With shows by Araki, Edward Weston and John Waters, there is much on offer in the French capital beyond Paris Photo this year
The week photography takes over Paris, and it’s hard to resist the urge to jump on a cross-channel train to see what’s in store. The main Paris Photo event at the Grand Palais is its usual bustling self, a sprawl of booths that flaunt photography’s every imaginable shape and size. At the same time, Paris’ galleries are hosting a mix of shows, from blockbusters of household names to smaller spotlights on emerging artists. It’s a good week to get lost in Paris, a city that rewards those who explore.
Here, AnOther highlights six unmissable gallery exhibitions taking place during Paris Photo 2025.
The headline photography exhibition in Paris this week is the MEP’s staging of the mighty Modernist photographer Edward Weston. This revelatory show hones in on Weston’s transition to a more modernist aesthetic between the inter-war years, in which he departed from the Pictorialists (who are also exhibited here). Whether framing nudes or bell peppers, his pictures display astounding levels of accuracy, attention and sharpness. Weston had an unparalleled ability to combine an almost spiritual insight into the nature of things. Ultimately, this show demonstrates the diversity of Weston’s instincts. He never abandoned the traditional tasks of photography, but instead refined them, bringing to the medium the Modernist credo that would have us look at the world plainly, in order to discover new forms of meaning.
At Jean-Kenta Gauthier’s Odéon space, a small but special showing of the undersung Swiss artist Hannah Villiger (who lived in Paris between 1986-97) feels like an encounter of an encounter. Her early sculptural works examining the forms of twigs represent her sensitivity to her surroundings while she was working in Canada, while the vibrant, beautifully intimate watercolours similarly question the limits of – or contact between – outside and inner worlds, in turn liberating the artist’s sense of selfhood. At the Grand Palais, the gallery is also presenting Villager’s large-scale Polaroid enlargements of her body, which featured in her Pompidou exhibition last year, and was one of the last works she made before her passing at the age of 45.
At Shmorévaz, a former shoe shop in the 7th, Rebekka Deubner is presenting a new project that addresses the taboo subject of male contraception. Three long glass frames, which resemble fitting-room mirrors, and wooden boxes on the shelves behind contain various extracts from Deubner’s work. There are also two videos on display, featuring an interview with Deubner’s friend who discusses her shared experiences with her boyfriend as he took on contraceptive responsibilities in their relationship, as well as scenes from a family planning centre in Marseille where men make their own jockstraps and rings during DIY workshops. Touching on themes such as gender roles and relations, masculinity and the body as a collective site for political expression and activism, Deubner’s multifaceted, sensitively worked project feels like just the tip of a subject that will demand much more examination in the future.
The concrete-clad interiors of Saint Laurent’s Babylone bookshop create the perfect backdrop to experience the urban environs of Antony Cairns. Anthony Vaccarello’s curation covers a mix of the British artist’s output, from works made on computer punch cards and e-readers to his video works shot with a 1980s Pixelvision camcorder. Cairns gives obsolete technologies an electric shock of sorts, crafting a unique vision of the city that is both nostalgic and futuristic. Purchasable T-shirts have been designed specifically for the show, and, over at the Grand Palais, you can also find Cairns’ calotypes printed on Japanese gampi paper, marrying tradition and modernity to stunning effect.
Upstairs at Galerie Hussenot, presented alongside Reena Spaulings’ group show The Family Gun, is this curious John Waters exhibition. For his collage of 21 pimples, he identified Pier Paolo Pasolini’s “boyfriends” in his movies, zoomed into their pimples and rephotographed them. They look remarkably like nipples, and have a jewel-like quality to them. Fetish also creeps into his almost reverent montages of Liz Taylor’s hair and feet (he has previously called the riotous 1968 film Boom! in which she stars “perfect”). His pictures from 1998, which document floor tiles, table legs and the insides of his freezer drawer and sink cupboard, are mundane and unassuming, yet also represent the artist’s clear-eyed and incisive point of view. It is, after all, Waters’ unpredictability that makes him so unboxable.
It would be rude to leave town without witnessing the 1000 Polaroids by Noboyushi Araki splayed across the Musée Guimet’s rotunda. They have recently been donated to the museum by French collector Stéphane André, and the dizzying display is conceived as a nod to his studio in which they were previously housed. Born from spontaneity and obsession, these little haikus distil the paradox of the instant, a confrontation with something both eternal and vanishing. The installation is charged with lust, loss, vulnerability and theatrical intensity, and will leave you pondering this question all journey home: what’s left when the image fades?
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With shows by Araki, Edward Weston and John Waters, there is much on offer in the French capital beyond Paris Photo this year
The week photography takes over Paris, and it’s hard to resist the urge to jump on a cross-channel train to see what’s in store. The main Paris Photo event at the Grand Palais is its usual bustling self, a sprawl of booths that flaunt photography’s every imaginable shape and size. At the same time, Paris’ galleries are hosting a mix of shows, from blockbusters of household names to smaller spotlights on emerging artists. It’s a good week to get lost in Paris, a city that rewards those who explore.
Here, AnOther highlights six unmissable gallery exhibitions taking place during Paris Photo 2025.
The headline photography exhibition in Paris this week is the MEP’s staging of the mighty Modernist photographer Edward Weston. This revelatory show hones in on Weston’s transition to a more modernist aesthetic between the inter-war years, in which he departed from the Pictorialists (who are also exhibited here). Whether framing nudes or bell peppers, his pictures display astounding levels of accuracy, attention and sharpness. Weston had an unparalleled ability to combine an almost spiritual insight into the nature of things. Ultimately, this show demonstrates the diversity of Weston’s instincts. He never abandoned the traditional tasks of photography, but instead refined them, bringing to the medium the Modernist credo that would have us look at the world plainly, in order to discover new forms of meaning.
At Jean-Kenta Gauthier’s Odéon space, a small but special showing of the undersung Swiss artist Hannah Villiger (who lived in Paris between 1986-97) feels like an encounter of an encounter. Her early sculptural works examining the forms of twigs represent her sensitivity to her surroundings while she was working in Canada, while the vibrant, beautifully intimate watercolours similarly question the limits of – or contact between – outside and inner worlds, in turn liberating the artist’s sense of selfhood. At the Grand Palais, the gallery is also presenting Villager’s large-scale Polaroid enlargements of her body, which featured in her Pompidou exhibition last year, and was one of the last works she made before her passing at the age of 45.
At Shmorévaz, a former shoe shop in the 7th, Rebekka Deubner is presenting a new project that addresses the taboo subject of male contraception. Three long glass frames, which resemble fitting-room mirrors, and wooden boxes on the shelves behind contain various extracts from Deubner’s work. There are also two videos on display, featuring an interview with Deubner’s friend who discusses her shared experiences with her boyfriend as he took on contraceptive responsibilities in their relationship, as well as scenes from a family planning centre in Marseille where men make their own jockstraps and rings during DIY workshops. Touching on themes such as gender roles and relations, masculinity and the body as a collective site for political expression and activism, Deubner’s multifaceted, sensitively worked project feels like just the tip of a subject that will demand much more examination in the future.
The concrete-clad interiors of Saint Laurent’s Babylone bookshop create the perfect backdrop to experience the urban environs of Antony Cairns. Anthony Vaccarello’s curation covers a mix of the British artist’s output, from works made on computer punch cards and e-readers to his video works shot with a 1980s Pixelvision camcorder. Cairns gives obsolete technologies an electric shock of sorts, crafting a unique vision of the city that is both nostalgic and futuristic. Purchasable T-shirts have been designed specifically for the show, and, over at the Grand Palais, you can also find Cairns’ calotypes printed on Japanese gampi paper, marrying tradition and modernity to stunning effect.
Upstairs at Galerie Hussenot, presented alongside Reena Spaulings’ group show The Family Gun, is this curious John Waters exhibition. For his collage of 21 pimples, he identified Pier Paolo Pasolini’s “boyfriends” in his movies, zoomed into their pimples and rephotographed them. They look remarkably like nipples, and have a jewel-like quality to them. Fetish also creeps into his almost reverent montages of Liz Taylor’s hair and feet (he has previously called the riotous 1968 film Boom! in which she stars “perfect”). His pictures from 1998, which document floor tiles, table legs and the insides of his freezer drawer and sink cupboard, are mundane and unassuming, yet also represent the artist’s clear-eyed and incisive point of view. It is, after all, Waters’ unpredictability that makes him so unboxable.
It would be rude to leave town without witnessing the 1000 Polaroids by Noboyushi Araki splayed across the Musée Guimet’s rotunda. They have recently been donated to the museum by French collector Stéphane André, and the dizzying display is conceived as a nod to his studio in which they were previously housed. Born from spontaneity and obsession, these little haikus distil the paradox of the instant, a confrontation with something both eternal and vanishing. The installation is charged with lust, loss, vulnerability and theatrical intensity, and will leave you pondering this question all journey home: what’s left when the image fades?
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