(CANAL+ Prize and Audience Prize – Clermont-Ferrand 2025)
An absurd tragedy set in a repressive society where kissing is punishable by death and people pay by receiving slaps in the face. Angine, an unhappy woman, engages in compulsive shopping in a department store and becomes captivated by a naïve salesgirl. Despite the ban on kissing her, the two grow closer, arousing the suspicion of a jealous coworker.
The film will be screened at Palazzo Grassi as part of a selection of films from the Schermo dell’arte festival.
Populated by impalpable, fragile, and unsettling presences, Villa Bernasconi presents the exhibition Stitches: A Haunted House and Other Ghost Stories, curated by Collectif Détente. Continuing the curatorial project Stitches initiated in 2020, the exhibition explores the spectral potential of textiles. By clothing the invisible and giving it form, fabric becomes a messenger between worlds, carrying suspended stories and forgotten memories.
At the threshold of the perceptible, the exhibition questions what the figure of the ghost and its dwelling reveal within contemporary artistic practices. Witnesses to concealed legacies, collective fears, and intimate narratives, the works on view give shape to what cannot—or must not—be seen. With tenderness, mischief, and unease, they reveal the haunting that inhabits domestic objects, living spaces, everyday gestures, and social structures. In dialogue with the architecture of Villa Bernasconi, the house itself becomes a haunted subject, allowing the voices and absent beings to surface—those “others” with whom we coexist, who follow us, or accompany us.
Stitches: A Haunted House and Other Ghost Stories Serge Comte, Vidya Gastaldon, Christophe Terpent & Jean-Michel Wicker / Ryan Gander / Dorota Gawęda & Eglė Kulbokaitė / Gotscho / Gregory Tara Hari / Sonia Kacem / Léa Katharina Meier / Meret Oppenheim / Benoît Piéron / Nina Rieben / Li Tavor / Sandar Tun Tun / Claire van Lubeek / Latefa Wiersch, and a film with Heidi Bucher
Exhibition from January 21 to March 22, 2026 Opening hours: Wednesday – Sunday 2 pm – 6 pm
Ulla von Brandeburg – “It Has a Golden Sun and an Elderly Grey Moon” Film super-16-mm, colour, sound, 22 min 25 sec.
Le Grand Café is participating in the Trajectoires #9 dance festival* for the third consecutive year. The art center is presenting three artistic creations at the crossroads of dance and visual arts, featuring tableaux vivants, body-objects, and memory theater.
It has a Golden Sun and an Elderly Grey Moon Ulla von Brandenburg 2016 Film, duration 22 min 25 sec Looped from 3pm to 6pm
The SCÉNO festival welcomes artists who invent forms, open up the stage, and, through their gestures, sketch out new perspectives. A set is never neutral: it already contains, in negative, a play yet to come. This is the vision carried by SCÉNO.
The festival invites scenographers who are also directors, visual artists, and choreographers. What do they have in common? The stage — which they constantly reinvent, each in their own way.
On the program: four performances, one installation, and a series of conversations conceived as dialogues to share their approaches. There will also “scenographic quarter-hours” proposed by ENSATT students, as well as post-show discussions. SCÉNO proposes to approach theatre from its very foundations: where everything begins.
In Das Was Ist (“What Is”), Ulla von Brandenburg makes the curtain—an emblematic object of the theatre—the core of her installation. Pierced by a circular opening, each curtain becomes both a passage and a viewpoint.
By moving through these openings, the audience is immersed in successive fields of vivid color. The reverse side of the set reveals another kind of beauty: that of the traces left by paint rollers. The work thus becomes a promise of theatre, offering in a single gesture both access to fiction and the exposure of its making.
“I use fabrics to create spaces in which one can imagine being elsewhere, so to speak falling into other worlds. In a space where curtains are suspended, the separation between inside and outside, or between different worlds, becomes blurred. And this blurring leads one to question where one is.” — Ulla von Brandenburg
In partnership with Abattoirs, Musée FRAC Occitanie Toulouse.
Jan Eustachy Wolski, Untitled, 2025, oil on canvas, 73,5 x 101 cm. Photo: Szymon Sokołowski
In 2026, Art : Concept launches Ménage à Trois, a new exhibition cycle dedicated to presenting, for the first time in France, the work of artists in collaboration with the galleries that represent them.
To inaugurate this new cycle, Art : Concept is pleased to present a solo exhibition by Jan Eustachy Wolski, in collaboration with Neue Alte Brücke. Titled after the Polish amalgam Powłoka, the exhibition takes its name from a term that does not fully yield itself to translation. Its semantic field spans notions of membrane, paint covering, film, and any surface that shelters from view, filters perception, or selectively reveals.
Unlike in prior works, the series veers from abstraction to figuration in a way that it grants near-equal weight. At times, solitary figures are paired with disorienting, chromatic fields; elsewhere, cityscapes get corrupted into congested, loose paint patches. While hinting at a post-industrialized world, the narrative aspects of the works engineer a decisive incompleteness as the figuration does not give way to resolved narratives, adumbrating the works with sustained ambiguity.
Wolski’s handling of texture with protruding paint, heavy impasto, and sweeping gestural strokes heightens the immediacy of the physical presence of paint. Anchored in bold colors, his painterly strategies relate an intentional tendency to sink the viewer into these worlds. Through a calculated interplay of fogged narratives, scrutiny of texture, and the unresolved duality of abstraction and figuration, Wolski foregrounds the skin of the painting as a physical and symbolic membrane through which the image and its meaning hesitate.
Wolski’s practice rests on a form of dystopian worldbuilding, marked by ambiguous representations that navigate early twentieth-century expression, superfuture aesthetics, and the legacy of abstract art, where narrative coalesces with painterly components in densely textured surfaces.
Jan Eustachy Wolski (b. 1997, Cracow, PL) lives and works in Cracow. He studied at the university of Applied arts in Vienna and the Academy of Fine Arts in Cracow. Recent solo exhibitions were presented at Neue Alte Brücke, Frankfurt, and Piktogram, Warsaw. He has exhibited his works in group exhibitions at Contemporary Art Center Vilnius, Modern Art, Paris, Piktogram, Warsaw, Zachęta National Gallery of Art, Warsaw, Stefan Gierowski Foundation, Warsaw, and Museum of Modern Art, Warsaw, among other spaces.
Corentin Grossmann, Miaou, 2018. Céramique, engobe / Ceramic, engobe 43 × 60 × 168 cm (16 ⅞ × 23 ⅝ × 6 ¼ inches). Courtesy the Artist and Art : Concept, Paris.
The exhibition Les Animaux ne portent pas de chaussures, curated by Anne-Laure Lestage, offers a sensitive way to engage with living beings. Sixteen works across painting, drawing, installation, sculpture, video and tapestry form a gentle, sometimes uncanny bestiary. The artists blur the line between human and animal, encouraging visitors to look differently and build their own story. At a time when debates over the protection or exploitation of nature are intensifying, the exhibition points toward a more respectful and balanced relationship with the living world.
Vue d’exposition / Installation view: Jean-Michel Sanejouand. Espaces réels, espaces imaginaires, Art : Concept, Paris, 2025 – 2026. Courtesy Succession Sanejouand et Art : Concept, Paris. Photo Objets PointusVue d’exposition / Installation view: Jean-Michel Sanejouand. Espaces réels, espaces imaginaires, Art : Concept, Paris, 2025 – 2026. Courtesy Succession Sanejouand et Art : Concept, Paris. Photo Objets PointusVue d’exposition / Installation view: Jean-Michel Sanejouand. Espaces réels, espaces imaginaires, Art : Concept, Paris, 2025 – 2026. Courtesy Succession Sanejouand et Art : Concept, Paris. Photo Objets PointusVue d’exposition / Installation view: Jean-Michel Sanejouand. Espaces réels, espaces imaginaires, Art : Concept, Paris, 2025 – 2026. Courtesy Succession Sanejouand et Art : Concept, Paris. Photo Objets PointusVue d’exposition / Installation view: Jean-Michel Sanejouand. Espaces réels, espaces imaginaires, Art : Concept, Paris, 2025 – 2026. Courtesy Succession Sanejouand et Art : Concept, Paris. Photo Objets PointusVue d’exposition / Installation view: Jean-Michel Sanejouand. Espaces réels, espaces imaginaires, Art : Concept, Paris, 2025 – 2026. Courtesy Succession Sanejouand et Art : Concept, Paris. Photo Objets PointusVue d’exposition / Installation view: Jean-Michel Sanejouand. Espaces réels, espaces imaginaires, Art : Concept, Paris, 2025 – 2026. Courtesy Succession Sanejouand et Art : Concept, Paris. Photo Objets PointusVue d’exposition / Installation view: Jean-Michel Sanejouand. Espaces réels, espaces imaginaires, Art : Concept, Paris, 2025 – 2026. Courtesy Succession Sanejouand et Art : Concept, Paris. Photo Objets Pointus
Ten years after the artist’s first exhibition at the gallery, Jean-Michel Sanejouand: Real Spaces, Imaginary Spaces brings together two major bodies of his work, Calligraphies d’humeur [1968-1978] and Espaces-Peintures [1978-1986]. Some of the works shown on this occasion were presented at the artist’s retrospective exhibitions at the Palais des Beaux-Arts in Lyon in 1986 and at the Centre Pompidou in Paris in 1995. These two events provided decisive institutional recognition for a career governed by an internal logic in which each series paves the way for the next and allows it to be reborn in a new form.
While highlighting the seminal role of this period [1968-1986], the exhibition at Art: Concept also sheds light on the transitions, ruptures, and continuities that mark Jean-Michel Sanejouand’s thinking and practice. Sanejouand has constantly reinvented the terms of his relationship with space (real or imaginary), questioning its definition as well as its “organization” through various media. His “spatial techniques,” in which painting occupies the foreground, function as revelations of places whose boundaries we sometimes struggle to perceive, engaging not only our consciousness but our entire bodies.
