Founded in Russia in 1880 to extricate Jews from misery through the promotion of handicrafts and agriculture, ORT (Organisation Reconstruction Travail) is today an international education and training network established in over forty countries. 2021 marks the centenary of its presence in France.
The Guerry Columns, a major work Georges Jeanclos (1933-1997), joined recently the mahJ’s collections thanks to an exceptional donation by the artist’s family of a full-scale terracotta study of the bronze monument erected in the hamlet of Guerry at Savigny-en-Septaine in the Cher. A poignant evocation of one of the crimes of the Shoah perpetrated on the French territory, this work constitutes a major enrichment of the mahJ’s contemporary collection.
L’artiste sud-africain investit les espaces du mahJ dans un parcours insolite. Gravure, sculpture et film d'animation se mêlent pour évoquer l’exil.
En partenariat avec la galerie Marian Goodman
daily, starting from Wednesday, May 17, 2017 - 11:00, until Sunday, November 19, 2017 - 23:59
Sculptures, paintings, visual and acoustic installations, films, concerts... Charlemagne Palestine’s exhibition at the mahJ is the first of its kind in a French museum. Combining past creations and his most recent works, his installation in the former stables takes us into the very heart of his fascinating universe, in which stuffed toys play a leading role.
daily, starting from Thursday, February 23, 2017 - 11:00, until Sunday, July 30, 2017 - 23:59
Max Wechsler’s donation of works to the mahJ consecrates the long dialogue between the museum and the artist, awarded the Prix Maratier by the Fondation Pro mahJ in 2003.
daily, starting from Wednesday, September 28, 2016 - 11:00, until Sunday, January 29, 2017 - 23:59
The mahJ is showing two cycles of recent works: Glass(es) (2010–11), Morgen (2010–2015) and its extension, Decor: morgen appendix (2015–16). Moshe Ninio’s “forensic” exploration of existing images transform historic relics—an object on display in a museum and a TV show filmed in the early 1960s—into disturbing abstractions.