This spring, with the opening of “Stardust” at the newly inaugurated La Malmaison museum on Cannes’ iconic Croisette, acclaimed French artist Jean-Michel Othoniel unveils a deeply personal and poetic body of work that resonates with light, myth, and material transformation. Set within the museum’s intimate, sea-facing rooms—housed in a historic manor thoughtfully reimagined by architect Jean-Michel Wilmotte—the exhibition invites viewers into a contemplative journey shaped by Mediterranean landscape and cosmic inspiration. Currently on view through January 24, 2026, this exhibition coincides with the Cannes Film Festival, adding a layer of cultural vibrancy.
Known for his emotionally charged forms and masterful use of glass, Othoniel draws from themes both universal and elemental: the celestial origins of gold, the sacred language of nature, and the fragile beauty of handcrafted art. “Stardust” features a rich mix of media, from gilded metal sculptures and Murano glass to watercolors, lithographs, and a new series of never-before-seen paintings. In conversation with Whitewall, Othoniel shares how the architecture of La Malmaison inspired the exhibition’s immersive scenography, why beauty has become a political act, and how his work aims to offer moments of serenity amid a chaotic world.
Jean-Michel Othoniel, Gold Lotus, 2015, portrait by Aurelien Cadoual.
Jean-Michel Othoniel, “Stardust,” 2025, Photo © Olivier Calvel-Ville de Cannes.
WHITEWALL: This exhibition at La Malmaison places your work in dialogue with Mediterranean light and landscape. How did the unique context of Cannes influence your approach to this presentation?
JEAN-MICHEL OTHONIEL: What was especially inspiring was the opportunity to inaugurate this new museum on the Croisette—the first contemporary art museum and the first art bookstore in the city. That alone was a true challenge. Moreover, the architecture designed by Wilmotte in this former seafront manor was deeply inspiring. To install the works in such intimate spaces, facing the sea, created a compelling dynamic.
“What was especially inspiring was the opportunity to inaugurate this new museum on the Croisette,”
Jean-Michel Othoniel
The dialogue with the Mediterranean guided the installations, whether through metaphor—such as vast expanses of blue brick flooring extending the horizon into the building—or through the presence of functioning fountains, bringing the sound and coolness of water directly into the space.
Discover the Poetry, Storytelling, and Emotion in “Stardust”
Jean-Michel Othoniel, “Stardust,” 2025, Photo © Olivier Calvel-Ville de Cannes.
WW: You often evoke the poetic and symbolic dimensions of your work. What themes or myths did you choose to explore in this particular exhibition?
JMO: The exhibition at La Malmaison is titled Stardust. In my research, I discovered that gold was born from the collision of two supernovas millions of years ago. This cosmic rain of gold traversed the universe before reaching our planet, touching both its lands and seas. Learning that this material was gifted to us by the universe, and that its presence on Earth is finite, moved me deeply. Gold, to me, has always been more than a color—it is a powerful element of nature. My works are always constructed in dialogue with the wonders that surround us, whether it be the minute simplicity of roadside wildflowers or the sacred, miraculous nature of gold. It is through close observation of the real that I draw my inspiration and energy.
“My works are always constructed in dialogue with the wonders that surround us,”
Jean-Michel Othoniel
WW: Your installations have inhabited gardens, fountains, palaces—and now, newly reopened public institutions in Cannes. How do you conceive the relationship between your work and space, whether architectural or natural?
JMO: Every exhibition is a scenario, a narrative. The presentation of my works—whether in public or institutional settings—is always rooted in storytelling. The most emblematic piece of my practice, Le Kiosque des Noctambules on Place Colette in Paris, set atop the Palais Royal metro entrance, dramatizes the transition from shadow to light, from underground to sunlit surface. We all experience this sensation, perhaps from the moment of birth. Whether it’s the fountains of Versailles, inspired by the dance steps of King Louis XIV and set atop a magnificent basin designed by landscape architect Louis Benech, or this latest exhibition Stardust, each aims to transport viewers into a world where beauty stands fully in the light. Across three floors, visitors move through golden rooms into spaces entirely constructed around blue glass brick floors, echoing the sea and surrounding landscape. On the top floor, I hope to evoke a kind of serene awe, approaching the sublime, with works that possess a nearly sacred resonance.
“The presentation of my works—whether in public or institutional settings—is always rooted in storytelling,”
Jean-Michel Othoniel
WW: There is a strong emotional charge in your forms—knotted necklaces, suspended tears, interlacing motifs. What role do vulnerability and intimacy play in this exhibition?
JMO: For me, this sense of fragility is closely tied to the poetic. The materials I use themselves evoke a profound feeling that shapes each piece. In this exhibition, the intimacy of the spaces—despite the museum’s generous scale—brings visitors into direct contact with the works: their textures, their colors. They are within arm’s reach, exposed, shared openly. And perhaps it is this closeness that creates a kind of vertigo. I chose to take the risk of trusting the visitor. There is no protective distance. The works are simply there, laid bare before us.
Collaborating with Murano’s Master Glassmakers
Jean-Michel Othoniel, “Stardust,” 2025, Photo © Olivier Calvel-Ville de Cannes.
Jean-Michel Othoniel, “Stardust,” 2025, Photo © Olivier Calvel-Ville de Cannes.
WW: Your collaboration with Murano’s master glassmakers has become nearly legendary. Did you develop new techniques or pursue new collaborations for this exhibition?
JMO: Glass is indeed a strong presence in this show, but I’ve also included works in metal—aluminum cast and gilded—drawings that express the fragility of my creative process, like pages from an intimate journal made with watercolor, large-scale black-and-white lithographs that are the source material for my sculptures, and most importantly, a new series of paintings that I am presenting for the first time. I’ve been painting for ten years now. Six were shown at the Louvre in the Cour Puget and have since entered the museum’s collection. I’ve created around sixty paintings that have never been shown in France—they will all be exhibited at the Palais des Papes in Avignon this summer. But the most recent series is on view here in Cannes. I wanted the public to experience these works up close, to engage directly with their texture and color, to fully immerse their gaze. For this, La Malmaison is the perfect setting.
The Sacred Role and Work of Jean-Michel Othoniel
Jean-Michel Othoniel, “Stardust,” 2025, Photo © Olivier Calvel-Ville de Cannes.
WW: In a time when the world feels increasingly fragmented, your work continues to offer moments of beauty, contemplation, and connection. How do you see your role as an artist today?
JMO: For the past 25 years, I have been committed to re-enchanting the world. To offer moments in which beauty transports us—allowing us to step away from reality in order to recharge and confront the darkness of the world—has become vital. Today, I believe this poetic commitment has become a political act. “Beauty will save the world,” said Dostoevsky. It’s a conviction that must be asserted, and, sadly, it feels more relevant than ever.
“For the past 25 years, I have been committed to re-enchanting the world,”
Jean-Michel Othoniel
WW: Your work moves between the sacred, the regal, and the romantic. What does this presentation on the Côte d’Azur represent for you, especially as a prelude to your upcoming “conquest” of Avignon? And how does its timing alongside the Cannes Film Festival add another layer to the exhibition?
JMO: It’s not easy to speak of the sacred in the midst of the Cannes Film Festival—or even within a vacation destination like the Croisette. But I believe this museum aspires to offer its visitors a moment of renewal, a pause from the carefree tumult. So yes, the sacred, which is so present in my work and conveyed through an increasingly assertive sense of beauty, demands something of the viewer. This exhibition is a bubble outside of time, and I truly sensed in this architecture the possibility to create a haven of peace—one that stands in contrast to the noise of the city and the elements.
