Willfreed is an Ivorian-French artist based in Vienna who challenges the boundaries between textile art, contemporary embroidery, and modern painting. Using a domestic tool, the sewing machine, he develops a distinctive visual language capable of producing works often mistaken for paintings. His practice explores surface, gesture, memory, and identity, while engaging with an international dynamic of hybrid creation.
African Woman – Contemporary textile portrait by Willfreed highlighting the richness of color, cultural identity, and the expressive power of thread.
A journey between Africa, Europe, and artisanal transmission
First, Willfreed trained in Côte d’Ivoire with renowned embroiderers. Then, he refined his technical mastery for more than ten years in Bamako. This long immersion in textile craftsmanship shaped his patience, precision, and attention to detail.
In 2013, in France, a decisive turning point occurred. Confronted with his mother-in-law’s silk paintings, a question emerged: could embroidery become a true pictorial medium? This intuition sparked an intense period of experimentation. He committed to this path using a simple two-stitch sewing machine, gradually transforming it into a fully fledged artistic tool.
The Beauty Behind Illness – Textile portrait by Willfreed celebrating skin diversity and inner strength through the representation of vitiligo.
The Mi-Gnêman technique, writing with thread
From this experimentation emerged the Mi-Gnêman technique, meaning “My Thread” in N’zima. At first, the artist sometimes sketches a drawing. However, he quickly abandons this framework to let the machine guide the rhythm and thickness of the line.
Thus, thread becomes the primary material. The weave replaces pigment. The image appears in successive layers. Each artwork requires nearly thirty hours of work. As a result, the final rendering creates a striking pictorial illusion. Many visitors believe they are looking at a painting, when in fact it is a fully textile composition.
Moreover, this approach positions Willfreed at the intersection of textile innovation, visual experimentation, and fine craftsmanship. His method places him at the crossroads of contemporary art, material research, and artisanal practice.
Gorée – A committed textile artwork by Willfreed evoking memory, slavery, and the quest for freedom through a powerful symbolic composition.
Works between identity, memory, and engagement
The subjects explored by Willfreed tell the story of an artist navigating between two cultures. His creations combine sensitivity, collective memory, and political resonance.
Les Girafes expresses an unexpected maternal tenderness.
Le Point de Mandela embodies the strength of a struggle for freedom.
Gorée refers to the historical scars of African memory.
Together, these works weave a continuous link between the intimate and the collective, giving embroidery a narrative and symbolic dimension rarely explored at this level.
Amour fusionnel – Contemporary embroidery by Willfreed depicting two intertwined giraffes, symbolizing tenderness, emotional connection, and harmony.
Growing institutional recognition
Invited to numerous regional exhibitions, Willfreed attracts audiences fascinated by the precision of his gesture, often enhanced by public demonstrations of his machine. This proximity to the creative process reinforces the performative and educational dimension of his work.
His selection for the European Artists’ Prize in Venice in December 2025 marks a major milestone. It confirms the growing interest of institutions in a practice that escapes traditional categories and renews the perception of contemporary textile art.
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In Amiens, the Musée de Picardie Unveils an Exceptional 2026 Program
In Amiens, the Musée de Picardie will confirm in 2026 its ambition to stand as a major regional encyclopedic museum. Combining heritage conservation, long-term scholarly projects, and a demanding artistic program, the institution is establishing itself as one of the leading cultural hubs in the Hauts-de-France region.
Under the direction of Pierre Stépanoff, alongside curators Agathe Jagerschmidt-Seguin (Archaeology) and Maya Derrien (Modern and Contemporary Art), the museum has developed a season structured around several highlights, ranging from ancient Egypt to contemporary photography, as well as the treasures of Old Master drawings.
The season will open on 6 February 2026 with a new participatory patronage campaign. The objective is to fund the restoration of 26 works by Charles-Philippe Larivière, a major nineteenth-century academic painter, winner of the Prix de Rome and author of numerous commissions for the Palace of Versailles.
Some of these sketches and small oil studies on paper, produced in particular during the artist’s Roman stay at the Villa Medici, have been kept in storage for decades. They will be progressively restored with public support. Donors will be able to choose directly which work they wish to sponsor. The restored paintings will be integrated into the permanent galleries from December 2026.
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Canopic jar stopper in the form of a dog’s head, funerary object from ancient Egypt, Louvre Museum, Paris, collection E 10837.
“Egypt Transformed”: A Rethought and Enriched Collection
In April 2026, the museum will inaugurate a decisive stage in the reconfiguration of its archaeological collections with the exhibition “Egypt Transformed – Collection 2026.”
The result of several years of scholarly research, this project has enabled:
the integration of approximately 90 objects previously unidentified or kept in storage,
an ambitious restoration campaign,
an exceptional long-term loan of 31 works from the Louvre Museum.
The exhibition will present a selection of around 60 objects in order to encourage in-depth interpretation and a renewed reading of the collections. Canopic jars, figures of Osiris, Isis, and Horus, ritual alabasters, and fragments of funerary walls will create an immersive journey into the beliefs and practices of ancient Egypt.
A major highlight is expected in the summer around an extremely rare object associated with Tutankhamun, accompanied by a scientific reconstruction and a facsimile. This stage prepares the future permanent display of the Egyptian collections, scheduled for around 2028.
Flore: Contemporary Photography in Dialogue with the Memory of Egypt
In direct dialogue with this heritage project, the museum will also present the exhibition “Eternal Egypt – Photographs by Flore.” A French-Spanish artist based in the Somme region, Flore explores memories of her childhood in Alexandria through around twenty photographs produced between 2007 and 2025.
Working with a large-format camera and Polaroid, she develops a slow, sensitive, and deeply sensory visual language. The images will be displayed in the former Egyptian galleries and will interact with a selection of archaeological objects chosen by the artist, creating an immersive experience between intimate memory and millennia-old heritage.
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A major highlight of the season, the large summer exhibition “All of History – French Drawings of the 17th and 18th Centuries” will run from 27 June to 27 September 2026.
Approximately 170 drawings exclusively from French private collections will be brought together, many of them rarely shown to the public. The exhibition will feature works by Poussin, Watteau, Claude Lorrain, Hubert Robert, and François Le Moyne, as well as more little-known artists, revealing the geographical and stylistic diversity of French drawing.
Preparatory studies, decorative designs, and autonomous works will illustrate the fundamental role of drawing in artists’ training and in the creation of major masterpieces. The museum will also present several key works from its own collection, including Maurice-Quentin de La Tour’s pastel self-portrait.
December 2026: A Renewal of the Permanent Collections
On 12 December 2026, a new phase of the extensive reinstallation of the permanent collections will be inaugurated. Sculptures, monumental paintings, restored works, and recent acquisitions will enrich the visitor route, with particular attention given to regional production and to works long kept in storage.
Larivière’s restored paintings will be one of the key markers of this renewal, illustrating the museum’s commitment to conservation and the transmission of heritage.
Jules Verne House: When Literature Dialogues with the Living World
The final major event of the year, at the Jules Verne House, will be the exhibition “Jules Verne and Animals,” on view from 3 July 2026 to 11 January 2027. Rarely exhibited natural history specimens, including a great auk now extinct, will be shown alongside excerpts from Jules Verne’s works.
The exhibition will explore the many facets of animals in Verne’s imagination: scientific object, poetic figure, fantastic character, and an early ecological concern.
Amiens: A Premium Cultural Destination in 2026
With nearly 70,000 works in its collections and a remarkably dense program, the Musée de Picardie confirms its structuring role within the French cultural landscape. Its strategy combines scholarly excellence, broad public appeal, and sustainable heritage development.
In 2026, Amiens establishes itself as an essential cultural destination for art and museum enthusiasts.
The Renovated Grand Palais, Art Capital’s Rediscovered Showcase
In 2025, marking the reopening of the Grand Palais after several years of renovation, Art Capital officially returned to its historic venue. This long-awaited comeback represented a turning point for the fair, both symbolically and in terms of attendance.
The reopening edition welcomed more than 50,000 visitors, confirming the public’s strong appetite for major art exhibitions in Paris and demonstrating the renovated Grand Palais’s capacity to host large-scale cultural events. Despite exceptionally high attendance on opening night — at times exceeding planned capacity — the overall outcome was unanimously positive and reflects the renewed attractiveness of the event.
Strong Momentum for the February Edition
Building on this success, the Art Capital team is approaching the upcoming February edition with confidence. Registrations are increasing, the engagement of artists and partners is already well underway, and logistical organization now benefits from the experience gained during the reopening.
“We have rediscovered our audience, our venue, and our ambition. All indicators are very positive for the February edition,” emphasizes Jacques Daloze, President of the Salon des Indépendants, whose remarks were collected during this interview.
Each year, nearly 3,000 artists take part in Art Capital, making it one of the most significant artistic gatherings in Europe in terms of participant numbers, with an exceptional diversity of disciplines and practices. The event also benefits from official recognition by the French Ministry of Culture, with a ministerial editorial announced in the official catalogue, further strengthening its institutional legitimacy.
André Malraux
André Malraux at the Heart of the Cultural Program
The upcoming edition will spotlight André Malraux, a major figure in artistic thought and former French Minister of Culture. A dedicated space will feature:
a documented biography,
a selection of rare drawings, Les Dyables,
a large, emblematic monumental portrait.
This work, created by artist Denis Gernigon, measures approximately 195 × 137 cm. It explores a subtle dialogue between shadow and light, offering a dual reading that balances inner tension with symbolic clarity. Intended to eventually join a museum institution dedicated to Malraux, the piece forms part of a strong heritage-driven approach. Known in particular for his portraits of spiritual figures — including Saint Thérèse of Lisieux — permanently displayed at Saint Peter’s Cathedral, Lisieux, Normandy. Denis Gernigon develops here an interpretation that is both contemporary and introspective.
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Hyperrealist Painting and Sculpture: Highly Anticipated Highlights
Visitors will also discover a remarkable selection of large-scale hyperrealist paintings, true technical feats that sometimes require several years to complete. These works question the relationship between painting, photography, and digital imagery.
Paul Belmondo
A tribute will also be paid to sculptor Paul Belmondo, with the presentation of original sculptures, highlighting the enduring presence of a living classical tradition within contemporary creation.
The program will further incorporate an event-driven and musical dimension, with performances by guest artists — notably a Korean violinist and piano performances — enriching the visitor experience through a dialogue between visual arts and live performance.
Why Art Capital in February Is Not to Be Missed
One of the world’s largest contemporary art fairs by number of exhibiting artists
An ambitious cultural program
A major tribute to André Malraux
Monumental works in painting and sculpture
A key event on the Paris cultural calendar
Practical Information
📍 Venue: Grand Palais, Paris 🗓️ Dates: February 13–15, 2026 🌐 Official website: ART CAPITAL
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FAQ – ART CAPITAL
Whart is Art Capital ?
Art Capital is a major art fair held at the Grand Palais in Paris, bringing together around 3,000 artists each year.
Where does Art Capital take place?
At the Grand Palais in Paris, which reopened in 2025 after several years of renovation.
When is Art Capital 2026?
From February 13 to 15, 2026.
How many artists exhibit at Art Capital?
Approximately 3,000 artists, making it one of the largest art events in Europe in terms of the number of artists.
What can visitors see at Art Capital?
Painting, sculpture, drawing, printmaking, photography, and contemporary artworks.
Can artworks be purchased?
Yes, some artworks are available for purchase directly from the artists.
Is Art Capital open to the public?
Yes, the fair is open to the general public as well as art professionals.
How can I buy a ticket?
Tickets can be purchased via the official Art Capital website or on site, subject to availability.
How long does a visit usually take?
Allow approximately 2 to 3 hours for a full visit.
How can artists apply to exhibit at Art Capital?
Artists can apply through the partner associations that organize the fair.
From February 12 to April 11, 2026, Galerie Paris-B presents its first solo exhibition dedicated to François Malingrëy. A striking immersion into contemporary figurative painting, where the body becomes the site of a drama that is at once intimate, mythological, and pictorial.
On the walls of Paris-B, bodies never pose. They fall, support one another, collide, cling. InFrançois Malingrëy’s work, painting is a silent theater in which every gesture seems suspended at the precise moment when everything might tip over. The exhibition at Paris-B brings together a group of recent paintings that confirm the singularity of an artist for whom the body is less a subject than a true dramaturgical space.
In a taut, almost suffocating hyperrealism, François Malingrëy places his figures within settings that appear ordinary at first glance. Yet very quickly, the everyday begins to fracture. Exposed flesh, offered torsos, absent or defiant gazes transform the scene into a space charged with archaic tensions: desire and guilt, fraternity and rivalry, tenderness and violence.
The large group compositions function like choreographic scores. Awkward lifts, struggles, falls, and ambiguous embraces form a gestural vocabulary in which everything seems restrained, on the verge of collapse. Positioned at the level of the bodies, the viewer is drawn into the painting, caught within a narrative that always partly unfolds offstage.
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While François Malingrëy’s work is deeply contemporary, it constantly dialogues with the history of painting. Misty distances evoke the sfumato of the Italian Renaissance, while extended bodies, open arms, and offered torsos reactivate the gravity of Christ-like figures, from Rogier van der Weyden to Velázquez.
The light, inherited from Baroque chiaroscuro, sculpts volumes with an almost liturgical precision. Yet here, quotation is never literal. It functions as a parallel montage between ancient iconography and our present visual culture, as if the great foundational narratives were returning to haunt our contemporary scenes.
A Body of Work Between Myth, Family, and Human Tragedy
In Malingrëy’s paintings, the family often becomes the site of primordial conflict. Through a limited number of characters, replayed from canvas to canvas, the great human frescoes unfold: wounded loyalty, jealousy, attachment, and betrayal. The myth of Abel and Cain, the Passion of Christ, and figures of martyrdom surface, displaced within a naturalistic framework that renders their violence all the more unsettling.
At times, the painter’s own silhouette appears—discreet, almost tutelary. A nod to the tradition of old masters who inserted themselves into their compositions, reminding us that here a guiding consciousness is at work, organizing the light and holding the thread of the narrative.
François Malingrëy, a Distinctive Figure in Contemporary Figurative Painting
Born in 1989 and a graduate of the Strasbourg School of Decorative Arts, François Malingrëy quickly established himself on the French and European institutional scenes. A prizewinner at the Salon de Montrouge, he has exhibited at the Palais de Tokyo, the Musée des Beaux-Arts de Nancy, and the Musée de la Chasse et de la Nature, among others.
With this first solo exhibition at Paris-B, the artist confirms a demanding and dense body of work, in which each painting functions as an open stage— a place where the present of bodies and the memory of painting overlap.
Practical Information
François Malingrëy Galerie Paris-B 62 rue de Turbigo, 75003 Paris February 12 – April 11, 2026 Opening reception: Thursday, February 12, 2026, 6–9 pm
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FAQ François Malingrëy
Where can you see François Malingrëy’s exhibition in Paris?
François Malingrëy’s first solo exhibition at Galerie Paris-B takes place in Paris’s 3rd arrondissement, from February 12 to April 11, 2026.
Who is François Malingrëy?
François Malingrëy is a contemporary French painter born in 1989. A graduate of the Strasbourg School of Decorative Arts, he develops an intense figurative practice focused on the body, dramaturgy, and the memory of art history.
What is the main theme of the exhibition?
The exhibition explores the body as a dramaturgical space. Through figurative scenes charged with tension, François Malingrëy examines desire, violence, fraternity, and founding myths, in dialogue with historical painting.
What kind of painting does François Malingrëy practice?
François Malingrëy develops a contemporary figurative painting style marked by taut hyperrealism, a strong staging of bodies, and a dramatic use of chiaroscuro.
Why is this exhibition important?
This exhibition marks a key moment in the artist’s career. It confirms the singularity of a demanding body of work, at the intersection of contemporary narrative and pictorial memory, and stands out as a significant event on the Parisian art scene.
Entitled Pekka Halonen: An Ode to Finland, this exhibition, organised in collaboration with the Ateneum Art Museum (Helsinki), brings together more than 130 works from Finnish public and private collections. It traces the artist’s entire career and reveals his central role in the golden age of Finnish painting.
Pekka Halonen, a major figure in Finland’s golden age
Born in Lapinlahti in 1865, Pekka Halonen trained in Helsinki before moving to Paris in the early 1890s.
He attended the Julian and Colarossi academies and, in 1893, became a pupil of Paul Gauguin, an encounter that would prove decisive for his pictorial language.
Influenced by Japonism, plein air painting and Synthetism, Halonen created a body of work that combined Parisian influences with an attachment to his native land.
Pekka Halonen’s work is part of the national romanticism and Karelianism movements, which celebrate Finnish landscapes and traditions in the face of Russian domination.
In 1900, his participation in the Finnish pavilion at the Universal Exhibition in Paris symbolically affirmed Finnish national identity.
His paintings celebrate nature, rural life and cultural resistance.
Halosenniemi, a way of life in harmony with nature
After several trips to France and Italy, Pekka Halonen chose to settle on the shores of Lake Tuusula in southern Finland. There he built his home and studio, Halosenniemi, a true refuge in the heart of the landscapes he tirelessly painted throughout the seasons.
Surrounded by his family and a community of artists and intellectuals, the artist cultivated a simple, self-sufficient lifestyle.
This intimate relationship with nature permeates all of his work, from luminous domestic scenes to vast, silent landscapes.
The painter of snow
More than any other Finnish artist, Pekka Halonen stands out as the great painter of snow. Fascinated by Nordic winters, he tirelessly explored the nuances of white, ice and winter light.
His snowy landscapes, sometimes verging on abstraction in the 1920s, exude an atmosphere of contemplation and profound serenity.
The final section of the exhibition, entitled Symphony in White Major, pays tribute to this virtuosity and invites visitors to immerse themselves in the silence of Finnish nature.
A sensory experience at the Petit Palais
Designed as a truly immersive experience, the exhibition features an architectural scenography and multisensory mediation.
Olfactory devices, created with dsm-firmenich, and a meditative walk extend the discovery of the painter’s natural world and highlight the ecological and contemporary dimension of his work.
In 2026, ceramics more than ever assert themselves as one of the leading mediums in the European art market. Between international fairs, institutional biennials, and specialized salons, Europe offers a rich landscape for discovering trends, meeting artists, and identifying the most significant works of the moment. Here are the five must-see ceramic fairs in 2026, selected for their curatorial quality, international reach, and appeal to collectors.
From January 21 to 25, 2026, ceramic brussels confirms its status as an essential meeting point for galleries, collectors, and institutions. Entirely dedicated to contemporary ceramics, the fair brings together international galleries, established artists, emerging talents, and an ambitious curatorial program, including a guest of honor, Elmar Trenkwalder, occupying nearly 300 m².
Why it is essential in 2026:
Selection of international galleries
Museum-quality exhibitions, installations, and solo shows
Strong momentum in the contemporary ceramic market
Further reading:
Ceramic Brussels 2026: the major international contemporary ceramic fair returns to Brussels in January
Art fairs 2026: the complete calendar of major international events
2. Argillà Italia – September 4–6, 2026 – Faenza (Italy)
The major Mediterranean gathering for ceramics
Held in Faenza, the historic capital of ceramics, Argillà Italia returns in 2026 with hundreds of European exhibitors. The fair is a crossroads of tradition, design, and contemporary creation, offering an exceptional panorama of Italian and European know-how.
Highlights for visitors:
Stylistic diversity and technical excellence
Strong presence of master artisans and designers
Ideal for acquiring unique pieces
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3. Ceramic Art London – May 8–10, 2026 – London (United Kingdom)
The must-attend selling fair for collecting directly from artists
Ceramic Art London is one of the most respected events on the British ceramic scene. Collectors meet artists directly, ensuring transparency, provenance, and meaningful exchanges.
Why you should not miss it:
Highly rigorous selection of contemporary artists
Unique works and limited editions
Strong visibility of the British ceramic scene
4. Oldenburg International Ceramic Fair – August 1–2, 2026 – Oldenburg (Germany)
A German-European tradition dedicated to quality
For more than three decades, Oldenburg has hosted one of the most renowned ceramic fairs in Northern Europe. Over 100 artists present works ranging from contemporary sculpture to exceptional functional ceramics.
Why it matters:
Very high technical standards
A strong and demanding German market
Ideal for identifying artists before their international breakthrough
5. European Ceramic Context (ECC) – Bornholm (Denmark)
(Date to be announced) The institutional biennial revealing future trends
On the island of Bornholm, designated a “World Craft City,” the European Ceramic Context biennial offers a major museum-oriented approach. The 2026 edition will feature exhibitions, European awards, and monumental installations.
Reasons to attend:
High-level curatorial vision
Focus on the Nordic scene, particularly innovative
An ideal platform for understanding future directions of the medium
An essential journey to understand contemporary ceramics in 2026
From commercial fairs to institutional biennials, ceramics are enjoying unprecedented visibility in Europe. These five events provide a comprehensive overview of current practices: sculpture, installation, design, material experimentation, and collectible works.
For professionals, collectors, and enthusiasts alike, 2026 will be a pivotal year to explore the richness of European ceramics.
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FAQ – European Ceramic Fairs
Is contemporary ceramics truly a promising market in 2026?
Yes. The contemporary ceramics market continues to grow in Europe, driven by increasing interest from collectors, the medium’s entry into museums, and stronger crossovers with contemporary art and design. Specialized fairs demonstrate a lasting structuring and professionalization of the sector.
Which is the best ceramic fair in Europe for a beginner collector?
Ceramic Art London is often considered the most accessible. Direct sales from artists allow collectors to better understand artistic approaches, techniques, and the value of the works, while offering more affordable price points than strictly gallery-based fairs.
Where can one buy museum-quality contemporary ceramics?
Ceramic Brussels is the benchmark in 2026 for discovering institution-level works. The presence of international galleries, solo shows, and ambitious installations makes it a fair that closely aligns with museum standards.
Which fair should be prioritized to discover European ceramic tradition?
Argillà Italia, held in Faenza, is ideal for understanding the history and richness of European ceramic craftsmanship. It combines historical heritage, technical excellence, and contemporary creation.
Can one invest in contemporary ceramics?
Yes, provided an informed approach is adopted. Fairs such as Ceramic Brussels or the Oldenburg International Ceramic Fair make it possible to identify artists undergoing institutional recognition or prior to their international breakthrough, offering a medium- to long-term investment opportunity.
A new Banksy in London, instantly recognised… and instantly accepted
In late December, a new Banksy stencil appeared on a wall in London, in the Bayswater neighbourhood. Two children lie on the roof of a garage, wrapped up in winter coats. One of them raises an arm, pointing towards the sky. A silent image, almost fragile.
Within hours, the work was photographed, shared, commented on. Banksy confirmed authorship on Instagram. The mechanism is perfectly oiled. Yet what stands out this time is not what the artist says — but how easily the image is absorbed.
Banksy made his appearance in the Bayswater area, in central London.
An image that no longer provokes, but brings people together
Banksy’s street art was long built on friction. His works forced passers-by to take a position, sometimes against their will. Here, nothing of the sort. The stencil does not shock. It does not divide. It soothes.
This image of children looking at the sky functions as a visual consensus. It can be read as a symbol of hope, a metaphor for childhood, a poetic pause in a world saturated with conflict. Everyone finds what they are looking for — without ever being contradicted.
And this is precisely where the major shift of this work lies.
This Banksy in London does not erupt against the city; it blends into it. The wall is worn, the setting discreet, the scale modest. The work does not interrupt the urban space — it accompanies it.
This shift is revealing. Street art, once perceived as illegal and confrontational, is now expected, valued, sometimes even protected. Banksy is no longer the intruder: he has become a stabilised cultural reference.
Where his stencils were once erased, this one is photographed from every angle. The gesture is no longer risky. It is integrated.
In front of the Centre Point tower — long a controversial symbol of London’s urban landscape — Banksy’s stencil plays with scale and silence.
A work designed for circulation as much as for the street
Visually, everything is controlled. The contrast is sharp, the scene readable, the emotion immediate. The work functions just as well on the street as it does on a smartphone screen.
Banksy no longer addresses only London passers-by. He speaks to a global community of digital viewers, accustomed to consuming his images via Instagram, cultural media and news feeds.
The stencil thus becomes a circulating image, designed to be seen, shared and commented on — sometimes more than actually experienced on site.
Ambiguity as a long-term strategy
Nothing in this work is explicitly political. And yet it is anything but neutral. Its ambiguity allows for every possible reading: poetic, social, symbolic. But it also prevents any direct confrontation.
Banksy seems here to favour suggestion over conflict, openness over clear positioning. This strategy allows the work to remain legible to all — but it raises an essential question:
👉 Can critical art still exist when it refuses to clearly name what it critiques?
What this Banksy says about our relationship to the world
Rather than seeing this as a simple weakening, one can read the stencil as a reflection of an era tired of radicality — an era that seeks reassurance more than disruption, accompaniment more than confrontation.
Banksy no longer necessarily precedes his time. He listens to it. He follows its contours.
But this attentive listening turns street art into a soothing mirror, where it was once a tool of disruption.
FAQ – What you need to know about the new Banksy in London
Is it really a Banksy?
Yes. The stencil that appeared in Bayswater was confirmed by Banksy himself through the publication of a photo on his official Instagram account. However, a second, very similar stencil that appeared elsewhere in London has not been claimed.
Where exactly is the new Banksy in London?
The work is located in Bayswater, in west London, painted on the side wall of a building above a row of garages. Another comparable stencil was spotted near the Centre Point tower, in the city centre.
Can the artwork be seen freely?
Yes. Like most of Banksy’s works, the stencil is freely visible in public space. It is not exhibited in a museum and can be seen directly on the street, as long as it has not been erased or protected.
Why does Banksy keep intervening in London?
London is: – a major centre for street art, – a highly mediatised city, – a symbolic space for social and urban issues. It is an ideal setting for reaching a global audience through a local gesture.
Why does Banksy usually announce his works on Instagram?
Instagram is currently the only official channel used by Banksy to authenticate his works. Without a post from him, a stencil is generally not considered confirmed.
Entitled Paname, this presentation is the first and most ambitious museum exhibition dedicated to the artist.
Bringing together some twenty paintings, including several previously unseen works, the exhibition offers a sensitive immersion into today’s Paris, in dialogue with the museum’s permanent collections.
Bilal Hamdad, painter of today’s Paris
Born in 1987 in Sidi Bel Abbès, Algeria, Bilal Hamdad first trained in his native country before continuing his artistic studies in Algiers, then in France, in Bourges and at the Beaux-Arts in Paris, where he graduated in 2018.
He quickly developed a unique pictorial style, centred on large figurative compositions inspired by contemporary urban scenes.
Using photographs taken on the spot, the artist constructs very large-format paintings characterised by tight framing, a strong presence of bodies and masterful chiaroscuro.
His works depict a Paris that is both dense and silent, populated by solitary figures absorbed in their own trajectories.
Paintings inspired by art history
Bilal Hamdad’s work engages in a conscious dialogue with the great masters of Western painting.
Caravaggio, Rubens, Velázquez, Degas, Manet, Courbet and Hopper all influence his pictorial thinking.
This connection was further strengthened during his residency at the Casa de Velázquez in Madrid, where he studied the collections of the Prado Museum in depth.
Far from quotation or imitation, the artist transposes these legacies into a resolutely contemporary style, affirming the relevance of figurative painting today, in an era of visual saturation.
Paname, a dialogue between past and present
With Paname, Bilal Hamdad takes over the Petit Palais as a space for resonance. A regular visitor to the museum, he approaches its collections as a living memory with which to engage in dialogue.
The exhibition brings scenes of the Paris metro, markets, cafés, and streets into the heritage rooms.
The monumental work Paname, inspired by Léon Lhermitte’s painting Les Halles de Paris, which is kept at the museum, embodies this dialogue.
It depicts a market at the exit of the metro, fragmented by the movement of bodies and light, offering a vision of contemporary Paris that is both documentary and poetic.
Urban solitude as a central theme
In Bilal Hamdad’s paintings, the crowd never obscures the individual. The characters often appear absorbed, silent, as if suspended in the flow of the city. This focus on urban solitude gives his work a universal dimension.
Through a subtle interplay of light and composition, the artist transforms ordinary scenes into meditative images. Everyday life thus becomes a place for reflection on presence, time, and the human condition.
When is the Bilal Hamdad exhibition at the Petit Palais?
The Paname exhibition runs from October 17, 2025, to February 8, 2026, at the Petit Palais in Paris.
Where is the exhibition taking place?
t is being held at the Petit Palais, the City of Paris’s fine arts museum, located on Avenue Winston-Churchill.
Who is Bilal Hamdad?
Bilal Hamdad is a contemporary painter born in 1987, trained in Algeria and France, a graduate of the Beaux-Arts in Paris, and renowned for his Parisian urban scenes.
What does the Paname exhibition show?
The exhibition brings together some twenty paintings, including previously unseen works, depicting scenes of contemporary Parisian life in dialogue with art history.
Is the exhibition free?
Yes, the exhibition is free and open to the public, like all exhibitions at the Petit Palais.
