{"id":758086,"date":"2025-11-13T16:53:21","date_gmt":"2025-11-13T15:53:21","guid":{"rendered":"https:\/\/numero.com\/?p=758086"},"modified":"2025-11-13T16:53:25","modified_gmt":"2025-11-13T15:53:25","slug":"11-exhibitions-to-see-during-paris-photo","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/photography\/11-exhibitions-to-see-during-paris-photo\/","title":{"rendered":"11 exhibitions to see during Paris Photo"},"content":{"rendered":"\n
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\"Photograph\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Tyler Mitchell,
Flotation<\/em> (2022). \u00a9 Tyler Mitchell. Courtesy of the artist and Gagosian.<\/figcaption><\/figure>\n\n\n\n
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Tyler Mitchell,
New Horizons II<\/em> (2022). \u00a9 Tyler Mitchell. Courtesy of the artist and Gagosian.<\/figcaption><\/figure>\n<\/figure>\n\n

Tyler Mitchell at the Maison Europ\u00e9enne de la Photographie<\/h2>\n\n

At just 30, Tyler Mitchell<\/strong> is what you\u2019d call a young photography prodigy. Propelled to fame in 2018 with his portraits of Beyonc\u00e9<\/strong><\/a>, the New Yorker has since stood out thanks to his elegant, moving images of African American communities, appealing to both magazines and museums. This Fall, the Maison Europ\u00e9enne de la Photographie<\/strong> (MEP) hosts his first institutional exhibition in France.<\/p><\/p>\n\n

Tyler Mitchell, \u201cWish This Was Real\u201d, until January 25th, 2026, at the Maison Europ\u00e9enne de la Photographie<\/a>, Paris 4th.<\/em><\/p><\/p>\n\n

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Araki Nobuyoshi,
Sans titre<\/em>. \u00a9 Nobuyoshi Araki \u00a9 Mus\u00e9e Guimet, Paris, Nicolas Fussler photographer.<\/figcaption><\/figure>\n\n

Nobuyoshi Araki\u2019s Polaroids at the Mus\u00e9e Guimet<\/h2>\n\n

Since the 1970s, Nobuyoshi Araki<\/strong><\/a> has composed his photographs much like 19th-century artists engraved shunga.<\/em> The Japanese artist\u2019s images are explicit, even pornographic, and speak as much to his own desires as those of society. While his bondage<\/strong> pictures are widely known, the Mus\u00e9e<\/strong> Guimet<\/strong>\u00a0presents a surprising exhibition composed entirely of Polaroids<\/strong>\u00a0taken by the artist almost daily between 1997 and 2024.<\/p><\/p>\n\n

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\u201cPOLARAKI \u2013 A Thousand Polaroids by Araki Nobuyoshi\u201d, until January 12, 2026, at Mus\u00e9e Guimet<\/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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Donna Gottschalk,
Lesbians Unite, Revolutionary Women\u2019s Conference, Limerick, Pennsylvanie, October 1970<\/em>. \u00a9 Courtesy of the artist and of Marcelle Alix \u00a9 Donna Gottschalk.<\/figcaption><\/figure>\n\n

Donna Gottschalk and H\u00e9l\u00e8ne Giannecchini at Le Bal<\/h2>\n\n

As an American photographer and activist born in 1949, Donna Gottschalk<\/strong> documented the everyday life and intimacy of the New York lesbian community during the emergence of LGBTQ+ rights movements in the 1970s and 1980s. French writer and art critic H\u00e9l\u00e8ne Giannecchini<\/strong>, born in 1987, would discover this body of work long after it was created.<\/p><\/p>\n\n

On view at Le Bal<\/strong> for several months, the exhibition \u201cNous autres<\/strong>\u201d<\/em> was born from the encounter between the two women, with the former granting the latter access to her archives, never before shown in Europe. For the occasion, H\u00e9l\u00e8ne Giannecchini accompanies these images with texts shaped by their conversations and growing bond.<\/p><\/p>\n\n

Donna Gottschalk and H\u00e9l\u00e8ne Giannecchini with Carla Williams, \u201cNous autres\u201d, until November 16th, 2025, at Le Bal<\/a>, Paris 18th.<\/em><\/p><\/p>\n\n

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Anna Katharina Scheidegger,
 Fragile Warning-Lights N\u00b011<\/em> (2025). \u00a9 Anna Katharina Scheidegger<\/figcaption><\/figure>\n\n

The 9th edition of the fair is coming up<\/h2>\n\n

For its 9th edition\u00a0 held at the Espace Le Moli\u00e8re in Paris, the Approche<\/strong> fair<\/strong> presents fourteen solo exhibitions<\/strong>, including eight previously unseen series, curated by French and international galleries. This rich program brings together portraits by French artist Vincent Lemaire<\/strong>, luminous silver prints of phytoplankton by Anna Katharina Scheidegger<\/strong> and sculptural photographs by Daphne van de Velde<\/strong>, among others.<\/p><\/p>\n\n

Approche fair<\/a>, from November 13rd to 16th, 2025, Le Moli\u00e8re, Paris 1st.<\/em><\/p><\/p>\n\n

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Sibylle Bergemann,
Das Denkmal [The Monument], East Berlin, February 1986<\/em>. \u00a9 Succession Sibylle Bergemann.<\/figcaption><\/figure>\n\n

Sibylle Bergemann at Fondation Henri Cartier-Bresson<\/h2>\n\n

Renowned for her portraits, fashion, and architectural photography, Sibylle Bergemann<\/strong> (1941\u20132010) captured post-war Germany<\/strong> from many angles, documenting both its society and her native capital. The Fondation Cartier-Bresson is exhibiting one of her most memorable projects. The Monument<\/em>, a series started in 1975 and completed in 1986, chronicles the construction of the Marx and Engels memorial in East Berlin (then the GDR) through a powerful black-and-white testimony to this pivotal moment in German history.<\/p><\/p>\n\n

Sibylle Bergemann, \u201cThe Monument\u201d, until January 11th, 2026, at the Fondation Henri Cartier-Bresson<\/a>, Paris 3rd.<\/em><\/p>\n\n

\"Photograph\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Felipe Romero Beltr\u00e1n,
 BODIES, Grecia Evangelina. Thom’s house<\/em> (2021-2024). \u00a9 Felipe Romero Beltr\u00e1n. Courtesy of Hatch Paris & Klemm\u2019s Berlin.<\/figcaption><\/figure>\n\n

Felipe Romero Beltr\u00e1n in the MEP Studio<\/h2>\n\n

Felipe Romero Beltr\u00e1n<\/strong> is a photographer to watch closely. He focuses on themes related to migration and territory, which he explores through images imbued with a critical eye on today\u2019s world. Presented this week at Paris Photo<\/strong> at the shared booth of Hatch<\/strong> and Klemm<\/strong>\u2019s galleries, the Colombian photographer in his thirties is also unveiling Dialect<\/em> at the MEP Studio<\/strong>. That series follows the daily lives of young Moroccan men in a migrant center in Seville between 2020 and 2023.<\/p><\/p>\n\n

This strong visibility in France extends to the Carr\u00e9 d\u2019Art<\/strong> in<\/strong> N\u00eemes<\/strong>, where the artist recently opened the exhibition Bravo<\/em>. There, visitors can discover his eponymous series focused on the river that separates Mexico and the United States – a symptomatic area of growing, violent border policies.<\/p><\/p>\n\n

Felipe Romero Beltr\u00e1n, \u201cDialect\u201d, until December 7, 2025, at Maison Europ\u00e9enne de la Photographie<\/a> \u2013 Studio, Paris 4th.<\/em><\/p><\/p>\n\n

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Luc Delahaye, A Rally of the Opposition Candidate Alexander Milinkevich (2006). \u00a9 Courtesy of Luc Delahaye and Nathalie Obadia gallery, Paris\/Bruxelles.<\/em><\/figcaption><\/figure>\n\n

Luc Delahaye at Jeu de Paume<\/h2>\n\n

Born in Tours in 1962, Luc Delahaye<\/strong> built his reputation through his travels around the world. As a war photojournalist in the 1990s, he has spent the last 25 years developing a more documentary and artistic approach. Most of the large-format photographs<\/a> on display at Jeu de Paume<\/strong> are the result of long exposures or digitally assembled compositions. They cover the conflicts<\/strong> that shape our contemporary world, from Iraq, Ukraine, Haiti, Libya to OPEC meetings and COP conferences\u2026<\/p>\n\n

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Luc Delahaye, \u201cLe bruit du monde\u201d, until January 4th, 2026, at Jeu de Paume<\/a>, Paris 1st.<\/em><\/p> \n \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/article><\/p>\n\n

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Jo Spence,
Scrapbook “1989” (June-November 1989)<\/em> (1989). \u00a9 Centre Pompidou\/MNAM-CCI\/Biblioth\u00e8que Kandinsky, Fonds Jo Spence.<\/figcaption><\/figure>\n<\/figure>\n\n

Jo Spence at Galerie Treize<\/h2>\n\n

In 1982, Jo Spence<\/strong> was diagnosed with breast cancer. Eight years later, she learned she had leukemia and passed away in 1992. These invasive and challenging illnesses gradually transformed her body and, unconsciously, her mind. The British artist then began what she called \u201cphototherapy.<\/strong>\u201d She would use photography as a therapeutic, educational, and political tool to reclaim control over her physical and psychological identity. With her camera, she created an intimate<\/strong> and deeply sensitive body of work, now shown for the first time in France at Galerie Treize<\/strong>.<\/p><\/p>\n\n

Jo Spence, a project by Georgia Ren\u00e9-Worms in collaboration with Gallien D\u00e9jean and Emmanuel Guy, open until November 22nd, 2025, at Galerie Treize<\/a>, Paris 11th.<\/em><\/p><\/p>\n\n

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Kourtney Roy,
Failed postcards of Napoli, Surrender to Vesuvio<\/em> (2025). \u00a9 Courtesy of Les filles du calvaire gallery.<\/figcaption><\/figure>\n\n

Kourtney Roy at Les filles du calvaire gallery<\/h2>\n\n

On the walls of Les filles du calvaire gallery<\/strong>, vivid retro clothing pops against urban or historic backdrops. These images, all self-portraits by Canadian artist Kourtney Roy<\/strong>, were created during an artist residency in Naples<\/strong>. Within her cinematic world, she draws her inspiration from neorealism<\/strong> and popular Italian comedies<\/strong>, crafting whimsical, biting photographs with an alluring vintage aesthetic.<\/p><\/p>\n\n

Kourtney Roy, \u201cLa Volpina\u201d, until December 20th, 2025, at Les filles du calvaire gallery<\/a>, Paris 3rd.<\/em><\/p><\/p>\n\n

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Bi-monthly magazine, photomontage by Jean-Jacques Lebel for the cover of Tout ! Ce que nous voulons : tout !<\/em>, no. 12, April 23rd, 1971 \u00a9 coll. La Contemporaine, GFP 4415.<\/p> \n \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/article><\/figcaption><\/figure>\n\n\n\n

\"American\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
American weekly newspaper, Emory Douglas, cover for
Black Panther: Black Community News Service<\/em>, vol. V, no. 19, November 7th, 1970. \u00a9 2025 Emory Douglas \/ Licensed by AFNYLAW.com \u00a9 coll. La Contemporaine, GFP 5592.<\/figcaption><\/figure>\n<\/figure>\n\n

The history of political photomontage at La Contemporaine<\/h2>\n\n

Coined by Russian Constructivist artists in 1917, the term \u201cphotomontage<\/strong>\u201d now carries multiple meanings, deeply intertwined with politics<\/strong>. Drawing from its extensive archive of illustrated press and posters, La Contemporaine<\/strong> presents an exhibition in two parts – 1914\u20131939 and 1939\u20131991. It explores artistic practices of retouching and manipulating images used for propaganda<\/strong> purposes in France and abroad, from World War I to the early days of Photoshop.<\/p><\/p>\n\n

\u201cCut, paste, print: political photomontage in the 20th century\u201d, exhibition from November 19th, 2025, to March 14th, 2026, at La Contemporaine<\/a>, 184 Cr Nicole Dreyfus, 92000 Nanterre.<\/em><\/p><\/p>\n\n

\"Morgane\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Morgane Ely,
Dinner \u00e0 la Japonaise<\/em> (2025). \u00a9 Courtesy of the artist and Prima gallery.<\/figcaption><\/figure>\n\n

Morgane Ely at Prima gallery<\/h2>\n\n

It was during her studies in Japan that Morgane Ely<\/strong> mastered what would eventually become her signature technique – wood engraving, rooted in traditional printmaking. Since then, the young French artist – winner of the 2023 Villa Noailles R\u00e9v\u00e9lations Emerige<\/strong> Prize – has spent hours, weeks even, carving wood to reveal, line by line, images sourced from the internet, like film stills and pop culture icons. Her first solo exhibition at Prima gallery<\/strong> showcases a new series inspired by postcards of Japanese women in traditional dresses. The scenery evokes the long,\u00a0 ongoing history of Japan\u2019s exoticization through the Western gaze.<\/p><\/p>\n\n

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Morgane Ely, \u201cHostess and guests\u201d, until November 15th, 2025, at Prima gallery<\/a>, Paris 3rd.<\/em><\/p> \n \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/article><\/p>\n","protected":false},"excerpt":{"rendered":"

Tyler Mitchell at the Maison Europ\u00e9enne de la Photographie At just 30, Tyler Mitchell is […]<\/p>\n

Read More… from 11 exhibitions to see during Paris Photo<\/span><\/a><\/p>\n","protected":false},"author":14,"featured_media":753964,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[78,76,80],"tags":[],"class_list":["post-758086","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-en","category-art-design","category-photography"],"acf":[],"yoast_head":"\nParis Photo 2025: 11 exhibitions to see<\/title>\n<meta name=\"description\" content=\"Many museums are showcasing contemporary and historical photography talents during Paris Photo. 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