From June 17 to 22, 2025, the Galerie 20 in Paris' vibrant 18th arrondissement hosts Sparkling Love – L'étincelle d’amour, a dazzling exhibition by Tunisian artist Houda Ajili in collaboration with African-descendant artist Aswan Diama. The exhibition features nearly 20 colorful paintings of various sizes, showcasing a radiant blend of abstract and semi-abstract expression deeply rooted in Mediterranean cultural aesthetics.
Ajili, a seasoned visual artist, has presented her work across North Africa and Europe, including Tunisia, Egypt, Morocco, Italy, and France. Notably, she participated in the prestigious Salon d’Automne in Paris in 2014 and curated the first International Salon d’Automne in Tunisia the same year. Her contribution to the Tunisian arts scene also includes service on the State Art Purchasing Commission and a commitment to education and community, teaching visual arts and leading charitable painting workshops.
Her current body of work is distinguished by bold colors, intricate charcoal outlines, and wooden abstract figures that seem to exist in other dimensions. Each piece reflects Ajili’s personal journey—interweaving themes from her travels, cultural identity, and emotional landscape.
Sparkling Love is more than a title; it encapsulates the spirit of the exhibition—an emotional and chromatic celebration of creativity, identity, and artistic synergy between Ajili and Diama. This exhibition invites visitors to immerse themselves in a world where color, form, and cultural memory ignite the senses and stir the soul.

Contemporary Sculpture Exhibition ​ 15 - 29 June 2025
@ MIYAZAKI Airport  Japan 
organized by Tadanori Yamada
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Artist -  Hashiguchi Hiromichi, Kamiguchi Masao, Okumura Youichi, Ohno Takumi, Tamura Shota, Tanaka Hitoshi,
Yamada Tadanori, Hatta Takashi, Ikeda Kazushi, Kawamura Hidehiko,
Masumitsu Michiko, Toribatta Yoshinobu, Yoshinaga Yukari,
Fujisaki Koji, Maehara Yoshinobu, 
Igami Masato, Nagae Yasuyuki, Itami Osamu, Kanamori Hideyoshi, Kataoka Yukio, Kobayashi Terunao, Matsumura Teruyasu, Ozaki Kimihiko, Inoue Tatsuhiko,  Muramatsu Hidetoshi, 
Ozaki Shin, Asakawa Hiroyuki, Hirata Shigeru, Takagaki Rimi, Sakamoto Taro, Otsuka takeshi, Sakai Kota, Tanaka Tsuyoshi, Tanaka Chie,
Fujita Masatoshi, Hayashi Hiroshi, Hibi Atushi,
Matuki Kento, Ogihara Yasunari, Takehana Satoshi,
Watanabe Tamae, Aketa Kazuhisa, Yukawa Takashi, Shimotori Kenji,  Watanabe Yohei, Cho,Victor Im, Ho-young Lee, Sang-heon Lee, Senug-ho, Zhao Li Zhang Fei,  Kubota Keiko, Ishizu Naoto, Kudo Maiko, Nando Alvarez, Majid Haghighi

Dates & Venue - Centre Pompidou, Paris - March 19 – June 30, 2025
Exhibition Overview
“Black Paris,” formally titled Paris Noir: Artistic Circulations and Anti‑colonial Resistance, 1950–2000, is an ambitious and unprecedented major exhibition at the Pompidou—marking one of its final showcases before a five-year renovation slated for September 2025.
Scale & Reach
Spanning five decades, the exhibit unites over 300 artworks by roughly 150 Black artists from Africa, the Caribbean, and North America—many of whom have never before appeared in French museum collections.
Themes & Significance
More than a historical survey, “Black Paris” is a dynamic exploration of Black consciousness, post-colonial resistance, Pan‑African artistic exchange, and the redefinition of modernism through the eyes of Black creators. It also highlights the ambivalent reality many African‑American intellectuals found in Paris—welcomed yet still facing racial barriers .
Featured Artists & Works
The exhibition showcases a panoply of artists, including Wifredo Lam, Beauford Delaney, Faith Ringgold, Romare Bearden, Gerard Sekoto, Beauford Delaney, Sam Gilliam, Paul Ahyi, Hassan Moura, and Ernest Breleur.
Contemporary Interventions
New site-specific installations by Valérie John, Nathalie Leroy‑Fiévée, Jay Ramier, and a 13‑foot‑long collage installation titled “Regeneration” by street‑artist Shuck One spotlight significant Black historical moments—such as the Tirailleurs Sénégalais and the 1967 Guadeloupe riots—bringing past struggles into dialogue with present artistic practice.
Legacy & Acquisition
The Pompidou has already acquired around 40–50 works from the show—signalling a shift toward permanently integrating these narratives into France’s national art collection and opening doors for future solo exhibitions

Rising dramatically from the plains of central Sri Lanka, the ancient rock fortress of Sigiriya—often called the "Lion Rock"—is one of the country's most iconic landmarks and a UNESCO World Heritage Site since 1982. Perched high on its western face lies a hidden artistic treasure: the Sigiriya Apsaras, a series of mesmerizing frescoes that have enchanted historians, artists, and travelers for centuries.

These 5th-century paintings, created during the reign of King Kashyapa, depict sensuous, life-sized women adorned in intricate jewelry and diaphanous garments. Thought to represent royal courtiers, priestesses, or celestial nymphs (apsaras) from Buddhist and Hindu traditions, their graceful gestures and serene expressions float against a backdrop of stylized clouds, embodying elegance, spirituality, and mystery.
The Sigiriya frescoes are considered masterpieces of early South Asian art and are believed to have inspired later works such as the famed Ajanta cave paintings in India. Once covering much of the rock’s western surface, it’s estimated that nearly 500 figures originally adorned the cliff. Today, only about 20 remain, preserved in a naturally protected alcove.
What makes the Sigiriya Apsaras truly remarkable is not just their aesthetic beauty, but their technical brilliance. Created using natural pigments and a true fresco technique, the paintings exhibit fluid lines, dynamic movement, and a luminous quality that has survived over 1,500 years of weather and time.
More than just ancient decoration, the Apsaras of Sigiriya are powerful symbols of Sri Lanka’s rich cultural and artistic legacy—an ethereal echo of a golden age, captured forever on stone and sky. 

inspiration - VPV

Tucked within the Valikamam region of Sri Lanka’s northern Jaffna District, Alaveddy is a vibrant and culturally significant village comprising five distinct areas—North, Centre, East, South, and West. Set against a lush Tamil Hindu backdrop, Alaveddy is a living archive of spiritual heritage, community life, and agricultural richness.
Known for its ancient temples and deep-rooted spiritual practices, Alaveddy is home to several sacred shrines that have stood the test of time—many believed to be over a thousand years old. Notable among them are the Shri Kumbalavalai Ganesha Temple and Kurukkal Kinnathadi Temple, both of which continue to serve as spiritual anchors for the community and attract devotees from across the region. Many of these temples are dedicated to guardian deities, underscoring the village’s longstanding devotion to Tamil Hindu traditions.
The village also takes pride in producing several eminent cultural figures. Renowned Thavil percussionist Thadchanamoorthy and celebrated poet Mahakavi Uruthiramoorthy hail from neighborhoods neighboring the VPV area, contributing to Alaveddy’s reputation as a cradle of artistry and intellect.
Agriculturally, Alaveddy is a green and fertile village, dotted with vegetable gardens and especially known for its paddy cultivation. The village is uniquely distinguished by its diverse soil types, including shades of brown, red, and black, which support a range of crops and contribute to its agrarian economy.
Alaveddy is not just a village—it is a vibrant expression of Tamil identity, spirituality, and resilience in Sri Lanka’s northern landscape.

inspiration - VPV

​From Auguste Rodin to Duane Hanson, from Georg Baselitz to Ana Mendieta, from David Hammons to Marlene Dumas, from Arthur Jafa to Ali Cherri, some forty artists explore, through painting, sculpture, photography, video, and drawing, the links between body and mind.

"In the matrix-like curves of the Bourse de Commerce, echoing the circle of bodies inhabiting the vast painted panorama encircling the building's glass dome, the exhibition "Body and Soul" explores, through the works of some forty artists from the Pinault Collection, the pervasiveness of the body in contemporary thought. Freed from any mimetic shackles, the body, whether photographed, drawn, sculpted, filmed, or painted, constantly reinvents itself, giving art an essential organicity that allows it, like an umbilical cord, to take the pulse of the human body and soul."

Art captures energies, the vital flows of thought and inner life, to invite an engaged and humanist experience of otherness. Forms are transformed, reconnecting with figuration or breaking free from it to grasp, retain, and allow the soul and consciousness to surface. It is no longer a matter of embodying forms but of capturing forces and making visible what is buried, invisible, of illuminating shadows. In the Rotunda, Arthur Jafa's work, "Love is the Message, the Message is Death," transforms the space into a sounding board for the music and commitment of African-American icons such as Martin Luther King Jr., Jimi Hendrix, Barack Obama, and Beyoncé, giving them a universal reach.

In resonance with the exhibition, a rich musical program makes "Body and Soul" a polyphonic event. Emma Lavigne, Executive Director of the Collection, General Curator.

With: Georges Adéagbo / Terry Adkins / Gideon Appah / Diane & Allan Arbus / Michael Armitage / Richard Avedon / Georg Baselitz / Cecilia Bengolea / Constantin Brancusi / Miriam Cahn / Claude Cahun / Ali Cherri / Peter Doig / Marlene Dumas / Robert Frank / Latoya Ruby Frazier / Philip Guston / Anna Halprin & Seth Hill / David Hammons / Duane Hanson / Kudzanai‑Violet Hwami / Anne Imhof / Arthur Jafa / William Kentridge / Deana Lawson / Sherrie Levine / Kerry James Marshall / Ana Mendieta / Zanele Muholi / Senga Nengudi / Antonio Obá / Irving Penn / Man Ray / Robin Rhode / Auguste Rodin / Niki De Saint Phalle / Mira Schor / Lorna Simpson / Wolfgang Tillmans / Kara Walker / Lynette Yiadom-Boakye

General curator: Emma Lavigne, general director of the Collection, general curator

The Leventis Municipal Museum of Nicosia is presenting its temporary exhibition entitled Sector 2: Nicosia. It is a different, experiential exhibition, which is intended to tell, through an innovative museological approach and experience, the story of the Green Line, a line which for 60 years now has been splitting the last divided capital of Europe.
The title selected for the exhibition, Sector 2: Nicosia, carries symbolic significance. It not only describes the geographical division of Nicosia within the areas of control established by the United Nations Peacekeeping Force, but also emphasises, devoid of sentimentality, the shared ‘fate’ of the city under a different light determined as Sector 2.
Four thematic units which are marked by the chronological milestones of 1956, 1958, 1963, 1964 and 1974 determine the museological trail, while they also unlock the evidence which comprises all the pieces of the puzzle in relation to the evolution of bicommunal relations and their impact on Nicosia.
The first section features the era of coexistence among all communities and the social bonds they shared. The second section explores the events occurring in Nicosia from 21 to 30 December 1963, which led to the first official establishment of the Green Line. In the third and more experiential section an anthropocentric lens highlights the distance and isolation experienced by the two communities, showcasing the development of two parallel worlds in everyday life. Finally, the fourth section focusses on positive initiatives and actions, preserving hope for future reunification.
Specifically, the exhibition Sector 2: Nicosia, through the presentation of diverse historical documents, objects, works of art, oral testimonies and artistic interventions (installations and video art), aims to illuminate lesser-known aspects of this period. It invites visitors to grasp the collective trauma experienced by the people of Nicosia on both sides of the dividing line, who navigate a city that is both familiar and foreign to them simultaneously. The exhibition space becomes labyrinthine and dense, expressing, on the one hand, the narrow dead-end streets of Nicosia and, on the other hand, the gradual alienation and dead ends in the life of its citizens over the course of these six decades.
The research and the collection of material was begun almost two years ago by the Curator of the Leventis Municipal Museum of Nicosia and exhibition curator, Chrysostomos Sakallis, in order for the exhibition material to meet the artistic gaze of the director Magdalena Zira and of the set designer Elena Katsouri for the whole presentation to be afforded an air of experiential immediacy.
The general coordination was organised by Tzeni Lymperopoulou Savvidou, Director of the Leventis Municipal Museum of Nicosia, who also acted as co-curator of the exhibition with Maria Patsalosavvi, the Museum’s Deputy Director.
Furthermore, the consulting role of Loukia Loizou Hadjigavriel, Director of the Anastasios G. Leventis Foundation and of the A. G. Leventis Gallery, as well as the advice of Demetra Theodotou Anagnostopoulou, Museum Consultant for the A. G. Leventis Foundation, the A. G. Leventis Gallery and the Leventis Municipal Museum of Nicosia, was also vital to the creation of the exhibition.
Crucial interventions across all stages of the scientific documentation were also offered by Dr Petros Papapolyviou, historian and Dean of the Faculty of Philosophy of the University of Cyprus, as well as by Dr Antigone Heraclidou, historian and Senior Research Associate at the CYENS Centre of Excellence.
The exhibition is accompanied by a publication rich in essays and photographs, complemented with the historical timeline of the exhibition, along with important testimonies.
It should be noted that the exhibition could not have been realised without the kind loans of photographs, objects and various testimonial material from organisations, bodies and private collectors, as well as the people of Nicosia who lived through the events.

​Tout l'agenda - Chantilly Senlis Tourisme