Grimaldi Forum Monaco

Exhibitions

The novelty of the subject

For each of its exhibitions, the GFM works with personalities of the art world – guaranteeing a level of scientific excellence in the target area.

Jean-Paul Desroches for exhibitions on China, "The Century of the First Emperor" and "Everyday Treasures" Germano Celant for "Super Warhol" and for "New York, New York", where he worked in tandem with Lisa Dennison Brigitte de Montclos for "Imperial Saint Petersburg", "Moscow, Splendors of the Romanovs" Frédéric Mitterand for
"The Grace Kelly Years" or Christiane Ziegler for "Queens of Egypt", Martin Bethenod "Artlovers, Stories of art in the Pinault collection" ...

From one summer to the next: the strength of scenographic writing

Featuring a modular space with undeniable architectural qualities, the 4000m2 of  Espace Ravel among other things, have an infrastructure which blends the latest musical requirements with the latest scenographic techniques, and can be converted into an exhibition space that is unique in Europe, and in which the works of major museums are presented.

Unique and spectacular, scenographic writing contributes to the richness of the exhibitions’ subject.
Scenographies were conducted by talented professionals: Matali Crasset for "Super Warhol", François Payet for "Imperial Saint Petersburg" and "Queens of Egypt", Nathalie Mane for "The Grace Kelly Years" Studio Luigi Cerri for "New York, New York", Ettore Sotssass for "Arts of Africa", Frédéric Casanova for "Artlovers, Stories of art in the Pinault collection."
If, through scenographic, the GFM asserts its power of seduction on a public looking for the spectacular, it is also a means – compared with other cultural institutions – to assert its originality and its recognition on the international culture scene.

The international dimension of the exhibition

Producer of high level scientific exhibitions and bringing together works from private and public collections worldwide, as well as, of course, from the world’s greatest museums in Europe, America, the Middle East, and the Far East, the GFM has acquired – for now close to fifteen years – a great legitimacy with international institutions.

Since its opening, the variety of our exhibitions subjects has been part of our popularity and our opening towards new publics, since our program is open to all forms of creativity and themes: heritage topics, monographs, contemporary art... all sensitive and charming angles that offer different perspectives on Art.

In continuing our exhibitions, media tools (audioguides, guided visits, mediators), the establishment of workshops for children, as well as the publication of a catalog (and of a small journal) sold in our summer exhibition store and in the editor’s distribution network, all contribute to communicating a program that is both challenging and diverse.

Our references

The Event Factory