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Fragile Beauty

Photographs from the collection of
Sir Elton John and David Furnish

“Just as when writing a song, when taking a photograph there is a bit of luck and chance – something happens at the right time and you have to be smart enough to press the shutter release.”

Sir Elton John

Célébrant plus de 30 ans de collection, l’exposition rend hommage à la passion de Sir Elton John et David Furnish pour la photographie reflétant à la fois leur goût personnel et leur regard unique en tant que collectionneurs. Sélectionnées parmi leur collection de plus de 7000 images, les photographies présentées sont des images emblématiques qui explorent la connexion entre la force et la vulnérabilité inhérentes à la condition humaine.

A history of modern and contemporary photography, this exhibition brings together an exceptional selection of the world’s most important photographers with works dating from 1950 to the present day. Adapted from the exhibition presented at the Victoria and Albert Museum between May 2024 and January 2025, the exhibition explores, through five thematic sections, subjects such as desire, fashion, celebrities, the assertion of identities, and photojournalism.

Parmi les artistes présentés, on retrouve Robert Mapplethorpe, Harley Weir, Irving Penn, Diane Arbus, Ai Weiwei, Herbert List, et bien d’autres, ainsi qu’une installation monumentale de 149 tirages de Nan Goldin tirés de sa série Thanksgiving.

June 12 – September 27, 2026

JEU DE PAUME

1 place de la Concorde 75001 Paris

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Luca Ceccherini

Grammelot

First solo exhibition in France by the Italian painter Luca Ceccherini (born in 1993). Grammar is among the languages ​​that precede grammar. Popularized by Dario Fo (1926–2016), winner of the 1997 Nobel Prize in Literature, in his masterpiece Mistero Buffo, it is a mixture of sounds, rhythms, and gestures—drawn from the tradition of the giullari, the jester-jugglers of medieval Italy—that says everything without naming anything, without rules, without a dictionary. No rules, no dictionary, and yet immediate comprehension. Luca Ceccherini’s painting functions in the same way.

Grammelot brings together a collection of previously unseen works in which Ceccherini evokes the world of the giullari, the figures of the commedia dell’arte, and the landscapes of his Tuscan childhood. Acrobats, jesters, tightrope walkers, silhouettes emerging from the popular imagination: these figures inhabit the canvas like archetypes, familiar without being identifiable, anchored in a long time that overflows into the present.

Ceccherini trained in theater before dedicating himself to painting—and this initial tension is evident in every canvas. His figures do not seek to illustrate: they occupy space with the physical presence of the actor, inhabiting the surface with the same density as the tree trunks and forest edges that surround them. Just as Fo drew upon medieval folk tales to give voice to those ignored by official history, Ceccherini works with a silent collective memory—not to preserve it as in a museum, but to breathe new life into it through painting.

June 5 – August 1, 2026

GALERIE DINA VIERNY

53 rue de Seine 75006 Paris

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Salon Sonia

Galerie Zlotowski continues its in-depth work dedicated to Sonia Delaunay with Salon Sonia. The exhibition highlights the artist’s essential role in shaping an entire generation of creators and recreates the spirit of her artists’ salons in situ. A mentor to young artists and a loyal friend to writers, poets, and publishers, Sonia Delaunay spent her life hosting salons, notably at 16 rue Saint-Simon in the 7th arrondissement of Paris, where she lived and worked after the 1930s. The exhibition thus presents a unique dialogue, spanning the years, between Sonia Delaunay and six contemporary artists: Cécile Bart, Karina Bisch, Audrey Guttman, Sheila Hicks, Josselin Vidalenc, and Raphaël Zarka.

MOLNAR – Hommage-a-Sonia-Delaunay – 1947

Sonia Delaunay had an exceptionally long and varied career, beginning at the start of the 20th century and continuing tirelessly until her death in 1979. Her independent spirit and the multifaceted nature of her practice seem to resonate powerfully in contemporary art. She practiced a form of abstraction that was both conceptual, with an ultra-simple and recognizable vocabulary, and at the same time sensitive and vibrant, with an embrace of imperfection. The extraordinary number of media she explored and projects she participated in illustrates her rejection of hierarchies between artistic and craft practices. She always championed art “in life,” founding with Robert Delaunay the concept of “simultaneism” in action, which was notably exemplified in the 1920s by her entrepreneurial ventures in fashion, resulting in a prolific output of textile design.

AUBLET – Train-va-vite – 1937

Sonia Delaunay’s artistic life was also marked by collaborations and encounters that gave rise to numerous projects guided by an emotional connection. These included, in chronological order, Blaise Cendrars, Amedeo de Souza Cardoso, Tristan Tzara, Felix Aublet, the Arp couple, and, in the 1960s, Jacques Damase, who brought a new energy to her work. The works in the “Salon Sonia” exhibition seem to follow these threads, each in their own way: unexpected and playful mediums, and pieces that place color at the heart of the composition—a principle to which Sonia Delaunay remained faithful throughout her life. This is not a solemn and devout tribute, but rather an informal salon celebrating a dynamic, vibrant, and sensitive artistic practice.

Robert DELAUNAY – Portrait de Louis Aragon

May 29 – June 25, 2026

GALERIE ZLOTOWSKI


20 rue de Seine – 75006 Paris

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Crossed perspectives

Kenia Almaraz Murillo · Peter Blake · Yves Dana · Jean Dubuffet · Hans Hartung · Sheila Hicks · Serge Poliakoff · François Réau · Pierre Soulages · Sophia Vari · Bernar Venet · Maria Helena Vieira da Silva

At the crossroads of vision, the tension of line gives way to the serenity of color. Serge Poliakoff’s balanced planes of color, with their simple forms and understated hues, contrast with Maria Helena Vieira da Silva’s vibrant grids, which play with space and perspective. Sheila Hicks continues this sensitive exploration of colored matter through textiles, which she transforms into living sculptures.

Her work resonates with the works of Kenia Almaraz Murillo, which blend weavings of natural fibers and urban elements (embroidery from Bolivian carnival costumes or LED neon lights), deploying a dimension that is both traditional and contemporary.

La figure humaine et ses représentations s’installent dans cet ensemble. Le personnage de Jean Dubuffet, issu des débuts de L’Hourloupe, en déploie les couleurs typiques : bleu, rouge, blanc et noir, tout en conservant des éléments de la période Paris Circus. Il côtoie celui de Peter Blake et de sa série Girl with a Disney Tattoo, qui convoque l’imaginaire populaire et l’appropriation d’icônes de la pop culture comme Blanche-Neige ou Daisy. Le volume parachève cette présentation. Les bronzes de François Réau, comme des bas-reliefs, conservent l’aspect et la délicatesse de ses dessins à la mine de plomb et au graphite, tout en explorant la notion du temps qui passe, tandis que les œuvres de Sophia Vari, en marbre ou en bronze, jouent elles aussi sur les relations entre la forme et la surface, entre les pleins et les vides.

June 11 – September 26, 2026

GALERIE CUSTOT – WADDINGTON

36 rue de Seine 75006 Paris

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Martin Schongauer

Le bel immortel

Martin Schongauer is one of the most important and popular German artists of the late Middle Ages. Born in Colmar around 1445 and died in Breisach in 1491, he established himself as a painter but owed his fame, even during his lifetime, to his work as an engraver. The son and brother of goldsmiths, he did not practice this trade himself but certainly learned the delicate handling of the burin in his father’s workshop, which he brought to a high degree of perfection.

 

The exhibition presents a wide selection of his engraved and drawn works and, for the first time, almost all of his easel paintings and altarpieces, including the Virgin of the Rose Bush of 1473, his only dated painted panel. Schongauer reveals himself as a keen observer of nature, an inventive and delicate storyteller, but also as a learned artist.

Martin Schongauer’s widely circulated engravings captivated several generations of artists. Drawing on all the arts, the works presented in the second part of the exhibition, originating from a large part of the European continent and created up to the very beginning of the 17th century, allow us to appreciate this broad artistic reception of the works of “Beautiful Martin”.

April 8 – July 20, 2026

MUSEE du LOUVRE

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