The peaceful glow of things

Ingar Krauss was born in 1965 in East Berlin. A self-taught artist, he began painting, then photography, while working as a night watchman in a psychiatric hospital to make ends meet. In the early 2000s, his work was shown in Germany before gaining international recognition with exhibitions in the United States, Italy, France, and elsewhere in Europe.

Ingar Krauss is a photographer, but he also keeps bees and cultivates a garden where flowers and vegetables grow. This activity plays a significant role in his life, and observing nature and working in the garden are his main sources of inspiration. He even sometimes chooses his crops based on the still lifes he plans to create. Thus, his two passions complement and nourish each other. Just as the gardener tries to control and order nature, the artist composes an image of the world: the gardener does with his shrubs and plants what the poet does with words, assembling them in such a way that they appear new and strange, and also, as if for the first time, completely themselves.

He takes his photographs in medium format, composes his still lifes in a box, and photographs them in natural light: without a studio or artificial lighting, he creates an intimate and private space, outside of time. This work evokes classical painting, which, in the light of north-facing studios, strove to meticulously transcribe the physical and spiritual presence of objects. But there is no symbolism to decipher in Ingar Krauss’s photographs; he simply invites us to savor the peaceful radiance of things, and also, thanks to his unique perspective, to appreciate their beauty in a new way.

April 17 – June 6, 2026

GALERIE CAMERA OBSCURA

268 Boulevard Raspail 75014 Paris

For its inaugural exhibition, the Waddington Custot Gallery highlights the pioneering European modernist movement, in which it has recognized expertise: the Nabis. The exhibition brings together some thirty works by the movement’s leading figures, including Pierre Bonnard, Maurice Denis, Édouard Vuillard, Charles Filiger, Ker-Xavier Roussel, Paul Sérusier, Émile Bernard, Paul Ranson, and József Rippl-Rónai.

Disciples of Gauguin, who claimed “the right to dare everything,” the Nabis painters drew inspiration from his desire to liberate color and his vision of painting as an inner quest. The work created by Paul Sérusier under Gauguin’s direct influence in the summer of 1888 would become The Talisman, a seminal work and aesthetic reference point for the group.

The term “Nabi,” borrowed from Hebrew and meaning “prophet,” reflects both the spiritual quest and the innovative ambition of this collective, which saw itself as the harbinger of an artistic renewal. The Nabis favored clean lines and flat planes of color, as seen in Paul Sérusier’s Bretonne Entendant (Breton Woman Breastfeeding). The Neo-Impressionist influence is also evident in Pierre Bonnard’s Étude pour ‘Le Corsage à carreaux’ (Study for ‘The Checkered Bodice’), while Japonism influenced artists like Paul Ranson, as seen in his work Le Grand Tigre (The Great Tiger).

Closely aligned with Symbolism, the Nabis were also interested in contemporary life, seeking to elevate the everyday. Interior scenes, contemplative figures, and stylized landscapes were thus elevated to the status of fully-fledged artistic subjects. Although exclusively male, the group constantly drew inspiration from female models, making “their mother, their partner or wife, their sister, privileged models” (Gilles Genty), as seen in Maurice Denis’s Portrait of Martha in a Red Apron (sketch) or Ker-Xavier Roussel’s Women in the Garden. Drawing inspiration from prints, stained glass, and folk art, the Nabis rejected the traditional hierarchy of genres and advocated for continuity between so-called “major” and “minor” arts. Painting, decoration, printmaking, and applied arts were approached with the same exacting standards, resulting in diverse projects such as Maurice Denis’s The White Horse (stained glass design). This openness led the group to invest in a multitude of media and to play a decisive role in the development of decorative arts and practices of the multiple at the dawn of modernity.

Embodying the “Nabi shock,” an unprecedented dialogue with contemporary works by Etel Adnan, Ben Arpéa, Marcel·la Barceló, Ian Davenport, Pierre Knop, François Réau, Anne Rothenstein, Christine Safa, and Fabienne Verdier illuminates a shared conception of painting as an autonomous, sensitive, and interior space.
While the Nabis championed a subjective, decorative, and synthetic style of painting, in which color, rhythm, and interiority take precedence over any attempt at an illusionistic representation of reality, this approach resonates today in contemporary practices: Etel Adnan’s compositions, with their radical simplification and frontal chromatism, echo the spiritual quest and symbolic density of figures like Charles Filiger. Fabienne Verdier’s concentrated gesture, at once meditative and physical, engages in a dialogue with the concept of painting as an inner experience, as advocated by Maurice Denis. In Ian Davenport’s work, the repetition, fluidity, and musicality of color extend the creative and rhythmic ambition that runs through the work of Bonnard or Vuillard. Through the diversity of their languages ​​and the convergence of their intentions, these artists reaffirm, like the Nabis, a painting where surface, matter, and color become the vehicles of a poetic and inner experience of the world, inscribing the Nabi aesthetic within a long and ever-evolving history.

April 7 – June 6, 2026

GALERIE WADDINGTON CUSTOT

36 rue de Seine 75006

How did the French art of living manifest itself in its most accomplished form in the 18th century? Certainly, it was primarily the privilege of an elite, whether by birth, wealth, or talent, and could not reflect the living conditions of the entire population. Nevertheless, it perfectly expressed the fashions, tastes, values, and customs toward which all eyes were then turning in Europe, and beyond, from the young Americas. For Paris established itself in the 18th century as the capital of luxury, constantly seeking innovation, an environment conducive to the flourishing of the arts, in pursuit of pleasure and convenience—in other words, beauty in utility, which is the motto of the Musée des Arts Décoratifs.

The tour begins with the architectural evolution of the private mansion in the 18th century. Both an architectural showcase and an embodiment of the art of living, the urban residence of an important figure and their home, heir to a long tradition yet subject to every passing fad, the private mansion presents multiple and contrasting faces, constantly oscillating between the norm and the exceptional. But before entering the mansion, one must first make one’s way to it through the Parisian street, the cobblestones crowded with vehicles, the walls plastered with posters, the air buzzing with the cries of street vendors. The visitor is then led beneath the majestic portico, which displays the owners’ power to passersby while simultaneously keeping the urban bustle at bay. After passing through the courtyard where a beautiful sedan chair and a removable carriage table await being set in motion, the visitor discovers the attractive beds of porcelain flowers, trellises and potted plants of the garden, in the middle of which stands the silhouette of a beautiful gardener, wearing a large straw hat.

From morning ablutions to evening games in elegant company, from the magnificence of a French dinner to the gentle melodies of a concert in the drawing room or the lively pleasures of conversation during a stroll in the garden, the exhibition scrutinizes, like an investigation, the daily activities of the inhabitants of a private mansion, from sunrise to sunset. Each room is reimagined and associated with a specific moment in their daily routine. Particular attention is paid to the improvements of the period: lighting, heating, access to running water indoors, but also their impact on décor, furnishings, service, and the rules of etiquette. Through an anthropological, cultural, and sensitive approach, the exhibition unveils the customs of the 18th century.

The exhibition then focuses on a typical day in the life of a French aristocratic family during the Age of Enlightenment: Boilly’s portrait of the Gohin family, who had made their fortune through long-distance trade, introduces us to the heart of the household. Visitors are invited to meet Monsieur and Madame, a court sword at his side and jewels at hers, as well as their children through their clothing, the care given to their education, and their daily games. The exhibition also presents their numerous and specialized servants, whom we see going about their tasks (scouring the silverware, preparing meals, drawing water from the copper fountain, washing and ironing clothes, etc.); finally, their beloved pets—dogs, cats, and birds—evidence of a newfound attachment.

The exhibition immerses us in a day divided into three parts: morning, after dinner, and evening, each brought to life through a gradual treatment of light. Scientific and technological advances in timekeeping are illustrated by a significant selection of clocks, wall clocks, and watches, as well as weekly planners and pocket almanacs with luxurious bindings. A new relationship with time, perceived with increasing precision, is emerging. The trend is toward longer days and later bedtimes.

The day begins at sunrise in the bedroom, where a duchess-style bed stands perpendicular to the wall. Its canopy and fabric slats provide privacy and warmth for the sleeper. Around seven in the morning, the masters, each with their own apartments, are awakened by their servants, who have been busy since four. Before even eating breakfast, the first meal of the day, and dressing, they perform their prayers. Then they eat a meat and vegetable broth served in a porcelain bowl with handles, placed on a tray.

In the 18th century, the morning remained a convivial occasion, a time when one could receive friends, suppliers, secretaries, or spiritual advisors, if desired, to discuss personal, professional, or domestic matters. Dressing and hairstyling, often done in the presence of a small circle, provided an opportunity to display a wide selection of personal grooming items. The private bath was the preserve of the wealthiest, largely due to the need to prepare the bathtub using a copper water heater, as running water was unavailable. Ordinarily, washing remained a dry affair, limited to the use of a ewer and basin, soap and sponge boxes, a washcloth, and a bidet. A chamber pot, a chamber pot, and a commode completed these essential items of personal hygiene. Men, women, and children wore wigs made of powdered natural hair. Reflecting one’s social standing, adornment and clothing had to be carefully chosen to present a good image to the world, and the exhibition illustrates this requirement. Perfumes, cosmetics, and beauty patches, all kept in richly decorated bottles and boxes, played a fundamental role in this preparation.

The exhibition’s narrative continues with the time of dinner (meals taken between 2 and 4 p.m.). The dining room, as a specialized room, appeared in aristocratic homes. Visitors can discover permanent furnishings such as a wall fountain for washing hands, chairs often with caned seats, side tables, coolers where glasses and bottles, never placed on the table, were kept chilled, and a large table—simple trestles until the end of the century when the fixed table made a tentative appearance—set around a sumptuous spun-glass centerpiece, intended to amuse guests and stimulate conversation. While plates, cutlery, and dishes await the guests, glasses are brought upon request. The service known as “French-style,” practiced throughout the century, consists of placing all the garnished dishes on the table.

February 18 – July 5, 2026

MAD Paris

107 rue de Rivoli 75001 Paris

Think you know everything about unicorns ? Ubiquitous in contemporary popular culture, the unicorn has traversed centuries and continents. And yet, this mythical creature remains full of mysteries.

Known since antiquity, it wasn’t until the modern period that its existence was questioned. However, it did not disappear from the collective imagination. A figure of purity or the abandoned lover, it could also be portrayed as dangerous and threatening, as in certain medieval representations.

A symbol of good fortune in Asian culture, it is sought after in Europe for its medicinal properties. Its horn, in particular, is reputed to have purifying powers. Even today, the unicorn fascinates and populates fantasy literature as well as children’s worlds. It takes on various meanings, evoking singularity when brandished as a banner of gender differences, or success in the world of startups.

March 10 – July 12, 2026

MUSEE DE CLUNY

28 rue du Sommerard 75005 Paris

Global Warning

This exhibition offers a fresh look at Martin Parr’s work in light of the widespread disorder of our time, through various series created from the late 1970s to the present day. For fifty years, without activism but with unwavering consistency, across the globe, Martin Parr has painted a striking portrait of the planet’s imbalances and the excesses of our lifestyles.

“I create entertainment, which contains a serious message if you’re willing to read it, but I’m not trying to convince anyone— I’m simply showing what people already think they know,” Martin Parr said in 2021.

Through his numerous series, which began in the British Isles and Ireland and then expanded to all five continents in the 1990s, recurring themes emerged: the excesses and ravages of mass tourism, the dominance of the car, technological dependencies, consumer frenzy, and our ambivalent relationship with the living world.

Always with his unique and unconventional perspective, Parr indirectly addressed several major identified causes of the Anthropocene’s climate upheavals: the rampant use of transportation, the consumption of fossil fuels, global overconsumption, and environmental damage.

This seemingly lighthearted work, with time and evolving attitudes, revealed itself to be perhaps more serious than it initially appeared. In retrospect, its biting irony seemed to place it within a certain British satirical tradition: incisive humor, a bittersweet mockery, serving a critical, indirect yet profound perspective.

In some 180 works spanning more than fifty years of production, from his early black and white pieces to recent works, the exhibition, in five sections, explores our contemporary follies through recurring themes, motifs, and obsessions.

January 30 – May 24, 2026

JEU DE PAUME

1 place de la Concorde 75001 Paris