{"id":747783,"date":"2025-10-22T17:24:43","date_gmt":"2025-10-22T15:24:43","guid":{"rendered":"https:\/\/numero.com\/non-classifiee\/the-exhibitions-in-museum-to-see-during-art-basel-paris\/"},"modified":"2025-10-22T17:52:34","modified_gmt":"2025-10-22T15:52:34","slug":"the-exhibitions-in-museum-to-see-during-art-basel-paris","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/art-en\/the-exhibitions-in-museum-to-see-during-art-basel-paris\/","title":{"rendered":"The exhibitions to see in museums during Art Basel Paris"},"content":{"rendered":"\n
\"View\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
View of the exhibition \u201cMinimal\u201d, Bourse de Commerce \u2013 Pinault Collection, Paris, 2025. \u00a9 Tadao Ando Architect & Associates, Niney et Marca Architectes, agence Pierre-Antoine Gatier. Photo: Nicolas Brasseur \/ Pinault Collection.<\/figcaption><\/figure>\n\n

Minimal: the Bourse de Commerce celebrates a major movement<\/h2>\n\n

As a defining movement of the 20th century, minimal art left its mark on history by stripping forms down to their essence in reaction to the lyricism of abstract expressionism. With its enduring legacy and prominent place in the Pinault Collection<\/strong>, the Bourse de Commerce<\/strong> is now dedicating a major exhibition to the movement. Visitors will encounter many of its leading figures in the United States, like Sol LeWitt<\/strong> or Agnes Martin<\/strong>, as well as in Europe (Fran\u00e7ois Morellet<\/strong>), Asia (Lee Ufan<\/strong><\/a>), and South America, with a solo exhibition by Lygia Pape<\/strong>.<\/p><\/p>\n\n

\u201cMinimal,\u201d until January 19th, 2026 at the Bourse de Commerce<\/a>, Paris 1st.<\/em><\/p><\/p>\n\n

\"Gerhard\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Gerhard Richter,
Faust <\/em>(1980). Oil on canvas, 3 panels. 295 x 225 cm each. Yageo Foundation Collection, Ta\u00efwan \u00a9 Gerhard Richter 2025.<\/figcaption><\/figure>\n\n

Gerhard Richter: A historic retrospective at the Fondation Louis Vuitton<\/h2>\n\n

A few weeks after closing its retrospective on David Hockney<\/a>, the Fondation Louis Vuitton<\/strong> is now celebrating another one of the most acclaimed painters of our time – Gerhard Richter<\/strong>. From the reproduction of his own photographs on canvas, to his mastery of pictorial blur and his wide-ranging explorations of the abstract, the German artist has continuously challenged the codes of representation. This ambitious and historic retrospective charts his career in chronological order and features nearly 300 works.<\/p><\/p>\n\n

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Gerhard Richter, from October 17th, 2025 to March 2nd, 2026 at the Fondation Louis Vuitton<\/a>, Paris 16th.<\/em><\/p> \n \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/article><\/p>\n\n

\"Fondation\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
View of the exhibition. Fondation Cartier pour l\u2019art contemporain, 2025. Alessandro Mendini,
Visage archa\u00efque<\/em> (2002) and Petite Cath\u00e9drale<\/em> (2002); Alessandro Mendini & Peter Halley, Code Warrior<\/em> (1997) and OMG! <\/em>(2014). Bodys Isek Kingelez, Projet pour le Kinshasa du troisi\u00e8me mill\u00e9naire (1997); Junya Ishigami, Chapel of Valley <\/em>(2016). Photo: Marc Domage.<\/figcaption><\/figure>\n\n

The Fondation Cartier opens its new space in front of the Louvre<\/h2>\n\n

Over the past forty years, the Fondation Cartier<\/strong> and its glass-walled building on Boulevard Raspail, established itself as a key hub for contemporary art in Paris. Now, the institution has left this historic location and moved across the Seine to Place du Palais-Royal. Fully renovated by architect Jean Nouvel<\/strong>, the new space unveils hundreds of works by artists who have shaped the history of the foundation, from Ron Mueck<\/strong>\u2019s hyperrealist sculptures<\/a> and Olga de Amaral<\/strong>\u2019s textile creations to the structures of architect Junya Ishigami.<\/p>

Opening on October 25th. Exhibition open from October 25th, 2025 to August 23rd, 2026, Fondation Cartier<\/a>, Paris 1st.<\/em><\/p><\/p>\n\n

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Tiona Nekkia McCloden,
A MERCY V<\/em> (2024). Steel, rubber, Rust-Oleum black paint. Collection Fundaci\u00f3n Calparsoro.<\/figcaption><\/figure>\n\n\n\n
\"Melvin\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Melvin Edwards,
Alteration<\/em> (2002). Welded steel. 25,4 x 15,24 x 15,24 cm. Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin. \u00a9 2025 Melvin Edwards \/ ADAGP, Paris, 2025.<\/figcaption><\/figure>\n<\/figure>\n\n

At the Palais de Tokyo, American art and French theory are in tune<\/h2>\n\n

How did post-war French theoretical movements influence American art? This question was the starting point of Naomi Beckwith<\/strong>, deputy director and chief curator at the Guggenheim in New York, carte blanche<\/em> at the Palais de Tokyo<\/strong>. Weaving together structuralist essays by Barthes<\/strong> and Foucault<\/strong> with Fanon<\/strong>\u2019s anticolonial thinking, her exhibition draws a subjective map of the resonance their works had across the Atlantic. Her presentation features artists from that time, such as Hans Haacke<\/strong> and Martha Rosler<\/strong>, as well as newer voices like Tiona Nekkia McClodden<\/strong>\u2026<\/p><\/p>\n\n

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\u201cECHO DELAY REVERB. American art, Francophone thought,\u201d from October 22nd, 2025 to February 15th, 2026 at the Palais de Tokyo<\/a>, Paris 16th.<\/em><\/p> \n \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/article><\/p>\n\n

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\"Octa\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Octa Bar by Sophie Dries at the Salon des Nouveaux Ensembliers \u00a9 Christophe Coenon.<\/figcaption><\/figure>\n\n\n\n
\"The\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
The Oud studio at Salon des Nouveaux Ensembliers \u00a9 Alexis Armanet.<\/figcaption><\/figure>\n<\/figure>\n\n

The exhibition The embassy of tomorrow<\/em> at the Mobilier National<\/h2>\n\n

In 1925, the pavilion of the Soci\u00e9t\u00e9 des Artistes D\u00e9corateurs at the International Exhibition of Decorative Arts envisioned the French Embassy as an elegant place designed to represent the nation. A century later, the Salon Les Nouveaux Ensembliers<\/strong>, running at the Mobilier National<\/strong> until November 2nd, 2025, follows in that tradition with its own vision through the theme \u201cThe Embassy of Tomorrow<\/strong>.\u201d Ten French architect-decorators have been invited to reinterpret emblematic embassy spaces – offices, salons, bedrooms, and reception rooms – blending innovation with sustainability.<\/p><\/p>\n\n

Among them is Paris-based studio Oud<\/strong>, which embarks visitors on the banks of the Nile by transforming the ambassador\u2019s office into a ritualistic space where myths and symbols, like the protective scarab, open a dialogue between history and modernity. Taking a more intimate approach, designer Sophie Dries<\/strong> presents Octa<\/em><\/strong>, a contemporary boudoir-bar inspired by old literary salons, where raw and precious materials meet in prestigious collaborations (Baccarat<\/strong><\/a>, Duvelleroy, 19M\u2026).<\/p><\/p>\n\n

Salon Les Nouveaux Ensembliers: \u201cThe Embassy of Tomorrow,\u201d until November 2nd, 2025 at the Mobilier National, Paris 13th.<\/em><\/p><\/p>\n\n

\"George\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
George Condo,
 The Portable Artist<\/em> (1995) \u00a9 ADAGP, Paris, 2025.<\/figcaption><\/figure>\n\n

George Condo: The master of portraiture at the Mus\u00e9e d\u2019Art Moderne<\/h2>\n\n

One of the most renowned New York\u2013based contemporary artists, George Condo<\/strong>, is presenting his largest exhibition to date in France at the Mus\u00e9e d\u2019Art Moderne in Paris<\/strong>. A chance to explore four decades of work from the artist born in 1957, through dozens of paintings, drawings, and sculptures. The exhibition focuses particularly on his fascination with the history of European painting and the art of portraiture, shaped by the decade he spent in Paris, from 1985 to 1995.<\/p><\/p>\n\n

\u201cGeorge Condo,\u201d until February 22nd, 2026 at the Mus\u00e9e d\u2019Art Moderne de Paris<\/a>, Paris 16th.<\/em><\/p><\/p>\n\n

\"Artists\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Daniel Buren and Miles Greenberg photographed by Vidar Logi for
Num\u00e9ro art.<\/em><\/figcaption><\/figure>\n\n

Daniel Buren and Miles Greenberg: The new Reiffers Initiatives mentorship exhibition<\/h2>\n\n

For five years now, the Reiffers Initiatives<\/strong> fund has invited established artists to mentor emerging talents in the creation of a new exhibition. This year\u2019s mentor is none other than one of the most celebrated French contemporary artists, Daniel Buren<\/strong><\/a>. The latter has chosen to collaborate with Miles Greenberg<\/strong><\/a>, known for his performances and sculptures that test the body in order to explore the notions of identity and belonging. As usual, the results of this creative dialogue is on display the art week in Paris.<\/p><\/p>\n\n

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Daniel Buren and Miles Greenberg. 2025 Mentorship Exhibition, from October 23rd to December 13th, 2025 at Reiffers Initiatives<\/a>, Paris 17th.<\/em><\/p> \n \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n

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\"Meriem\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Meriem Bennani,
Sole crushing<\/em> (2025). Reinterpr\u00e9tation of the artwork previously on show in \u201cFor My Best Family\u201d at the Fondation Prada in 2024. \u00a9 Delfino Sisto Legnani, Fondazione Prada.<\/figcaption><\/figure>\n\n

Meriem Bennani conducts a flip-flop orchestra at Lafayette Anticipations<\/h2>\n\n

Known for her offbeat videos and her sculptures mixing her Moroccan heritage with global pop culture, Meriem Bennani<\/strong><\/a> unveils a surprising sound installation at the Parisian institution\u2026 An orchestra of sandals and flip-flops, which resonated throughout the building. Previously shown at the Fondazione<\/strong> Prada<\/strong>, the immersive installation is a tribute to various North African musical genres and has been reimagined for the Parisian venue.<\/p><\/p>\n\n

Meriem Bennani. \u201cSole Crushing,\u201d from October 22nd, 2025 to February 8th, 2026 at Lafayette Anticipations<\/a>, Paris 4th.<\/em><\/p><\/p>\n\n

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Bridget Riley,
Myrrh<\/em> (1985). Oil on canvas, 165 x 138,7 cm. \u00a9 DR \u00a9 Bridget Riley 2025. All rights reserved.<\/figcaption><\/figure>\n\n\n\n
\"Bridget\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Bridget Riley,
Lilac painting 1<\/em> (1983-2007). Oil on linen canvas. \u00a9 Paris Mus\u00e9es, mus\u00e9e d\u2019Art moderne, Dist. GrandPalaisRmn \/ image ville de Paris \u00a9 Bridget Riley 2025. All rights reserved.<\/figcaption><\/figure>\n<\/figure>\n\n

Bridget Riley in conversation with Seurat at the Mus\u00e9e d\u2019Orsay<\/h2>\n\n

Bridget Riley<\/strong>, a major figure of pictorial abstraction in the UK,\u00a0 presents a long dialogue with one of the leading figure of pointillism, Georges Seurat<\/strong> (1850-1891) at the Mus\u00e9e d\u2019Orsay<\/strong>. The latter’s masterpieces are part of the museum’s collections. After reproducing his canvas Le Pont de Courbevoie<\/em><\/strong> in 1959, the painter went on to develop a unique approach to colour, line, and pattern over several decades. Like her predecessor, she aimed at recreating a sensation of visual vibration.<\/p><\/p>\n\n

\u201cBridget Riley. Starting Point,\u201d from October 21st, 2025 to January 25th, 2026 at the Mus\u00e9e d\u2019Orsay<\/a>, Paris 7th.<\/em><\/p><\/p>\n\n

\"Philip\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Philip Guston,
Sleeping <\/em>(1977). Oil on canvas. \u00a9 The Estate of Philip Guston. Photo: Genevieve Hanson. Courtesy of Hauser & Wirth.<\/figcaption><\/figure>\n\n

The political work of Philip Guston at the Mus\u00e9e Picasso-Paris<\/h2>\n\n

He is known for his biting canvases depicting hooded Ku Klux Klan figures and raw portrayals of fragmented bodies, haunted by the horrors of the Vietnam War. A major 20th-century painter, Philip Guston<\/a> left a complex and powerful body of work behind him that had been oscillating between abstraction and figuration from the 1930s until his death in 1980. The Mus\u00e9e Picasso-Paris<\/strong> open its doors for those who want to discover the political and visual power of his art.<\/p><\/p>\n\n

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\u201cPhilip Guston. The Irony of History,\u201d from October 14th, 2025 to March 1st, 2026 at the Mus\u00e9e Picasso-Paris<\/a>, Paris 3rd.<\/em><\/p> \n \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/article><\/p>\n\n

\"Tarik\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Tarik Kiswanson,
The Relief (Steinway Victory Vertical, 1944) <\/em>(2025). Courtesy of the artist and Sfeir-Semler Gallery. Photo: Edward Greiner.<\/figcaption><\/figure>\n\n

Tarik Kiswanson\u2019s exhibition at the Swedish Institute<\/h2>\n\n

Winner of the Marcel Duchamp Prize<\/strong> in 2023, Tarik Kiswanson<\/strong> has been developing a multidisciplinary body of work for over fifteen years, infused with a sense of in-between. The artist addresses the concepts of exile, belonging, and the space appropriation\u2026 Can one ever truly fit in while coming from elsewhere? How is identity shaped at a young age when growing up between different cultures? At the Swedish Institute<\/strong>, the Halmstad-born artist keeps exploring these themes through a new series of works, including hybrid sculptures merging domestic furniture with his signature giant cocoons, as well as exclusive films.<\/p><\/p>\n\n

\u201cTarik Kiswanson. The Relief,\u201d from October 23rd to January 11th, 2026 at the Swedish Institute<\/a>, Paris 3rd.<\/em><\/p><\/p>\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Harry Nuriev,
Objets trouv\u00e9s, project 18<\/em> (2025). \u00a9 Harry Nuriev.<\/figcaption><\/figure>\n\n

Harry Nuriev\u2019s participatory installation at the Chapelle des Petits-Augustins<\/h2>\n\n

Harry Nuriev<\/strong><\/a> (b. 1984) is the darling of the design world. The Russian-born artist has recently extended his practice to contemporary art, earning an invitation this year’s public program at Art Basel Paris. At the Chapelle des Petits-Augustins of the \u00c9cole des Beaux-Arts in Paris, he presents Objets trouv\u00e9s<\/em> with the Sultana gallery<\/strong>, an unprecedented participatory installation. Visitors are invited to leave an object in a box and take another one left by someone else, echoing the tradition of bartering and the large flea markets that have shaped the history of the French capital.<\/p>

\u201cHarry Nuriev. Objets trouv\u00e9s,\u201d from October 21st to 26th, 2025 at the Chapelle des Petits-Augustins, Beaux-Arts de Paris<\/a>, Paris 6th.<\/em><\/p><\/p>\n\n

\"Helen\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Helen Marten,
30 Blizzards<\/em>. (2025). Courtesy of Miu Miu.<\/figcaption><\/figure>\n\n

Helen Marten takes over the Palais d\u2019I\u00e9na with Miu Miu<\/h2>\n\n

For the second year in a row, the fashion house Miu Miu is a partner of Art Basel Paris and takes part in the fair\u2019s public program. This year, the fashion house takes over the majestic halls of the Palais d\u2019I\u00e9na, where British artist Helen Marten<\/strong>, winner of the 2016 Turner Prize, unveils a new multidisciplinary project entitled 30 Blizzards<\/em>. For a few days, five hybrid sculptures, five films, and thirty performers will transform the space to narrate the various stages of the human experience in a poetic way.<\/p><\/p>\n\n

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Miu Miu presents: Helen Marten. 30 Blizzards<\/a>, from October 22nd to 26th, 2025 at the Palais d\u2019I\u00e9na, Paris 16th.<\/em><\/p> \n \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/article><\/p>\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Minimal: the Bourse de Commerce celebrates a major movement As a defining movement of the […]<\/p>\n

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