Beaux-Arts de Paris is delighted to welcome Harry Nuriev and the Sultana Gallery (Paris) for Art Basel Paris.
Harry Nuriev presents Objets Trouvés (2025), a participatory installation transforming the Petits-Augustins chapel into a space for circulation and exchange. Carefully aligned supermarket boxes are filled with objects brought in by visitors. Each person leaves an object they no longer need and takes another left by someone else. Each contribution is certified as a work of art, and at the end of the exhibition, all exchanges will be compiled in a Yellow Pages-style directory, transforming this ephemeral process into a permanent archive.
Harry Nuriev describes his practice as Transformism—the reinvention of everyday materials to give them new functions and meanings. With Objets Trouvés, he extends this philosophy into a collective dimension, where the simple act of exchange becomes social interaction as much as artistic creation.
This is the fourth project in the Public Program organized by Art Basel Paris in collaboration with the Beaux-Arts de Paris.
A mediation program will be provided every day from October 21 to 26, 2025, from 2:00 p.m. to 5:30 p.m. by students from the École du Louvre.
Winner of the 2025 Rubis Mécénat Prize in partnership with the Church of Saint-Eustache and Beaux-Arts de Paris, Liselor Perez, a fifth-year student, presents a unique installation of a set of puppets scattered throughout the main nave and side chapels. Curated by Julia Marchand.
“My installation is a poetic exploration of existential tensions: the fragile body, seeking elevation, confronted with timeless, immutable architecture.” Liselor Perez
Drawing on the inner silence and materiality of the place, which the artist frequented at length during her research phase, Liselor Perez has sketched these mysterious silhouettes, which seem to emerge from the building. By imagining a “church guardian” with a body covered in Jesmonite reminiscent of the pillar against which he leans, or a puppet-like being balancing in one of the chapels, becoming the receptacle for a stained-glass face, the artist sculpts a point of connection between the work and its environment, absorbing the motifs that surround it to cover it with adornment.
Between poetry and science fiction, the works offer a sensory experience, an invitation to daydream where the puppet is no longer a simple toy, but the medium for an embodied questioning of the meaning of being and the other.
Since 2021, the Rubis Mécénat Prize, in partnership with the Beaux-Arts de Paris, has enabled a student from the school to receive production assistance and critical support for the creation of a new work at the Saint-Eustache church in Paris.
Fourteen student artists from the Fresco & Art in Context program at Beaux-Arts de Paris created works specifically designed for the Trinitaires Church in Metz, drawing inspiration from their discovery of the forests on the outskirts of the city.
An invitation from Viviane Zenner (Galerie des Jours de Lune) in partnership with the city of Metz.
More than 2,000 years ago, Metz was known as Divodurum Mediomatricorum, “the divine enclosure between two rivers,” located in the heart of the territory of the Celtic Mediomatrici tribe. Under the growing influence of Rome, the city gradually broadened its spiritual horizons. The inhabitants adopted a profusion of new cults, welcoming goddesses from distant lands.
In the heart of the city, the Trinitaires church, built in its current form in the 18th century, has had several lives and seems to be in a state of eternal transformation. The transition period of the contemporary world, in which the spiritual landscape is being redrawn, this “pivotal age” according to philosopher Karl Jaspers, has led the artist-students of the “Fresco & Art in Context” program at Beaux-Arts de Paris to explore the very notion of worship and the nature of the potential rites of tomorrow.
They are taking over the Trinitaires for a final contemporary art exhibition, drawing inspiration in particular from their discovery of the Meuse forest a few dozen kilometers from Metz. The church is thus linked to the forest, at the edge of the woods, dark and deep, giving way to the imagination of darkness: it serves as a boundary between the real world and the invented world. Searching through the beliefs and practices of the past, proven or imagined, to imagine the cults of the future, to offer speculative thinking, an attentive, meditative experience of the place.
The program is supported by the Gecina Foundation, Vedettes de Paris, Apes/Action Logement group, RM Yachts, and Compagnie de Phalsbourg.
Participating students/artists: Ash, Mehdi Babaei, Helena Heras, Ruoxi Jin, Bahar Kocabey, Jade Maignan, Baptiste Marfaing, Sarah Melloul, Amine Merhoum, Lou Olmos Arsenne, Héloïse Sailly, François Toison, Mehdi Shineshen, Wiktoria Wojciechowska
Guest artists/teachers: Bertrand Planes and Charlotte Imbault
“The exhibition highlights the two major artists invited to France by Francis I - the Florentine Rosso and the Bolognese Primatice - but differs from exhibitions devoted to their drawings or to the Fontainebleau worksite in its focus on the engravers who were associated with them on site, and who were not only skilful interpreters of the compositions of these two masters, but also inventors of forms and experimenters with the new etching technique, which they profoundly renewed.”
Éric de Chassey, Directeur des Beaux-Arts de Paris
Through a selection of some 50 works, this exhibition highlights the exceptional collection of drawings and prints by École de Fontainebleau held by Beaux-Arts de Paris. It provides an opportunity to (re)discover the art of maniera that developed at the Château de Fontainebleau and then spread to France under the impetus of Rosso Fiorentino and Francesco Primatice, two Italian artists in the service of Francis I and then Henry II.
The works on display evoke the genesis of the château's painted and sculpted decorations, from the Galerie François I to the Galerie d'Ulysse, and are complemented by etchings produced at Fontainebleau in the 1540's. This innovative corpus, the result of an unprecedented project in France, raises numerous questions, notably concerning the distribution of models, material organization, formal research and the technical trials and tribulations of the artists.
Some of the works on show are previously unseen, and the vast majority have not been shown to the public for over 30 years. A rare drawing from Rosso's French period, Pandora Freeing the Plagues from her Box, is one of the major pieces in the exhibition. Beaux-Arts de Paris collection of drawings relating to 16th-century art in France is one of the largest and most remarkable in France, alongside those of the Musée du Louvre and the Bibliothèque nationale de France. With almost 400 works, Beaux-Arts de Paris holds the second largest collection of Bellifontaine prints in France after the Bibliothèque nationale de France, and one of the largest in the world alongside the British Museum. Beaux-Arts de Paris owes this wealth to the contributions of passionate collectors from the 19th and 20th centuries, as well as to the generosity of contemporary patrons, in particular the Association des Amateurs de Dessins des Beaux-Arts de Paris.
The Fontainebleau project is an example of artistic ferment and effervescence, a symbol of transnational artistic collaboration whose modernity has marked the history of art in Europe. Today, this exceptional moment is reflected in the activities of Beaux-Arts de Paris, where the conservation, study and transmission of heritage play a central role in contemporary teaching.
CURATORS
Hélène Gasnault and Giulia Longo, respectively curator of drawings and curator of prints and photographs at Beaux-Arts de Paris.
PRACTICAL INFOS
Exhibition from Tuesday, October 21, 2025 to Sunday, February 1, 2026
Wednesday to Sunday, 1pm-7pm
€2, €5 or €10 - the choice is yours!
Beaux-Arts de Paris is delighted to take part in the 7th edition of 100% L'EXPO, which opens the Grande Halle de la Villette to young artists who have recently graduated from French art schools
The works of some forty artists are displayed over 3,500 m² in the Grande Halle de la Villette, in a scenography composed entirely of salvaged elements from previous events.
For this 7th edition, the Haute école des arts du Rhin Mulhouse - Strasbourg joins 100% L'EXPO, alongside Beaux-Arts de Paris, Beaux-Arts de Marseille, École des Arts Décoratifs - PSL, École Nationale Supérieure d'Arts de Paris-Cergy and Villa Arson Nice.
Beaux-Arts de Paris artists: Thomas Besset, Ninon Enéa, Claire Gitton, Lou Le Forban, Valentin Ranger and Alexandre Yang.
Practical info
100% L'EXPO
April 10 to May 11, 2025
Wednesday to Sunday 2 pm - 7 pm
Nocturnes until 8pm Thu. 11, Thu. 24 and Fri. April 25 and Wed. May 7
Guided tours Sat. and Sun. departures every 30 min.
“Chère Melpomène,
We call to you, the ancient muse of tragedy, who once reigned at the back of the Palais des Beaux-Arts. Once a towering statue, several meters high, you have now become a ruin. From the residue of your dust, we seel to transcend the archetype of the muse and evoke a fresh, nuanced breath, able to seep into the interstices of established orders. In between inspiration and expiration, between what is spoken and what remains silent, this breath embodies our deepest desire for social justice.”
Chère Melpomène is a call to subvert classical myths in order to convey other stories that are closer to our daily lives. The exhibition invites us to listen, feel, and breathe together in a poetic exploration of what binds us.
Drawing inspiration from the methodology of artist Theresa Hak Kyung Cha (1951–1982) in her work Dictée (1982) - where the nine muses of Greco-Roman antiquity are reimagined to honor female martyrs who sought emancipation - the exhibition sublimates reality by rerouting the figure of Melpomène. What relationships should we cultivate among the inhabitants of the earth - beyond species, and between animate and inanimate beings? Theresa Hak Kyung Cha invites us to prioritize our senses, intuition, and pay attention to our surroundings in order to reconnect with the multiple breaths of life and reignite our commoning energy.
The exhibition invites us to navigate our intimate tragedies and the stories we can tell about them. It offers an incantation to summon spiritual and political alliances, to infuse our struggles with magic, expand our imagination, and nurture hope. The pieces in this exhibition embody acts of resistance and solidarity, sharing speculative cosmogonies that translate the plurality of memories that shape our contemporary society and cultivate our interdependence while honoring our individual differences.
Chère Melpomène intertwines a hundred works from the collections, students and international artists, presenting a transhistorical display from the late 17th century to today. Most have never been exhibited—recently acquired by the School or newly created for the exhibition—while others have yet to circulate in institutional spaces.
Mélanie Bouteloup and Armelle Pradalier, co-directors of the “Artists & Exhibition Professions” program, Giulia Longo, Curator of Prints and Photographs at Beaux-Arts de Paris, with students in the program : Kenza Agbo, Adèle Anstett, Martin Bas, Héloïse Bayard, Léonard Berthou, Pauline Boudaoud, Mathilde Cassan, Mathilde Chabaud, Elisa Leïla Durand, Éloïse Frye De Lassalle, Klara Jakes, Clément Justin Hannin, Zoé Le Bacquer, Shumeng Li, Zahra Mansoor, Timothée Perron, Zoé Siau, Kit Szasz, Lara Ulusoy.
Artists
Soraya Abdelhouaret, Océane-Maria Adjovi, Giovanni Altieri, Shelim Alvarado, Dyan Daniel Assogo, Eugène Atget, Gianfranco Baruchello, Baya, Romain Bernini, Pierre-Amédée-Marcel Béronneau, Michel Blazy, Félix Bonfils Et Atelier, Rosa Bonheur, Wanda Elisabeth Bouleau-Rabaud, Jean Bhownagary, Luciano Castelli, Norbert Chautard, Arthur Coquille-Hopfner, Henri Cueco, Storm De Hirsch, Princesse Diakumpuna, Amahiguere Dolo, Azzeazy, Guillaume-Benjamin Amant Duchenne De Boulogne, Aysha E Arar, Mimosa Echard, Laura Esparch, Frederik Exner, Nina Fiorentini, Diego Garcia Lara, Guillaume-Sulpice Dit Paul Gavarni, Clémence Gbonon, Fengyi Guo, Theresa Hak Kyung Cha, Roger Hardy, Suzanne Husky, Fanny Irina, Svay Ken, Käthe Kollwitz, Shengqi Kong, Adrien Lagrange, Emmanuelle Lainé, Amadeo Luciano Lorenzato, Gherasim Luca, Frédérique Loutz, Rose Lowder, Antoinette Lubaki, Turiya Magadlela, Joshua Merchan Rodriguez, Pierre Molinier, Céleste Moneger, Zora Neale Hurston, Aryle Nsengiyumva, Christel Pereira, Liselor Perez, Enzo Perrier, Romain Pommelet, Jonathan Potana, Pierre Petit, Chloé Quenum, Axel Ramat, Lou Rappeneau, Akshay Raj Singh Rathore, Man Ray, Odilon Redon, Paul Richer, Sofia Salazar Rosales, Juliana Seraphim, Seumboy Vrainom :€, Marcel Storr, Shooshie Sulaiman, Eden Tinto Collins, Marion Verboom, François Verdier, Yizhi Wan, Isabelle Waternaux, Yue Yu, Anna Zemankova et anonymes.
Wednesday April 09 - Sunday June 01 2025 (Closing: Thursday, May 1, 2025)
Palais des Beaux-Arts
Beaux-Arts de Paris, 13 quai Malaquais, Paris 6e
Wednesday to Sunday, 1pm-7pm 2€, 5€ or 10€ it's up to you!
The " Artistes & Métiers de l'exposition " program is supported by Société Générale
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.
Alongside his work as a poet and writer, Pierre Alferi (1963-2023) drew continuously and intensively for many years. This long-discreet practice was not shared until 2020 on his Enseignes website. These drawings explore the “pictorial couplings of word and image”, about which Pierre Alferi has regularly written. For him, they have been as much a problem of representation as a familiar path, among others, for exploring his moods and passions. Humor is expressed on several levels, in the discrepancies or connivances between words and images, and through the play of words with each other and with images. The various ways in which the two meet are the central theme of his pictorial work.
Pierre Alferi drew his daily inspiration from a variety of image sources, both in print and on screen. The iconographic variety reflects the diversity of his chosen objects, which range from medieval illuminations to Mad Magazine cartoonists, Japanese imagery, primers and Romantic vignettes. Almost all his drawings are copies, based on one or more source images, which he alters by retracing them, sometimes to the point of blurring the references. Prime thus the imaginary network in which he takes them, and which puns complete the link in a short-circuit of meaning. A mural airbrushed by Hippolyte Hentgen highlights the human relationships in which Pierre Alferi lived his creative work, and the multiple collaborations to which he contributed. It adopts the motifs of an original drawing by Hippolyte Hentgen, transformed, extrapolated and dispersed on the scale of the Cabinet des dessins et des estampes - Jean Bonna.
Curators: Kathy Alliou, director of the Fine Art Department at the Beaux-Arts de Paris and Paul Sztulman, professor of art history and theory at the École Nationale Supérieure des Arts Décoratifs.
Practical information
Wednesday February 12 2025 - Sunday April 20 2025
Cabinet des dessins et des estampes - Jean Bonna
Beaux-Arts de Paris, 14 rue Bonaparte, Paris 6e
Wednesday to Sunday, 1pm-7pm 2€, 5€ or 10€ it's up to you!
L'art et la vie et inversement presents the 26 artists who received the Diplôme National Supérieur d'Arts Plastiques from 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.
What emerges from these works is the students' desire and way of constantly blending art and life. Their lives appear in their works in iconographic, thematic and narrative forms, and their works integrate their lifestyles. Through them, we see the fragility of the world and the threat it faces. There's nothing new in taking close friends and family members as models, but this approach has another meaning here: L'art et la vie et inversement reveals a flexible, fluid world in which reversals are possible, where landscapes speak of inner worlds, and intimate monologues speak of the world as it is.
These are horizons inspired by childhood visions, inhabited by singular forms of spirituality, or marked by the tragedies of history. Bodies are put to the test in pain, indeterminacy, hallucination, tenderness or malice. Gleaners in the city or in nature, these artists often appear inclined to help each other and to dialogue between the arts. Landscapes, and the human and non-human beings who populate them, are sometimes themselves the actors in a film. Characters emerge from another film to enter life. Other works deliver more domestic, intimate visions. For them, gentleness is sometimes a way of tackling the toughest subjects. A vision of a world in transformation, of an enigmatic present, these positions are based on the complexity of human beings. What emerges is a shared humanity, efforts to hold on to worlds on the verge of disappearing, narratives sometimes beyond the realms of reality.
Curator : Anaël Pigeat
2024 Félicités : Gilad ASHERY, Örs BATMAZ, Abdelhak BENALLOU, Margot BERNARD, Zoé BERNARDI, Thomas BUSWELL, Anna DE CASTRO BARBOSA, Alessandro DI LORENZO, Hugo FRANCONERI, Clémence GBONON, Claire GITTON, Julien HEINTZ, Hélène JANICOT, Ruoxi JIN, Bahar KOCABEY, Joshua MERCHAN RODRIGUEZ, Alexandre NITZSCHE CYSNE, Sergiy PETLYUK, Hajar SATARI, Anne SIMIN SHITRIT, Isadora SOARES BELLETTI, Hugo VIANA DA SILVA, Leïla VILMOUTH, Louise VO TAN, Libo WEI, Alexandre YANG
Practical informations
Wednesday, February 12, 2025 to Sunday, March 16, 2025
Wednesday to Sunday, 1pm-7pm, Wednesday night until 9pm
Palais des Beaux-Arts
13 quai Malaquais, 75006 Paris
Responsible ticketing €2, €5 or €10, it's up to you!
In partnership with PhotoSaintGermain, the Beaux-Arts de Paris and the École nationale supérieure de la photographie in Arles have joined forces to organise an exhibition entitled Situations de l'image, presented in different areas of the Beaux-Arts de Paris.
The aim of the exhibition is to show the diversity of photographic writing in today's image community: from the image in the field of enlarged practices that are increasingly pushing back the boundaries of the frame to the photographic act itself, which is situated and intimately linked to the position of its author, dragging with it a host of social, intimate and political questions.
The exhibition provides an overview of photographic approaches as practised at the Beaux-Arts de Paris and the École Nationale Supérieure de la Photographie in Arles.
Artists from the Beaux-Arts de Paris: Zoé Bernardi, Léonard Berthou, Léa Farant, Tessa Larcher Coadou, Ugo Casubolo Ferro, Jule Heinzelmann, Jinyong Lian, Winca Mendy, Océane Pilastre, Joseph Rozé, Ayako Sakuragi, Anne Shitrit, Yuquan Liu, Hanna Zubkova.
Artists from ENSP Arles: Simon Bouillère, Sarah Bourget, Léonard Contramestre, Gaëlle Delort, Salomé Gaeta, Ambre Husson, Noria Kaouadji, Basile Lorentz, Nicolas Marbeau, Bahia Ourahou, Thomas Pouly, Valia Russo, Gaetan Soerensen, Antonio Del Vecchio.
With the support of the Neuflize OBC Foundation, patron of the Extra-Large Photo Chair at the Beaux-Arts de Paris.
Led by Audrey Illouz, Vincent Lambert and Simon Petit Fort.
Practical info
Labo photo from 31 October to 10 November
Cour Bonaparte and left and right galleries from 31 October to 3 November
Free admission from 2pm to 6.30pm
14 rue Bonaparte, Paris 6
Crédits photos : Jinyong Lian (diplomée 2024 des Beaux-Arts de Paris) Binoculars, 2024, Thomas Pouly (étudiant à l'ENSP Arles) Sans titre, 2023
The Beaux-Arts de Paris are delighted to be co-hosting a project by Jean-Charles De Quillacq and the Galerie Marcelle Alix (Paris) with Art Basel Paris.
The exuberant 17th-century setting of the Chapelle des Petits-Augustins could not offer a better setting for Jean-Charles de Quillacq's sculptures. Pieces of bread, cigarette butts and car coolant share the space with the museum's permanent works and several organic forms, stretched or at rest, lying on polystyrene supports that retain traces of their manufacture. Jean-Charles de Quillacq's research focuses on the body and its representations, its materials and interactions, and its social organisation. Half-naked mannequins with polyurethane crotches moulded into jeans, chemical reconstitutions of the artist's own sweat, these representations act as metaphors for the ambiguous and unstable nature of capitalism.
Practical info
From Tuesday 15 October 2023 to Sunday 20 October 2024 every day from 10am to 7pm Free admission to the exhibition
Chapelle des Petits-Augustins
14 rue Bonaparte, Paris 6
Photo credits : Exhibition view ‘Des corps, des écritures. Regards sur l'art d'aujourd'hui’, Musée d'Art Moderne de Paris, 2021. photo : Aurélien Mole Titre oeuvre : Alexa, 2021
Courtesy : Marcelle Alix, Paris
