Rebekka Deubner Archives

Paris Photo 2025: Essential Exhibitions Beyond The Grand Palais

A cultural primer for the week ahead, this guide highlights key exhibitions taking place across the city during Paris Photo, from major museum retrospectives to experimental presentations, offering readers an overview of what to see and where to go amid one of photography’s most anticipated moments in the events calendar.

1000 Words | Resource | 7 Nov 2025
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Luc Delahaye, The Echo of the World – Jeu de Paume
10 October – 4 January

Long recognised for his vastly significant contributions to the field of contemporary photography, Luc Delahaye is the focus of a monographic exhibition at Jeu de Paume showcasing work that spans the last 25 years. During this time, Delahaye has notably transitioned from photojournalism to fine art photography, deliberately moving away from the immediacy of reportage toward the creation of monumental, painterly tableaux that often depict the aftermath of war, the solemnity of international summits or the quiet dignity of displaced individuals. The exhibition, the first in Paris to show Delahaye’s work since 2005, brings together approximately 40 large-format photographs, including previously unseen works and a video installation centred on the Syrian conflict, and is a testament to the documentary form as it tipped into crafted construction.

Rebekka Deubner, Thermal Seasons – Shmorévaz, Photo Saint Germain
6 November – 29 November

For close to a month, Photo Saint-Germain animates venues across the Left Bank with a rolling programme of exhibitions. In the experimental, independent space of Shmorévaz, housed in a former shop and known for its feminist, queer, erotic and political programming, Rebekka Deubner’s Thermal Seasons (a work in progress since 2021) explores the usage of thermal contraception, probing intimacy, parenthood, masculinities, and the gendered distribution of mental labour. Through her careful, intimate gaze on bodies in close proximity, and her attention to the rhythms of communal life, Deubner restores them a kind of tender plasticity, offering a delicate vision of masculinity.

Edward Weston, Becoming Modern – MEP
15 October – 25 January

MEP pays tribute to the celebrated American photographer Edward Weston, offering a unique for Parisiens and visitors to Paris to experience the richness and precision of his modernist vision. Through more than one hundred vintage prints drawn entirely from the prestigious collection of the Wilson Centre for Photography, the exhibition reveals Weston’s fascination with form, texture and the interplay of light and shadow, alongside the gaze and pioneering practice that marked a major turning point in the history of photography. In tandem, MEP also presents the first solo exhibition in France by famed contemporary photographer Tyler Mitchell, meanwhile in the Studio space, the ever fascinating Felipe Romero Beltrán’s image-based series Dialect documents the liminal lives of nine young Moroccan minors navigating the asylum process in Spain.

Donna Gottschalk and Hélène Giannecchini with Carla Williams, (Nos Autres) We Others – Le Bal
20 June – 16 November

Donna Gottschalk and Carla Williams make their French debut in Le Bal’s latest exhibition, We Others, accompanied by an interpretive text by Hélène Giannecchini, bringing together first-person narratives and a wide range of photographs spanning decades to tell stories, explore invisibility and consider intergenerational connections. Gottschalk’s work, inseparable from the emerging movements for LGBT+ rights in which she was involved at a time when homosexual relationships were still illegal in the United States, is situated alongside Williams’ intimate self-portraits, continuing the memory and preservation of marginalised queer lives and framing archival practice as relational and intergenerational. The exhibition’s spatial design and vivid atmosphere owe much to Julie Héraut’s thoughtful curation and deft scenography of Cyril Delhomme, and powerfully forms a bio-dimensional experience that visitors have typically come to expect from this important institution.

Hoda Afshar, Performing the Invisible – Musée du quai Branly – Jacques Chirac
30 September – 25 January

Hoda Afshar’s first major French solo takes place at the Musée du quai Branly – Jacques Chirac, uniting two chapters of her work: Speak the Wind (2015–20) and The Fold (2023–25). The latter draws on archival research at the museum, confronting orientalist and colonial legacies through photographs taken by psychiatrist Gaëtan de Clérambault in Morocco between 1918 and 1919. Speak the Wind, meanwhile, traces the beliefs, myths and stories carried on the winds that shape life on the islands of the Strait of Hormuz. Across photography, video, sound and printed mirrors, the unique installation threads Afshar’s projects into the living lines of her research. ♦

–1000 Words

Images:

1-Luc Delahaye, Trading Floor, 2013. Courtesy the artist and Galerie Nathalie Obadia, Paris/Brussels

2-Rebekka Deubner, Felix en sicile, 2022

3-Edward Weston, Charis, Santa Monica (Nude in doorway), 1936. Courtesy Wilson Centre of Photography

4-Donna Gottschalk, Self-portrait during a GLF meeting, E. 9th Street, New York, 1970

5-Hoda Afshar, Speak the Wind, 2015-20

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• Tim Clark in conversation with Hayward Gallery’s Ralph Rugoff on Hiroshi Sugimoto

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• Shana Lopes reviews Agnieszka Sosnowska’s För

• Valentina Abenavoli discusses photobooks and community

• Michael Grieve considers Ute Mahler and Werner Mahler’s posthumous collaboration with their late family member

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Paris Photo 2023

Paris Photo has returned to the Grand Palais Éphémère with a diverse line-up of ambitious solo, group and thematic gallery presentations. Amongst the highlights, contributions by artists working across mixed-media make for some of the most memorable viewings. Here are five standout displays from the fair’s 26th edition – selected by 1000 Words Assistant Editor, Alessandro Merola.

Alessandro Merola | Fair highlights | 9 Nov 2023

1. Bruno V. Roels, Gold Giants
Gallery FIFTY ONE

There is no shortage of fascinating flora at this year’s edition – from an Anna Atkins’ cyanotype all the way through to Hanako Murakami’s thermographies – but the cranked-up, sci-fi-esque palms of Bruno V. Roels are utterly hypnotic. Each of the works presented across an eight-metre-long, old rose wall at Gallery FIFTY ONE has its own character, mood and texture, yet all are interrelated and function as variations on one image. Nearby, the warbly ripples of distortion in “Magic Lantern (Palmographs)” are filled with anxiety and encroaching dread, whilst the squiggle-painted “Figura Serpentinata (Demeter)” has an air of sinful artificiality. Through this series of unaffected, unsentimental gestures of dissolution – stretched to infinity with deadpan irreverence – Roels loops us back to the ways in which we continually seek out familiar shapes and icons. Of course, these ventures comprise only the latest chapter of Roels’ playing with paradise. One feels he isn’t far off repeating it to the point of emptiness.

2. Marguerite Bornhausser, When Black is Burned
Carlos Carvalho

Marguerite Bornhausser is becoming a fixture around these premises, not least for the fact she is currently completing a residency exploring the Grand Palais’ renovation. Unveiling reworked negatives – painted or coloured – from Bornhausser’s new series, When Black is Burned, the two walls at Carlos Carvalho are a reminder that the French artist’s penchant for the experimental – not to mention her taste for deep hues – is only intensifying. This sharp and splashy selection draws on the ways in which light and shadow can unlock the imagination. Indeed, Bornhausser renders what she dreams and not what she sees, not so much confronting but reactivating – or reinventing – sensations through visions outside of time. Also available here is her freshly-printed, hard-back book with Simple Editions, a wholly captivating and riotous object in which the convergence of natural elements and artificial matter suggests that meaning can drift in on a current of air and alight itself on just about anything. If Bornhausser has a crush on beauty, then it is as much for its mystery as for its surface appeal.

3. Hassan Hajjaj, 1445 in Paris
193 Gallery

Hassan Hajjaj’s solo booth at 193 Gallery is as bold as can be, with vibrant camel-print wallpaper and flooring comprising the scenography to the Moroccan’s mixed-media works, which are hung in custom frames made of stuffed olive tins, Arabic alphabet blocks and tyres. They belong to celebrated (and celebratory) series such as My Rockstars and Dakka Marrakchia, and are themselves melting pots, remixing photography with fabrics, commerce with tradition and heritage with globalism. Although unrepentantly decorative, Hajjaj’s works are also critical in that they batt off orientalist clichés, all the while confronting the consumerism that has transformed traditional craft production in the Arab world. Yet, ultimately, it’s the unmistakable, uninhibited sense of rootedness that is Hajjaj’s hallmark. Moroccan mint tea ceremonies and sweets can be enjoyed at the booth, making it the place to be for cross-cultural exchanges (as further emphasised by the exhibition’s title, which invokes the current year in the Hijri calendar). This is Hajjaj’s world of today.

4. Daido Moriyama, ’71, NY
Daniel Blau

At Daniel Blau, the unstoppable Daido Moriyama is represented by 22 staggering new paintings, each splicing consecutive exposures – that is, back-to-back snaps of the same scenes – taken during the photographer’s first trip outside of Japan in 1971. The influences of Andy Warhol and William Klein are there to see in Moriyama’s New York: an overwhelming and chaotic chronicle bestowed, in black and bronze, by a narrator whose finger seems to be as firmly on the city’s pulse as the camera’s shutter release. What is at stake here is a kind of unveiling in which Moriyama seeks to grasp what is lurking, hidden beneath the surface, or in-between the negatives. By juxtaposing different perspectives, ruptured in time, he delves into his memories, confronting them – like a mirror – with the materiality of the world. The stand, simultaneously, blasts us into space with a curious selection of photographs derived from galactical missions in the 1960s and 70s, including Friendship 7, in which John Glenn became the first man to orbit the earth. He did it solo, and has a dazzling shot of space particles to show for it. You can’t help but feel his was a quest for truth not unlike Moriyama’s on earth.

5. Rebekka Deubner, Strip
Espace Jörg Brockmann

The valedictory photograms on display at Espace Jörg Brockmann constitute the most poignant and affecting work at this year’s Curiosa. Convening various items from the wardrobe of Rebekka Deubner’s deceased mother, what Strip offers is no mere catalogue, but, rather, a kind of séance. The mosaic-like hang heightens the disembodied and untethered quality of the photograms, whose shifts in scale – often zooming into tiny tears and frays – evoke the yearning for physical closeness to the departed. Although the tight crops teeter towards abstraction, Deubner never compromises her concern for detail and texture. The presentation of a video work in which the artist interacts with her mother’s old items – she ties her laces, applies lipstick and pulls out a tissue from a pocket – creates an intriguing tension with the ethereal and ghostly photograms. After all, it is by way of Deubner’s cameraless approach that she resists any sense that she is fighting against evanescence. Instead, she evokes the nuanced, unresolved conflict between holding on and letting go; between what can be touched and what can only be felt. ♦

Paris Photo runs at the Grand Palais Éphémère until 12 November 2023.

—
Alessandro Merola is Assistant Editor at 1000 Words.

Images:

1-“Unfinished Landscape” (2023) © Bruno V. Roels. Courtesy of the artist and Gallery FIFTY ONE.

2-“Gold Giant #3” (2021) © Bruno V. Roels. Courtesy of the artist and Gallery FIFTY ONE.

4-“Untitled” from When Black is Burned (2023) © Marguerite Bornhausser. Courtesy of the artist, Carlos Carvalho and Simple Editions.

5-“Untitled” from When Black is Burned (2023) © Marguerite Bornhausser. Courtesy of the artist, Carlos Carvalho and Simple Editions.

8-“Fireflies Outside Friendship 7: First Human-Taken Photograph from Space” (1962) © NASA/John Glenn. Courtesy of Daniel Blau.