Summer is often a time for travelling to destinations far and wide, and discovering new places, both natural and cultural.

This summer, two collective exhibitions featuring works by Zao Wou-Ki are on offer to both holidaymakers and art lovers :

From 1 March to 21 September 2025, Tokyo’s Artizon Museum presents The Ishibashi Foundation Collection Highlights, a selection of masterpieces from the Ishibashi Foundation’s collection, including nineteenth- and twentieth-century modern Western art, art from the early twentieth century to the present day with a focus on Abstract Expressionism, and Japanese modern and contemporary art.

The 82 works on display include works by Claude Monet, Paul Cézanne, Henri Matisse, Pablo Picasso, Joan Miró, Paul Klee, Tsuguharu Fujita, Kumi Sugai, Joan Mitchell and Yayoi Kusama. One artist stands out for the number of works on display: Zao Wou-Ki. 9 oils on canvas and 3 works on paper occupy a dedicated room, enabling visitors to discover works from 1954 to 2004.

These 12 works highlight the particular importance of the artist in the Ishibashi Foundation’s collection, which includes a total of 19 works, 13 of which were acquired by Kan’ichiro Ishibashi from the Fuji Television Gallery for his personal collection and then donated to the Ishibashi Foundation after his death in 1997. 

In the exceptional heritage setting of the Abbaye-aux-Hommes, founded by William the Conqueror and now the seat of the town hall, the City of Caen and the Fondation Gandur pour l’Art are presenting the exhibition In the Eye of the Collector: Paving the Way for the Future Museum in Caen. On view from 26 June to 28 September 2025, the exhibition features a selection of 81 works chosen by patron and collector Jean-Claude Gandur, as a preview of the future museum that will house the Fondation Gandur pour l’Art by 2030.

Oceanic masks, medieval sculptures, modern and contemporary paintings and antique objects : 81 emblematic pieces from a wide range of horizons invite visitors to discover the Swiss collector’s vision.

The exhibition’s museography reflects the collector’s conviction that art is a vehicle for exchange and sharing, capable of building bridges between cultures. For example, the russet-brown hues of Zao Wou-Ki’s painting 30.10.61 dialogue with the Rio rosewood veneer of a commode attributed to Joseph Poitou and Charles Cressent, while the bright tones and large brushstrokes of the oil painting resonate with the gilt bronzes of the Regency-style furniture.