Featured Events in Paris in November 2025 (April Updated)

Lady Gaga Antwerp is set to be an electrifying event, taking place at the iconic Sportpaleis in Antwerp, Belgium. On November 11, 2025, at 18:30, fans will gather to witness a spectacular performance by the global superstar. Known for her powerful vocals, avant-garde fashion, and captivating stage presence, Lady Gaga promises an unforgettable evening. With ticket prices ranging from 60 EUR to 3684 USD, this event offers a variety of seating options to accommodate all attendees. The Sportpaleis, renowned for hosting world-class events, provides the perfect backdrop for what is sure to be a night filled with chart-topping hits and mesmerizing visuals. Lady Gaga Antwerp is not just a concert; it is an experience that will leave a lasting impression on all who attend.

Lady Gaga Paris is set to be an unforgettable event, taking place at the renowned AccorArena in Paris, France. On November 18, 2025, at 19:00, fans will gather to witness the iconic pop sensation deliver a performance that promises to be nothing short of spectacular. Known for her electrifying stage presence and boundary-pushing artistry, Lady Gaga's concert in Paris is expected to draw a massive crowd, eager to experience her latest hits and timeless classics. The AccorArena, with its state-of-the-art facilities and prime location, provides the perfect backdrop for this highly anticipated event. Ticket prices for Lady Gaga Paris vary, offering options for a range of budgets, ensuring that as many fans as possible can partake in this extraordinary musical experience. This event is not just a concert, but a cultural moment that will resonate with attendees long after the final note is played.

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

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?

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.

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.

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.

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.

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.

John Singer Sargent (Florence, 1856 – London, 1925), along with James McNeill Whistler, was the most famous American artist of his generation and certainly one of the greatest painters of the 19th and early 20th century. Revered in the United States (his Portrait of Madame X is regarded as the Mona Lisa of the American art collection conserved by the Metropolitan Museum of Art in New York), he is also famous in the United Kingdom, where he spent most of his career. In France, however, his name and work remain largely unknown, a situation that the exhibition at the Musée d'Orsay in fall 2025 hopes to change.

The shortlist for this year’s Prix Marcel Duchamp, announced by the Association for the International Diffusion of French Art (ADIAF) is: Bianca Bondi (born 1986 in Johannesburg, South Africa. Lives and works in Paris); Eva Nielsen (born 1983 in Les Lilas, France. Lives and works in Paris); Lionel Sabatté (born 1975 in Toulouse, France. Lives and works in Paris and Los Angeles); and Xie Lei (born 1983 in Huainan, China. Lives and works in Paris). Endowed with €90,000, the Prix Marcel Duchamp is the most prestigious contemporary art prize in France. It is awarded every year by the ADIAF to recognise contemporary art production by artists who are French or who live in the country. The prize is followed by an exhibition of the shortlisted artists. This year, for the first time since the creation of the prize in 2000, the exhibition will not be held at the Centre Pompidou, which will be closed for renovation. Instead, the exhibition will take place at the Musée d’Art Moderne de Paris from 26 September 2025 through 22 February 2026. The Musée d’Art Moderne de Paris is set to host the exhibitions of the Marcel Duchamp Prize until 2029.

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.

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.

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?

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.

Gaza is home to a wealth of archaeological sites from all periods that are now in peril. The IMA is therefore offering an exceptional collection in more ways than one, made up of highly valuable pieces that the vagaries of history have saved from disaster and which reveal the depth of its history, a priceless treasure whose complexity is reflected in this exhibition. Since 2007, the Geneva Museum of Art and History (MAH) has become the museum-refuge for an archaeological collection of nearly 529 works belonging to the Palestinian National Authority and which have never been able to return to Gaza: these amphorae, statuettes, funerary steles, oil lamps, figurines, mosaics, etc., dating from the Bronze Age to the Ottoman era, form a collection that has become a reference in light of the recent destruction.

Gaza is home to a wealth of archaeological sites from all periods that are now in peril. The IMA is therefore offering an exceptional collection in more ways than one, made up of highly valuable pieces that the vagaries of history have saved from disaster and which reveal the depth of its history, a priceless treasure whose complexity is reflected in this exhibition. Since 2007, the Geneva Museum of Art and History (MAH) has become the museum-refuge for an archaeological collection of nearly 529 works belonging to the Palestinian National Authority and which have never been able to return to Gaza: these amphorae, statuettes, funerary steles, oil lamps, figurines, mosaics, etc., dating from the Bronze Age to the Ottoman era, form a collection that has become a reference in light of the recent destruction.