This autumn issue keeps a simple promise: to look at art on a human scale, without losing the reference points that help us understand it.
At the heart of the magazine, Flo Muliardo’s series Les Enfants Rois asserts one clear truth — the dignity of childhood — through direct portraits, bold colors, and a restrained, precise pictorial language. Her commitment to the Enfants de Manasté foundation is not a backdrop but a grounding force: here, painting becomes encounter, responsibility, and care.
In Marrakech, Montresso* Art Space brings together Sokey Edorh, Barbara Wildenboer, and Tilt for a manifesto exhibition that revisits our myths — from the Paleolithic to today’s cities.
Dates: November 1, 2025 → January 24, 2026. Far from the cliché of the “barbarian,” this exhibition calls for new symbols, new signs.
Trained by Paul Ahyi, Edorh works with lateritic soils from West Africa, transforming them into a primordial script — ideograms and invocations — that weave a continuum between generations.
Recent works include Termite Mound, Symbol of Freedom (2025) and The Creation of the World (2025).
His works are part of collections such as :
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Working with wood, porcelain, bronze, and altered books, the South African artist creates hybrid altars where beauty meets grotesque, and multispecies ecologies come to life (echoing Donna Haraway and M.J. Rubenstein).
Her torn maps and threaded embroideries form fragmented yet symmetrical geographies.
Featured works: Breathing into Bones I (2025) and She Who Wears Time As Adornments XV (2025).
She is represented by :
See olso : Barbara Wildenboer: When art weaves a link between science, intuition and mystery
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A figure of graffiti counterculture, Tilt turns the wall into a living memory: layers of lettering, erasures, and overpainting become contemporary hieroglyphs on concrete panels.
Between abstraction and figuration, his work documents collective experience and dramatizes the insubordination of language.
Exhibitions include :
Why “Waiting for Barbarians”?
It references Cavafy — welcoming the “other” as a necessity to reinvent our shared stories.
What unites the three artists?
The sign and the trace: earthen ideograms (Edorh), multispecies alliances (Wildenboer), urban palimpsests (Tilt).
Key works to look for?
Termite Mound, Symbol of Freedom (Edorh, 2025); Breathing into Bones I (Wildenboer, 2025); and Tilt’s untitled concrete reliefs (2025).
Do I need to book tickets?
Check the Montresso* website for updates and access information.
Is the exhibition family-friendly?
Yes, with multiple layers of interpretation and guided tours available on selected dates.
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From 15 November to 20 December 2025, Galerie Porte B (Paris 10th) presents Impressionism, Resonances, a solo show where colour, blur, and movement shift photography toward a pictorial sensation. Public opening on 15 November (4–9 pm).
In this exhibition, Jonathan Bertin explores the impressionist legacy without pastiche. The compositions remain legible (chromatic masses, supple lines), yet the artist embraces an oscillation between photography and painting: motion blur, textures, and overlays bring the image to life through vibration rather than contour. The eye gropes, then settles into a cadence—the cadence of an instant that lasts. Rooted in Normandy (2023–2024), the project revisits emblematic sites of impressionism to capture everyday scenes, landscapes, and watery reflections, aiming to “give movement back to photography.”
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The cycle opens onto a new topography with Seoul Impressionism, shown for the first time in this solo show: an urban, vibrant series paced by speed and colour planes. The city becomes a laboratory of flows—streaked silhouettes, neon sheets, circulating lines of sight. The visual vocabulary carried over from Normandy’s landscapes accelerates without disowning itself, meeting other lights and densities.
In October 2025, Bertin’s works entered the Fondation Hermès contemporary photography collection—a milestone that underscores the singularity of a practice at “the crossroads” of art, image, and digital culture. The Paris solo show marks a hinge moment where homage, reinterpretation, and emancipation converge.
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What is Impressionism, Resonances?
A solo exhibition by Jonathan Bertin probing the impressionist legacy through photography: movement, blur, colour, and a perception poised between painting and image.
What is “Seoul Impressionism”?
An urban chapter born of residencies in Korea: streaked silhouettes and neon planes—its first gallery presentation within this solo show.
Why is this exhibition significant in 2025?
It coincides with the works entering the Fondation Hermès collection and consolidates an evolving language between homage and autonomy.
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3 October 2025 – 5 April 2026 — MUba Eugène Leroy, Tourcoing
The MUba presents more than 80 works tracing the last two decades of Eugène Leroy’s career (1980–2000). It is a dense journey where colour—laid down in strata—brings forth the figure, the season, the hour: light as destiny.
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Long “outside fashion,” Leroy achieved international recognition in the 1980s–1990s (Ghent, Paris, Eindhoven, Cologne; documenta 1992; Venice Biennale 1995). Returning to these late years reveals the radicality of a painting that refuses effect in order to reach the “right image.”
In the Wasquehal studio—windows to the north and south, “light in front, light behind”—model, reflection and landscape are subjected to changing illumination. Leroy seeks “the trace of lived experience” and buries anecdote: detail matters less than luminous sensation.
From 1990 onward, the female nude becomes the site of reduction. Formats rise; matter proliferates yet the figure grows lighter, as if spiritualised by verticality. Touches—often applied straight from the tube or with a knife—break up the polychromy and set the surface to rhythm.
Leroy’s gaze toward Mondrian is not about grids but about the rhythm of unmixed colour areas; Poussin inspires two Seasons cycles, where painting is tuned to cosmic time; Rembrandt and Giorgione remain long-standing companions.
Never merely preparatory, drawing is an autonomous field: charcoal, red chalk, gouache, watercolour… The aim is to “catch” movement—sometimes without looking at the sheet—leaving reserves of white as active light.
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MUba Eugène Leroy, 2 rue Paul Doumer, 59200 Tourcoing
Dates: 3 October 2025 → 5 April 2026
Hours: Daily 1–6 pm (closed Tuesdays and public holidays)
Who is Eugène Leroy?
A painter born in Tourcoing (1910) and deceased in Wasquehal (2000), he built a major body of work where the thickness of paint serves light rather than effect.
What does the MUba exhibition show?
Over 80 paintings and drawings from 1980–2000: vertical nudes, self-portraits, seasons, large gouaches and charcoals.
Which influences does Eugène Leroy claim?
Mondrian for the rhythm of pure colours; Poussin for the time of the seasons; as well as Rembrandt and Giorgione.
Why is the paint so thick?
It results from long reworking until the “right image” appears; impasto is never an end in itself.
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Animal sculpture, smoked ceramic, a living gaze: Régis Sinoquet restores nobility to the animal and confronts us with the fragility of the world. A rare encounter with a sculptor who embodies the very breath of life.
Some artists give shape to ideas. Others give flesh to emotion. Régis Sinoquet sculpts presence. For him, the animal is not a motif—it is memory, breath, otherness. His ceramics do not imitate; they incarnate. They look at you, question you, and reconnect you with that part of the living we too often forget to see.
Clay is a living material; it retains impulses, hesitations, the speed of the hand. Sinoquet embraces the trace—that nervy modeling, that textured skin—as a form of writing. The posture emerges, precise, before the firing fixes the tension. Through high-temperature carbon smoking, contrasts of matte and sheen reveal musculature and movement. Bronze sometimes beckons, as do wood and stone, yet everything returns to ceramic—earth transfigured by fire.
A totemic figure in the artist’s work, the panther becomes the majestic shadow of a world that is contracting. Restored to its wild, fragile truth, it crystallizes the message: a precise gaze, two orbits like planets, a silent face-off that lets emotion settle in. The sculpture observes you as much as you observe it.
No showy virtuosity, no stylistic tricks. Sinoquet seeks inhabited accuracy: a pricked ear, a lifted paw, an arching spine—everything balanced between tension and grace. Knowledge of animal anatomy is matched by a vibrant expressiveness. His signature is unmistakable: living matter, grain, breath.
Restoring the animal’s nobility also names what our species threatens, abandons, or forgets. The sculpture becomes watchful, a discreet yet powerful homage to a world on the brink. Looking is no longer enough: we must recognize and defend. Sometimes, a panther in clay says more than a thousand speeches.
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Who is Régis Sinoquet ?
A contemporary sculptor whose animal-focused practice—primarily in ceramic—explores the presence of the living through matter and gaze. magazine-art-mag.fr-Régis Sinoq…
What techniques does he use ?
Clay modeling, firing, and carbon smoking that produces matte/gloss contrasts; occasional dialogues with bronze, wood, and stone. magazine-art-mag.fr-Régis Sinoq…
Why does the panther recur so often ?
A totem and mirror of our bond with the wild—energy, discretion, fragility—an icon that prompts vigilance. magazine-art-mag.fr-Régis Sinoq…
Is ceramic animal sculpture fragile ?
The pieces are kiln-fired and stable; with proper transport and installation, they integrate durably into a collection. magazine-art-mag.fr-Régis Sinoq…
In Saint-Pierre-des-Corps, near Tours, Les Ateliers de la Morinerie have become a genuine laboratory for contemporary art.
Just before the open studio event, artists Pierre-Jean Chabert (animal sculptor), Sarah Scouarnec (visual artist), and Thibault Jandot (painter) unveiled an intimate yet powerful exhibition — an artistic immersion exploring the bond between material, gesture, and life itself.
Metal, clay, and color converse here with a shared vitality, forming a dialogue where the gesture becomes language and matter becomes memory.
Sculptor Pierre-Jean Chabert introduces a strikingly raw and organic world.
His bronze animal sculptures — rhinoceroses, gorillas, mandrills — seem frozen in suspended motion, radiating strength and vulnerability at once.
Chabert doesn’t represent the animal — he reveals its essence.
Each piece, cast in one of the five foundries he collaborates with, captures the tension and pulse of life, preserving the energy of the artist’s hand within the metal’s density.
It is sculpture as living matter — an elegant balance between primal power and quiet grace.
In contrast, Sarah Scouarnec offers a poetic counterpoint.
Her sculptures, inspired by mythology and surrealism, embody a dreamlike femininity rooted in nature.
Organic forms intertwine with human faces, evoking an archaic and shamanic energy.
Traces of modeling remain visible, as if the clay still breathed.
Through this tactile presence, Scouarnec explores the boundary between body and landscape, spirit and matter, in a deeply human gesture../
A painter from the graffiti scene, Thibault Jandot infuses the space with a vibrant, urban pulse.
His canvases, charged with color and movement, echo Chabert’s animal intensity while anchoring it in the rhythm of the city.
Jandot’s expressive brushstrokes convey a sense of instinctive urgency — an electric connection between the natural and the urban, between raw emotion and artistic control.
This three-way dialogue reveals a rare coherence.
Together, Chabert, Scouarnec, and Jandot celebrate the power of life through matter.
One sculpts the body, another sculpts the soul, the third gives both movement and color.
At Les Ateliers de la Morinerie, art becomes a sensorial experience, a meditation on presence, and a celebration of the creative energy that animates all living things.
To read more, download ART MAG N°27Envie d’en voir plus ?
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The first woman painter to win the Grand Prix de Rome (1925), Odette Pauvert forged a sober, frontal modernity, nourished by the Quattrocento and conceived for large-scale decorative schemes. From the Villa Medici to the intimate scenes of the postwar years, her path sheds light on another history of the interwar period.
Trained at the École des Beaux-Arts in Paris, Pauvert stayed at the Villa Medici (1926–1929), where her clean contours, matte colors, and portrait-landscape approach were refined. Back in Paris, she set her sights on mural painting (the Église du Saint-Esprit, school decorations, Sèvres, 1937 International Exposition). In 1934, the Casa de Velázquez liberated her drawing (charcoal, red chalk). After 1945, material constraints and family life led her toward smaller formats without renouncing her initial ambition.
Long overshadowed by the avant-gardes, Pauvert embodies an alternative modernity: clarity, calibrated scale, and a disciplined gaze. Recent reassessments place her among the major women artists of the 20th century, at the crossroads of Art Deco and Renaissance tradition.
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Who is Odette Pauvert?
Odette Pauvert was a French Art Deco painter and the first woman painter to win the Grand Prix de Rome (1925). Her work advances a sober, frontal modernity informed by the Quattrocento and conceived for large-scale decorative schemes.
Why is she important in Art Deco history?
She embodies a classical modernity as an alternative to the avant-gardes: clarity of form, clean contours, matte colors, a strong sense of mural scale, and disciplined looking.
Where did she train?
At the École des Beaux-Arts in Paris, then at the Villa Medici (1926–1929), where her frontal style and portrait-landscape approach matured. A stay at the Casa de Velázquez (1934) further liberated her drawing (charcoal, red chalk).
What does “classical modernity” mean in her work?
A pursuit of balance and legibility derived from the Italian Renaissance (Quattrocento), applied to contemporary subjects—portraits, scenes, and mural painting.
What are her key works to know?
What is meant by “portrait-landscape” in her practice?
A frontal framework where the sitter is set within an architectured space (decor, city, sea), creating a dialogue between figure and environment.
Did she produce monumental works?
Yes. She pursued large-scale decoration: the Église du Saint-Esprit, school murals, collaborations with Sèvres, and participation in the 1937 International Exposition.
How does her style evolve after 1945?
Material and family constraints led to smaller formats, without abandoning the initial ambition for clarity, frontality, and calibrated scale.
How does she differ from the avant-gardes?
She favors measure, structure, and legibility over radical formal rupture—an alternative modernity of the interwar years.
Where can I see the Odette Pauvert exhibition in Roubaix?
At La Piscine – Museum of Art and Industry, Roubaix, October 11, 2025 to January 11, 2026 (useful dates for visit planning and local SEO).
What techniques does she favor?
Drawing (charcoal, red chalk), painting with matte color fields, a clear line, and controlled modeling in support of frontality.
Why rediscover her today?
Recent reassessments place Pauvert among the major women artists of the 20th century, at the crossroads of Art Deco and Renaissance tradition.
Exhibition — Odette Pauvert at La Piscine (Roubaix): the first woman painter to win the Grand Prix de Rome presents a classical modernity nourished by Italy and the monumental language of Art Deco. A rich itinerary — Rome, Paris, Brittany, Spain — that reframes the interwar years. October 11, 2025 – January 11, 2026.
Born in 1903, Odette Pauvert trained at the École des Beaux-Arts (Paris) and won the Grand Prix de Rome in 1925, becoming the first woman painter to receive the prize. As a resident at the Villa Medici (1926–1929), she forged a distinctive style: crisp contours, matte color, decorative clarity, and the signature “portrait-landscape.”
Returning to Paris, she asserted an ambition for mural painting (Église du Saint-Esprit; a Paris school; a Sèvres nursery; Exposition of 1937) even if public commissions remained scarce in a highly competitive environment.
Who was Odette Pauvert ?
A French painter (1903–1966), the first woman painter to win the Grand Prix de Rome (1925) and a resident at the Villa Medici (1926–1929). She developed a classical modernity informed by the Quattrocento, spanning portraits, landscapes, and mural projects.
What are the exhibition dates in Roubaix ?
October 11, 2025 – January 11, 2026 at La Piscine – Roubaix.
Which key works can visitors see?
Promotion 1926 (1927), Invocation to Our Lady of the Waves (1925), Habib Benglia (1931), Paris 1932 (Yvonne Pesme), The Torero (1934), Odile, Yves and Rémy at the Rond-Point des Champs-Élysées (1946).
Why is the exhibition linked to Art Deco ?
It aligns with the Art Deco centenary and shows how, in the Art Deco era, Pauvert proposed an alternative modernity grounded in tradition and decorative ambition.
Artist and researcher Lise Terdjman brings Louise Maignan-Larivière back to life through a journey combining drawing, ceramics, textiles, video and archives — on view from 26 August 2025 to 4 January 2026 at the Musée de Picardie in Amiens.
“Très chère Louise, here is the dream and the fiction of your exhibition… Wherever there is a gap, there is always the possibility of fiction.” From the outset, the artist states her method: to fill the blanks of history with a poetic and critical gesture, so that Louise appears at the heart of the museum rather than at its margins.
It all starts with a small embroidered casket, delicate and vividly colored, attributed to Louise Maignan-Larivière and shown at the Salon des artistes français in 1902. It bears the words: “Tempeste, bourasque, tourmente, par vertus sont faites clémentes.” This intimate fragment, turned emotional compass, inspires the large drawings AM-OUR and COL-ÈRE and nourishes the entire project.
Drawing—“at the core of the practice,” as the artist puts it—structures an installation pathway across three rooms, with around thirty works in dialogue. The “intense, powdery” pastels—imagined echoes of Louise’s lost works—are joined by a video animating drawings and photographs, a sound piece, an image wall at the entrance, and a ceramic-and-textile sculpture, L’Énigme de Louise, suspended inside a pyramidal display case. These are “open” forms that make room for shadow, absence, and fragment.
Beyond homage, the exhibition offers a critical look at museography. In the 1980s, the Maignan-Larivière collections were broken up according to an encyclopedic logic (classified by periods and disciplines), erasing the original harmony conceived by Louise. Terdjman’s project reassembles the objects “according to sensitive affinities,” breathing new life into the bequest within the museum space.
Lise erdjman wants Louise to become familiar, “just like Albert Maignan”—not a frozen heroine, but an active presence whose spatial thinking (hanging, colors, display cases) shaped the gallery at the Musée de Picardie alongside Albert Roze, then the museum’s director.
A visual artist trained at the Beaux-Arts de Paris and the École des Arts Décoratifs, Lise Terdjman works across disciplines (drawing, ceramics, photography, installation, archives) to explore forgotten narratives and erased female figures. She exhibits in France and internationally (Centre Pompidou, Louvre, Carlsberg Foundation, POUSH) and teaches at ESAD Reims.
Who is Louise Maignan-Larivière?
Wife of Albert Maignan, embroiderer and draughtswoman, she played a major role in establishing the Maignan bequest and arranging the Musée de Picardie gallery (hanging, colors, display cases).
Why the title “Très chère Louise”?
The title comes from a posthumous letter addressed by Lise Terdjman to Louise, embracing the share of fiction needed to fill history’s silences.
What is the source object of the exhibition?
An embroidered casket attributed to Louise, presented in 1902 at the Salon des artistes français, whose proverb about emotions guided the creation.
What will visitors actually see?
A three-room itinerary with around thirty pieces: large drawings, a suspended ceramic piece, video, a sound work, and an image wall—open forms that leave space for the fragment.
Tate Modern presents a major event : Frida: The Making of an Icon. Over 130 works—including key paintings—plus photographs, documents and personal items illuminate how a modern artist became a global icon, shown in dialogue with 80+ artists across generations.
What are the exhibition dates?
25 June 2026 to 3 January 2027.
Where is it held?
At Tate Modern, Bankside, London (UK).
What will I see?
More than 130 works by Frida Kahlo (including key paintings) plus documents, photographs and mementos from her archives, shown alongside works by 80+ artists.
Who organises and supports the show ?
Organised by the Museum of Fine Arts, Houston (MFAH) in collaboration with Tate Modern. Bank of America is Lead Global Supporter, with support from John J. Studzinski, CBE, the Frida patron circle and Tate Members.
Is this part of a tour ?
Yes. It debuts at MFAH (Houston) before travelling to London.
How do I book tickets ?
Book directly on the Tate Modern website (advance booking recommended).
Do Tate Members get benefits ?
Yes. Tate Members enjoy free, unlimited exhibition entry.
Is there a youth offer ?
Ages 16–25 can join Tate Collective for £5 tickets on many shows.
Nearest Tube stations ?
Southwark (Jubilee line) and Blackfriars.
How long should I allow for a visit ?
60–90 minutes for a first pass; up to 2 hours if you explore the archive sections in depth.
