Bringing together artists from Tate’s Collection, Gathering Ground explores the connection between environmental and social justice. Featuring works by Outi Pieski, Abbas Akhavan, Bruce Conner, Zheng Bo, and others, the exhibition honors Indigenous knowledge, queer multispecies relations, and the impact of land displacement. Set in a former power station, it invites reflection on our role in shaping a more just and sustainable future.
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The IMA Museum is renewing the photographic exhibition at the entrance to its exhibition (level 7): alongside the exhibition “Treasures Saved from Gaza. 5,000 Years of History,” it is offering a rich selection of old photographs from the collections of the Oriental Library of Saint Joseph University in Beirut (@bo.usj), dedicated to the sites and monuments of Lebanon—greatly endangered by Israeli bombardments—and shown for the first time in France.
In addition, the museum is exhibiting for the first time Li Bayrut, a large bronze by Chaouki Choukini created in the aftermath of the explosion in the port of Beirut.
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“This is Not an Exhibition”, and certainly not a traditional one neatly displaying specific artworks by their artists. That is beyond our capabilities now; no one can do so, as basic communication with Gazan artists is almost impossible. They, like everyone else in the Gaza Strip, are resisting annihilation in a genocidal war. For months, they have been suffering the misery of displacement, hunger, and cold. They left their homes and studios behind, either destroyed or their destruction imminent, and have consigned their artworks to flames, shelling, and death. As for those who live outside Gaza, their hearts are being torn apart by the agony and martyrdom of their families, our families, and their fates. These considerations have made the mere mention of art seem a luxurious disconnection from reality, and consequently has made it seem preposterous to even think about creating a conventional exhibition.
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Monument of Oblivion: River of Lethe by Neda Saeedi with Nicholas Busmann is a sound installation using building site elements in a continuous cycle of construction and deconstruction. Installed at a monastery ruin, it reflects on permanence and absence, collapse and renewal, and is accompanied by screenings, performances, readings, and an educational programme.
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Salt Beyoğlu presents We’ve Been at the Tapestry Studio Since the 90s, an exhibition tracing the history and impact of the Tapestry Studio at Mimar Sinan Fine Arts University. Established in the 1970s and transformed from the 1990s onward under Gülçin Aksoy, the studio combined weaving with contemporary art, fostering collective, experimental, and feminist practices that bridged academia, everyday life, and Istanbul’s independent art scene.
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This exhibition is part of the Festival d’Automne 2025. Paris des Vi(ll)es: Public Intimacies is an in situ artists’ residency, an exhibition, and a series of performances. Participating artists are: Bruno Carpentier, Sélima Chibout, Saad Eltinay, Nathalie Harb, Inssa Hassna, Djodjo Kazadi, Jeanne Tara, Vicente Lesser, Sandra Madi, Gabriela de Matos, Cara Michell, Androa Mindre Kolo, Mega Mingiedi Tunga, Oliver Musovik, Lasseindra Ninja, Léonce Noah, Efrin Özyetiş, Scénos Urbaines (François Duconseille and Jean Christophe Lanquetin), Sello Pesa, Rester.Étranger, Ika Ryu, Beatriz Santiago Munoz, Kristina Solomoukha + Paulo Codeluppi + Barbara Manzetti, Samuel Suffren, Ika Yuliana.
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