PARIS.- 2025, the year following the Olympics and Jeu de Paume’s twentieth anniversary, is far from a return to normality! Thanks to an ambitious programme and three exhibition projects that will make use of all the gallery spaces throughout the year—a first for the institution— Jeu de Paume remains faithful to its desire to change formats and diversify experiences.

It also sees the return of Jeu de Paume Festival, the first edition of which was held in 2022. This previous edition boasted a resolutely open approach to all forms of the technical image and generated numerous commissions. In 2025, the festival will once again offer a visual exploration, between exhibition and story, around the notion of landscape and the natural environment, both in terms of their physical reality and the ever-renewed imaginary worlds associated with them.

In late spring and throughout the summer, Jeu de Paume will examine the question of artificial intelligence by presenting an inventory of associated artistic practices stemming from the past decade. From analytical intelligence to generative intelligence, the exhibition will provide an overview of this development, both in the fields of image and sound. While examining the origins of AI, it also focuses on the most contemporary research, featuring numerous works never before seen in France.

In the autumn, the work of Luc Delahaye will be honoured in an exhibition that aims to retrace twenty- five years of a career merging a documentary vocabulary and artistic practices, through the presentation of numerous large formats, as well as new creations and installations. This exhibition puts a French artist in the spotlight and highlights the institution’s support for contemporary creation, something that is showcased throughout the year.

This year's film cycles are devoted to the duo of Verena Paravel and Lucien Castaing Taylor, and in November, to Spanish filmmaker Luis García Berlanga. Thanks to the new movie theatre inaugurated in 2024, Jeu de Paume will present a selection of films all year round, likely to impress even the most discerning of audiences!

At the Château de Tours, the summer season will highlight the contemporary creation with a focus on the Prix Swiss Life à 4 mains. This autumn, the historical season will be devoted to Franco-American photographer Madeleine de Sinéty.

FESTIVAL DU JEU DE PAUME
MOVING LANDSCAPES
7 FEB – 23 MAR 2025

After Fata Morgana (2022), Jeu de Paume is pleased to present the second edition of its Festival exploring the multiple dimensions of the image and the diversity of its forms. Combining an exhibition, a rich programme of events, and a publication, “Moving Landscapes” is conceived of as a collective story that recounts the history of the representation of natural landscapes and the imaginations that accompany them.

Curator Jeanne Mercier has invited graphic novel Loo Hui Phang to collaborate by providing the voiceover to a script that guides visitors on a tour of fifteen works created by contemporary artists most of them specially for the occasion. This narrative offers a rereading of the very notion of landscape and its evolution within the history of the arts, photography, cinema, and literature.

Unveiled along a journey designed as a sensitive and immersive experience, the artworks take the public from glacial expanses to forested zones, from the abyss to space, and from rivers to oceans... The exhibition plays on archetypes, and the imaginary forms associated with them. It questions both the timeless dimension of these representations, while addressing their contemporary evolution. The festival also allows visitors to discover works, which by drawing as much on reality as on the extraordinary, seek to transform their perception of the world. For the visitor, immersed in this exhibition-story, the landscape becomes a living territory in perpetual movement.

THE WORLD THROUGH AI
11 APR – 21 SEPT 2025

The use of contemporary generative AI in art, photography, cinema, literature, and music is typically a source of astonishment, fear, enthusiasm, or scepticism. Whatever the reaction however, its use is rapidly developing across all fields of culture and science.

In the latent spaces of immense mathematical matrices, artificial neural networks can now understand the world as a code and are capable of producing images and sounds, of writing, translating, and speaking. The World Through AI, an exhibition making use of all Jeu de Paume’s gallery spaces, explores the way in which contemporary artists have mobilized these forms of artificial intelligence over the last decade, for critical and experimental purposes alike.

From “Analytical AI” to “Generative AI”, the exhibition questions these new tools that allow users to rethink and renew creative processes, while shedding light on the way in which machines see and inhabit the world. The exhibition presents artworks—some exhibited for the first time—by both French and international artists who have approached these new AI technologies from a range of perspectives. Artists include Kate Crawford & Vladan Joler, Fabien Giraud, Agnieszka Kurant, Christian Marclay, Trevor Paglen , Hito Steyerl...

Akin to “time capsules”, these works offer visitors a genealogical, anachronistic, and archaeological incursion into the distant cultural and scientific origins of AI.

LUC DELAHAYE
10 OCT. 2025 — 25 JAN. 2026

Born in 1962, a renowned war photojournalist in the 1990s, and a member for a time of the Magnum agency, Luc Delahaye is part of a generation of photographers whose work explores the connection between documentary practices and artistic dimensions. His images were initially published in the press and artist’s books, but from the 2000s onwards, he moved towards the large format and gallery spaces, while maintaining his documentary focus and continuing to cover current affairs.

For over twenty years, his photographs, most often large in size and in colour, have examined not without a certain element of chaos, the contemporary world: from the Iraq war to the current war in Ukraine, from Haiti to Libya, and from the OPEC to the COP conferences, Delahaye draws a parallel between the cacophony of the world and the calm of the authorities supposed to regulate it.

Sometimes taken in a single shot using a cell phone or view camera, sometimes veritable compositions assembled on a computer over months at a time, based on dozens of image fragments, Luc Delahaye’s photographs are always encounters with reality, whether immediate or deferred. A reality that needs to be shown, with a form of documentary distance, without being demonstrated or explained: “Arriving through a form of absence, through a kind of unawareness may lead to a sense of unity with the real. A silent unity. The practice of photography is quite a beautiful thing: it allows the self to be reunited with the world.”

The exhibition devoted to Luc Delahaye is the first retrospective dedicated to the photographer in Paris since 2006 when his work was shown at the Maison Rouge. It will consist of some forty of his large formats, a video, and a certain number of documentary installations created especially for the occasion.

VERENA PARAVEL
AND LUCIEN CASTAING-TAYLOR
JUNE 2025

Jeu de Paume is dedicating its June 2025 film cycle to two artists and anthropologists working in the fields of film, video and photography: the French Véréna Paravel and the British Lucien Castaing-Taylor. Researchers and lecturers in anthropology at Harvard, Verena Paravel and Lucien Castaing-Taylor form a duo of filmmakers who have become essential to the development of new paths for documentary, opening up new perceptions and understandings of the world. As part of the Sensory Ethnography Lab (SEL) visual anthropology program at Harvard University, they have consistently developed research methods using the medium of film - image, sound and editing.

The sensory and cosmic experience of Leviathan (2012), which became a manifesto for new ways of representing reality, and the staggering De Humani Corporis Fabrica (2022), an exploration of the interconnected realities of the human and social body thanks to several years of filming in the hospital world, and in particular Somniloquies and Caniba (2017), are the main milestones in a research rich in meaning and emotion. The screening of their films is at the heart of a program of encounters designed to give access to the multiplicity of devices they mobilize and the singular links they have forged with scientists, philosophers, technicians and artists to implement their practices.

VITRIOL BERLANGA
NOV. 2025

Francoism tried to dream itself up as a Hollywood Golden Age comedy, as evidenced by its early attempts to import the codes of screwball comedy, the zany North American film, but post-war reality ended up spoiling these plans. Drawing inspiration from Italian cinema, Spanish comedy began to test discourses on precariousness and survival, creating a space for resistance in which the genius of Luis García Berlanga (Valencia 1921 - Pozuelo de Alarcón 2010) would soon shine. With his frenzied sequence shots populated by wildly moving, verbose characters, the filmmaker creates his own aesthetic that captures the wounded, carnivalesque soul of a country where the friction between the popular and the discourses of power seems to demand the birth of new forms without renouncing its Goyesque substratum. The fruitful partnership between Berlanga and screenwriter Rafael Azcona enabled this raw reflection of reality in the form of a corrosive comedy to endure right up until the arrival of democracy in Spain. But they were not alone in dissecting reality through the prism of black humor: this cycle also traces the field of action of a wider constellation of filmmakers eager to use comedy as a sharp weapon.

SUMMER 2025

At the Château de Tours, Jeu de Paume inaugurates a contemporary season each summer, welcoming French and international artists.

PRIX SWISS LIFE À 4 MAINS
SUMMER 2025

Swiss Life presents, at Paris-Concorde (February 2025) then at the Château de Tours (summer 2025), the unpublished photographic and musical work of the winners of the 6th edition of the Prix Swiss Life à 4 mains, 2024-2025. A jury made up of leading figures from the artistic world, including Quentin Bajac, Director of Jeu de Paume, alongside Tanguy Polet, CEO of Swiss Life France, awarded this year's prize to Kourtney Roy (photographer) and Mathias Delplanque (composer) for their project Last Paradise. Last Paradise tells the imaginary road trip of an eccentric woman in a post-apocalyptic seaside universe: the Italian Adriatic Coast out of season, in and around Rimini. Somewhere between onirism and hyperrealism, Last Paradise poses an anthropological question against a dystopian backdrop: what are we leaving behind? Composed during the "shoot", the music lies somewhere between psychedelia, offbeat house and cinematic ambient. Created in 2014 by the Swiss Life Foundation, this is the only photography and music prize in France that rewards, every two years, an original cross-creative project carried out in pairs. Following the award ceremony, the winning duo receives a grant, a customized artists' book, support from specialized advisors and an exhibition itinerary in various cultural institutions throughout France.

MADELEINE DE SINÉTY
5 DÉC. 2025 — 24 MAI 2026

Jeu de Paume is devoting a retrospective to the French-American photographer Madeleine de Sinéty (1934-2011) at the Château de Tours, in 2025, then at Paris-Concorde, in 2026. Trained at the Arts Décoratifs in Paris in the late 1950s, she left Paris between 1972 and 1981 to settle in the small Breton village of Poilley, where she stayed many times until the 1990s. Madeleine de Sinéty photographed the lives of its inhabitants in both black and white and color. Afterwards, she made slide projections to give the images back to the residents. From the 1980s onwards, she moved to the United States, first to California, then to Maine, where she continued to photograph. She also produced works in Africa and Uganda, some of which were exhibited at the Portland Museum in 2011.

In 1996, the Bibliothèque nationale de France devoted an exhibition to her work. Her rich and dense body of work, somewhere between art and documentary, reportage and archive, is the result of close observation of reality and immersion in the lifestyles of the families with whom she shares daily life and forges lasting friendships. With humanity and tenderness, she reveals the traditions and rituals specific to these rural populations, revealing personal and collective stories to deliver a subjective and personal account of an era that is seeing the transformation of the rural world. The exhibition will be an opportunity to tell the story of a singular itinerary, between France and the United States.