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On the occasion of Nuit Blanche, the mahJ invites the artist Yosef Joseph Yaakov Dadoune to take over the spaces of the museum with works emblematic of his career and his questioning.

On the occasion of the Nuit blanche.

Invited by the mahJ, Mili Pecherer presents We will not be the last of our kind, a new computer-generated image film where the story of the Deluge intertwines with more personal concerns about wandering, the quest for meaning, ecology, or the dialogue between humans and the animal world.

At the mahJ and for the first time in a French museum, Maya Zack shows a trilogy of films made over a decade. Comprising Mother Economy (2007), Black and White Rule (2011) and Counterlight (2016-2017), this series is the result of a long period of research and creation, formalised in a language combining drawing, sculpture and video. Recurrent figures in this trilogy are women dialoguing with the past and giving it substance. As the last survivors of the Holocaust are disappearing, the artist questions the risk of forgetting and the processes of memory.

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
 

David Perlov (1930-2003) is one of the key figures of Israeli cinema in the last quarter of the 20^th century. Yet the scope of his oeuvre, sustained by his lifelong practice of drawing and photography, extends far beyond his work as a filmmaker.

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.

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.