Yes, a great school. Founded more than 400 years ago but at the cutting edge of today.
A School where the most venerable artists such as Watteau or Matisse were trained but also the most modern such as Brancusi, Amrita Sher-Gill, or César or the most contemporary such as Neil Beloufa, Stéphane Thidet or Farah Atassi.
2025 « Silence Is Speaking », diplôme de Chia Huang @chiahuang_eyes, étudiante en 5e année Ateliers Clément Cogitore et Valérie Jouve
2024 Diplôme d'Abdelhak Benallou @abdelhakbenallou, étudiant en 5e année Atelier Stéphane Calais (Crédit photo : Ugo Ferro)
2024 𝒯𝓇ℴ𝓅𝒽𝓎 𝒲𝒾𝒻ℯ diplôme de Ninon Enea @ninonenea, étudiante en 5e année Ateliers Halilaj – Urbano et Julien Sirjacq (Crédit photo : Ugo Ferro)
2024 "Il y a dans ma panse coincé, le nom du père et du fils", diplôme de Sarah Banongo @afa.sayn, étudiante en 3e année Atelier Julien Creuzet (Crédit photo @matt.math)
2024 "Se souvient-on d’un nuage", diplôme d'Elias Loudiyi de l'atelier Oliver Blanckart
2024 "Fréquences d'êtres", diplôme de Hajar Satari de l'atelier Isabelle Cornaro
2024 Diplôme de Rusnė Gocentaite de l'atelier Dove Allouche (Crédit photo : Alex Willis)
2024 Diplôme d'Adèle Bertrand de l'atelier Tatiana Trouvé
2023 Diplôme de Mathilde Shaub de l'atelier Mimosa Echard (crédit photo : droits réservés)
2023 Diplôme d’Olivier Lépront de l'atelier Nina Childress (Crédit photo : Pierre Mérigot)
A round table discussion on the collective projects initiated by the artists of the photogram project and the exhibition Dust: the plates of the present at the Centre Pompidou, Paris (October 19, 2020 - March 1, 2021), co-founded by artist Thomas Fougeirol and artist/curator Jo-ey Tang.
To be followed live: Artist, art critic and founder of the Ars Technica association in Paris, Piero Gilardi talks with Valérie da Costa, art historian, art critic and teacher.
This dialogue between the artist Piero Gilardi and Valérie da Costa, a specialist in Italian art, is an opportunity to look back on the artistic, theoretical and political career of one of the leading figures in Italian art of the 1960s.
Major figure on the African artistic scene, Sammy Baloji has been invited by the Festival d'Automne à Paris and Beaux-Arts de Paris, as part of the Africa 2020 season, to present his first solo exhibition in a Parisian institution. Resident at the Villa Medici in Rome in 2019, he presents the results of his research on the political, religious and commercial exchanges that took place between the Kongo kingdom, Portugal and the Vatican as early as the 16th century.
The exhibition brings together two groups of works: a set of drawings and objects made from motifs borrowed from Kongo fabrics, and a selection of tapestries that are part of famous Indian hangings.
Whether by the artist's hand or simply borrowed, these works bear witness to the complexity of a history of exchanges, transactions and exploitation. They show the contextual and institutional effects of a narrative written by Europe and which has in turn treated these works as tools of diplomacy, works of art, ethnographic artefacts or simple decorative elements.
Sammy Baloji was born in 1978 in Lubumbashi (Democratic Republic of Congo). He lives and works between Lubumbashi and Brussels. He graduated in Information and Communication Sciences from the University of Lubumbashi and the Haute École des Arts du Rhin. Since September 2019, he has been conducting a PhD research in art at Sint Lucas Antwerpen entitled "Contemporary Kasala and Lukasa: towards a Reconfiguration of Identity and Geopolitics". He was a resident of the Académie de France in Rome - Villa Medici, in 2019-2020.
Over the past ten years, numerous monographic exhibitions have been devoted to his work: Lund Konsthall and Aarhus Kunsthal (2020), Le Point du Jour, Cherbourg (2019), Framer Framed, Amsterdam (2018), Museumcultuur Strombeek (2018), The Power Plant, Toronto and WIELS, Brussels (2016-2017). He has recently participated in several major international events: Sydney Biennial (2020), Documenta 14 (Cassel/Athens, 2017), Lyon Biennial (2015), Venice Biennial (2015).
The exhibition at the Beaux-Arts de Paris is the result of a collective work in which participated: Lucrezia Cippitelli, art historian, for documentary research on the Italian collections; Anne Lafont, art historian, author of an essay on the contextualization of these tapestries; Jean-Christophe Lanquetin, scenographer, for research and development work around the staging of the exhibition; Inès Di Folco and ElenaValtcheva, for the interpretation of Kongo fabrics on canvas; Cécile Fromont, Associate Professor of Art History at Yale University in the United States and 2020-2021 resident at the Institut d'Études Avancées de Paris // Lighting, Lionel Spycher and William Lambert // Editing, Artcomposit // Exhibition produced by the Festival d'Automne à Paris // In collaboration with the Beaux-Arts de Paris // Event organized as part of the Africa 2020 Season with the support of its Patrons' Committee made up of : Fondation Gilbert et Rose-Marie Chagoury, Orange, Total Foundation, Axian, Groupe Sipromad, JCDecaux, Pernod Ricard, Sanofi, Société Générale, VINCI, CFAO, ENGIE, Thales, Thomson Broadcast and Veolia // With the help of the Cité internationale des arts // With the support of Sylvie Winckler // In partnership with France Culture
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Free of charge (on presentation of a valid receipt):
• under 18 years old
• students and teachers of the National Higher Schools of Art and Architecture of the Ministère de la Culture
• students from member institutions of the University of Paris-Sciences-et- Lettres (PSL)
• students of the École du Louvre
• holders of the Ministère de la Culture card
• Amis des Beaux-Arts de Paris
• card holder : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalists
• jobseekers, recipients of minimum social benefits
• civilian disabled and war-disabled (with an attendant)
Exhibition to be found on latlas.beauxartsparis.fr, the virtual gallery of the Beaux-Arts de Paris, with an exclusive interview of the artist Jean Bedez and the curator Emmanuelle Brugerolles.
Due to the latest government regulations the exhibition Jean Bedez, De Sphaera Mundi is not open to the public at the moment. For the moment, it is open by appointment only to professionals in the strictest respect of sanitary conditions.
The exhibition “De sphaera mundi – Sur la sphère du monde” is an opportunity to present a set of new works by the artist, including an eponymous series made in 2019, as well as three exceptional works created for the occasion. It offers a cosmic exploration revisiting myths, in resonance with the Beaux-Arts de Paris collections.
Jean Bedez's graphite mine drawings offer representations of the contemporary world that function as modern allegories: between political and religious power, entertainment culture or the role of the citizen, they explore the relations of domination in our societies.
The series of drawings “De Sphaera mundi” confronts 12th century planispheres from Gerard of Cremona's The Theory of the Planets with images of a comet observed by the space probe Rosetta; medieval cartographies are telescoped to the latest space technology. The three large drawings are inspired by a sculpture by Michelangelo, dated around 1530 and very damaged by time, representing the battle of Hercules against Cacus. In the works of Jean Bedez, the great Hercules, making Cacus bite the dust, becomes dust himself again. His right arm, the very one that holds his fetish weapon, has disappeared. Ruin wins him, light and darkness clash into a chaotic landscape. It is this damaged, fragile Heracles that Jean Bedez evokes, at least his mediocre aptitude to reach us intact, faithful to himself, the owner without concession of the incredible power which had fallen to him. But mythology is not the only business of the artist, each motif echoes an alchemical, astrophysical, political, poetic, esoteric reality. This is what his works show, the details of an infinite cosmogony and labyrinth that is only at its beginnings.
Graduated from Beaux-Arts de Paris in 2001, Jean Bedez was awarded the Lucien Quintard artistic prize for painting, in 1999, at the Stanislas academy in Nancy for a conceptual graphic work questioning the notion of autograph work and the relationship to Time. Both a sculptor and a draftsman, he has exhibited at the CRAC Languedoc Roussillon, Suzanne Tarasiève Gallery, Albert Baronian Gallery, the Musée des Arts Décoratifs and the Palais de Tokyo.
Masterpieces from the Beaux-Arts de Paris collection and contemporary art works.
An exhibition designed by Beaux-Arts de Paris new department "Exhibition-related careers". "Exhibition-related careers" is a new professionalization program, offered to 3rd year students of Beaux-Arts de Paris, designed in partnership with Palais de Tokyo.
Frac Île-de-france, the castle / Cultural Park of Rentilly - Michel Chartier
Jean-Michel Alberola, Ismaïl Bahri, Evgen Bavcar, Hicham Berrada, Christian Boltanski, Xavier Boussiron, Flora Bouteille, Pierre Louis Deseine, Jean Baptiste Désoria, Marcel Duchamp, Albrecht Dürer, Nina Galdino, Matthias Garcia, Jacques-Fabien Gautier d'Agoty, Théodore Géricault, Francisco de Goya, Graham Gussin, Lucien Hervé, Hans Holbein the Younger, Pierre Huyghe, Claire Isorni, Ann-Veronica Janssens, Christian Lhopital, Marc Lochner, Antoine Marquis, Bernhard Martin, Romain Moncet, Damien Moulierac, Alicia Paz, Benoît Pype, Valentin Ranger, Hugues Reip, Bettina Samson, Pierre-Alexandre Savriacouty, Alain Séchas, Valérie Sonnier, Victor Yudaev, Tereza Zelenková...
In reference to the famous theme cabaret installed at the end of the 19th century in Montmartre, which deployed its parodic and funereal atmosphere by playing with a sulphureous irony of macabre situations, Frac Île-de-France and Communauté d'Agglomération de Marne et Gondoire present, at Château de Rentilly, "Le Cabaret du Néant", an exhibition designed by Beaux-Arts de Paris new department "Exhibition-related careers", which associates contemporary artists with masterpieces of Beaux-Arts de Paris collection.
From the tragic to the parodic, depending on the evolution of society and its morals, religious convictions as well as scientific discoveries, the subject "remember that you are going to die" runs through art and literature. Since the famous macabre dances appeared in the 15th century, it has never ceased to challenge the public and creators, while undergoing profound transformations. Contemporary to the famous "Cabaret du Néant" installed in 1892 on Boulevard de Clichy (18th arrondissement), which gives the exhibition its title, the notion of nothingness has another interpretation, another vision of the same abyss, no less terrible but plastically reversed; that which, in the wake of Mallarmé, leads us to consider human life as "vain forms of matter (…) necessarily rushing into the dream that it knows not to be (…) and proclaiming, before the Nothing that is the truth, these glorious lies!". According to Mallarmé, the role of the port, and therefore the art, consists in drawing man out of this "Nothing", as it from the bottom of a shipwreck, through the supreme game of creation.
Frac île-de-france, the castle
Rentilly Cultural Park - Michel Chartier
1, rue de l'Étang
77600 Bussy-Saint-Martin
T +33 (0)1 60 35 46 72 fraciledefrance.com
Death, Eros, Gothic, natural powers or exoticism... Romanticism takes hold of these themes and explores the mysteries of human life. Through about thirty of its most beautiful sheets, using various techniques such as graphite, pen or watercolor, the exhibition highlights the richness of Romantic drawing and presents works by Géricault, Delacroix, Victor Hugo and Scheffer.
It was between 1815 and 1850 that Romantic drawing reached its apogee in an artistic context full of vitality. The Beaux-Arts de Paris intends to sketch its specificities - extravagance, lyricism, despair and excessiveness - through works from its collection, most of which are unpublished.
Attracted by faraway journeys, heroic scenes, and the spectacle of nature, the romantic artists forged a new fantastic and audacious universe that appealed to passionate collectors, some of whom donated their drawings to the Beaux-Arts de Paris: His de la Salle (1867), Edouard Gatteaux (1883) and Alfred Armand (1908).
For this exhibition, the Beaux-Arts de Paris unveils part of this collection, first thoughts but also finished works executed in techniques as varied as graphite, pen and watercolor.
Thanks to the generosity of the association Le Cabinet des amateurs de dessins de l'École des Beaux-Arts, but also with the help of the Heritage Fund of the Ministry of Culture, the Beaux-Arts de Paris has been able to acquire major works from this period, such as Six Horses in Freedom by Horace Vernet, The Conversion of Saint Paul and A Woman on Horseback as an Amazon in Front of a Landscape by Eugène Delacroix, Victor Hugo's Château de Corbus, Eugène Isabey's L'orage en mer, Célestin Nanteuil's Ballade de Léonore, Théodore Chassériau's Etude de femme relever sa chevelure et de mendiante tient son enfant and more recently Eberhard le larmoyeur and Ossian évoquer les fantômes sur les bords du Lora by Ary Scheffer.
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Free of charge (on presentation of a valid receipt):
• under 18 years old
• students and teachers of the National Higher Schools of Art and Architecture of the Ministère de la Culture
• students from member institutions of the University of Paris-Sciences-et- Lettres (PSL)
• students of the École du Louvre
• holders of the Ministère de la Culture card
• Amis des Beaux-Arts de Paris
• card holder : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalists
• jobseekers, recipients of minimum social benefits
• civilian disabled and war-disabled (with an attendant)
Due to the latest government regulations, the Exhibition Theatre will unfortunately not be open to the public for the time being. It will be open from 14 April to 15 May only by appointment to professionals in the strictest respect of sanitary conditions.
For the first time, until 2022, the programme of the Palais des Beaux-Arts is entirely designed, developed and implemented by the 25 students of the "Artists & Exhibition Professions" course and the 11 young curators in residence at the Beaux-Arts de Paris. From 14 April to 29 May 2021, discover the seven new projects of Act 2 of the Theatre of Exhibitions, presented in a series of rooms fitted out for the occasion. Each in its own way, these exhibitions cross time by confronting the heritage works of the School's collections with the contemporary works of professors and students. This joyful, disorderly and experimental laboratory challenges the very principle of the exhibition with forms that are still unspeakable and sometimes confusing.
From March 2021 to January 2022, masterpieces from the collections of the Beaux-Arts de Paris and the creations of young artists from the School and their teachers are brought together in a succession of exhibitions. This composite piece will feature both fully completed works and others still being put together or even developed. It is written by the students of the first two classes of the "Artists & Exhibition Professions" course at the Beaux-Arts de Paris*, accompanied by young curators in residence and guided by the School's curators, theoreticians, professors and staff.
The Exhibition Theatre is developed and produced by the first two classes of the "Artists & Exhibition Professions" course:
Class of 2019/2020: Lina Benzerti, Brune Doummar, Milana Dzhabrailova, Sarah Konté, Corentin Leber, Chongyan Liu, Victoire Mangez, Bram Niesz, Yannis Ouaked, Violette Wood, Kenza Zizi. Curators in residence 2019/2020: Simona Dvořáková, Marie Grihon, César Kaci, Alice Narcy, Esteban Neveu Ponce.
Class of 2020/2021: Soraya Abdelhouaret, Paul-Emile Bertonèche, Yucegul Cirak, Andreas Fevrier, Daniel Galicia, Alexandre Gras, Raphael Guillet, Thibault Hiss, Hélène Janicot, Elladj Lincy, Anna Oarda, Céleste Philippot, Océane Pilastre, Libo Wei Curators in residence 2020/2021: Noam Alon, Antoine Duchenet, Lou Ferrand, Céline Furet, Juliette Hage, Lila Torqueo.
The Exhibition Theatre will be brought to life with a programme of live performances, concerts, readings, screenings, two-voice visits, sound interventions or radio transmissions. See you on Thursdays and Fridays from 2.30 pm live on Facebook.
* Created in 2019, the "Artists & Exhibition Professions" programme is directed and coordinated by the exhibition and public services departments. It enables 3rd and 4th year students to train in production, stage management, scenography, mediation and all professions related to the presentation and dissemination of art. As part of this training, a residency is offered to young curators who can work for a year at the Beaux-Arts de Paris. The "Artists & Exhibition Professions" programme at the Beaux-Arts de Paris is designed in partnership with the Palais de Tokyo.
Act 2
Tout me trouble à la surface / April 14 to May 16, 2021 Tout me trouble à la surface is a solo exhibition by Éléonore False, created at the end of a residency at Beaux-Arts de Paris. The artist's interest was in the scientific photography collections of the 19th century. The doctor Duchenne de Boulogne (1806-1875), known for his "Ovals", used it to document his research into the application of new electrical processes to the facial muscles of his guinea pigs in order to decipher "The Mechanism of Human Physiognomy". From the original photographs, Éléonore False proceeded to a series of manual and mechanical steps of reproduction, selection, cutting and enlargement. The artist's work gives a new point of view on the source image, giving a new aura to these fragments of faces. Éléonore False focuses the viewer's attention on the effects produced by this artificial stimulation: the face has become a mask. It is the instrument of a myological cartography of emotions, sometimes bordering on a pathetic or burlesque effect that derives from the grins and grimaces. These face masks arouse empathy. What could be more characteristic of our troubled society, which struggles to read any expression on faces, than a need to listen, to be considered and to respond to passions? The personal album in which the doctor recorded the proofs of his research appears as a metaphor for the exhibition. On the floor, an incised carpet suggests the latent life of the images in an imaginary sub-basement. The reflection on the therapeutic relationship has recently been decoupled by philosophers from the sole scientific authority, in order to be open to all, in an ethic of care.
Works from the collections are also presented in the exhibition.
Éléonore False is an artist who graduated from Beaux-Arts de Paris in 2013. She teaches at the Institut supérieur des arts de Toulouse. She was assisted by Sarah Boulassel, intern, and Paul-Emile Bertonèche and Daniel Gutiérrez Galicia, students in the "Exhibition Professions" programme.
Curator: Kathy Alliou - with Anne-Marie Garcia, curator in charge of photographs, and Alice Thomine-Berrada, curator in charge of paintings.
Scenography: Valentine Graziani, student of Ecole nationale supérieure d'architecture Paris-Malaquais
Une moraine d'objets / from 14 April to 16 May 2021
The "Heads of Expression" competition was an exercise in artistic technique at Beaux-Arts de Paris that reflected the artists' ability to convey emotion. Jealousy, pride, anger, etc. were thus proposed to the aspiring artists as a means of transcending the contingencies of the material, where a leaning eyebrow or a thinking look could breathe a semblance of life into the inert block of clay or the colours spread out on the canvas.
The works presented here bear witness to an absence, that of the mood they are supposed to evoke. Drawn from the School's collections, they are an amputated gallery of disassociated figures. These portraits, these faces that take shape through subtraction, are ultimately addressed to our ability to occupy the voids, to recompose the whole body through the sum of its fragments.
This project proposes a reflection on the remanence of things, surface images and optical illusions. Whether they work with military technologies, traditional painting techniques or the phenomenological materiality of sculpture, the artists presented put physical reality and hypothetical projections in tension.
Artists : Jean-Charles Bureau, Florentine Charon and Victoire Thierrée, artists in residence at Beaux-Arts de Paris.
Scenography: Ana Marta Lins and Carol Vasques, students of Ecole nationale supérieure d'architecture Paris-Malaquais
Le temps est détraqué / 14 April to 23 May 2021
Le temps est détraqué focuses on the possibilities of autonomous temporal spaces and the scenic potential of a gathering place. By mixing various temporalities, their anachronistic and ghostly aspects, this exhibition questions a presence and experience that is born from our surroundings.
The poetic environment exists here through the works, conceived in resonance with each other and with the space itself. Composed of technological waste, playful, illusory gestures, various devices, the flashing light and electrical energy that powers them, the works provoke fleeting images of the real abandoned, both deranged and mad in a deranged time. The fluidity of this unreal spectacle oscillates between a "romantic sobriety" and a "contemporary baroque". The random and synchronized visual and acoustic elements unfold like a score made up of digital parameters, as in the logic of the sound language, magical and universal "Zaoum" of the Russian futurist Khlebnikov. The spectators can enter, pass, hallucinate, think, forget or dream... They find themselves in a cognitive labyrinth that leads to an individual experience through sensory cues. Sometimes, by their mere presence, they embody the plastic expression of this relational study and the way the human body experiences it.
Artists presented: Flora Bouteille, Léa de Cacqueray Aurélia Declercq, Katya Ev, Tania Gheerbrant, Francisco de Goya, Claire Isorni, Július Koller, Prosper Legault, Victor Villafagne, Thomas Teurlai.
Exhibition activated by Thomas Benard, Vincent Rioux and Tanguy Roussel.
In collaboration with Grégoire Rousseau and Nora Sternfeld.
Curator: Simona Dvořáková, resident curator in the "Exhibition Professions" programme, assisted by Johanna Fayau, Yannis Ouaked and Rémi Parcollet.
Jardin secret / 14 April to 29 May 2021
Published more than a hundred years ago, Freud's sexual theory is still criticized, interpreted, defeated and refuted in gender studies. Needless to say, there are several key reasons for deconstructing these ideas. One is the link Freud makes between heteronormative sexual drives and efficient functioning, which will soon be promoted with force by capitalist thought. Nevertheless, it is clear that his idea of normal, orderly sexual development is an intangible, even unattainable ideal.
Visiting the "Secret Garden" allows each of us to rethink our childhood sexuality according to the Freudian model and thus to test its relevance or obsolescence. This exhibition wishes to underline the too decisive separations outlined by Freud in his linear scheme of libidinal drives. This is evidenced by his fatalistic and generalising way of equating, for example, the 'Mother-fed Few' with dependency and the 'Mother-fed Too Many' with dominance. In order to arouse the curiosity of the viewers to also discover stages of development that they are "not supposed" to experience, the exhibition will be set up as a labyrinth. This scenography aspires to offer a more global and entangled view on the composition of our sexualities and personalities.
Participating artists: Soraya Abdelhouaret, Chadine Amghar, Hugo Bonnet, Thomas Buswell, Petrit Halilaj, Qian Han, Nino Kapanadze, Achille-François-René Leclère, Dominique Lefèvre-Desforges, Ella Navot, Julien Prévieux, Charlotte Simonnet, Violette Wood
Curator: Noam Alon, resident curator of the "Artists & Crafts of the Exhibition" programme,
Editor: Paul-Émile Bertonèche
Scenography: Luna Villanueva-Pangaud and Romane Madede, students of Ecole nationale supérieure d'architecture Paris-Malaquais
Time Capsule 2045 / 7 to 23 May 2021
Time capsules are objects or works intended to be discovered after a more or less long time. As a form of address to future generations, they bear witness to a present era as much as to a relationship with the future. In today's anxiety-inducing ecological and political context, this exhibition proposes to question the notion of the time capsule, to address new works to the future and to defend the importance of anticipation and speculative fiction in order to reveal the multiple possibilities of the present.
Seventeen artists were invited to place a work known only to them in an archival box to be opened in 25 years. In conjunction with the creation of these time capsules, artists, musicians, writers and theorists from different disciplines propose sound creations imagining the context of 2045, when they will be unveiled.
With the "Time Capsules" by Renaud Auguste-Dormeuil, Keren Benbenisty, Christophe Berdaguer and Marie Péjus, Joi Bittle, Charbel-joseph H. Boutros, Julia E. Dyck, Maíra Dietrich, Daniel Frota, Mark Geffriaud, Kenneth Goldsmith, Paula Hayes, Zoé Leonard, Falk Messerschmidt, Gala Porras-Kim, Suha Traboulsi, Yann Sérandour, Pedro Zylbersztajn.
Sound creations by A Constructed World, Pierre Alferi and Rodolphe Burger, Matteo Barsuglia, Black Quantum Futurism, Dominique Blais and Kerwin Rolland, Xavier Boussiron and Julien Tiberi, Tyler Coburn, Maíra Dietrich, Julia E. Dyck, Louise Hervé and Clovis Maillet, Hanne Lippard, Falk Messerschmidt, Ariane Michel, Slow Reading Club with Charlie Usher, The Bells Angels (Simon Bernheim and Julien Sirjacq) and Pedro Zylbersztajn.
With proposals from students of the Beaux-Arts de Paris (Julien Sirjacq's studio), ENSA Paris-Cergy and ESAD TALM Angers: Carl Amiard, Hugo Bonnet, Jade Boudet, Chloé Cordiale, Lina Filipovich, Claire Jacques, César Kaci, Jiyeon Kim, Loick Mfoundou, Théo Pall, Olivier Perusat, Lois Saumande, Lalie Thebault-Maviel, Jing Yuan.
Performances on 7, 14 and 21 May. Detailed programme to come.
A proposal by Art by Translation (ENSAPC-ESAD TALM) and Lab'Bel, Bel Group's artistic laboratory, in partnership with the Beaux-Arts de Paris and the Maison des Sciences de l'Homme Paris-Saclay.
Scenography designed by William Solis and Minh-Quang, students of École nationale supérieure d'architecture Paris-Malaquais, in the framework of a workshop led by Adrien Gardère.
Ouverture / 28 and 29 May 2021
Since 2016, Lénio Kaklea has been developing Encyclopédie pratique, a multidisciplinary project that consists of the creation of a non-exhaustive corpus of daily, intimate, visible or invisible practices in Europe. From this corpus, the choreographer proposed to the students of the Emmanuelle Huynh workshop to question the multiple practices that make up their own artistic research (introspection, discussion, flânerie, sport, painting, assembly of objects etc). Through individual and group exercises, the students created a living encyclopaedia of their ongoing artistic journeys.
Curated by Lénio Kaklea, choreographer, dancer and writer, with the Emmanuelle Huynh workshop
With the patronage of :
Affiche - Le Théâtre des Expos -Acte 2
Jardin secret
Le temps est détraqué
Une moraine d'objets
Time capsule 2045
Tout me trouble à la surface
Au train où vont les choses
RESPONSIBLE TICKETING
2, 5 or 10 €, the choice is yours!
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Free of charge (on presentation of a valid receipt):
• under 18 years old
• students and teachers of the National Higher Schools of Art and Architecture of the Ministère de la Culture
• students from member institutions of the University of Paris-Sciences-et- Lettres (PSL)
• students of the École du Louvre
• holders of the Ministère de la Culture card
• Amis des Beaux-Arts de Paris
• card holder : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalists
• jobseekers, recipients of minimum social benefits
• civilian disabled and war-disabled (with an attendant)
Exhibitions from Wednesday to Sunday
12 am –8 pm
A veritable observatory of analyses and a platform for experimentation, the 'Troubles, Alliances and Aesthetics' Chair studies relations of proximity, neighbourhoods, affections and intimacies as they emerge from the so-called margins of gender, sexuality, race and class. What formats of life and what forms of existence have the encounters between our bodies, our subjectivities and our communities provoked in the past and are they engendering today, in the fields of theory, activism and artistic practice?
