Jennifer Douzenel conceives her videos as paintings in the continuity of the pictorial tradition and where temporality is played out as a plastic element. She records moments of reality reduced to the frame of a single fixed shot. The still image already contains almost everything. The time of these shots, in a loop, allows one to leave the action for what surrounds it, to approach the meaning of the composition or to wander towards awakening.

With the artist and Philippe Bettinelli, curator of the new media service

Perspective and Bienfaiteurs // Jennifer Douzenel's workshop 

Atelier d’artiste

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While the Musée d'Orsay is devoting a vast exhibition to him from 20 September to 23 January 2023, the Galerie Poggi is organising in its space in the Marais an exceptional dialogue between two rare paintings by Edvard Munch (one from 1903 and one from 1923), never before exhibited in France, and a group of painted and engraved works by his compatriot Anna-Eva Bergman.
From the perspective of landscape, the two painters come together and each express a mystical and cosmological relationship with nature. Although Edvard Munch's personality and work are obviously marked by his depressive disorders, his existential anguish and his neurotic relationship with the society of his time, a completely different aspect of his character is revealed through his relationship with nature, which he depicted as much as human nature. 

With Sophie Duplaix, head of the contemporary collections department and Michel Gauthier, curator of the contemporary collections department

Edvard Munch and Ana-Eva Bergman, a cosmology of art

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International Circle

Acquisition Group for Design

Acquisition Group for Photography

Acquisition Group for Contemporary Art

Mission Recherche

From July 3rd to November 6th, 2022, the Fondation Cartier pour l'art contemporain presents the first solo exhibition of Aboriginal artist Mirdidingkingathi Juwarnda Sally Gabori outside Australia. Considered one of Australia's leading contemporary artists of the past two decades, Sally Gabori began painting in 2005 at the age of 80 and quickly gained national and international artistic recognition. In a few years, with a rare creative intensity, until her death in 2015, she developed a unique body of work with vibrant colors, with no apparent attachment to other aesthetic currents, particularly within contemporary Aboriginal painting.

With Juliette Lecorne, curator of the exhibition

Mirdidingkingathi Juwarnda Sallygabori