À la frontière du documentaire et de la fiction, Rayane Mcirdi
construit ses films à partir d’histoires, de souvenirs et d’anecdotes
recueillis auprès de sa famille, de ses proches et des habitants
d’Asnières-sur-Seine et de Gennevilliers, où il a grandi.

The exhibition explores the ways in which artists become custodians of stories, revive fragmented memories, and imagine alternative futures.

Avec ”Premières vues”, le Domaine régional de Villarceaux s’associe au Frac Île-de-France pour confier le commissariat d’une exposition à celles et ceux qui le font vivre au quotidien : l’équipe du domaine.

The exhibition brings together various aspects of contemporary sculpture from the collections of the Frac Île-de-France with works and anecdotes from the life of sculptor Henri Chapu…

Le Syndrome de Bonnard (Bonnard Syndrome) reveals the shifting and open nature of the works. Between reworkings, reactivations, and recycling, they continue on their own trajectory beyond their entry into collections.

As part of this new volume of Temps d’art, the public is invited to perform a similar gesture using stencils that echo, among other things, the police anecdote of the 1965 theft of a Pierre Bonnard painting from the Menier collection—the former owners of the château that preceded the museum.

Le Syndrome de Bonnard (Bonnard Syndrome), will reveal the evolving and open nature of artworks. Through reworkings, reactivations and recycling, the works continue to evolve after entering collections.

The exhibition Pantin explores the connections between language, the city, and intimacy through an installation of letter-sculptures and images created in the artist’s living and working spaces.

Le Syndrome de Bonnard (Bonnard Syndrome), will reveal the evolving and open nature of artworks. Through reworkings, reactivations and recycling, the works continue to evolve after entering collections.

A group of students from Romain Bernini’s studio at the École des Beaux-Arts de Paris rounds out their training by collaborating with the Frac to design a series of workshops where their brushes meet those of the public in the outpatient department.

The Musée Transitoire is an institution-as-artwork that engages with the architecture and acoustics of places in transition. The Musée Transitoire, the fourth edition of The Musée Transitoire, is an exhibition in several acts.

A sung and introspective extension of the Syndrome de Bonnard, this performance by Cally Spooner is revived at the heart of the exhibition that closes La Galerie’s season.

In Splash collection, the works become the protagonists of a story inspired by the worlds of manga and comic strips. Among them is Le décalage by Marc-Antoine Matthieu.

The exhibition brings together various aspects of contemporary sculpture from the collections of the Frac Île-de-France with works and anecdotes from the life of sculptor Henri Chapu…

Laura Burucoa’s artistic practice takes shape based on the context and the people with whom she interacts. She initiates group activities in which she pays particular attention to the issues at hand, as well as to ways of communicating and collaborating.

Au programme de la Nuit Blanche 2026 : atelier, visite et performance chantée - dansée !

Figurines, livres, photos chéries, objets trouvés ou rapportés sont autant d’éléments qui peuvent constituer des collections personnelles et trouver leur place dans nos espaces intimes…

Musical works are, by their very nature, subject to interpretation and reinterpretation. This is less often the case in the visual arts, where the value and preservation of the unique and original work are central to institutional concerns.

Les dessins au fusain, au pastel et au crayon de couleur de Lucile Boutin sont des compositions minutieuses et lentes qui oscillent entre des représentations d’un travail manuel et des visions oniriques…

A workshop led by Célia Boulesteix with UPEAA students; this workshop explores the image as a “double” of a constantly evolving reality.

How can we explore Paul Gauguin’s artistic legacy through the collections of the Frac Île-de-France?

Ruoxi Jin weaves a family genealogy and creates a parallel world made up of truths and legends, memory and projection.

Avec La Tribune, Elise Courcol-Rozès interroge ce qu’est « faire justice ». Elle récolte les récits de témoins, prévenus et victimes sur leur perception de l’espace architectural du tribunal et la répartition de la parole en son sein. Par sa manière de travailler, l’artiste adhère à une conception bonnardienne de l’art.

Mathilde Denize stages her paintings, transforming them into authentic “theatrical tableaux.”Through her installations, she creates spaces for perception rather than narrative, encouraging us to explore shapes and sensations.

Elouan Le Bars explores the logic of simulation specific to digital environments, the speculative and interactive potential of video games, changes in the world of work, and their managerial implications.

The works of the artists featured in FoRTE#7—sculpture, artist’s books, immersive installations, video, and sound art—engage in dialogue with the Frac Île-de-France collection and reflect the way in which artists address contemporary issues—memory, ecology, digital technology—to create sensitive worlds.

This trail offers an encounter with various forms of contemporary art centered on the theme of water, echoing the medieval and monastic history of the Villarceaux Regional Estate.

Maty Biayenda creates a kaleidoscope of aesthetic experiments in a variety of media: paintings on canvas or wood, drawings on paper or printed on fabric, installations and videos.

Presented simultaneously at the Frac Île-de-France Reserves and in the Boiler Room of the Fiminco Foundation, the exhibition of the inaugural edition of Art Émergence brings together the final projects of 42 artists and designers graduating in 2024 from all French public art and design schools, with one graduate per school.

In Nemours, the only remaining trace of the medieval era is the massive architecture of this fortress that has withstood the passage of time. It stands as a rare example of the urban castles found in the Île-de-France region between the 12th and 15th centuries.

The contemporary fin’amor works of artist Héloïse Farago are nestled in the heart of the permanent exhibition of the ARCHÉA museum, echoing the thousand years of medieval history of the Roissy territory, which was previously that of the Franks and then the scene of the Hundred Years’ War.

Cette exposition prend racine dans les récits médiévaux, marqués par le développement du culte des saints et la consolidation d’une tradition écrite. Elle propose des échos contemporains qui prolongent les aspirations spirituelles émergentes à cette époque.

The Jean Cocteau Cultural Center and the Paul Robert Comprehensive High School in Les Lilas are collaborating on a joint exhibition curation project led by students from two 10th-grade classes and curator-educator Thomas Maestro.

Spanning a diptych between Le Plateau and Les Réserves, the exhibition unfolds various forms of hybridization. At Plateau, in the spirit of Berserk, and referring to the nineteenth-century interpretation of the medieval period, more mystical and romantic, the works take us on an obscure and dark journey.

Garance Früh’s sculpture and installation work maintains a fragile and tenuous link with questions of protecting, defending and caring for the body, using pre-existing materials that most often constrain, protect or clothe the female body.

Dans un diptyque entre Le Plateau et Les Réserves, l’exposition déploie différentes formes d’hybridation. Aux Réserves, l’exposition puise ses références dans le merveilleux, les créatures anthropomorphes, le bestiaire médiéval. Elle nous transporte dans le monde de Pyrrhia, soulignant la place importante de l’artisanat et du lien à la communauté.

Matthias Odin se nourrit des rencontres et des hasards qui placent son travail dans un mouvement d’errance et de constructions tant hasardeuses que choisies.

The Frac invites students to extend their discovery of the works by creating mediation narratives so that visitors can appropriate the fictional power of the works and their associations. Two other classes take part in workshops on the medieval practice of an artist from the Berserk & Pyrrhia programme.

The exhibition À la fenêtre du donjon revisits medieval characters through contemporary art. Artists and students aged 11 to 17 create their own knights, witches, fantastic creatures and monks, inspired by pop culture, video games, theatre and fantasy. The exhibition shows how the medieval world continues to inspire young people and artists today.

The artist Léo Penven constructs a multitude of models where marvelous and bizarre castles take shape between reconstruction and extrapolation.

Carlota Sandoval Lizarralde’s exhibition in the Project Room as part of Drawing Now and Printemps du Dessin focuses on her drawing practice, which takes shape in a variety of ways.

Presentation of two sculptures by Michel Charpentier (1927-2023), from the Frac Île-de-France collection, in the garden of the Maison Jean Cocteau in Milly-la-Forêt.

L’exposition est une exploration poétique de l’intimité entre la terre et le corps, librement inspirée des recherches sur les sociétés matrilinéaires à l’époque néolithique menées par l’archéologue lituanienne Marija Gimbutas.

Wei Libo was born in China in the 1990’s. He began his artistic studies in France in 2017 at the École supérieure des Beaux-Arts in Nantes, Saint-Nazaire, then continued in 2020 the National School of Fine Arts in Paris from where he graduated in 2024. He is currently a resident of Villa Belleville.

Exposition des lauréats FoRTE #6 (Fonds régional pour les talents émergents) en dialogue avec les œuvres de la collection du Frac Île-de-France

L’installation de Thomas Buswell intègre une fontaine conçue avec plusieurs haut-parleurs recouverts de serpillères plongés dans un bac rempli d’eau prolongé par des excroissances qui se propagent au sol comme des champignons mutants.

Joséphine Berthou réalise des films de fiction imprégnés d’une importante part documentaire et de comédie musicale. Ses films s’incorporent à de vastes installations et envisagent les rôles que chacun acquiert dans une société globalisée où les informations circulent de manière toujours plus immédiate.

Fruit d’un processus collaboratif, Coller l’oreille aux colimaçons est une
exposition qui nous invite à reconsidérer notre rapport au temps.

Joséphine Topolanski oriente sa pratique vers différents médiums. Ses œuvres prennent leur origine dans les témoignages, les enquêtes d’États sur les phénomènes spatiaux inexpliqués, les conférences internationales sur l’existence d’ovni, de vies extraterrestres ou de trous noirs.

Storytelling, scenography and symbols run through Na Liu’s work, and are reflected in all the media she explores (painting, drawings, videos, objects). Mrs XX, the main character in her films conceived as chapters, is scrutinized in her every move by an outside eye. The left eye absorbs the fantasy, while the right sees the truth.

Andréa Sparta’s discreet installations bring together objects that everyone can recognize, but whose nobility is usually hidden from view. The choice of elements is established in a non-hierarchical, careful and attentive way, in a relationship to domesticity.

She uses fabrics of various shapes and colors taken from plaster blocks, colored round-headed pins, portmanteaus, ropes, curtain tiebacks, reflective sequins and found images. This attraction to textiles has led to research into the skin, raising questions about permeability, vulnerability, limits, vertigo, inheritance and possible transformations.

Romain Best’s installation and sculpture work is rooted in materials as diverse as rainwater, steel, grease, bronze, aluminum, copper, plastic, rubber, steel, lead and ceramics. Learning the techniques involved in apprehending the different states of matter is the starting point for research that leads to new experimentation.

Inspired by her Iranian and French cultures, her work is mainly based on compositions that combine writing in different languages, common and poor materials, and images or objects from popular culture, all of which can be reproduced in completely original ways in a variety of contexts.