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Programmation OVNi

© Nicolas Clauss
© Nicolas Clauss

Villa Ephrussi de Rothschild

2026

1 Av. Ephrussi de Rothschild, 06230 Saint-Jean-Cap-Ferrat

Owned by the Académie des Beaux-Arts, the Villa Ephrussi de Rothschild is a major heritage site on the French Riviera, bringing together an 18th-century art collection, exceptional architecture, and listed, remarkable gardens. The villa was built between 1905 and 1912 on the ridge of Cap Ferrat — an isthmus that was still largely undeveloped at the time — at the inspiration of Béatrice Ephrussi de Rothschild, during the Belle Époque, when the aristocracy was fond of gathering along the Côte d’Azur.

Spreading out like a ship across fifty rooms, the Villa draws primarily from the Italian Renaissance, with its Venetian and Florentine schools of the 15th and 16th centuries, further enriched by references to Flamboyant Gothic.

 

Exhibition Space:

A vast Renaissance patio invites visitors to discover its elegance and many facets. Influenced by both Italian and Spanish styles, it is designed around a colonnade of pink Verona marble, with capitals evoking the Greek Ionic order; on the upper floor, one can admire a gallery of ornate motifs and its balconies. The patio thus evokes the rediscovered influence of Antiquity on the Renaissance — a departure from the Middle Ages — along with its technical and artistic innovations.

© Nicolas Clauss
© Nicolas Clauss

Nicolas Clauss

Solo exhibition by Nicolas Clauss

OVNi dans la Ville

An installation of twelve video tableaux depicting bodies traversed by events and situations. At the heart of the work lies an absolute fascination with the body in motion and its organic dialogue with dance. Through an exacting attention to rhythm, temporality, and texture, Nicolas Clauss fragments gesture in order to better reveal the tension that underlies it. The various series presented here form a corpus open to otherness, intimacy, and the porousness of distance.

 

Movement is broken down, at times stretched into an almost infinite slow motion, and placed in mise en abyme to create a phenomenological experience. Bodies cross the screen as they cross existence — weighted with the gravity of time, with a geographical, cultural, or collective history.

 

The installation is a poetics of the human condition, into which the viewer is invited to enter. Its temporal loops compel the visitor to slow down and draw ever closer to that sensation of suspension produced by the dramatic and emotional power of these images.