Archives

For the first time in France, the mahJ is devoting an exhibition to Helena Rubinstein (1872- 1965). Featuring more than 300 exhibits from her famous collection – objects, garments, photographs, etchings, books, paintings, sculptures and tapestries, including works by Marc Chagall, Michel Kikoïne, Sarah Lipska, Louis Marcoussis, Elie Nadelman and Maurice Utrillo – it recounts the life and career of the woman whom Jean Cocteau dubbed “the empress of beauty.”

To mark its twentieth anniversary, the mahJ is devoting an exhibition – the first of its kind in France – to Sigmund Freud (1856-1939). With more than two hundred paintings, drawings, prints, books, objects and scientific instruments – including major works by Gustave Courbet, Gustav Klimt, René Magritte and Mark Rothko – Jean Clair, the exhibition’s curator, is proposing a fresh insight into the intellectual and scientific development of the inventor of psychoanalysis and the influence of Judaism.

Masterclasse, stage et atelier autour de l’œuvre de Helmar Lerski

To celebrate its 20^th anniversary and the 70^th anniversary of the creation of the state of Israel, the mahJ presents the first exhibition in France dedicated to the photographer Helmar Lerski (1871-1956).

À l’occasion de la commémoration des quarante ans de la disparition de René Goscinny, le mahJ, en partenariat avec l’Institut René Goscinny, présente la première rétrospective consacrée au co-créateur d’Astérix et du Petit Nicolas. L'exposition rassemble plus de 200 œuvres, dont des planches et scénarios originaux, et de nombreux documents inédits issus des archives Goscinny.

In autumn 2012, the extraordinary discovery of a genizah in the attic of the synagogue at Dambach-la-Ville in the Bas-Rhin brought to light thousands of documents and objects dating from the 14th to the 19th century, “saved from the skip” by researchers and volunteers. This genizah contained an extraordinary wealth of vestiges, both in their variety and their age.

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.