Featured Events in Paris in February 2025 (May Updated)

作為全球農業行業的盛大盛事，2025年國際農業展覽會即將在巴黎迎來其盛大開幕。本次展覽匯聚了來自世界各地的農業專家、科技創新者和行業領袖，共同探討、分享和展示農業領域的最新趨勢和突破性成果。展覽會將於2025年2月22日在法國法蘭西島的 Paris Expo Porte de Versailles 盛大舉行。屆時，參觀者將有機會深度了解農業技術的革新，並與業界專業人士交流互動。2025年國際農業展覽會，定將為參展者帶來一場前所未有的知識盛宴和業務機遇。

From September 20, 2024 through May 4, 2025, the Musée Yves Saint Laurent Paris presents The Flowers of Yves Saint Laurent.Designed by curators Olivier Saillard and Gaël Mamine, the exhibition follows an opening exhibition on view at the Musée Yves Saint Laurent Marrakech from March 2, 2024 through January 5, 2025. For the first time, the two museums have joined forces to mount a joint exhibition devoted to a major theme in the designer's work.

From September 20, 2024 through May 4, 2025, the Musée Yves Saint Laurent Paris presents The Flowers of Yves Saint Laurent.Designed by curators Olivier Saillard and Gaël Mamine, the exhibition follows an opening exhibition on view at the Musée Yves Saint Laurent Marrakech from March 2, 2024 through January 5, 2025. For the first time, the two museums have joined forces to mount a joint exhibition devoted to a major theme in the designer's work.

A new Scandinavian artist to watch at the Petit Palais! From October 1, 2024 to February 16, 2025, Bruno Liljefors will be taking you on a journey through wild Sweden and its animals in a new exhibition of paintings, drawings and photographs at the Petit Palais in Paris. Although his work remains relatively unknown in France, Bruno Liljefors was an important figure in the Scandinavian art scene at the end of the 19th century. At the time, he was considered the Prince of Animal Artists. It must be said that the artist created a large number of works with animals as the subject, helping to renew the genre of animal painting. Swedish nature also played an important role. Wild geese in flight, hawk-owls in the heart of the forest, hares on the snow, goshawks and black grouse, starlings and butterflies, cats and grouse... the list goes on, and each of them highlights Bruno Liljefors's talent and unique creative skills. The Swedish painter is particularly interested in the relationship between animals and their habitats in the heart of the Swedish wilderness. A total of about one hundred paintings, drawings and photographs will be exhibited at the Petit Palais, which will be a chronological and thematic tour.

A new Scandinavian artist to watch at the Petit Palais! From October 1, 2024 to February 16, 2025, Bruno Liljefors will be taking you on a journey through wild Sweden and its animals in a new exhibition of paintings, drawings and photographs at the Petit Palais in Paris. Although his work remains relatively unknown in France, Bruno Liljefors was an important figure in the Scandinavian art scene at the end of the 19th century. At the time, he was considered the Prince of Animal Artists. It must be said that the artist created a large number of works with animals as the subject, helping to renew the genre of animal painting. Swedish nature also played an important role. Wild geese in flight, hawk-owls in the heart of the forest, hares on the snow, goshawks and black grouse, starlings and butterflies, cats and grouse... the list goes on, and each of them highlights Bruno Liljefors's talent and unique creative skills. The Swedish painter is particularly interested in the relationship between animals and their habitats in the heart of the Swedish wilderness. A total of about one hundred paintings, drawings and photographs will be exhibited at the Petit Palais, which will be a chronological and thematic tour.

深圳將舉辦一場盛大的文化藝術活動——“巴黎大皇宮巡展深圳站-重返龐貝·亞洲首展”。此次展覽將在海上世界文化藝術中心2F聯合國教科文組織展廳舉行，地址位於中國深圳市南山區蛇口望海路1187號。展覽時間為2024年9月30日至2025年3月3日。門票價格介於49元至149元之間，讓您可以輕鬆欣賞來自巴黎大皇宮的珍貴藝術珍品。這是一次難得的機會，讓您在深圳近距離感受重返龐貝的震撼體驗，絕對不容錯過。

Forget what you know about zombies… Far from the world of infectious undead creatures in movies and popular culture, the exhibition takes you to Haiti in pursuit of a real myth. While the word “zombie” (nzambi) originates in Africa and refers to the spirit or ghost of the dead, its meaning changed significantly as it crossed the Atlantic during the slave trade, with the fusion of African, Caribbean and Catholic traditional beliefs. In Haiti, the image of the zombie was formed on the margins of voodoo culture, through the practices of its secret societies – especially the Bijango Society – whose judicial role gave it zombified powers. Tried and convicted, the zombie is actually a criminal deprived of his freedom, enslaved and held in a comatose state by his master (bokor). Between fact and fiction, the exhibition reveals the reality behind the fear of this iconic “undead creature”. The exhibition explores the construction of myth in the Western collective imagination, from the 1697 novel by French author Pierre Corneille y Blaisebois to George A. Romero’s legendary film Night of the Living Dead.

Forget what you know about zombies… Far from the world of infectious undead creatures in movies and popular culture, the exhibition takes you to Haiti in pursuit of a real myth. While the word “zombie” (nzambi) originates in Africa and refers to the spirit or ghost of the dead, its meaning changed significantly as it crossed the Atlantic during the slave trade, with the fusion of African, Caribbean and Catholic traditional beliefs. In Haiti, the image of the zombie was formed on the margins of voodoo culture, through the practices of its secret societies – especially the Bijango Society – whose judicial role gave it zombified powers. Tried and convicted, the zombie is actually a criminal deprived of his freedom, enslaved and held in a comatose state by his master (bokor). Between fact and fiction, the exhibition reveals the reality behind the fear of this iconic “undead creature”. The exhibition explores the construction of myth in the Western collective imagination, from the 1697 novel by French author Pierre Corneille y Blaisebois to George A. Romero’s legendary film Night of the Living Dead.

This collective exhibition shines a spotlight on the upcoming contemporary Chinese art scene with works by 21 artists, drawing a subjective portrait for the first time in France. The opening of China to the world, environmental upheavals and the transformation of lifestyles in Chinese society are all topics that have been addressed in the contemporary creative output by this young generation of artists, born in the late 1970s through to the early 1990s, as China experienced a great economic boom. Under the theme of the character 目 (mù), meaning “eye”, with reference both to vision and the eye’s capacity to organise reality, the rich selection of works picked out by the Sino-French curators covers a broad spectrum of practices — video, painting, sculpture, installations, photography and new media — with emphasis on creations in recent years. In the post-Covid international scene, these works have not enjoyed much visibility abroad, but the Centre Pompidou has bolstered ties with this art scene during this period, thanks to the Centre Pompidou × West Bund Museum Project partnership in Shanghai. Amid this teeming diversity, the exhibition homes in on salient themes regarding the artists’ practices. Core issues explored in the works of many of these artists include Chinese interaction with the rest of the world, thoughts about globalisation and global challenges, especially environmental breakdown. This generation of creators has also tapped into fertile themes such as the major changes in Chinese society, especially incessant transformations in lifestyle in ever-sprawling, urban agglomerations and the shifting paradigm of regulation of various flows and activities. A sense of China’s extraordinarily rich cultural and aesthetic heritage provides structure to the work of certain artists, who strive to place it in perspective and give it a fresh twist in a contemporary context. Lastly, the exhibition devotes a large section to new media, a particularly dynamic field in a country that has undergone swift, massive and intense digitisation of both its economy and society. Artists exhibited:Aaajiao,Alice Chen,Chen Fei,Chen Wei,Chu Yun,Cui Jie,Hao Liang,Hu Xiaoyuan,Li Ming,Liu Chuang,Lu Pingyuan,LuYang,Miao Ying,Nabuqi,Qiu Xiaofei,Shen Xin,Xun Sun,Wan Yang,Yao Qingmei,Yu JiandZhang Ding. After the exhibition, a considerable number of works representative of this generation of artists will be added to the Centre Pompidou collection.

This exhibition, titled "Eye", brings together 21 Chinese artists and selects a series of recent works including video, painting, installation, photography and new media. These artists, born between the late 1970s and early 1990s, witnessed the rapid economic development and drastic social changes in China after the reform and opening up. In their works, it is not difficult to see their profound thoughts on globalization, cultural heritage, social changes and technological progress.

This collective exhibition shines a spotlight on the upcoming contemporary Chinese art scene with works by 21 artists, drawing a subjective portrait for the first time in France. The opening of China to the world, environmental upheavals and the transformation of lifestyles in Chinese society are all topics that have been addressed in the contemporary creative output by this young generation of artists, born in the late 1970s through to the early 1990s, as China experienced a great economic boom. Under the theme of the character 目 (mù), meaning “eye”, with reference both to vision and the eye’s capacity to organise reality, the rich selection of works picked out by the Sino-French curators covers a broad spectrum of practices — video, painting, sculpture, installations, photography and new media — with emphasis on creations in recent years. In the post-Covid international scene, these works have not enjoyed much visibility abroad, but the Centre Pompidou has bolstered ties with this art scene during this period, thanks to the Centre Pompidou × West Bund Museum Project partnership in Shanghai. Amid this teeming diversity, the exhibition homes in on salient themes regarding the artists’ practices. Core issues explored in the works of many of these artists include Chinese interaction with the rest of the world, thoughts about globalisation and global challenges, especially environmental breakdown. This generation of creators has also tapped into fertile themes such as the major changes in Chinese society, especially incessant transformations in lifestyle in ever-sprawling, urban agglomerations and the shifting paradigm of regulation of various flows and activities. A sense of China’s extraordinarily rich cultural and aesthetic heritage provides structure to the work of certain artists, who strive to place it in perspective and give it a fresh twist in a contemporary context. Lastly, the exhibition devotes a large section to new media, a particularly dynamic field in a country that has undergone swift, massive and intense digitisation of both its economy and society. Artists exhibited:Aaajiao,Alice Chen,Chen Fei,Chen Wei,Chu Yun,Cui Jie,Hao Liang,Hu Xiaoyuan,Li Ming,Liu Chuang,Lu Pingyuan,LuYang,Miao Ying,Nabuqi,Qiu Xiaofei,Shen Xin,Xun Sun,Wan Yang,Yao Qingmei,Yu JiandZhang Ding. After the exhibition, a considerable number of works representative of this generation of artists will be added to the Centre Pompidou collection.

This collective exhibition shines a spotlight on the upcoming contemporary Chinese art scene with works by 21 artists, drawing a subjective portrait for the first time in France. The opening of China to the world, environmental upheavals and the transformation of lifestyles in Chinese society are all topics that have been addressed in the contemporary creative output by this young generation of artists, born in the late 1970s through to the early 1990s, as China experienced a great economic boom. Under the theme of the character 目 (mù), meaning “eye”, with reference both to vision and the eye’s capacity to organise reality, the rich selection of works picked out by the Sino-French curators covers a broad spectrum of practices — video, painting, sculpture, installations, photography and new media — with emphasis on creations in recent years. In the post-Covid international scene, these works have not enjoyed much visibility abroad, but the Centre Pompidou has bolstered ties with this art scene during this period, thanks to the Centre Pompidou × West Bund Museum Project partnership in Shanghai. Amid this teeming diversity, the exhibition homes in on salient themes regarding the artists’ practices. Core issues explored in the works of many of these artists include Chinese interaction with the rest of the world, thoughts about globalisation and global challenges, especially environmental breakdown. This generation of creators has also tapped into fertile themes such as the major changes in Chinese society, especially incessant transformations in lifestyle in ever-sprawling, urban agglomerations and the shifting paradigm of regulation of various flows and activities. A sense of China’s extraordinarily rich cultural and aesthetic heritage provides structure to the work of certain artists, who strive to place it in perspective and give it a fresh twist in a contemporary context. Lastly, the exhibition devotes a large section to new media, a particularly dynamic field in a country that has undergone swift, massive and intense digitisation of both its economy and society. Artists exhibited:Aaajiao,Alice Chen,Chen Fei,Chen Wei,Chu Yun,Cui Jie,Hao Liang,Hu Xiaoyuan,Li Ming,Liu Chuang,Lu Pingyuan,LuYang,Miao Ying,Nabuqi,Qiu Xiaofei,Shen Xin,Xun Sun,Wan Yang,Yao Qingmei,Yu JiandZhang Ding. After the exhibition, a considerable number of works representative of this generation of artists will be added to the Centre Pompidou collection.

This exhibition, titled "Eye", brings together 21 Chinese artists and selects a series of recent works including video, painting, installation, photography and new media. These artists, born between the late 1970s and early 1990s, witnessed the rapid economic development and drastic social changes in China after the reform and opening up. In their works, it is not difficult to see their profound thoughts on globalization, cultural heritage, social changes and technological progress.

The Museum of Modern Art in Paris proposes to revisit the history of modernity in the 20th century through The Imagination of the Atom. The exhibition invites the public to explore the artistic expressions provoked by the scientific discovery of the atom and its applications, in particular the nuclear bomb, whose devastating consequences changed the destiny of humanity. By bringing together nearly 250 works (paintings, drawings, photographs, videos and installations), as well as often unpublished documents, the exhibition presents for the first time in a French institution the very different positions taken by artists in the face of scientific progress and the controversies it has provoked. Dealing with a topic that is more topical than ever, it is part of the museum's wish to echo contemporary cultural and social issues in its programming.

The Museum of Modern Art in Paris proposes to revisit the history of modernity in the 20th century through The Imagination of the Atom. The exhibition invites the public to explore the artistic expressions provoked by the scientific discovery of the atom and its applications, in particular the nuclear bomb, whose devastating consequences changed the destiny of humanity. By bringing together nearly 250 works (paintings, drawings, photographs, videos and installations), as well as often unpublished documents, the exhibition presents for the first time in a French institution the very different positions taken by artists in the face of scientific progress and the controversies it has provoked. Dealing with a topic that is more topical than ever, it is part of the museum's wish to echo contemporary cultural and social issues in its programming.

Olga de Amaral is an internationally renowned artist whose bold style has left its mark on contemporary art, receiving praise and admiration around the world. The Fondation Cartier will present an unprecedented retrospective of the Colombian artist from October 12, 2024 to March 16, 2025. In this eponymous exhibition, Olga de Amaral takes us into her unique world of textiles, where her giant creations break away from traditional artistic norms. These abstract works can be paintings, sculptures, installations, and more. They draw on elements from the worlds of architecture and textiles to create unique and fascinating works. Olga de Amaral experiments with different textiles (linen, cotton, horsehair, gesso, gold leaf or palladium) to combine threads and give life to monumental installations. She varies the color, technique and size of her works according to her desires and explorations. Visitors will find themselves drawn to these organic, shimmering pieces that are almost alive.

Olga de Amaral is an internationally renowned artist whose bold style has left its mark on contemporary art, receiving praise and admiration around the world. The Fondation Cartier will present an unprecedented retrospective of the Colombian artist from October 12, 2024 to March 16, 2025. In this eponymous exhibition, Olga de Amaral takes us into her unique world of textiles, where her giant creations break away from traditional artistic norms. These abstract works can be paintings, sculptures, installations, and more. They draw on elements from the worlds of architecture and textiles to create unique and fascinating works. Olga de Amaral experiments with different textiles (linen, cotton, horsehair, gesso, gold leaf or palladium) to combine threads and give life to monumental installations. She varies the color, technique and size of her works according to her desires and explorations. Visitors will find themselves drawn to these organic, shimmering pieces that are almost alive.

Works by 17 Perrotin artists have entered the collection of the Musée National d’Art Moderne–Centre Georges Pompidou through a joint donation by the gallery and its artists. 23 exceptional artworks have been given by Perrotin and Jean-Marie Appriou, Genesis Belanger, Sophie Calle, Maurizio Cattelan, Johan Creten, Elmgreen & Dragset, Lionel Estève, Bernard Frize, Laurent Grasso, JR, Bharti Kher, Klara Kristalova, Takashi Murakami, Jean- Michel Othoniel, Paola Pivi, Tavares Strachan, and Emma Webster to the Musée National d’Art Moderne–Centre Georges Pompidou.

The great Scandinavian troublemakers of contemporary art, Elmgreen & Dragset are invited to place their poetic sculptures in dialogue with the iconic Nave of Sculptures of the Musée d’Orsay. Their exhibitions are always situated at the crossroads of performance, space and sculpture. The presentation they have created specifically for the Musée d’Orsay will shake up the gaze of visitors, invited to dive into a museum turned upside down.

Fools are everywhere. But are the fools of today the same as the fools of yesteryear? This fall, the Musée du Louvre is dedicating an unprecedented exhibition to the myriad figures of the fool, which permeated the pictorial landscape of the 13th to the 16thcenturies. Over the course of the Middle Ages and the Renaissance, the fool came to occupy every available artistic space, insinuating himself into illuminated manuscripts, printed books and engravings, tapestries, paintings, sculptures, and all manner of objects both precious and mundane. His fascinating, perplexing and subversive figure loomed large in the turmoil of an era not so different from our own. The exhibition examines the omnipresence of fools in Western art and culture at the end of the Middle Ages, and attempts to parse the meaning of these figures, who would seem to play a key role in the advent of modernity. The fool may make us laugh, with his abundance of frivolous antics, but he also harbours a wealth of hidden facets of an erotic, scatological, tragic or violent nature. Capable of the best and of the worst, the fool entertains, warns or denounces; he turns societal values on their head and may even overthrow the established order. Within the newly renovated Hall Napoléon, this exhibition, which brings together over 300works from 90French, European and American institutions, brings us on a one-of-a-kind journey through Northern European art (English, Flemish, Germanic, and above all French), illuminating the profane aspects of the Middle Ages and revealing a fascinating era of surprising complexity. The exhibition explores the disappearance of the figure of the fool with the Enlightenment and the triumph of reason, and its resurgence at the end of the 18thcentury and all throughout the 19th. The fool then became a figure with which artists identified, wondering: ‘What if I were the fool?’

As part of its restoration project, the Louvre Museum wants to shed light on Watteau's painting "Le Pierrot, dit le Gilles". An emblematic work of the painter, this painting was not discovered until it was too late. Discover all the secrets of this figure and the influence he had on different fields of art from the 18th century to the present day. For this reason, the Louvre Museum will be organizing an exhibition around this painting of Pierrot, entitled "The Renaissance of Watteau", from October 16, 2024 to February 3, 2025. Watteau's painting is of course the centre of the exhibition, but it is not the only masterpiece in the collection. The exhibition also features several works by Watteau and his contemporaries, as well as paintings, photographs and drawings from more recent times. The Louvre Museum exhibits a total of 65 works, including seven paintings by Watteau. Piero was born on the comedy stage. Like Harlequin, Piero is a recurring character in comedy. Watteau was fascinated by this world of theater from an early age and drew inspiration from live performances to paint several scenes and portraits. However, it is unknown when the painter created Piero. The origin of this painting remains a mystery to this day, adding to the legendary nature of this fascinating work.

The French Revolution is a well-known event, but 1793-1794 is also an important year in our history. The Cannavaro Museum will host an exhibition from October 16, 2024 to February 16, 2025 that explores the history of this year. In the second year of the Republican calendar, the period from September 1793 to September 1794 was the year of revolution, the so-called Reign of Terror, a time of breaking with the past to create the new. Renowned worldwide, the Cannavaro's French Revolution Collection presents this contrasting legacy through 250 works, including paintings, sculptures, decorative arts, historical and memory objects, wallpapers, posters, furniture, etc. During this period, the capital was the birthplace of dreams and utopias, but also of collective fear and violence, a veritable fermentation of art, sensitivity and thought in times of crisis, works that reflect the life of Parisians at the time.

The exhibition proposes a dialogue between the Jean-Jacques Lebel endowment fund and the collection of the Centre Pompidou. More than 120 works, from different sources, lead us into an unruly crossing of passions from the 20th century to the present day, from struggles and revolts. The exhibition that puts on a plan of equality anonymous objects and major works reveals other stories of art and gaze.

Fools are everywhere. But are the fools of today the same as the fools of yesteryear? This fall, the Musée du Louvre is dedicating an unprecedented exhibition to the myriad figures of the fool, which permeated the pictorial landscape of the 13th to the 16thcenturies. Over the course of the Middle Ages and the Renaissance, the fool came to occupy every available artistic space, insinuating himself into illuminated manuscripts, printed books and engravings, tapestries, paintings, sculptures, and all manner of objects both precious and mundane. His fascinating, perplexing and subversive figure loomed large in the turmoil of an era not so different from our own. The exhibition examines the omnipresence of fools in Western art and culture at the end of the Middle Ages, and attempts to parse the meaning of these figures, who would seem to play a key role in the advent of modernity. The fool may make us laugh, with his abundance of frivolous antics, but he also harbours a wealth of hidden facets of an erotic, scatological, tragic or violent nature. Capable of the best and of the worst, the fool entertains, warns or denounces; he turns societal values on their head and may even overthrow the established order. Within the newly renovated Hall Napoléon, this exhibition, which brings together over 300works from 90French, European and American institutions, brings us on a one-of-a-kind journey through Northern European art (English, Flemish, Germanic, and above all French), illuminating the profane aspects of the Middle Ages and revealing a fascinating era of surprising complexity. The exhibition explores the disappearance of the figure of the fool with the Enlightenment and the triumph of reason, and its resurgence at the end of the 18thcentury and all throughout the 19th. The fool then became a figure with which artists identified, wondering: ‘What if I were the fool?’

The exhibition proposes a dialogue between the Jean-Jacques Lebel endowment fund and the collection of the Centre Pompidou. More than 120 works, from different sources, lead us into an unruly crossing of passions from the 20th century to the present day, from struggles and revolts. The exhibition that puts on a plan of equality anonymous objects and major works reveals other stories of art and gaze.

The exhibition proposes a dialogue between the Jean-Jacques Lebel endowment fund and the collection of the Centre Pompidou. More than 120 works, from different sources, lead us into an unruly crossing of passions from the 20th century to the present day, from struggles and revolts. The exhibition that puts on a plan of equality anonymous objects and major works reveals other stories of art and gaze.

After Caravaggio, the Spanish artist Jusepe de Ribera, who lived in Italy, established himself as one of the most fascinating interpreters of natural painting. An exceptional artist able to transcribe the almost tactile reality of individuals, flesh and objects, he interprets the dignity of everyday life and human tragedy with overwhelming acuity. Extremely radical, he favored raw realism, the violence of chiaroscuro and dramatic compositions. Unlike others, he used pictorial materials to reveal unprecedented roughness. His paintings, both brutal and poetic, offer an extremely personal interpretation of Caravaggio's revolution. The exhibition will also be an opportunity to present the artist's graphic work, including a large number of drawings and prints, which is rare among Caravaggio's major exponents. Recent discoveries have also added to his Roman corpus, including a group of paintings previously attributed to the Master of the Judgement of Solomon, shedding new light on the beginnings of his career. Ribera now establishes himself as one of the leading interpreters of Caravaggio's painting, one of the earliest and most radical.