“Black and White: A Photographic Treasure” ois an exhibition dedicated to black and white photography in Morocco, highlighting this technique as a “treasure” due to its timeless artistic character and its ability to highlight contrasts and lights beyond the simple representation of reality in color. This term emphasizes that black and white, far from being a simple constraint, is a justified artistic choice that allows to bring out another dimension of the photographed subjects.
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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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The exhibition “With My Own Eyes” invites us to immerse ourselves in the living Palestinian timeline through the lens of the French photographer Joss Dray, who describes herself as the “Resistance Photographer.” At a time when standing with Palestine was tantamount to professional suicide, Dray bravely documented the atrocities of occupation, tracing the unwavering Palestinian resistance—both in the occupied land and in refugee camps in Lebanon. Through her lens, she captured moments of truth and defiance, creating a visual testimony of a people’s unyielding struggle, from the Sabra and Shatila massacre to the First Intifada, through the Oslo years, and into the Second Intifada.
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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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5 Film & Photo Awards Festival is an international event for film and photography with the intention to create a bridge between different countries and cultures. The Festival is inspired by a 500 years old tree in the suburb of Damavand, located in the village of Aro, which was the subject of photographs by Abbas Kiarostami in different seasons for many years. The number 5 in the festival’s title derives from the movie 5 made by Kiarostami (2002). Festival 5 shows and supports independent artists from Iran and all over the world.
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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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