Michel Poivert describes as “neo-analog” photographic practices involving creative processes that assert the role of materiality and experimentation over the production of an image. It thus opens onto the global notion of “analog culture”, defined as the counterpart to “digital culture”. Analog no longer designates a technical fact, but a cultural one. What characterizes the neoanalogue is a strong “ecosophical” awareness, i.e. a perception of the Anthropocene era as a general historical framework. In this respect, the analogical turn marks a political project.
Baptiste Morizot recounts the story of how modern people monospecifically confiscated the privilege of developing environments, and explores how certain contemporary environmental restoration practices, carried out by the heirs of this confiscation, now envisage sharing this monopoly with non-human, animal and ecosystem entities. What are the philosophical and political implications of this local shift?
“Image, sound and meaning played musical chairs”
As an extension of the exhibition Pierre Alferi - Dessins, 2006-2021 currently on view at the Beaux-Arts de Paris, this evening is devoted to Pierre Alferi and his accomplices, through a number of creative experiences arising from these friendships. It will be an opportunity to see and hear several facets of his work, presented or replayed by Rodolphe Burger, Fanny de Chaillé and Grégoire Monsaingeon, Suzanne Doppelt and Paul Sztulman, Jacques Julien and Anne Portugal.
In 2025, Beaux-Arts de Paris presents the 5th edition of Crush.
For this new edition, 79 4th and 5th year students at Beaux-Arts de Paris are presenting their work in the cour vitrée. For this exhibition, they were assisted by three curators: Chris CYRILLE-ISAAC, poet, art critic and independent exhibition storyteller; Horya MAKHLOUF, art critic and curator; and Julia MARCHAND, curator.
Release April 2025
Thomas Lévy-Lasne’s monograph covers twenty years of artistic creation, with one hundred and eighty-eight reproductions showing the richness of his repertoire and the different themes he has dealt with since the 2000s.
Watercolors of celebrations, charcoals of events and shows, oil paintings of urban solitude or the invasion of intimacy by technology, animals, landscapes, portraits - he tackles the most diverse and contemporary subjects in a way that is both classic and highly personal.
This exhibition, dear to Beaux-Arts de Paris, where he had been teaching since 2015, presents to the public for the first time a substantial body of some fifty drawings, produced between 2006 and 2021.
L'art et la vie et inversement presents the 26 artists who received the Diplôme National Supérieur d'Arts Plastiques from the Beaux-Arts de Paris with the Congratulations of the Jury in 2024.
Their works present a wide diversity of subjects, materials and intentions. The challenge of showing them together is to question what they express about a generation, and what they say about today's world.
Becoming Exhibition: Making Art PUBLIC
Paul O’Neill, Irish curator, artist, writer, educator and Artistic Director of PUBLICS, Helsinki, presents and reflects on the publicness of curatorial practice, cooperative exhibition-making and attentiveness.
Meet and sign the book La Fabrique de l'École des Beaux-Arts à Paris with co-authors Maxime Decommer and Anne Debarre, and architectural historian Guy Lambert.
Co-published by Beaux-Arts de Paris and École nationale supérieure d'architecture Paris-Malaquais.
Anne Debarre and Maxime Decommer are teachers and researchers at the “Architecture, culture, société” laboratory of the École d'architecture Paris-Malaquais.
Guy Lambert is an architectural historian, lecturer at the École nationale supérieure d'architecture Paris-Belleville, and researcher at IPRAUS.
Pierre Alferi, writer, poet, philosopher and professor of literature at the Beaux-Arts de Paris from 2015 to 2023, drew in correspondence with his writings.
This catalog brings together a selection of his drawings, exhibited for the first time by co-curators Kathy Alliou and Paul Sztulman in the Cabinet des dessins et des estampes.
It also includes a previously unpublished text by Pierre Alferi on these drawings, for which he says he was inspired by “mute or Lettrist collages (...), Chinese painting, comic strips, signage, satirical engraving and miniatures”.
