“We don’t have a choice, the building is suffering,” said Serge Lasvignes, the museum’s president, of the €200 million renovation.
At the Palais de Tokyo, mounting an exhibition loosely about infection, during a pandemic, presents its challenges.
The now discarded bill follows condemnation by the French government of hacker-artist Paolo Cirio, who featured the profiles of police officers in an exhibition to raise awareness about the threat of facial recognition technology.
The lawyers for the defense made a successful case for the action as an act of free speech, not theft.
Meanwhile, a new report commissioned by the Dutch culture minister suggests the return of “any cultural objects looted in former Dutch colonies if the source country so requests.”
The killing happened amid controversial trials of suspected accomplices in the deadly attack on Charlie Hebdo’s Paris headquarters in 2015.
Four activists were fined for their live-streamed protest at the Paris museum, in which Mwazulu Diyabanza removed a 19th-century funerary post from its display.
A museum in Nantes says that it decided to pause the exhibition after Chinese authorities asked that names and terms like “Genghis Khan,” “empire,” and “Mongol” not be used in the exhibition.
Members of a Pan-African group stood trial in Paris on charges of attempted theft for an action staged at the city’s Quai Branly Museum.
The intriguing exhibition Parisian Exodus demonstrates the importance of documenting such moments of upheaval with nuance.
The aesthetic niche combining electronic music and digital art finds an ancestor in Surrealism, particularly in the self-taught French painter Yves Tanguy.
Also, a work by Paolo Uccello, sold in a Sotheby’s sale this July for $3.1 million, was revealed to be looted by Nazis.