Reviews (french only) — Slash Paris

At Ceysson & Bénétière Gallery, Franck Chalendard deploys a fantastic energy which, while initially striking for its dynamism, convinces through the multitude of side paths it leads painting down; paths whose radical nature pushes the practice beyond its own frame.

The Palais de Tokyo opts for sobriety and an intelligence of forms with an exceptional and perfectly mastered exhibition of the sculptural work of Melvin Edwards, restoring for the French public his full place in the history of sculpture and situating him within a rich and inspiring spiritual continuity oscillating between universality of expression and particularism of expression.

In Agathe May’s universe, presented at the Catherine Putman Gallery, images are grasped in flashes, frontally, almost familiarly, somewhere between the memory of illustrations and the realism of a testimony anchored — and inked — in collective memory

Polka Gallery presents Immersion, a retrospective exhibition of Joel Meyerowitz, a pioneer of color photography, which sets some of his iconic works alongside the continuous projection of an interview with the artist.

Christopher Le Brun approaches painting as a field of intensity where the impulse of gesture, the density of material, and the resonance of images converge. His work, nourished as much by art history as by sensory experience, progresses through patient layers, allowing an inner light to surface in each painting.

June Crespo, a Spanish artist born in 1982, whose intriguing sculptures merging the organic with the mechanical we were able to discover at the 2022 Venice Biennale, presents her first exhibition in France at the Crédac, Rose Trraction.

The Picasso Museum is hosting a stark exhibition of Philip Guston, The Irony of History, which, behind the appealing idea of a meaningful encounter, is unfortunately spoiled by a display whose pacing is rather weak and largely awkward.

Through materiality and the reinvention of ritual practices, the Self-Comb Sisters—at the origin of the exhibition presented at Kadist—formed a community of Chinese women who chose to remain single in the early 20th century and devoted themselves to silk work.

In this variation on self-portraiture, the artist stares at the lens or turns away from it, exposes herself and withdraws, letting her features stretch and ripple across the solidified drips of the canvases that receive her impressions.

Ruoxi Jin’s exhibition Microclimats, presented at Mennour Gallery in Paris from October 16 to November 22, 2025, invites a journey in which found objects, bodily metaphors, and suspended temporalities become autonomous zones of interest that the artist connects to one another.

As part of the exhibition Frammenti, presented at Bernard Jordan Gallerie in Paris from October 18 to November 22, 2025, the artist duo Hippolyte Hentgen, composed of Gaëlle Hippolyte and Lina Hentgen, invites the visitor on a visual journey where imagination takes hold of space, volume, and color.

Dans les méandres d’une pensée plastique en expansion, au cœur même de la réflexion intime que l’artiste entretient avec son propre geste, Pauline-Rose Dumas propose, pour sa première exposition personnelle à la galerie Anne-Laure Buffard, une partition réjouissante et sensible.

Drifts of cosmic dreams and the depths of pain intersect in the new thematic exhibition at the Mariane Ibrahim Gallery, Door to the Cosmos, with Nick Cave, George Clinton, Michi Meko and Zohra Opoku.

Dernier volet du triptyque d’expositions Breaking Kayfabe entamé il y a quelques mois à la Maison Populaire de Montreuil qui emprunte au monde du catch son lexique afin de réfléchir, à ses côtés, à la dimension représentative et interactive de l’exposition, Heel Turn, sous l’impulsion de sa commissaire Camille Martin, poursuit cette exploration du monde de l’art en acte.

Plays on scale and breaths of transparency, Jaume Plensa’s sculptures redefine the space of Galerie Lelong, which is dedicating to him an exhibition at his own measure: monumental.

Avec Trouver son monde, le 19M propose une très belle exposition qui, à travers une thématique propice à l’imaginaire, parvient à articuler des visées poétiques, des rêves de matière et de véritables enjeux politiques.

By pushing the focus to its most intimate point, Mathieu Cherkit touches upon a shared interiority, letting affects slip freely, guided by our own visions—from the gentle quiet of the home to the bitter repetition of confinement. A highly convincing new exhibition is presented at the Xippas Gallery.

Striking in its conceptual precision and serene in its beauty, Théo Mercier’s new exhibition at Galerie Mor Charpentier immediately captivates through its visual power and symbolic intensity.

Explosive, ambitious, joyful, and committed, the exhibition Forever Young at Mac Val accompanies the museum’s anniversary with marvelous verve. Over the course of twenty years, the institution has become a venerable monument, yet it has never renounced its commitment to exploring the issues and challenges of its time and of the identities it helps to shape.

The Abraham & Wolff gallery presents an intimate and all the more poignant exhibition dedicated to Jochen Gerz. A selection of rare works reveals a plastic trajectory where the invention of form is never a stylistic effect but always a vector of thought.

Zlotowski gallery welcomes curator Cécilia Becanovic (co-founder of the Marcelle Alix Gallery) for an exhibition that brings together around twenty modern and contemporary artists in a display of evident generosity, overflowing the confines of a delightfully compact space.

At the Palais de Tokyo, the exhibition devoted to Vivian Suter immerses us in a pictorial universe of rare density—organic, free, and deeply sensory.

K. Desbouis fait revivre et donne littéralement corps à une oeuvre passionnante et d’une portée universelle, les Garbage Bodies d’Alfred Hofkunst, qui imprimait sur des sacs poubelle les dessins de vêtements identifiant des figures archétypales du monde moderne.

Écho direct à la fermeture en cours du Centre Pompidou, l’exposition The Last Museum présentée à la galerie Poggi propose un parcours exigeant et inattendu autour de la possibilité de survie même de l’œuvre d’art.

Valentin Rilliet présente à la galerie Peter Kilchmann un ensemble très intéressant de peintures qui fait converser les influences et les traditions, usant avec intelligence de la technique pour faire émerger les souvenirs et imaginaires.

Dazzling, brilliant, and striking, the carte blanche granted to Wolfgang Tillmans in the cleared-out spaces of the Centre Pompidou’s Public Information Library is one of the most exquisite gifts you can give to all those who have spent their days here.

White Cube gallery offers a suspended moment with an unexpected exhibition of Robert Irwin, a major artist rarely shown in France.

At Loevenbruck Gallery, Arnaud Labelle-Rojoux plays with words the way others compose images: through bursts of intuition, driven by a playful impulse and the regressive pleasure of immediate sharing. Yet here, the fleeting moment stretches into duration. The joke becomes a legend — in the photographic sense — of a reality captured in its raw form. Without images, nothing touches everything.

David Zwirner Gallery presents Studio Conversations, an artistic dialogue of subtlety and finesse that highlights painterly sensibilities, connected by a shared perspective on a very tangible reality and the tension of its potential escape.

Impossible encounters between objects and the modes of production of those very objects, the paintings of Hyunsun Jeon (born 1989), exhibited at Galerie Lelong, strike one first by the way they blend simplicity with complexity.

Karsten Greve Gallery presents Présences, an exhibition by Robert Polidori, the renowned Canadian photographer celebrated for his exploration of memory through his meticulous documentation of restoration sites. From Versailles to Pripyat, his images reveal the haunting beauty of places marked by history and decay.

Le Palais de Tokyo déploie, avec Joie collective – Apprendre à flamboyer !, une exposition qui, derrière la superbe de son programme et de ses ambitions, se heurte au vide de ses propositions et à la légèreté des démarches de ses créateurs.

Back at the Grand Palais, Art Paris 2025 once again establishes itself as an unmissable event on the art calendar. With a gallery selection that becomes more refined each year, the fair strikes a balance between curatorial ambition and a certain caution in the choices presented. While this year’s edition is not revolutionary, it offers a well-balanced panorama with a restrained elegance that allows certain talents to shine.

Inspired by philosopher Vinciane Despret and poet Sean Bonney, as well as influenced by the thought of Derrida, the Tactical Specters exhibition at La Ferme du Buisson plays with the incarnations of memory to multiply the breaths of recollection that keep thought in dynamic spaces.

Extrêmement riche et infiniment inégale, l’exposition Paris noir au Centre Pompidou oppose à toute tentative de réduction une surabondance d’oeuvres et un éventail de directions laissant, au final, le visiteur abasourdi par les raccourcis et admiratif de la somme de travail accomplie.

Labanque présente une exposition élégante qui joue sur la séduction des formes afin d’instaurer un dialogue fructueux entre l’homme et la nature. Comme le disait Victor Hugo, « rien n’est plus imminent que l’impossible », et c’est bien sur cette lisière que s’aventurent Ambroise&Victor : celle où l’art réenchante le réel et où la rigueur du savoir cède un instant à la magie du regard.

La galerie White Cube présente Intimate Visions, une exposition ambitieuse, bien que malheureusement quelque peu frustrante et maladroite, mêlant des œuvres de diverses époques au service d’une vision romantique de la rêverie intime.

À l’occasion de son exposition au centre culturel Passerelles de Pontault-Combault, dans le cadre de la programmation hors-les-murs du Centre Photographique d’Île-de-France, Denis Darzacq déploie une série d’œuvres où l’abstraction et le mouvement s’entrelacent.

Le Château de Versailles accueille au sein de ses salles une exposition personnelle de Guillaume Bresson, dont le commissariat, peu lisible et avide de sensationnalisme entretient une ambiguïté qui paraît manquer la substance d’un oeuvre qui a su la dépasser.

Formé auprès de Dominique Zinkpé, l’artiste béninois Benjamin Déguénon (1982) élabore à la galerie Robert Vallois un bestiaire de chimères conjuguant spiritualité et fantaisie, marqué par le plaisir du geste de la création.