Artjacking !

Ever since Manet painted Luncheon on the Grass in 1863, dozens of artists have adopted and reworked this symbolism. Picasso charged the scene with tingling eroticism, Mickalene Thomas turned it into a political statement, and Daniel Spoerri reworked it into a warning about ecological issues.

A shipwreck in 1816 shocked young artist Théodore Géricault... and his imagery was the starting point for generations of other artists to portray their own shock and dissent. The Cooperative des Malassis denounced the evexcesses of capitalism while Kader Attia criticises the shipwrecks of migrants in the Mediterranean Sea.

In 1960, Yves Klein was photographed jumping from the second floor of a building. But did he really jump? To find out, Tehching Hsieh tried to do the same and broke both his ankles in the attempt, while Philippe Ramette learned to fly. Klein's leap launched a thousand others...

In 1917, Marcel Duchamp was told he could exhibit a piece of work and it could be anything he wanted. Taking the curators at their word, he signed a urinal and named it Fountain. A small, subversive act that profoundly shook the art world.

Leonardo da Vinci's Last Supper is ripe for reinterpretation given its notable absences: women, people of colour, and people with disabilities are invisible in this painting about the salavation of humanity. Enter modern artists challenging that narrative: Beth Edelson, Elisabeth Ohlson Wallin, and Raoef Mamedov.

Piet Mondrian is one of the pioneers of abstraction. For him, his scholarly compositions create order in the chaos of the world. His art sparked off countless iterations, from pop artist Tom Wesselmann to Yves Saint Laurent, who created an iconic dress.

25 naked and languid women loll about as the viewer becomes the voyeur. The Turkish Bath by Ingres makes men reflect on the staging of their desire, and women on their eroticisation. Man Ray, Jananne Al-Ani, Patrick Raynaud and Lalla Essaydi all have something to say back to the original work.

The gay icons of Pierre and Gilles, the political manifesto of Mohammed Ali or the feminist art of Louise Bourgeois all have one common thread: they are reinterpretations of an original work, that of "Saint Sebastian" by Guido Réni.

What is hidden in the image of the ladies-in-waiting? Who is the true focus of the work? The viewer, the court ladies or the royal couple? There has been speculation about the painting by Velázquez for centuries. And ultimately everyone sees what they want in it.

A pipe which is not a pipe but the representation of a pipe: that's how Magritte humorously paved the way for the many subsequent interpretations of his famous piece. Présence Panchounette, Marina Fabre and Valentine Dervaux, and Nancy Fouts have all made their own versions of the iconic work.