A dual exhibition dedicated to photographers Edward Weston and Tyler Mitchell opens in October 2025!

Edward Weston — Becoming Modern

The MEP is proud to present an exceptional insight into the birth of modernist photography through the gaze and practice of the famous American photographer.

Drawn entirely from the prestigious collection of the Wilson Centre for Photography, the exhibition traces a decisive turning point in the history of photography. It highlights Weston’s radical shift from a refined, pictorialist style inspired by the codes of painting to a pared-down, precise, and direct modernist aesthetic. It was during this period that the photographer refined his style, simplifying his framing, eliminating any artifice to focus on lines, shapes, and light. He photographed ordinary objects–shells, vegetables, bodies, stones–with great formal rigour, transforming reality into visual motifs.

Tyler Mitchell — Wish This Was Real

The MEP is honoured to present the first solo exhibition in France by Tyler Mitchell, a leading figure in his generation of contemporary photography, from 15 October 2025 to 25 January 2026. Entitled Wish This Was Real, the exhibition explores the artist’s major themes: self-determination and the extraordinary beauty embedded in everyday life.

Mitchell is driven by dreams of paradise against the backdrop of history. His images propel a visual narrative of beauty, style, utopia, and the landscape that expands visions of Black life and shows how portraiture can be rooted in the past while evoking imagined futures. Wish This Was Real covers ten years of Mitchell’s dynamic artistic practice in photography, video, and sculpture, demonstrating the influence of the “New Black Vanguard” – the proliferation of images by Black photographers who work across genres of fashion and art. From portraits made in the United States, Europe, and West Africa to his latest prints on fabric and mirrors, he traces photography’s vital role in shaping a visual realm in which refuge and repose are central.

Felipe Romero Beltrán — Dialect 

From 15 October to 7 December 2025, the Studio presents Dialect by Felipe Romero Beltrán, an exhibition that invites viewers to experience time and waiting through gestures and glances.

“My work focuses on specific social situations, moments of transition, where bodies and gestures become a silent language to speak of belonging and displacement.” — Felipe Romero Beltrán

Between 2020 and 2023, Felipe Romero Beltrán documented the lives of nine young Moroccan men housed in a migrant centre in Seville. Having entered Spain illegally and awaiting the regularisation of their administrative status, they remained under house arrest in this accomodation centre. Over the course of these three years, corresponding to the average legal process duration required to obtain a residence permit, Beltrán developed a relationship of trust with his subjects, whose daily lives he captures and recounts.

Dialect blends various types of imagery: some candid, others staged in collaboration with the protagonists, who notably reenact memories of their journeys. In the face of judicial violence, imprisonment, and forced migration, Beltrán employs a formal visual language where softness and tenderness emerge in each image.

Sarah Van Rij — Atlas of Echoes

In the second part of the Season, from 11 December 2025 to 25 January 2026, the Studio welcomes the photographic project by artist Sarah van Rij, who offers a unique vision of the street, somewhere between documentary observation and poetic construction.

The exhibition presents a selection of series created by Sarah van Rij during her wanderings through major metropolises. Combining urban landscapes, self-portraits, and collages, the artist paints a poetic portrait of the modern city: fragmented, enigmatic, and driven by a cinematic rhythm. Through her lens, passers-by become characters in an urban theatre; silhouettes framed through windows, cast shadows, or fleeting details of hands and clothing captured in motion.

This visual approach, positioned at the crossroads of street photography and cinematic aesthetics, transforms the ordinary into a sensitive stage. Each image conveys the intensity of a fleeting moment, revealing how chance, the rhythm of the crowd, and light come together to compose fragmentary narratives.

Sarah van Rij also creates collages exclusively from her own photographs, as a way of recycling her work and extending her visual explorations beyond the act of shooting.

With this keen attention to the invisible signs of everyday life, Sarah van Rij questions the very act of looking: What do we really see when we wander through the streets? What do the gestures of others, reflections, tell us? Her photographs open up a space for projection and daydreaming, where contemplation and imagination intertwine.