The Antoine de Galbert Foundation and the Cité internationale des arts have joined forces to develop an unprecedented residency programme.

As the heir to Jean Chatelus’s exceptional collection—comprising more than 400 works of contemporary, outsider, and folk art, assembled over some fifty years with remarkable freedom of vision—the Antoine de Galbert Foundation is donating the collection to the Centre Pompidou.

In connection with this bequest, an invited artist whose practice resonates with the spirit of the Jean Chatelus Collection is selected each year to benefit, for a period of one year, from tailored support, a 65-square-metre live-work studio at the Marais site of the Cité internationale des arts, a living stipend, and production funding.

The artist invited for this third year of residency is Jon Pylypchuk (Winnipeg, Canada, 1972). 

Two of his sculptures are part of the Jean Chatelus collection, given by the Fondation Antoine de Galbert to the Centre Pompidou in 2023.

Residency at the Cité internationale des arts from 12 September 2026 to 26 June 2027.

Jon Pylypchuk was born in a family of Ukrainian immigrant farmers. He studied at the University of Manitoba’s School of Art. In 1996, alongside Michael Dumontier, Marcel Dzama, Neil Farber, Drue Langlois, and Adrian Williams, he co-founded the Royal Art Lodge (1996–2008), a Winnipeg-based artist collective centred around collaborative drawings, paintings, and texts. He left the group in the late 1990s to settle in Los Angeles.

As a multidisciplinary artist, Jon Pylypchuk creates sculptures, installations, drawings, and paintings featuring hybrid creatures made from humble materials (fake fur, wood, clothing, cans, light bulbs, polyurethane foam, etc.). Emerging from the world of fairy tales or cartoons, these sometimes animal-like, sometimes ghostly creatures come to life through interactions with one another, with the audience, or through human expressions, often depicting sadness, anxiety, fear, and suffering. Finding his vocabulary in the visual arts after a stint in music, Jon Pylypchuk considers himself to be better at writing than drawing. The poetic titles he gives his pieces—either romantic or vulgar, but always passionate—play on the contrast between a naive aesthetic derived from outsider art or Manitoba’s folklore and a phrasing that reveals a sharp perspective on social or emotional mechanisms. Often wounded, grieving, drunk, drugged, or depressed, Jon Pylypchuk’s characters embody his interest in the dark side of the human condition. Death, perversion, solitude, war, disease, fragility, and the absurdity of existence are depicted with humour and empathy as sole weapons of resistance.

The artist invited for this second year of residency is Japanese artist Nobuko Tsuchiya (Yokohama, Japan).

Residency at the Cité internationale des arts from 18 September 2025 to 30 June 2026.

Through her intuitive use of materials, Nobuko Tsuchiya constructs delicate elements and layers that integrate into the landscape, forming a cohesive sculptural body of work. Her visual language reflects a deep understanding of the specific properties of each material. In her practice, she explores their physical limits in order to create sculptures that are both sensitive and bold. Nobuko Tsuchiya precisely transforms ordinary objects and discarded materials into intriguing microcosms. Each fragment of her instinctive and liberated assemblages—each surface, each component, each form—enters into a poetic dialogue with the others and with the surrounding environment.

As part of Nuit Blanche, the Cité internationale des arts will remain open until midnight on Saturday 6 June 2026 and will present an unprecedented installation by Nobuko Tsuchiya in its display window: Menu of the day.

Monograph on Nobuko Tsuchiya published by the Foundation in the Un Certain Désordre collection.

The invited artist for the first edition is Argentinian Diego Bianchi, who arrives in residence on November 6, 2024.

Diego Bianchi was born in 1969 in Buenos Aires, Argentina. He is represented by Galerie Jocelyn Woff in Paris.

Diego Bianchi’s work is composed of visually transgressive materials, bringing together discarded objects such as chairs, pipes, electronic devices and casts of body parts.

His practice includes sculptures, installations, video art, photographs and performance elements, which examine aesthetic norms as well as socio-political subjects. The artist focuses on the formal and often chaotic traces of consumerism, in particular the fallout from neoliberal economic damage. One of the dominant themes in Bianchi’s work is the use of the human body as an artistic and constructive element. He proposes an apotheosis of everyday situations, as the derailment of human excess and the anarchic order it produces. Among other grants and awards, he received the Concurso de artes Visuales – Fondo national de las Artes Premio Azcuy, Museum de Arte Moderno in 2019. Recent exhibitions include Syntactic Tactic, Centro de Arte Dos de Mayo, Madrid, Spain, 2022; Bienal de Performance 2021 (B.P.21), Museo Nacional de Bellas Artes (MNBA), Buenos Aires, Argentina, 2021; Sauvetage Sauvage, Galerie Jocelyn Wolff, Romainville, France, 2020; The Stomach and the Port, 11th Liverpool Biennial, Liverpool, UK, 2020; BIENALSUR Córdoba, Argentina, 2019.

Diego Bianchi had participated in the My Buenos Aires exhibition at La maison rouge in 2015.

As part of Nuit Blanche 2025, the Cité internationale des arts invites Diego Bianchi to present an immersive performance in the main courtyard, Cat Walk: Suspended Runway. Conceived as a constantly evolving living tableau, the work explores movement, chaos and the frozen image, in dialogue with the venue and its audience. Balancing stillness and action, the performers’ bodies create a singular visual language that unsettles our bearings and opens up new ways of perceiving the present.

Monograph on Diego Bianchi published by the Foundation in the Un Certain Désordre collection.