Nostalgia is a faithful lover; does not take offense, does not make scenes. Waits, warms the sheets. And when we are wavering, when we need a refuge, familiar threshold, it is towards it that we stumble, hoping it will reach out its hand without a word. This silent place that asks for nothing. Where we can lie down without playing, pretending, without seducing. Memory then seems to be the only space that frees us from the need to convince. Always there, omnipresent and elusive, one we pretend to ignore when necessary, for necessity or sanity. That’s why sometimes, it moves away, because we claim no longer to need it. But when once again we realize that only one can exist, ashamed, we invoke its specters. We revive its settings. We gather around shadows. Everyone has a right to their fetish, ritual or makeshift prayer. Even bastards have a mausoleum of love; solace obeys no aesthetic. It spreads where the mind seeks to fill the void, where fingers move to ward off emptiness. But, young arrogant one, let us laugh at its virtue. Indulge in the luxury of an irruption, without invitation, without staging. Replacing it. Invent a nostalgia from scratch to soil it with drunkenness and screams, to build a myth with broken glass and gazes that cross too long. Grab the first object that comes to hand and raise it towards the crowd to ward off its banality; artifacts are innocent no more. Penetrate everything—the bodies, the walls, the space between two silences. Rendezvous for revenge in a brand new field of melancholy. The leash that ties us to the past will be of no use anymore. Because we always need a stray dog at the party, an outsider who knows the way out. For it is in the eye of the outcast that the answer already burns. Doors open.

D.C.

Hugo Avigo
(—b. 1988, Clamart, France)
Hugo Avigo develops a bold practice that plays with a controlled exaggeration of the codes of sculpture, painting, and installation. Through these different media, his artistic practice explores the realms of public space, speculative fiction, and self-healing. Inhabiting space in unexpected ways, his works—often extravagant in form and disproportionate in scale—challenge our preconceived notions about bodies and their gravity, places and their functions, in order to destabilize our perception of everyday life.

Faye Wei Wei
(—b.1994, London, UK)
Faye Wei Wei is currently following the MA in Fine Arts of Yale (USA) after she graduated from the Slade (London, UK) in 2016. Faye Wei Wei conceives of the painting process as an intimate choreography between actual and pictorial space. Often revolving around spiritual iconography and classical myth, love rituals and the theatricality of gender, her works sometimes suggest the themes of particular mythic narratives, and at other moments seem to depart into a more ambiguous, interior space of incongruity and uncertainty.

Alexander Lee Page
(—b. 1990, Denver, USA)
Alexander Lee Page lives and works in New York City. He works in painting, drawing, and sculpture. His first solo exhibition was held at Galerie Timonier in New York City at the beginning of 2024. Since, he has exhibited in France, Denmark and Belgium.

Marco Villard
(—b. 1992, New York City, USA)
Marco Villard’s practice spans several mediums such as painting, filmmaking, performance and poetry. Villard's work is firmly rooted in symbolism and evokes a meaningful sense of play. Paintings often portray nonsensical figures and animals, accompanied by a rich contrasting color palette, a defining feature of Villard's work and stylistic choice that is uniquely informed by his color blindness. For the first time, Villard focuses on dreamt houses, recomposed memories of his family myth.

Kostis Velonis
(—b. 1968, Greece)
Kostis Velonis’ sculptures explore the comic and awkward condition of the object as subject, implying allegoric, everyday narratives and mythological plots. Throughout his work, the emphasis is placed on the moral implications of failure and clumsiness caused by daydreaming and the reality that frustrates it. The context of this reading is articulated through a systematic vocabulary of forms and materials that refer to modernity via architectural typologies such as ancient Greek theatre structures (stage, stands, orchestra), the politics of the podium, avant-garde propaganda booths and the subpolitics of domesticity.

Hugo Avigo, Anxiety Taker, 2025, PLA, silver wax, aluminium, engraved mirrors, 22 x 14 x 13 cm

Hugo Avigo, Signal, 2025, solid beech, aluminium, charred pine wood, mdf, patina, varnish, wax, 120 x 204 x 179 cm

Hugo Avigo, Signal [detail], 2025, solid beech, aluminium, charred pine wood, mdf, patina, varnish, wax, 120 x 204 x 179 cm

Hugo Avigo, Things (Trophy), 2025, aluminium, 29 x Ø 5 cm

Hugo Avigo, Things (Vape), 2025, aluminium, ebony wood, borosilicate glass, 16 x Ø 4 cm

Hugo Avigo, Things (Press), 2025, aluminium, 38 x Ø 9 cm

Left: Alexander Lee Page Room #3, 2024, oil and oil stick on canvas wrapped panel, 30.5 x 38 cm
Right: Alexander Lee Page Room #4, 2024, oil and oil stick on canvas wrapped panel, 30.5 x 38 cm

Alexander Lee Page Room #2, 2024 Oil and oil stick on canvas wrapped panel 30.5 x 38 cm

Alexander Lee Page, Room #1, 2024, oil and oil stick on canvas wrapped panel 30.5 x 38 cm

Alexander Lee Page, House, 2024, Oil and oil stick on canvas wrapped panel, 28 x 40.5 cm

Kostis Velonis, Accidentally Immortal (Arcadia), 2024, oil, acrylic and chalk paint on canvas 170 x 170 cm

Kostis Velonis, Boundless House, 2025, wood, acrylic, 107 x 94 x 11 cm

Kostis Velonis, Boundless House (Shades of Saturn), 2025, aluminium 100 x 84 x 3 cm

Marco Villard, House Painting I, 2025, oil sticks, oil pastel and crayon on canvas 180 x 120 cm

Marco Villard, I Wish I Remembered What She Said to Me, 2025, oil sticks, oil pastel and crayon on canvas, 35.5 x 28 cm

Left: Marco Villard, House Painting, Farm House (diptych) I, 2025, oil sticks, oil pastel, acrylic and crayon
30.5 x 27 cm
Right: Marco Villard, House Painting, Farm House (diptych) II, 2025, oil sticks, oil pastel, acrylic and crayon
38 x 30.5 cm

Marco Villard, House Painting, She Forgot About Me, 2025, oil sticks, oil pastel and crayon on canvas, 39.4 x 31.8 cm

Marco Villard, House Paintings III, 202, oil sticks, oil pastel, acrylic and crayon, 37 x 28 cm

Marco Villard, House Painting II, 2025, oil sticks, oil pastel, acrylic and crayon, 39.5 x 32 cm

Marco Villard, House Painting IV, 2025, oil sticks, oil pastel and crayon on canvas, 36.8 x 29.2 cm

Marco Villard, House Painting II, 2025, oil sticks, oil pastel, acrylic and crayon, 39.5 x 32 cm

Faye Wei Wei, Tom and Jonnie, 2024, oil on canvas, 61 x 46 cm