{"id":769632,"date":"2025-12-11T15:24:01","date_gmt":"2025-12-11T14:24:01","guid":{"rendered":"https:\/\/numero.com\/?p=769632"},"modified":"2025-12-11T15:24:07","modified_gmt":"2025-12-11T14:24:07","slug":"12-exhibitions-to-see-in-france-over-the-christmas-holidays","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/art-en\/12-exhibitions-to-see-in-france-over-the-christmas-holidays\/","title":{"rendered":"12 exhibitions to see in France over the Christmas holidays"},"content":{"rendered":"\n
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Jos\u00e8fa Ntjam’s exhibition, IAC Villeurbanne, Lyon<\/figcaption><\/figure>\n\n\n\n
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Jos\u00e8fa Ntjam’s exhibition, IAC Villeurbanne, Lyon<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Jos\u00e8fa Ntjam in Lyon<\/h2>\n\n\n\n

Jos\u00e8fa Ntjam has recently been noticed for her shows in Paris and Venice. The young French artist has built a visual and sculptural universe, in which deities from diasporic cosmogonies, underwater creatures, and major figures of activism converge. For her new solo exhibition at the Institut d\u2019art contemporain<\/strong> (IAC) in Villeurbanne, France, she keeps inviting audiences into her sci-fi-inspired phantasmagorias through film, 3D printing, sculpture, and, for the first time, sound installation.<\/p><\/p>\n\n\n\n

Jos\u00e8fa Ntjam, \u201cIntrications,\u201d until January 11th, 2026 at the Institut d\u2019art contemporain<\/a>, Villeurbanne.<\/em><\/p><\/p>\n\n\n\n

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Alison Knowles, The Dnieper at the Black Sea<\/em> (1992). Courtesy of Alison Knowles.<\/p><\/figcaption><\/figure>\n\n\n\n

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Alison Knowles in her art studio, 2012. Photo: Jessica Higgins.<\/p><\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Alison Knowles in Saint-\u00c9tienne<\/h2>\n\n\n\n

As the only female pioneer of the Fluxus movement, which she opened up to performance art in the 1960s, Alison Knowles<\/strong> (1933\u20132025) has left her mark on art history through diverse, avant-garde practices. Her work includes ritualized collective meals, minimalist scores, computerized poems, interactive sound installations, and cyanotypes. Her rich, prolific career is now the focus of a retrospective at the Mus\u00e9e d\u2019Art Moderne et Contemporain<\/strong> in Saint-\u00c9tienne (MAMC+), that opened just days after her passing at the age of 92. Over a hundred works are presented there.\u201cAlison Knowles. A Retrospective,\u201d until March 15th, 2026 at the MAMC+<\/a>, Saint-\u00c9tienne M\u00e9tropole.<\/em><\/p><\/p>\n\n\n\n

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Korakrit Arunanondchai, The blood of the earth<\/em> (2025) at the Consortium, Dijon. Photo: Rebecca Fanuele.<\/p><\/figcaption><\/figure>\n\n\n\n

Korakrit Arunanondchai in Dijon<\/h2>\n\n\n\n

In Korakrit Arunanondchai<\/strong>‘s videos and in situ<\/em> installations, nature, ancestral traditions and beliefs – shamanism, animism, Buddhism – clash with new technologies and the global world to create a multisensory experience that aims for a total artwork. For his exhibition at the Consortium<\/strong> in Dijon, the Thai-born artist has crafted a telluric floor made from ashes collected at the Kunsthalle in Bangkok<\/strong>. Visitors are prompted to walk on it, with a spellbinding sound piece blending church choirs and subterranean rumbles playing in the background.<\/p><\/p>\n\n\n\n

Korakrit Arunanondchai, \u201cThe Blood of the Earth,\u201d until May 24th, 2026 at the Consortium<\/a>, Dijon.<\/em><\/p><\/p>\n\n\n\n

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Sylvie Fleury, The Black Shiny Vinyl Raincoat<\/em> (2024).<\/p><\/figcaption><\/figure>\n\n\n\n

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Sylvie Fleury, Rose P\u00e9tillant<\/em> (2023).<\/p><\/figcaption><\/figure>\n

View of the exhibition Thunderb<\/em> by Sylvie Fleury at Mrac Occitanie, S\u00e9rignan, 2025. Photo: Aur\u00e9lien Mole.<\/figcaption><\/figure>\n\n\n\n

Sylvie Fleury in S\u00e9rignan<\/h2>\n\n\n\n

Shopping bags, oversized eye shadows, golden shopping carts, fuzzy canvases\u2026 Since the 1990s, Sylvie Fleury<\/strong><\/a> has borrowed from the worlds of luxury, cosmetics, and mass consumerism to craft pop artworks that cast an ironic eye on today\u2019s society. At once mocking unbridled capitalism, appearance-driven norms, and the fetishization of the female body, her work is as relevant as ever today. She is currently the subject of a monographic exhibition at the Mrac Occitanie<\/strong>, which puts several of her major pieces on display, including some in situ<\/em> installations.<\/p><\/p>\n\n\n\n

Sylvie Fleury, \u201cThunderb,\u201d until March 22nd, 2026, at the Mrac Occitanie<\/a>, S\u00e9rignan.<\/em><\/p><\/p>\n\n\n\n

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Cl\u00e9ment Cogitore, Ferdinandea: Premonitions<\/em> (2022). Film 16 mm (photogram), 4″24. Mucem, Marseille. \u00a9 Cl\u00e9ment Cogitore<\/p><\/figcaption><\/figure>\n\n\n\n

Cl\u00e9ment Cogitore in Marseille<\/h2>\n\n\n\n

The Siberian taiga infused with fantastical elements, the inner chambers of the Lascaux caves, the Alaskan sky lit by a mysterious phenomenon\u2026 Cl\u00e9ment Cogitore\u2019<\/strong>s videos and films embark us on a journey to captivating locations steeped in legend and myth, where scientific narratives and local beliefs collide. In 2022, the artist and filmmaker turned his attention to Ferdinandea<\/strong>, an island that emerged multiple times in the 19th century in the Strait of Sicily, before being completely submerged. At the Mucem<\/strong>, this film is being screened alongside numerous archival documents that shed light on this fascinating chapter of Mediterranean history.<\/p><\/p>\n\n\n\n

Cl\u00e9ment Cogitore, \u201cFerdinandea, the Ephemeral Island,\u201d from December 10th, 2025, to September 20th, 2026, at the Mucem<\/a>, Marseille.<\/em><\/p><\/p>\n\n\n\n

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Monia Ben Hamouda. Views of the exhibition
Post-Scriptum<\/em> (2025) at CAC de la Ferme du Buisson, Noisiel. Photos: Emile Ouroumov.<\/figcaption><\/figure>\n\n\n\n

Monia Ben Hamouda in Noisiel<\/h2>\n\n\n\n

For several weeks now, the floors of CAC La Ferme du Buisson<\/strong> have been covered in ochre and copper-toned sand dunes. From them, abstract paintings made of spices emerge. Meanwhile, symbols drawn from Arabic script and iconography float above them. For her first solo exhibition in France, Italian-Tunisian artist Monia Ben Hamouda<\/strong> invites us into this delicate, shifting desert, shaped by Najdi poetry and pre-Islamic oral traditions, as well as her own knowledge of Arabic calligraphy passed down from her father.<\/p><\/p>\n\n\n\n

Monia Ben Hamouda, \u201cPost-Scriptum,\u201d until January 25th, 2026, at CAC La Ferme du Buisson<\/a>, Noisiel.<\/em><\/p><\/p>\n\n\n\n

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Rammellzee. View of the exhibition \u201cALPHABETA SIGMA (Face A)\u201d at the Palais de Tokyo, Paris, 2025. Photo: Aur\u00e9lien Mole.<\/figcaption><\/figure>\n\n\n\n
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Rammellzee \u00a9 Mari Horiuchi. Courtesy of Red Bull Arts New York and of Rammellzee Estate.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Rammellzee, part two, in Bordeaux<\/h2>\n\n\n\n

Graffiti master, painter, sculptor, rapper, performer, and theorist, American artist Rammellzee<\/strong> (1960\u20132010) created a groundbreaking and uncategorizable body of work long overlooked by institutions. After the summer show, Alphabeta Sigma (Face A)<\/em><\/strong>, at the Palais de Tokyo<\/strong> in Paris, the CAPC<\/strong> in Bordeaux now unveils the second chapter, (Face B).<\/em> The exhibition puts the artist’s work back into the vibrant New York art scene of the 1980s, in dialogue with figures like Basquiat<\/strong><\/a>, Warhol<\/strong><\/a>, Kenny Scharf<\/strong>, or even Madonna<\/strong><\/a>.<\/p><\/p>\n\n\n\n

\u201cRAMMELLZEE ALPHA BETA SIGMA (FACE B),\u201d until April 26th, 2026, at CAPC<\/a>, Bordeaux.<\/em><\/p><\/p>\n\n\n\n

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Julie B\u00e9na,
Jester avec marionnette<\/em> (2023), detail.<\/figcaption><\/figure>\n\n\n\n
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Julie B\u00e9na,
La Roue de la Fortune<\/em>, (2018).<\/figcaption><\/figure>\n
Julie B\u00e9na. View of the exhibition Parodie<\/em> at Magasin CNAC, Grenoble, 2025-2026. \u00a9 Magasin CNAC, Courtesy of the artist. Photos: Tomas Sou\u010dek.<\/figcaption><\/figure>\n\n\n\n

Julie B\u00e9na in Grenoble<\/h2>\n\n\n\n

\u201cParodie<\/em>\u201d (“Parody”) is the word Julie B\u00e9na<\/strong> chose for the title of her solo exhibition at the Magasin CNAC<\/strong>. It is also spelled out in large, glittering rainbow letters inside the Grenoble art center. With that ambitious project, the French artist immerses us in a world at the crossroads between literature, circus, and cabaret. Court jesters, carousel horses, carriages, puppets, and other curious characters emerge and seem to interact in this body of films, sculptures, and installations created over the past ten years.<\/p><\/p>\n\n\n\n

Julie B\u00e9na, \u201cParodie,\u201d until April 5th, 2026 at Magasin CNAC<\/a>, Grenoble.<\/em><\/p><\/p>\n\n\n\n

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Bettina Rheims,
Ghislaine Thesmar et les danseuses du ballet de l’Op\u00e9ra de Paris<\/em>. Jean-Charles de Castelbajac, Spring\/Summer 1982 collection, ”Hommage \u00e0 la bande dessin\u00e9e”. \u00a9 Bettina Rheims \/ Adagp, Paris, 2025.<\/figcaption><\/figure>\n\n\n\n

Jean-Charles de Castelbajac in Toulouse<\/h2>\n\n\n\n

Since the creation of his label in the early 1980s, Jean-Charles de Castelbajac<\/strong> has consistently pushed the boundaries of fashion and creativity. Collage, upcycling, clothes inspired by pop culture and childhood imagery, monumental public artworks at Orly Airport and the Grand Palais, collaborations with artists like Cindy Sherman<\/strong><\/a>, costume design for Beyonc\u00e9<\/strong><\/a> and Lady Gaga<\/strong><\/a>, designing a liturgical wardrobe for Notre-Dame de Paris\u2026 His myriad projects are testament to his insatiable creative drive. Les Abattoirs<\/strong> in Toulouse pay tribute to his prolific career through a historic retrospective.<\/p><\/p>\n\n\n\n

Jean-Charles de Castelbajac, \u201cImagination At Work,\u201d from December 12, 2025, to August 23, 2026, at Les Abattoirs<\/a>, Toulouse.<\/em><\/p><\/p>\n\n\n\n

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Beatrice Bonino, Funny and Fun<\/em> (2024). Silicone, plastic, paper, Bakelite, fabric, rubber. 115 x 100 x 3cm. Photo: Piercarlo Quecchia \u2013 DSL Studio. Courtesy of the artist and Ermes Ermes.<\/p>\r\n\r\n<\/div>
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Beatrice Bonino in Paris<\/h2>\n\n\n\n

True to its mission of showcasing emerging artists, the Fondation Pernod Ricard<\/strong> is hosting the first institutional exhibition of Beatrice Bonino<\/strong> in France. As a spiritual heir to Arte Povera<\/strong> and post-minimalism, the young Italian artist is fascinated by the banality of everyday life, as well as by languages and signs. Her sculptures and composite assemblages made from everyday materials are shown in dialogue with works by her predecessors, such as Marisa Merz<\/strong>, Dieter Roth<\/strong>, and Lutz Bacher<\/strong>.<\/p><\/p>\n\n\n\n

Beatrice Bonino, \u201cIn the main in the more,\u201d until January 31st, 2026 at Fondation Pernod Ricard<\/a>, Paris 8th.<\/em><\/p><\/p>\n\n\n\n

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View of the exhibition “Disco” by Vivian Suter at the Palais de Tokyo, Paris, 2025. Courtesy of Karma International, Zurich; Gladstone, New York \/ Bruxelles \/ S\u00e9oul; Gaga, Mexico DF; Proyectos Ultravioleta, Guatemala City. Photo: Aur\u00e9lien Mole.<\/figcaption><\/figure>\n\n\n\n

Vivian Suter in N\u00eemes<\/h2>\n\n\n\n

Since the 1980s, Vivian Suter<\/strong> has been painting relentlessly in the wild, near her home in Guatemala. Even though she gained recognition late in her career, the Swiss-born painter has enjoyed rising fame over the past fifteen years of her career. After showing her exhibition Disco<\/em><\/strong> in Lisbon last year and in Paris at the Palais de Tokyo<\/strong> last summer, her work is now on display in a third and newly expanded version at Carr\u00e9 d\u2019art<\/strong> in N\u00eemes. There, hundreds of paintings form a lush jungle of shapes and colors.<\/p><\/p>\n\n\n\n

Vivian Suter, \u201cDisco,\u201d until March 29th, 2026, at Carr\u00e9 d\u2019art<\/a>, N\u00eemes.<\/em><\/p><\/p>\n\n\n\n

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View of the exhibition \u201cPardon pour la lumi\u00e8re\u201d by Romuald Jandolo at Confort Moderne, Poitiers, 2025. Photo: Arthur Pequin.<\/figcaption><\/figure>\n\n\n\n

Romuald Jandolo in Poitiers<\/h2>\n\n\n\n

Romuald Jandolo<\/strong>, who grew up in a circur, has a clear affinity for performance arts. To celebrate the 40th anniversary of Confort Moderne<\/strong>, the artist has filled the venue with enigmatic figures draped in glittering, pointy-hooded cloaks. Their spectral presence glows amidst a scenography of haystacks. While the silhouettes may recall the white robes of the Ku Klux Klan, the flamboyant staging places them in an ambiguous realm\u2026 One where the bliss of a village dance meets the solemnity of medieval ceremonial garb.<\/p><\/p>\n\n\n\n

Romuald Jandolo, \u201cPardon pour la lumi\u00e8re,\u201d until December 21st, 2025, at Confort Moderne<\/a>, Poitiers.<\/em><\/p><\/p>\n","protected":false},"excerpt":{"rendered":"

Jos\u00e8fa Ntjam in Lyon Jos\u00e8fa Ntjam has recently been noticed for her shows in Paris […]<\/p>\n

Read More… from 12 exhibitions to see in France over the Christmas holidays<\/span><\/a><\/p>\n","protected":false},"author":14,"featured_media":767881,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[78,76],"tags":[],"class_list":["post-769632","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-en","category-art-design"],"acf":[],"yoast_head":"\n12 exhibitions to see in France over the Christmas holidays<\/title>\n<meta name=\"description\" content=\"Jos\u00e8fa Ntjam, Cl\u00e9ment Cogitore, Sylvie Fleury... 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