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Healing Painting (Chasse aux esprits), 2015. Huile sur tableau trouvé / Oil on vintage painting. 32,5 × 40,5 cm (12 ¾ × 16 inches). Courtesy the artist and Art : Concept, Paris. Photo Claire Dorn

Figures of care since medieval times, patients and diseases, touching and being touched, the infinitely small… Fascinating themes evoked by this exhibition as transversal as it is philosophical.

Futher information to come.

Jean-Luc Blanc, Jeanne Angkor, 2020. Huile sur toile / Oil on canvas. 150 × 120 cm (59 × 47 ¼ inches). Courtesy the artist and Art : Concept, Paris. Romain Darnaud

Through the figures of emblematic spies, from Mata Hari to Carrie Mathison, and from OSS117 to Edward Snowden, this exhibition explores a new history of the relationship between cinema and espionage. It establishes as a starting point a mirror game between the two disciplines, practices par excellence involving capture, simulacrum and dissimulation.


The exhibition will travel to the CaixaForum in Madrid (from October 29, 2023 to June 29, 2023) and in Barcelona (from March 31, 2023 to November 29, 2024).

Jeremy Deller, Warning Graphic Content, 1993-2021. Environ 120 posters imprimés / c. 120 printed posters. Dimensions variable. Edition of 2 plus 1 exhibition copy

‘Warning Graphic Content’, brings together all of Jeremy Deller’s print and poster works from 1993-2021.

Jeremy Deller, English Magic, 2013, HD video, colour and sound on blu-ray dvd, 14 min 23 sec. Edition of 6 plus I AP. © Jeremy Deller, Courtesy of the artist, Art : Concept, Paris & The Modern Institute

Kunsthalle Praha is a brand-new art space on Prague’s cultural map. Founded by The Pudil Family Foundation as a non-governmental organisation and non-profit platform, its aim is to connect the Czech and international art scenes. 

Further information to come.

Tommy Malekoff, Nightshine (Pahokee), 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 18 ¼ × 28 ¼ × 1 ½ inches (46 × 72 × 4 cm) (framed). Courtesy the artist and Art : Concept, Paris. Photo Tommy Malekoff

Art : Concept is pleased to present a series of recent paintings by the American artist.
Tommy Malekoff is inspired by the photographs he has taken over the past two years in the Everglades, in South Florida. He sidesteps the familiar, moralizing narrative of ecological decay, and illuminates instead a more nuanced dynamic between human beings and nature.

Further information to come.

Exhibition file (pdf)Download
  • Whitney Bedford, Veduta (Degas Field), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on wood on hybrid panel. 15 × 20 × 2 inches (38,10 × 50,80 × 5,08 cm). Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.
  • Whitney Bedford, Veduta (Dove), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on wood on hybrid panel. 16 1/2 × 25 3/4 × 2 inches (41,91 × 65,41 × 5,08 cm). Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.
  • Whitney Bedford, Veduta (Hodgkin Palms), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on wood on hybrid panel. 16 × 22 inches (40,64 × 55,88 cm). Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.
  • Whitney Bedford, Veduta (Klimt), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on wood on hybrid panel.
    43 ½ × 43 ½ × 2 inches (110,49 × 110,49 × 5,08 cm). Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.
  • Whitney Bedford, Veduta (Léger), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on wood on hybrid panel. 24 × 30 × 2 inches (60,96 × 76,20 × 5,08 cm). Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.
  • Whitney Bedford, Veduta (Munch Red Rocks), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on wood on hybrid panel. 27,8 × 39,6 × 2 inches (70,61 × 100,58 × 5,08 cm). Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.
  • Whitney Bedford, Veduta (O’Connor), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on wood on hybrid panel. 26,6 × 36 × 2 inches (67,56 × 91,44 × 5,08 cm). Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.
  • Whitney Bedford, Veduta (Salvo), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on linen on hybrid panel. 31 1/8 × 22 1/4 × 2 inches (79,06 × 56,52 × 5,08 cm). Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.
  • Whitney Bedford, Veduta (Sérusier), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on linen on hybrid panel. 30 × 43 1/2 inches (76,20 × 110,49 cm. Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.
  • Whitney Bedford, Veduta (Spilliaert), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on wood on hybrid panel. 22 × 30 × 2 inches (55,88 × 76,20 × 5,08 cm). Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.
  • Whitney Bedford, Veduta (Turner White Rainbow), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on wood on hybrid panel. 15 × 23 × 2 inches (38,10 × 58,42 × 5,08 cm). Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.
  • Whitney Bedford, Veduta (Valloton Romanel), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on wood on hybrid panel. 20 × 30,7 × 2 inches (50,80 × 77,98 × 5,08 cm). Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.
  • Whitney Bedford, Veduta (Van Gogh Flowers), 2022. Encre et huile sur toile tendue sur bois / Ink and oil on wood on hybrid panel. 32 1/2 × 40,1 × 2 inches (82,55 × 101,85 × 5,08 cm). Courtesy the artist and Art : Concept, Paris. Photo Evan Bedford.

Art : Concept is pleased to present Whitney Bedford’s fifth solo exhibition at the gallery.

The artist’s latest series brings together what she calls Vedute, a series of landscape paintings inspired by late nineteenth and early twentieth century masters – from Degas to Sérusier, Klimt or Van Gogh. As with her paintings of shipwrecks, icebergs, and rainforests, the California-based artist reappropriates this historical legacy and uses it as references for her autobiographical landscapes, which work as contemporary allegories of social and environmental experiences.

Caroline Achaintre, Elm, 2021. Céramique/terre cuite / Ceramic/terracotta, 63 × 26 × 22 cm. Courtesy the artist and Art : Concept, Paris. Photo Romain Darnaud. Collection Villa Datris

The Villa Datris continues to explore ancestral knowledge revisited by contemporary creation.

From May 27 to November 1, 2022, the Foundation explores the art of ceramic sculpture by bringing together more than 130 works by 100 historical, contemporary and emerging French and international artists.

Vidya Gastaldon, Teapot, salad, poltergeist, 2012. Acrylique et huile sur toile / Acrylic and oil painting on canvas. 60 × 70 cm (23 ⅝ × 27 ½ inches). Courtesy the artist and Art : Concept, Paris. Photo Nathalie Rebholz

In 2004, Pommery became the first Champagne house to open the doors of its estate and its Gallo-Roman chalk pits to contemporary artists.

This unique underground site, steeped in history, has become a place of exchange and creation between renowned contemporary artists from all over the world, working under the direction of curators whose creativity is constantly renewed.

Further information to come.

  • Caroline Achaintre, Twobuns, 2018. Ceramics, 43 × 27 cm (16 ⅞ × 10 ⅝ inches). Courtesy de l’artiste et Art : Concept, Paris. Photo Claire Dorn
  • Caroline Achaintre, Puff E, 2020. Ceramic/porcelain. 30 × 38 × 9 cm (11 ¾ × 15 × 3 ½ inches). Courtesy de l’artiste et Art : Concept, Paris. Photo Romain Darnaud
  • Caroline Achaintre, Hadrian, 2020. Ceramic/terracotta. 29 × 51 × 11 cm (11 ⅜ × 20 ⅛ × 4 ⅜ inches)Courtesy de l’artiste et Art : Concept, Paris. Photo Romain Darnaud
  • Caroline Achaintre, Politesse, 2019. Ceramic. 37 × 52 × 7 cm (14 ⅝ × 20 ½ × 2 ¾ inches), Courtesy de l’artiste et Art : Concept, Paris. Photo Romain Darnaud
  • Caroline Achaintre, Augustus, 2021. Ceramic/porcelain. 56 × 24 × 5 cm (22 × 9 ½ × 2 inches), Courtesy de l’artiste et Art : Concept, Paris. Photo Romain Darnaud

Contre-Nature (Against Nature) is an exhibition inhabited by insolent, hybrid shapes made of clay and enamel, such grotesque creatures compose a luxuriant, original, mysterious, troubling, or even hallucinatory world.
Nature is artifice, and artifice becomes nature in order to decategorize scales and values, as well as to reverse commonplaces regarding sculpture and the ceramic tradition. The works gathered concern ceramics less as folklore than as modeling and alchemy, technique, and magic. Water, earth, and fire are the essential, unrivaled components of these new worlds: « What we call against nature is in fact against custom. » (Montaigne)