetic took root and began to deploy its inevitably political dimension. The Cartesian principle of discernment, which had prevailed in art for so long, now appeared altogether inoperative. With the erosion of visible certainties and in the face of the range of possibilities available to them as a result, artists came up with new approaches, shaping their works out of the transitory, disorder, movement, incompleteness and doubt… Taking note of a fundamental shift in the world order, they opted for the indeterminate, the indistinct and allusion. This distancing from naturalistic clarity went hand-in-hand with a quest for polysemy, expressed by a permeability of mediums and more importance being assigned to the beholder’s interpretation. Instrument of sublimation as much as manifestation of a latent truth, blurriness became both symptom and remedy of a world in search of meaning.

World-renowned for its stone monuments, Khmer art also produced significant bronze statuary, knowledge of which has undergone spectacular advances thanks to recent excavations. The Guimet Museum is dedicating the exhibition Royal Bronzes of Angkor: An Art of the Divine to bronze. The highlight of this exhibition is the statue of the reclining Vishnu from the Western Mebon—an 11th-century sanctuary west of Angkor—discovered in 1936, which originally measured over five meters in length. This Cambodian national treasure will be exhibited for the first time with its long-separated fragments, after benefiting from a scientific analysis and restoration campaign in France in 2024, with the patronage of ALIPH (International Alliance for the Protection of Heritage). It will be accompanied by more than 200 works, including 126 exceptional loans from the National Museum of Cambodia, whose presence allows for a chronological journey of bronze art in Cambodia, from the 9th century to the present day, through a journey leading the visitor to the major sites of Khmer heritage.

來自巴黎的「永恆的巴黎聖母院」沉浸式探索體驗現已登陸成都。活動將於成都高新區盛華北路116號10棟附101-301的博新全宇宙(成都)沉浸式探索中心舉行，展示從2025年5月1日至2026年4月30日期間。門票售價為158元，一旦購票完成即不接受退款。這次活動將帶您穿越時空，以獨特的方式探索巴黎聖母院的歷史與文化，讓您彷彿身臨其境，感受這座永恆建築的獨特魅力。不容錯過的精彩體驗，讓您在成都也能感受到巴黎的浪漫與神秘。

A relatively little-known fact: Chinese art can be found at the Louvre. The Department of Decorative Arts holds more than 600 Chinese works, most of which come from the collections of Adolphe Thiers and Adèle de Rothschild and from the royal collections. Among them, some veritable treasures are to be found. A number of these were highlighted by recent research among the collection of Adolphe Thiers, who was a journalist, historian, and a major political figure in the 19th century (as deputy, minister, president of the council and, ultimately, president of the French Republic). The exhibition aims to reveal these exceptional works to the general public, putting them in the historical, diplomatic and cultural context of their creation and their acquisition by Thiers for his collection. It explores Thiers’s little-known passion for China. The exhibition will present over 170 works dating mainly from the 18th and 19th centuries: scrolls, album pages, engravings, prints, porcelains, jades, lacquers, and precious objets d’art in ivory, bronze, or wood inlaid with gems and mother-of-pearl. The first part of the exhibition will present Adolphe Thiers, his particular vision of art, his collecting practices and his passion for the Renaissance. The second part, the heart of the exhibition, will present the full collection of Chinese art. Thiers, in view of publishing a work on Chinese art, concurrently collected books, documents and objets d’art related to the subject. The exhibition highlights the major themes of his collection: ancient and contemporary history, images of China (landscapes, architecture and dress), some staples of Chinese culture (language, literature and the literati), the ‘Three Teachings’ (Buddhism, Taoism and Confucianism), Chinese porcelain (of which he was an expert of renown), and, finally, imperial art. The collection holds a number of masterpieces in this last area, including an exceptional scroll, the Qingming shanghe tu created for the Qianlong emperor.

Autonomic Paris 2025 is the premier event for stakeholders involved in Handicap, Aging, and Home Maintenance. It serves as a key gathering for professionals and the general public, fostering valuable exchanges among experts in the fields of construction, transportation, urban planning, social services, healthcare, and more. Participants include local and national government officials, disability organizations, and relevant administrations. The event, taking place at Paris Expo Porte de Versailles from June 3 to June 5, 2025, offers a platform for networking and collaboration, addressing the diverse needs and challenges faced by individuals with disabilities, elderly populations, and those requiring home care. Don't miss this opportunity to engage with industry leaders and advocates at Autonomic Paris 2025.