Dancing In the Street




It resonates like a little slap, a snapping of fingers…Knapp! Depending on one’s generation, he is reminiscent of Dim Dam Dom, the cult TV show of the 1960s, or of Elle magazine, and for others, he is a benchmark in graphic design or is closely associated with the New Realists. More than anything, it was the photographs that made the man. With Peter Knapp, girls take flight, futuristic silhouettes dazzle us, and designer boots jog through the streets of Paris. The time is right. The decades of the 60s and ‘70s are, in terms of fashion and in mood, synonymous with freedom and creativity. The photographer is not just a witness to this incredible era; he is part and parcel of recording this new world in pictures. Whether it was for couture houses (André Courrèges, Emanuel Ungaro, Yves Saint Laurent, Pierre Cardin, among others) or for magazines (Elle, Stern, Vogue...), Peter Knapp mastered the art of what was required. He accepted constraints and followed all that Paris offered in terms of innovation, sometimes even of irreverence.



The «Dancing in the Street – Peter Knapp and Fashion, 1960-1970» exhibit offers us the chance to discover, through nearly a hundred images, most of which have never been on display, one of the most imaginative collections that fashion photography produced during that period.




March 9 – June 10, 2018



Les Docks
34, quai d’Austerlitz 75013 Paris

01 76 77 25 30



by Bertolt Brecht
directed by Katharina Thalbach


with Thierry Hancisse, Eric Génovèse, Bruno Raffaelli, Florence Viala

Jérôme Pouly, Laurent Stocker, Michel Vuillermoz, Bakary Sangaré …



Brecht was in exile in the United States in 1941 when he completed this play in which, as noted by Bernard Dort, the distancing effect is more than ever a “process of deconditioning and destroying ideologies”.



The German dramatist seeks to dismantle the mechanisms of Hitler’s rise to power by transposing the action to Chicago in 1930 with the crisis of the Cauliflower Trust. For Hitler and Al Capone, as for Nazism and the criminal underworld, the methods are the same: intimidation, blackmail, embezzlement, threats and murder, right up to and including grotesque and Chaplinesque elocution lessons so as to better harangue the crowds. “The belly is still fertile…” warned Brecht. More than sixty years after the playwright’s death, Arturo Ui comes down to us from the past and still speaks in the present.
The task of inaugurating La Résistible Ascension d’Arturo Ui in the Repertoire was entrusted to a historical figure of the Berliner Ensemble, Katharina Thalbach, the daughter of Benno Besson and Sabine Thalbach, an actress in Brecht’s company. After her mother passed away, Katharina Thalbach grew up under the protection of the company, particularly that of Helene Weigel, Brecht’s widow and his successor as head of the Berliner. A renowned theatre and opera director, she expresses the epic breadth of this “political farce” in a staging free of dogmatism and in the tradition of these inspired thespians.


Until May 21, 2018



Salle Richelieu
1 place Colette 75001 Paris





by Lars Norén
Directed by Lars Norén


with Martine Chevallier, Anne Kessler, Bruno Raffaelli, Alain Lenglet,

Françoise Gillard, Christian Gonon, Hervé Pierre, Gilles David,

Danièle Lebrun, Didier Sandre, Dominique Blanc


With “Poussière” (Dust), a major contemporary writer, one of the most performed worldwide, is entering the repertoire of the Comédie-Française, becoming part of the tradition of authors who write for the Troupe.

This play features ten people, all elderly, six men and four women, along with one’s simple-minded daughter. For more than thirty years, they have been going on holidays to the same place, spending a week in the sun, in a hotel resort, in Spain or somewhere similar. If they had the means, they would go elsewhere but they come from a modest class and have no other way to escape their daily lives. Thus, they have been running into each other in this place for years, they know but don’t know each other. They never see each other anywhere else. Only here, once a year. For so long. For some this may be the last time. Others have probably already disappeared. This play is a symphony of farewells performed before our eyes. We are in a time that is no longer linear, only memory. What remains, what are the faces, the facts and the emotions that persist? “I couldn’t have written this text”, explains Lars Norén, “before reaching the age I am today. It’s a play about goodbyes and memories, on the last waves you pass through before the end. A beautiful and melancholy play that speaks only of life.” (Lars Noren)


February 10 – June 16, 2018



Salle Richelieu
1 place Colette 75001 Paris




Collection Diane Venet



From Alexander Calder to Jeff Koons and ranging from Max Ernst, Pablo Picasso and Niki de Saint Phalle to César, Takis and Louise Bourgeois, a host of modern and contemporary artists have taken a close interest in jewellery. Diane Venet, who has collected artist’s jewellery for more than thirty years, is sharing her passion for these miniature artworks that often echo the artist’s formal language. Her collection of some 230 pieces, complemented by exceptional loans from galleries, collectors and the artists’ families, chronologically and thematically illustrates the work of 150 French and foreign artists. From March 7 to July 8, 2018, Diane Venet’s jewellery collection will be showcased in an exhibition designed by interior architect Antoine Plazanet and graphic designers ÉricandMarie.


Bernar Venet, Bague Ligne indéterminée, 1998
Or, pièce unique, Collection Diane Venet © Greg Favre, Paris




Diane Venet, wife of the Bernar Venet, remembers the origin of her ground breaking collection: “My passion for artists’ jewellery began one day when Bernar playfully bent a thin silver band around my left ring finger to make me a wedding ring… But this touchingly spontaneous gesture had another effect on me, that of prompting me to discover the too little known world of these unique objets d’art, priceless for their rarity and the symbolic meaning that is often the genesis of their creation”.



Robert Indiana
Collection Diane Venet




The exhibition begins with avant-garde artists who have explored the realm of the “Portrait”. Picasso, fascinated by the sculptural potential of two-dimensional materials, explored this theme with great economy of means, while Derain translated his admiration for Benin in his “bijoutées” bronze heads.



Pablo Picasso
Collection Diane Venet

Man Ray
Collection Diane Venet




The provocative ideas of the Surrealists are evoked in the “Dream and Fantasy” section, with Man Ray’s perforated mask, the jewellery of Salvador Dalí, and the dreamlike universes of Jean Cocteau and Léonor Fini.




March 7 – July 1, 2018



107 rue de Rivoli, 75001 Paris

Tuesdays to Sundays from 11 a.m. to 6 p.m.


The Galerie Da-End pursues its cycle of exhibitions dedicated to cabinets of curiosities and invites thirty French or international artists to unveil their works in a scenography reminiscent of the original « rooms of wonders » on the occasion of this 8th edition.


Vase vertebral 1 medium
Célia Nkala, Vase vertébral, 2012 Biscuit de Faïence, Porcelaine émaillée, Os Sphénoïde animal — 16 × 30 cm
Courtesy de l’artiste et la Galerie Da-End

Through a rigorous selection of artworks with various mediums — drawing, painting, sculpture, video or photography, the exhibition opens up to new visual horizons by exploring this year the theme of Primitivism. Since the 15th century, with the constitution of the first cabinets of curiosities in Europe, masks, totems, statuettes from Africa, Asia or America have been collected and exhibited as many exotic objects translating the beauty and diversity of our world.



The%20bound%20setter,%20technique%20mixte%20sur%20bois,%2060x80cm,%202018 1 medium
Marco Fantini, The bound setter, 2018 Technique mixte sur bois — 60 × 80 cm Courtesy de l’artiste et la Galerie Da-End



This encounter with the strange and the foreign much later lead a few pioneer minds to question the status of artworks, radically disrupting shapes and aesthetics. A major influence for most of last century’s avant-garde movements, Primitivism encourages European artists to break the conventions built by their culture and a long art history tradition.


“I was always looking at the fetishes. […] They all served the same purpose. They were weapons. To help people stop obeying to the spirits, to become independent. Tools. If we give a shape to the spirits, we become independent. The spirits, the unconscious, emotion, it’s all the same. I understood why I was a painter.”

Picasso, letter to André Malraux.


Drawing inspiration from the expressive simplicity of extra-occidental creations, the artists from then on searched for alternative means of representation, in which the fidelity to the subject is no longer primordial. In the same way, on the occasion of this new Cabinet Da-End, the dialogue between the old and the contemporary will not only be made by placing heterogeneous works from varied sources and periods side by side ; but above all within the recent artworks themselves that try to explore the idea of a return to the roots.



Jeune%20fille%20a%20quinze%20ans 1 medium
Orié Inoué, Jeune fille à quinze ans, 2012 Partition, graines, fil de coton — 32 × 25 cm
Courtesy de l’artiste et la Galerie Da-End



Raw use of natural materials, conception of symbolic objects filled with a spiritual, philosophic or magic message, perpetuation of archaic gestures, ritual dimension of the act of creation, the relation that artists maintain today with tribal art are still fine, though they can be subtle.



March 10 – May 5, 2018



17, rue Guénégaud 75006 Paris

01 43 29 48 64



The Musée Maillol is presenting an exhibition devoted to the Japanese artist, Léonard Tsuguharu Foujita, who acquired French nationality. More than a hundred major works, originating from public and private collections, show the exceptional nature of Foujita’s period in Montparnasse—where his friends Modigliani, Zadkine, Indenbaum, Kisling, Pascin, and Van Dongen lived— during the Roaring Twenties. The exhibition focuses on the artist’s first and very productive Parisian period between 1913 and 1931.



The exhibition retraces the unique life of an artist whose career developed between two cultures. From the beginning of his career in Japan to his rise to fame and the discovery of his work, his career eventually led to the creation of a unique persona in the Paris of the Roaring Twenties. His recurrent themes—women, cats, still lifes, children, and selfportraits— are characteristic of his extensive artistic production. Foujita was part of the major modernist movements but never broke away from his distinctive approach, which was consistent with his Japanese origins and the classicism of the great Western masters.
His works are reminiscent of other works—those of his confrères, friends, admirers, and guiding lights—, creating a rich dialogue that makes it possible to assess the originality and complementarity of the artists grouped under the term ‘School of Paris’.



The major works from noteworthy institutions and museums and around a hundred rare works from forty-five private collections in Japan, the United States, and Europe, highlight Foujita’s extraordinary creative genius and invite the visitor to discover the world of an incredible artist. The two monumental diptychs, Combats I et II and Compositions au Lion et au Chien (1928)—loaned by the Conseil Départemental de l’Essonne and which perfectly reflect the Roaring Twenties and are at the heart of the exhibition—, show the incredible power of Foujita’s work and its influence on the period. The scenography, designed by Hubert le Gall, highlights both the fantasies of the extravagant man and the various stages in his rise to fame as an artist at the height of his powers.



The exhibition shows the talent of the artist who loved drawing, and who, like his illustrious predecessor Hokusai, painted with great skill. Foujita’s drawing is incredibly assured and his lines have an exemplary calligraphic finesse, achieved through the use of sumi (Japanese black ink) on paper and in his oils. Colour played a secondary role in his works, but was used in such a decisive way that it enhances the drawing. The subtlety of the gouache and watercolour fills the forms with layers of flat colour, creating subtle effects of transparency in his oils. His gold backgrounds strengthen the impression of refinement and preciousness.


Fifty years after Foujita’s death in 1968, the Musée Maillol is highlighting the luminous and unique work of the most oriental painter in Montparnasse.



March, 7 – July, 15  2018



61 rue de Grenelle 75007 Paris
Tél. : 01 42 22 59 58



Celebrating the 500th anniversary of his birth, this exhibition traces the rise of Tintoretto and the decisive years of his career. It will explore how he built himself to become the most brilliant representative of the Venetian Mannerism.


Musée du Luxembourg


Exposition Musée du Luxembourg


March, 7 – July, 1  2018


19, rue de Vaugirard 75006 Paris

01 40 13 62 00



The retrospective devoted to the American photographer Susan Meiselas (b. 1948, Baltimore) brings together a selection of works from the 1970s to the present day.



A member of Magnum Photos since 1976, Susan Meiselas questions documentary practice. She became known through her work in conflict zones of Central America in the 1970s and 1980s in particular due to the strength of her colour photographs. Covering many subjects and countries, from war to human rights issues and from cultural identity to the sex industry, Meiselas uses photography, film, video and sometimes archive material, as she relentlessly explores and develops narratives integrating the participation of her subjects in her works.



The exhibition highlights Susan Meiselas’ unique personal as well as geopolitical approach, showing how she moves through time and conflict and how she constantly questions the photographic process and her role as witness



until may 20, 2018


1 place de la Concorde 75008 Paris

01 47 03 12 50

RAOUL HAUSMANN un regard en mouvement


To this day, Raoul Hausmann’s photography has not had a dedicated museum exhibition in France. As a photographer, Hausmann has long remained underrated and unheralded. However his key position in 20th century avant-garde photography has continually been re-evaluated and his importance is widely acknowledged these days.



We know Hausmann as the prominent artist of Dada Berlin, as the author of assemblages, collages, lautgedichte, etc, yet the vicissitudes of history caused the obliteration of his photography, an essential facet of his œuvre. From 1927 onwards Hausmann became an avid and restless photographer. His photographic practice quickly became a cornerstone of his multi-faceted reflections and activities, pushing him in a new direction which culminated in his forced departure from Ibiza in 1936.



Considering Hausmann’s clandestine crossing of the century, it is no surprise that his photographic œuvre was forgotten. Labelled a ‘degenerate‘ artist by the Nazis, he hastily left Germany in 1933. As an exile, Hausmann suffered the dispersion, and sometimes the destruction, of his work. His photography was seldom displayed and survived unnoticed until the late seventies. It was long supposed to be lost, until an archive (now at the Berlinische Galerie) was almost miraculously discovered at his daughter’s home after her death.



from 06 February 2018 until 20 May 2018


1 place de la Concorde  75008 Paris

0 1 47 03 12 50




The Petite Galerie exhibition for 2017–2018 focuses on the connection between art and political power. Governing entails self-presentation as a way of affirming authority, legitimacy, and prestige. Thus art in the hands of patrons becomes a propaganda tool; but it can also be a vehicle for protest and subverting the established order.



Spanning the period from antiquity to the present day, fifty works from the Musée du Louvre, the Musée National du Château de Pau, the Château de Versailles, and the Musée des Beaux-Arts de la Ville de Paris illustrate the evolution of the codes behind the representation of political power.



By providing keys to the observation and explanation of different artworks, the Petite Galerie sets out to make the visit to the museum an enjoyable and enlightening experience. Informative labels and digital touchscreen displays encourage attention to detail and help to establish context. Five themed tours of the Louvre’s permanent collection are also proposed.




until july 2, 2018


Ouvert tous les jours de 9h à 18h sauf le mardi.
Nocturnes jusqu’à 21h45 le mercredi et le vendredi

L’entrée du musée est la pyramide du Louvre



by William Shakespeare

Diected by Robert Carsen


with Thierry Hancisse, Jérôme Pouly, Michel Vuillermoz,

Elsa Lepoivre, Gilles David,Benjamin Lavernhe, Noam Morgensztern,

Christophe Montenez, Georgia Scalliet, Stéphane Varupenne,

Hervé Pierre, Serge Bagdassarian et Loïc Corbery



Robert Carsen is an internationally known director and great connoisseur of Shakespeare’s work, which he has worked on in the opera many times. This staging of The Tempest will mark his first collaboration with the Troupe and his first time directing a theatre production in France.

This creator of images of an inspired beauty, also renowned for his direction of actors and the dramaturgical quality of his intentions, is taking on this play that has a special status in the Shakespearian repertoire. This “weaving of materials of incredible richness” that has always fascinated him, appeals above all to the imagination, drawing on a constant interplay of the real and the unreal.



In this text on power –political power but also power of thought– every moment and every word overturns our certainties. It opens on the tempest caused by Prospero, and with it, the shipwreck of his brother who has usurped his kingdom. The latter is marooned with his companions of misfortune on the island where the exile has lived for twelve years with his daughter Miranda and two spirits obliged to serve him, but who also seek their freedom: Ariel and Caliban. The storm that rages, especially in Prospero’ssoul, will constantly erupt throughout the five acts, comments Robert Carsen. For the duration of the performance, the Salle Richelieu will transform itself into this island, a magical lair, a mental and psychological space he orchestrates while assuring us that “we are such stuff as dreams are made on.”



February 20 – May 2018


Salle Richelieu
1 place Colette 75001 Paris





In the post-war period, Zbigniew Dłubak (1921-2005) was one of the driving forces behind the profound changes in the Polish artistic scene. A great experimenter of photographic forms, he was also a painter, art theoretician, teacher and editor of the Fotografia magazine for twenty years, introducing into this publication a robust photographic critique and interdisciplinary approach to the medium. He enjoyed a certain notoriety in Poland during his lifetime. Several monographic exhibitions were dedicated to him and some of his major works are part of Polish public collections.



Although Dłubak was primarily known as a photographer, he initially aspired to become a painter, tirelessly searching for materials for drawing during the war. Very active in these two traditionally separate disciplines, he greatly influenced the decompartmentalisation of artistic forms. He also defended the right of photography to exist as a completely separate discipline.




Until April 29, 2018



2, impasse Lebouis, 75014 Paris
01 56 80 27 00