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Lauren Coullard, Maya Hottarek, Christelle Kahla, Lou Masduraud, Julie Monot, Mathias Pfund, Jessy Razafimandimby,

Zoé de Soumagnat 

10.03 - 29.04.2023

text, Alexandra Romy


Toast, installation view, 2023


Toast, installation view, 2023


Toast, installation view, 2023


Toast, installation view, 2023

Julie Monot, Play Dead, Installation view, 2022


Toast, installation view, 2023


Toast, installation view, 2023


Toast, installation view, 2023


Toast, installation view, 2023

Bleary Eyed, oil on canvas, 65x54cm, 2020HD-LaurenCoullard.jpg

Lauren Coullard, Bleary Eyed, oil on canvas, 65x54cm, 2020


Maya Hottarek, Suck my dick & Suck my dick 2, ceramics and steel, 2022


Christelle Kahla, Cold heart, spray on canvas, 24x30cm, 2023


Lou Masduraud, Belt (Alicia), glazed ceramics, 2021


Julie Monot, Armor amor, tubular hair, cotton and ceramic mask 2021


Jessy Razafimandomby, L'amour simple pour l'ennui simple, oil and acrylic on bed sheets, 36x44cm, 2022


Maya Hottarek, Suck my dick & Suck my dick 2, ceramics and steel, 2022


Zoé de Soumagnat, There III, engraved and painted mirror, 40x30cm, 2021


Mathias Pfund, Mathias & Ella (10th Anniversary Remaster Edition), polished brass, 2020, edition of 10 (1/10)

Pictures Philip Frowein


A party (birthday party, or dinner party, or any kind of party) - like a group show - is never a full comprehensive, realist and coherent story. It encompasses disjointed details that allow to comprehend the events (or works) not as a whole exhaustive and logic entity, but as a sequence of organic and hybrid particules or even scraps. As a viewer (or a guest), we could then systematically arrest our attention by the detail that seems out of place, the contradiction that tears open, the monstrous element that reveals flaws and disparities, offer never-ending probabilities for the understanding and would perhaps "de-discipline our eyes"(1) to create alternative narratives.


Confettis rain on Tramstrasse. After a quick look into the mirror to fix one's hair or lipstick (Zoé de Soumagnat, There III, 2021), we are immediately embraced by the one impatiently dancing with hands (Maya Hottarek, Suck my dick & Suck my dick 2, 2022), all over the place, can't wait to move the hips. Already installed at the table, someone is sharing a romantic story, the story of a teenage love, of casting names in the freshly made concrete floor (Mathias Pfund, Mathias & Ella (10th Anniversary Remaster Edition), 2020). In a dark corner, two guests are hiding (Christelle Kahla, Cold heart, 2023 & Lou Masduraud, Belt (Alicia), 2021), harness and belt, dark colors, no light. To their left, fluffy, friendly, soft, the one who cares, listens, hugs, conforts (Julie Monot, Armoramor, 2021). Obviously, the dogs sits next to the friendly one. No party  - or joy of any kind - without dogs (Jessy Razafimandimby, L'amour simple pour l'ennui simple, 2023). At the head of the table, the toastmaker chairs A.ROMY's banquet (Lauren Coullard, Bleary Eyed, 2020), responsible to lead the on-going dinner liturgy. Toastmaker rises to toast.


Toast is a feast. A celebration. It's a memory that remains when the drink is over. Toast implies tinkering glasses in order to scare away any spirits or ghosts that would hang out around. Toast is the celebration of the gallery third anniversary. Toast is the memory of a celebrated domesticity, a cheer to the artist's visions and trust, a cheer to colleagues and supports. A.ROMY's banquet is not a linear intention or a straightforward objective but a sequence of details which narrates a living experience, an addition of gestures which results in an affectionate and de-disciplined ragout. A toast to friendship.

Alexandra Romy

 (1) all paragraph Mieke Bal, De-Disciplining the Eye., Critical Inquiry 16, no. 3 (1990): 506–31; Bal, Mieke. “Figuration.” PMLA 119, no. 5 (2004): 1289–92.

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