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Tamaya at Work, Grand Palais, Paris, 2026 When I met Tamaya behind the Grand Palais, before she led me through the backstage corridors, those small doors that would let us enter her brand new world, the sun had not yet given us the joy and the surprise of its arrival. There is always a moment, when you are making someone’s portrait, when the ice must be broken. So Tamaya and I tried to count the number of years we had known each other. Ten, perhaps more. We did not go any further — it was not making us any younger. At the time, I was probably still a photographer, or perhaps just beginning to want to become a curator, and she, she was already Tamaya. I have followed her path all these years, sometimes from afar, between Berlin for her, Santiago de Chile, and for me Rome or London. Trained in architecture and art history, all this time I have only one clear memory: very quickly, Tamaya had found her practice and her universe. Some will call it art brut, others collage, but I believe what is truly joyful in Tamaya’s work is above all the freedom she grants herself. It is the opportunity she immediately knew how to seize, and that she has cultivated ever since. It is also this freedom that gives meaning, to me, to her project — the neighborhood museum @museedeproximite . By questioning our relationship to spaces, our relationship to the museum, Tamaya offers us the chance to come and admire, deposit, or explore the imagination of complete strangers who could just as easily be our neighbors as a distant great-uncle. Back at the Grand Palais, the sun grants us the honor of its grace, for a moment. It is as if it wanted, at all costs, to show me the shadows of Tamaya’s castle. Pieces of cardboard, at once very solid and very fragile. During our session, things keep falling, and each time I feel immense relief as I witness Tamaya’s calm. Perhaps this is how great things are made. Today, Tamaya inaugurates her castle (« Gros Palais ») inside the Grand Palais, a Palace I would have liked to call the Ideal Palace. A cardboard Palais inside a museum, who might once have imagined? Tamaya, of course. @le_grand_palais @collectionraja_artcontemporain

Some images of the exhibition and installation Time with a Gift of Secrets in New York: featuring 13 incredible artists, talented collaborators, generosity, very little time and a loads of trust. While the show questioned how can we collectively create spaces for opacity, safely, it also raised the question of trust. Who holds the space to be vocal - to tell the stories - to break silences - to not be ashamed - the write mythologies ? How these transforms and mark our bodies? How do we open up and create spaces - intimates or collectives ones? Where do we meet again? And mainly how do we resist what Yves Citton calls the tyranny of transparency? With the works of @ashitakim @arielleassoulinelichten @khosrovanimaryam @ingha.mago @noralyzsa @amanda.krische @chemsedineherriche @clavilain @leonor.berrehar @quentinfromt @thomias.r @martinaguandalinidesign @e.vaw A set design by @helenehelleu Supported by @slashobjects and the help of @christian_barnett_ produced by @kqora_ Written and curated by yours truly - with Capucine Berkrouber @kapu.b At @slashobjects It was one of the best and challenging experiences to install a show from scratch in New York. To be able to show the works of French artists abroad for the first time (for them and for me in the US!), next to New Yorkers and internationals. I would never have excepted to find a community here and can only say how grateful and amazed I am by everything I have encountered during these past weeks. Thank you all, for showing up and making a sense of keeping creating and building up arts in trouble times. 💙

Des liens qui courent is a unique collective exhibition merging theatre and contemporary arts. With @shengqikong @flora.aussant @chloearwy @alixboillot @kidahou @angela.jimenezduran @annemarlie.desir @anneagma @evaa.vdh @soodeh_bt @pris.beny @raana.dehghan @deborahbowmann @_bili____ @louise_covillas @marlondeazambuja @sarafavriau @frau_hauser @elinorhaynes @ninajaya_ @marietalexandre @santa___helena @clementpasquier_ _ @iszor @prunephi @_serenasalerno_ @hugo.servanin @alishawessler @wuzhizhizi @yanma_f @alicia_zaton Conceived around the play Toast, written by Victoria Neefs, curated by Chloé Bonnie More. In three parts, the exhibition and the play are activated in one same space from 14th to 17th of May. Book your tickets in bio @collectifboitenoire The exhibition, combines artists’ furnitures, works of art, everyday objects and unusual items: a space of hope that aims to be familiar. It’s an ensemble that questions, among other things, the notion of « the strength of weak ties » in sociology. What is meant to be « weak » is less visible, the traces we seek for, the group of fan we are part of, a chat group online, the collection of things we find, the family roots we try to explore, rumors, silences, inquiries and archives of life. Considered as « less deep » they are in fact studied by sociologists as a very powerful potential leverage for building sense, community and care. Melting these questions with daily thematics that seem unrelevant, the scenography of the exhibition explores the house, the family, friendship and our environment. In particular, the « weaks ties » questions the decision-making power of being together, which is a direct counterpoint to the play Toast, where the explosion of intimacy is highlighted around a crisis event. After all, what have we done with our crises? Please get in touch to book a visit of the exhibition a part from the play, with your fav tourguide ✨ with the great support of @emmausfrance @maisonozel 🍀

Since 2022, I have been developing The Hyper Show: an innovative and rigorous methodology to support and expand the practices of emerging and established artists. In the past two years, The Hyper Show has been used by more than 40 artists across France and Europe, contributing to the emergence of new opportunities, artistic communities and long-term networks. Inspired by ten years of experience working alongside hundreds of international artists, supporting the development of their studio practice, the opening of opportunities, and the shaping of their curatorial vision. This work is deeply informed by my multidisciplinary background, which continuously shapes how I approach artistic thinking, curation, grounded in theoretical inquiry and creative development. The Hyper Show has emerged as both an individual and collective tool for artistic development based on collective design thinking, Tarot, and Brian Eno’s Oblique Strategies. The Hyper Show is the result of this ongoing research — a space for one-on-one and group sessions focused on clarity, direction, and creative expansion. I am proud to see how The Hyper Show has proven to be a meaningful tool for artistic development. This work is aligned with my desire to build strong connections and develop artistic projects with artists from all over the world, and I am happy to be sharing it with you today. Since 2025, The Hyper Show is supported by @noemi_espace_brownstone 💎 For Research & Practice sessions enquiries and US based artists, please email us at [email protected] <3 📩 The calendar is now open for individual and group sessions. All details and informations are available on the website linked in bio. Photos with @annemarlie.desir @lisethiollier @paulokka @noelia__portela @dayneris_brito @archibaldapori the beautiful hands of @margotngn and more 🫂❤️

Keep looking 🌬️🌊 ps: this post is still not sponsored by @caudalie 💌🐚

Which one are you? Pick a shell (call the sea, take a photo, leave it to where it belongs 🤍 and sail away)

What a journey! My second post on Substack is published despite the poor connection, lack of time and intense preparations on the boat. We have been at sea for the past 10 days, so I have much more to share later this week. But wait, what day is it? We have lost track of time but we are sailing every day besides the sun. Thank you again to Daniel and all Yuge Island friends for helping us to launch the expedition. @yuge.seastation @we_are_explore @living_soils_expedition

A first for me. I wrote my first post on Substack and it is quite personal. For those who don’t know me, you might find some responses, as well as those who do know me. In this first post I pay tribute to my late grandmother’s name, I talk about Kabuki the dance forbidden to women in Japan since 1629, love as rivers, how Behjat Sadr’s work and my Iranian friends changed my life, cinema, music, how I became a curator, how some artists are sharing and shaping hope, always. This week, I am starting a documentary about a 4-month sailing convoyage with a NGO named Living Soils. This new film and sound project also seeded in me the need to write about it. To begin, I decided to introduce a bit of me as if I could ever really completely situate myself meanwhile my life is moving with me all the time, all around. Still it was worth a try. It is a little long, but I believe this will be an exception (unless…). The link to my Substack is in my bio 🤲 Thank you for reading me. With love, yours truly.

Elene at her studio @elene.shatberashvili in Paris, 2025 Elene and I met through our great friend Nathanaelle Herbelin. Building community of thoughts and care amongst painters, I found myself lucky to get an entrance to that door. Full of painting tubes, glue, alcohols of every kind and rabbit skin. Which I got used to like a simple mortal entering the magic shop far too often. Yes it can be messy and this is where the actual magic happens most of the time. Elene introduced me to Georgia during my first trip to the mountains of Tushetii where I documented medicinal plants with locals. It was 2023, minus 20 degrees. One of the best experiences of my life. I remember visiting Elene’s studio in Tbilissi, finding the fishes, apples, flowers, some dark lights and all sort of things that make sense both in the painting and outside. The real world and the fiction melt together with a sense of commons that has shaped my sensitivity since. Merging icons, to spiritual symbols, with gravity and dreams, Elene’s work touches something invisibly present that overcomes the tradition, sometimes by being informed by it. The colors she uses are profound and the red I found in the studio that day completely mesmerised me. I am grateful to be surrounded by such profoundly talented artists and that they have been allowing me to take portraits of them at their studio for the past ten years (ohlala!!!). Elene’s work can currently be seen in two exhibitions at @fondationhermes and @centrepompidoumetz_ !!! Don’t miss it ! More to be announced 🤍 Bonnie

Back, with a very old friend of mine 🕠💙 #mamiya645

Full moon in gemini, get ready 1. Credit for the video of this genius mind @femlorddd 2. great hat, great people (zadie smith speaking 3. @asscroco & I doing sirens stuff at the river by @chloeangio 4. 500 images, exhibition texts in English and Nepali, and a conversation between curators @diwasraja and NayanTara Gurung Kakshapati, this volume addresses fundamental questions of public memory and the history of feminism 5. @kapu.b in the city, followed by the moon, obviously 6. If you know, you are in my heart too 7. my first ever performance with @amanda.krische as choreographer, scenography by @helenehelleu , bench @arielleassoulinelichten 8. love in nyc 9. love in marseille 10. @aryana___________ normal day at the office 11. ambient night with @johnnydraper_ 12. @ingha.mago ´s painting haunting me of its beauty 13. @neohybris at @spf.cinquante 14. a documentary of Luisa Casati, scarrier than a horror movie 15. Elles obliquent, elles obstiennent, elles tempêtes, the great book of @vanessadesclaux , rebellion is near 16. desert eyes of @chemsedineherriche 17. installating our exhibition Time with a Gift of Secrets in nyc, suggesting hanging solutions with my hand included to @chemsedineherriche 18 & 19. note book of Lee Lozano - the only one 20. full moon

New York City, between the lights there is so much love to be free (and cheesy).