Mika Ninagawa 2026/2027

Use the Rotonde Clarence Dillon entrance at 1 Avenue Winston Churchill for this exhibition, rather than assuming every Grand Palais programme has the same access point. Check the selected session and leave time between separately booked exhibitions.

Accommodation

Choose accommodation around the whole Paris itinerary and the actual route to the Grand Palais. For holiday travel, check the exhibition’s closure and early-closing dates before fixing an overnight stay around a specific session.

Let the first impression settle before taking a photograph, wherever photography is permitted. Observe which parts of a space continue to draw attention once the strongest color has registered. A room can create an effect that a single image only partially preserves.

The Grand Palais offers a French-language guided tour lasting ninety minutes and a separate one-hour family tour for ages seven to sixteen. These are booked activities, separate from a timed admission ticket. Choose the format that suits your group and allow time between independently booked exhibitions.

For holiday visits, remember the early closing at 18:00 on December 24 and 31, and the closure on December 25. A special opening is announced for January 1. The exact entry time matters when combining the exhibition with travel or another museum booking; a general date range does not override these exceptions.

Tips from the ArtExpoWorld

Approach a space without immediately trying to summarize it. Notice whether its mood changes after a few minutes and whether movement alters the relationship between its images. That brief pause gives the work a chance to become more than its most photogenic moment.

We are interested in Ninagawa's Paris exhibition because visual pleasure is allowed to carry a difficult subject. Intense color and flowers do not have to make an artwork superficial; they can make the awareness of loss more acute. The relationship between that attraction and the title Alive with Shadows is what gives the announced project its editorial interest for us.

Immersive exhibitions are often judged by the image they leave on a phone. We would judge this one by what changes after the initial spectacle: whether the spaces complicate the beauty that draws people in. That is a demanding test, and the collaboration with EiM gives the project a credible formal basis for attempting it. We want to see how the Paris rooms sustain the tension.