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Jérôme Sans and I aka @liquidarchitecturemusic animation by Fabien Verschaere @verschaere

RIP dear Fabien Verschaere. It was a privilege and honor to work with you and to have collaborated with you on many of your video works and have also included us as characters in your unique fairy world. Proud to have made the music with our band @liquidarchitecturemusic for some of your videos, such as this one. Love ❤️. link in biofor the full version of the video.

RENCONTRE avec Joël Andrianomearisoa et Jérôme Sans, mardi 24 mars 2026 à 19h30.
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À travers une œuvre plurielle, Joël Andrianomearisoa affirme que l’espoir n’est jamais un geste solitaire : il prend forme dans la relation, dans la circulation des mots, dans les gestes partagés, dans les voix qui se répondent.

Mardi 24 mars 2026 à 19h30, Transfo - Emmaüs Solidarité accueille l’artiste Joël Andrianomearisoa et le commissaire de l’exposition Jérôme Sans pour une rencontre qui propose de penser l’espoir comme un mouvement collectif, une dynamique essentielle pour habiter le monde contemporain, rappelant que nos espoirs, individuels ou communs, dépendent toujours de l’autre.
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📷 : Joël Andrianomearisoa, Mazava atsinana ny any aminay ("Chez nous, le soleil se lève"), 2026 © Marc Domage

📷 Joël Andrianomearisoa © Studio Joël Andrianomearisoa / Jérôme Sans © Valentin Le Cron
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@joelandria / @studiojoelandrianomearisoa
@jeromesans

RENCONTRE avec Joël Andrianomearisoa et Jérôme Sans, mardi 24 mars 2026 à 19h30.
-

À travers une œuvre plurielle, Joël Andrianomearisoa affirme que l’espoir n’est jamais un geste solitaire : il prend forme dans la relation, dans la circulation des mots, dans les gestes partagés, dans les voix qui se répondent.

Mardi 24 mars 2026 à 19h30, Transfo - Emmaüs Solidarité accueille l’artiste Joël Andrianomearisoa et le commissaire de l’exposition Jérôme Sans pour une rencontre qui propose de penser l’espoir comme un mouvement collectif, une dynamique essentielle pour habiter le monde contemporain, rappelant que nos espoirs, individuels ou communs, dépendent toujours de l’autre.
-

📷 : Joël Andrianomearisoa, Mazava atsinana ny any aminay ("Chez nous, le soleil se lève"), 2026 © Marc Domage

📷 Joël Andrianomearisoa © Studio Joël Andrianomearisoa / Jérôme Sans © Valentin Le Cron
-

@joelandria / @studiojoelandrianomearisoa
@jeromesans

Thrilled to have contributed to this monograph on Arman, focusing on his iconic work from the 1970s.

By then fully established in the United States, his practice absorbed various American influences, from Pop Art and Minimalism to the scale and optimism of the American dream, and his accumulations increasingly incorporated brand-new objects and monumental forms. In an age of accelerating production, consumption, and destruction, Arman explored the fragmentation of reality and the shortening life cycle of modern objects. Often overlooked, the political dimension of his work reveals a deep sensitivity to violence and conflict, most notably in his monumental 'Hope for Peace', tanks embedded in cement in Lebanon, a powerful call for peace.

Thank you @Silvanaeditoriale, @chiaraspangaro @studiocelant

Photo credit: Silvana Editoriale

#Arman #ContemporaryArt #ArtMonograph #ArtBook #Nouveaurealisme #ArtHistory #ArtExhibition #HopeForPeace #ArtWorld #ArtPublishing#PublicArt #MonumentalArt #ArtCurator #accumulations #70s

Thrilled to have contributed to this monograph on Arman, focusing on his iconic work from the 1970s.

By then fully established in the United States, his practice absorbed various American influences, from Pop Art and Minimalism to the scale and optimism of the American dream, and his accumulations increasingly incorporated brand-new objects and monumental forms. In an age of accelerating production, consumption, and destruction, Arman explored the fragmentation of reality and the shortening life cycle of modern objects. Often overlooked, the political dimension of his work reveals a deep sensitivity to violence and conflict, most notably in his monumental 'Hope for Peace', tanks embedded in cement in Lebanon, a powerful call for peace.

Thank you @Silvanaeditoriale, @chiaraspangaro @studiocelant

Photo credit: Silvana Editoriale

#Arman #ContemporaryArt #ArtMonograph #ArtBook #Nouveaurealisme #ArtHistory #ArtExhibition #HopeForPeace #ArtWorld #ArtPublishing#PublicArt #MonumentalArt #ArtCurator #accumulations #70s

Thrilled to have contributed to this monograph on Arman, focusing on his iconic work from the 1970s.

By then fully established in the United States, his practice absorbed various American influences, from Pop Art and Minimalism to the scale and optimism of the American dream, and his accumulations increasingly incorporated brand-new objects and monumental forms. In an age of accelerating production, consumption, and destruction, Arman explored the fragmentation of reality and the shortening life cycle of modern objects. Often overlooked, the political dimension of his work reveals a deep sensitivity to violence and conflict, most notably in his monumental 'Hope for Peace', tanks embedded in cement in Lebanon, a powerful call for peace.

Thank you @Silvanaeditoriale, @chiaraspangaro @studiocelant

Photo credit: Silvana Editoriale

#Arman #ContemporaryArt #ArtMonograph #ArtBook #Nouveaurealisme #ArtHistory #ArtExhibition #HopeForPeace #ArtWorld #ArtPublishing#PublicArt #MonumentalArt #ArtCurator #accumulations #70s

Thrilled to have contributed to this monograph on Arman, focusing on his iconic work from the 1970s.

By then fully established in the United States, his practice absorbed various American influences, from Pop Art and Minimalism to the scale and optimism of the American dream, and his accumulations increasingly incorporated brand-new objects and monumental forms. In an age of accelerating production, consumption, and destruction, Arman explored the fragmentation of reality and the shortening life cycle of modern objects. Often overlooked, the political dimension of his work reveals a deep sensitivity to violence and conflict, most notably in his monumental 'Hope for Peace', tanks embedded in cement in Lebanon, a powerful call for peace.

Thank you @Silvanaeditoriale, @chiaraspangaro @studiocelant

Photo credit: Silvana Editoriale

#Arman #ContemporaryArt #ArtMonograph #ArtBook #Nouveaurealisme #ArtHistory #ArtExhibition #HopeForPeace #ArtWorld #ArtPublishing#PublicArt #MonumentalArt #ArtCurator #accumulations #70s

Thrilled to have contributed to this monograph on Arman, focusing on his iconic work from the 1970s.

By then fully established in the United States, his practice absorbed various American influences, from Pop Art and Minimalism to the scale and optimism of the American dream, and his accumulations increasingly incorporated brand-new objects and monumental forms. In an age of accelerating production, consumption, and destruction, Arman explored the fragmentation of reality and the shortening life cycle of modern objects. Often overlooked, the political dimension of his work reveals a deep sensitivity to violence and conflict, most notably in his monumental 'Hope for Peace', tanks embedded in cement in Lebanon, a powerful call for peace.

Thank you @Silvanaeditoriale, @chiaraspangaro @studiocelant

Photo credit: Silvana Editoriale

#Arman #ContemporaryArt #ArtMonograph #ArtBook #Nouveaurealisme #ArtHistory #ArtExhibition #HopeForPeace #ArtWorld #ArtPublishing#PublicArt #MonumentalArt #ArtCurator #accumulations #70s

Thrilled to have contributed to this monograph on Arman, focusing on his iconic work from the 1970s.

By then fully established in the United States, his practice absorbed various American influences, from Pop Art and Minimalism to the scale and optimism of the American dream, and his accumulations increasingly incorporated brand-new objects and monumental forms. In an age of accelerating production, consumption, and destruction, Arman explored the fragmentation of reality and the shortening life cycle of modern objects. Often overlooked, the political dimension of his work reveals a deep sensitivity to violence and conflict, most notably in his monumental 'Hope for Peace', tanks embedded in cement in Lebanon, a powerful call for peace.

Thank you @Silvanaeditoriale, @chiaraspangaro @studiocelant

Photo credit: Silvana Editoriale

#Arman #ContemporaryArt #ArtMonograph #ArtBook #Nouveaurealisme #ArtHistory #ArtExhibition #HopeForPeace #ArtWorld #ArtPublishing#PublicArt #MonumentalArt #ArtCurator #accumulations #70s

Thrilled to have contributed to this monograph on Arman, focusing on his iconic work from the 1970s.

By then fully established in the United States, his practice absorbed various American influences, from Pop Art and Minimalism to the scale and optimism of the American dream, and his accumulations increasingly incorporated brand-new objects and monumental forms. In an age of accelerating production, consumption, and destruction, Arman explored the fragmentation of reality and the shortening life cycle of modern objects. Often overlooked, the political dimension of his work reveals a deep sensitivity to violence and conflict, most notably in his monumental 'Hope for Peace', tanks embedded in cement in Lebanon, a powerful call for peace.

Thank you @Silvanaeditoriale, @chiaraspangaro @studiocelant

Photo credit: Silvana Editoriale

#Arman #ContemporaryArt #ArtMonograph #ArtBook #Nouveaurealisme #ArtHistory #ArtExhibition #HopeForPeace #ArtWorld #ArtPublishing#PublicArt #MonumentalArt #ArtCurator #accumulations #70s

I am thrilled to have interviewed Satoshi Kondo, the current artistic director of @isseymiyakeofficial, for @musemagazine. We discussed his creative process that draws inspiration from fields beyond fashion, the boundaries between art and design, and his interest in artists such as Yves Klein and Christo. Ultimately, we explored his approach to the sculptural, and how material, structure, relations, and proportions shape the way clothing interacts with the human body.

“To me, the relationship between the body and the clothing – or in ISSEY MIYAKE’s terms, the relationship between the body and a piece of cloth – is about placing the human body at the center and creating space around. The cloth formed around the body is not merely a sculptural surface; it lends itself to Ma (the unfilled, in-between space).” Satoshi Kondo

“Satoshi Kondo in conversation with Jérôme Sans”, MUSE Issue 67, p. 116-137.

Thank you Satoshi Kondo, Marie Chalmel-Regnier, Hugh Hsu, and Michi Yamaguchi.

Photography Ko Tshuchiya

I am thrilled to have interviewed Satoshi Kondo, the current artistic director of @isseymiyakeofficial, for @musemagazine. We discussed his creative process that draws inspiration from fields beyond fashion, the boundaries between art and design, and his interest in artists such as Yves Klein and Christo. Ultimately, we explored his approach to the sculptural, and how material, structure, relations, and proportions shape the way clothing interacts with the human body.

“To me, the relationship between the body and the clothing – or in ISSEY MIYAKE’s terms, the relationship between the body and a piece of cloth – is about placing the human body at the center and creating space around. The cloth formed around the body is not merely a sculptural surface; it lends itself to Ma (the unfilled, in-between space).” Satoshi Kondo

“Satoshi Kondo in conversation with Jérôme Sans”, MUSE Issue 67, p. 116-137.

Thank you Satoshi Kondo, Marie Chalmel-Regnier, Hugh Hsu, and Michi Yamaguchi.

Photography Ko Tshuchiya

I am thrilled to have interviewed Satoshi Kondo, the current artistic director of @isseymiyakeofficial, for @musemagazine. We discussed his creative process that draws inspiration from fields beyond fashion, the boundaries between art and design, and his interest in artists such as Yves Klein and Christo. Ultimately, we explored his approach to the sculptural, and how material, structure, relations, and proportions shape the way clothing interacts with the human body.

“To me, the relationship between the body and the clothing – or in ISSEY MIYAKE’s terms, the relationship between the body and a piece of cloth – is about placing the human body at the center and creating space around. The cloth formed around the body is not merely a sculptural surface; it lends itself to Ma (the unfilled, in-between space).” Satoshi Kondo

“Satoshi Kondo in conversation with Jérôme Sans”, MUSE Issue 67, p. 116-137.

Thank you Satoshi Kondo, Marie Chalmel-Regnier, Hugh Hsu, and Michi Yamaguchi.

Photography Ko Tshuchiya

I am thrilled to have interviewed Satoshi Kondo, the current artistic director of @isseymiyakeofficial, for @musemagazine. We discussed his creative process that draws inspiration from fields beyond fashion, the boundaries between art and design, and his interest in artists such as Yves Klein and Christo. Ultimately, we explored his approach to the sculptural, and how material, structure, relations, and proportions shape the way clothing interacts with the human body.

“To me, the relationship between the body and the clothing – or in ISSEY MIYAKE’s terms, the relationship between the body and a piece of cloth – is about placing the human body at the center and creating space around. The cloth formed around the body is not merely a sculptural surface; it lends itself to Ma (the unfilled, in-between space).” Satoshi Kondo

“Satoshi Kondo in conversation with Jérôme Sans”, MUSE Issue 67, p. 116-137.

Thank you Satoshi Kondo, Marie Chalmel-Regnier, Hugh Hsu, and Michi Yamaguchi.

Photography Ko Tshuchiya

I am thrilled to have interviewed Satoshi Kondo, the current artistic director of @isseymiyakeofficial, for @musemagazine. We discussed his creative process that draws inspiration from fields beyond fashion, the boundaries between art and design, and his interest in artists such as Yves Klein and Christo. Ultimately, we explored his approach to the sculptural, and how material, structure, relations, and proportions shape the way clothing interacts with the human body.

“To me, the relationship between the body and the clothing – or in ISSEY MIYAKE’s terms, the relationship between the body and a piece of cloth – is about placing the human body at the center and creating space around. The cloth formed around the body is not merely a sculptural surface; it lends itself to Ma (the unfilled, in-between space).” Satoshi Kondo

“Satoshi Kondo in conversation with Jérôme Sans”, MUSE Issue 67, p. 116-137.

Thank you Satoshi Kondo, Marie Chalmel-Regnier, Hugh Hsu, and Michi Yamaguchi.

Photography Ko Tshuchiya

I am thrilled to have interviewed Satoshi Kondo, the current artistic director of @isseymiyakeofficial, for @musemagazine. We discussed his creative process that draws inspiration from fields beyond fashion, the boundaries between art and design, and his interest in artists such as Yves Klein and Christo. Ultimately, we explored his approach to the sculptural, and how material, structure, relations, and proportions shape the way clothing interacts with the human body.

“To me, the relationship between the body and the clothing – or in ISSEY MIYAKE’s terms, the relationship between the body and a piece of cloth – is about placing the human body at the center and creating space around. The cloth formed around the body is not merely a sculptural surface; it lends itself to Ma (the unfilled, in-between space).” Satoshi Kondo

“Satoshi Kondo in conversation with Jérôme Sans”, MUSE Issue 67, p. 116-137.

Thank you Satoshi Kondo, Marie Chalmel-Regnier, Hugh Hsu, and Michi Yamaguchi.

Photography Ko Tshuchiya

I am thrilled to have interviewed Satoshi Kondo, the current artistic director of @isseymiyakeofficial, for @musemagazine. We discussed his creative process that draws inspiration from fields beyond fashion, the boundaries between art and design, and his interest in artists such as Yves Klein and Christo. Ultimately, we explored his approach to the sculptural, and how material, structure, relations, and proportions shape the way clothing interacts with the human body.

“To me, the relationship between the body and the clothing – or in ISSEY MIYAKE’s terms, the relationship between the body and a piece of cloth – is about placing the human body at the center and creating space around. The cloth formed around the body is not merely a sculptural surface; it lends itself to Ma (the unfilled, in-between space).” Satoshi Kondo

“Satoshi Kondo in conversation with Jérôme Sans”, MUSE Issue 67, p. 116-137.

Thank you Satoshi Kondo, Marie Chalmel-Regnier, Hugh Hsu, and Michi Yamaguchi.

Photography Ko Tshuchiya

With Joel Andrianomearisoa in his exhibition «  All My Hopes Belong To You » that I curated @transfo.emmaus.solidarite, Paris photo by Anthony Marco (@parisinmyeyez)

I am excited to have curated “All My Hopes Belong to You”, an exhibition by Joel Andrianomearisoa (@joelandria), presented at Transfo, the cultural center of Emmaüs Solidarité, reconnecting with the dynamic that shaped my early curatorial practice, one that brings contemporary art into places of reality and, above all, considers art as a space of solidarity.

An introspective and sentimental exhibition, "All My Hopes Belong to You", as its title suggests, explores the notion of hope by placing the other – visitor, reader, viewer – at the center of every human experience. From the outside, the title displayed on the façade addresses the public directly and opens onto a space where emotions guide the artist’s entire approach.

Deployed like an architectural gesture, black tissue paper pervades the @transfo.emmaus.solidarite space, carrying the visitor through a whirlwind of black surfaces in a fluid, almost organic motion. Tissue paper, neon lights, a Malagasy song, embroidery, and poetry together create an environment in which sensory experience comes alive: an inner landscape inhabited by emotions and feelings.

Thank you @studiojoelandrianomearisoa, as well as the galleries @sabrinaamrani and @alminerech, for their support.

Image: @marcdomage and @alexandrephilippefranck

I am excited to have curated “All My Hopes Belong to You”, an exhibition by Joel Andrianomearisoa (@joelandria), presented at Transfo, the cultural center of Emmaüs Solidarité, reconnecting with the dynamic that shaped my early curatorial practice, one that brings contemporary art into places of reality and, above all, considers art as a space of solidarity.

An introspective and sentimental exhibition, "All My Hopes Belong to You", as its title suggests, explores the notion of hope by placing the other – visitor, reader, viewer – at the center of every human experience. From the outside, the title displayed on the façade addresses the public directly and opens onto a space where emotions guide the artist’s entire approach.

Deployed like an architectural gesture, black tissue paper pervades the @transfo.emmaus.solidarite space, carrying the visitor through a whirlwind of black surfaces in a fluid, almost organic motion. Tissue paper, neon lights, a Malagasy song, embroidery, and poetry together create an environment in which sensory experience comes alive: an inner landscape inhabited by emotions and feelings.

Thank you @studiojoelandrianomearisoa, as well as the galleries @sabrinaamrani and @alminerech, for their support.

Image: @marcdomage and @alexandrephilippefranck

I am excited to have curated “All My Hopes Belong to You”, an exhibition by Joel Andrianomearisoa (@joelandria), presented at Transfo, the cultural center of Emmaüs Solidarité, reconnecting with the dynamic that shaped my early curatorial practice, one that brings contemporary art into places of reality and, above all, considers art as a space of solidarity.

An introspective and sentimental exhibition, "All My Hopes Belong to You", as its title suggests, explores the notion of hope by placing the other – visitor, reader, viewer – at the center of every human experience. From the outside, the title displayed on the façade addresses the public directly and opens onto a space where emotions guide the artist’s entire approach.

Deployed like an architectural gesture, black tissue paper pervades the @transfo.emmaus.solidarite space, carrying the visitor through a whirlwind of black surfaces in a fluid, almost organic motion. Tissue paper, neon lights, a Malagasy song, embroidery, and poetry together create an environment in which sensory experience comes alive: an inner landscape inhabited by emotions and feelings.

Thank you @studiojoelandrianomearisoa, as well as the galleries @sabrinaamrani and @alminerech, for their support.

Image: @marcdomage and @alexandrephilippefranck

I am excited to have curated “All My Hopes Belong to You”, an exhibition by Joel Andrianomearisoa (@joelandria), presented at Transfo, the cultural center of Emmaüs Solidarité, reconnecting with the dynamic that shaped my early curatorial practice, one that brings contemporary art into places of reality and, above all, considers art as a space of solidarity.

An introspective and sentimental exhibition, "All My Hopes Belong to You", as its title suggests, explores the notion of hope by placing the other – visitor, reader, viewer – at the center of every human experience. From the outside, the title displayed on the façade addresses the public directly and opens onto a space where emotions guide the artist’s entire approach.

Deployed like an architectural gesture, black tissue paper pervades the @transfo.emmaus.solidarite space, carrying the visitor through a whirlwind of black surfaces in a fluid, almost organic motion. Tissue paper, neon lights, a Malagasy song, embroidery, and poetry together create an environment in which sensory experience comes alive: an inner landscape inhabited by emotions and feelings.

Thank you @studiojoelandrianomearisoa, as well as the galleries @sabrinaamrani and @alminerech, for their support.

Image: @marcdomage and @alexandrephilippefranck

I am excited to have curated “All My Hopes Belong to You”, an exhibition by Joel Andrianomearisoa (@joelandria), presented at Transfo, the cultural center of Emmaüs Solidarité, reconnecting with the dynamic that shaped my early curatorial practice, one that brings contemporary art into places of reality and, above all, considers art as a space of solidarity.

An introspective and sentimental exhibition, "All My Hopes Belong to You", as its title suggests, explores the notion of hope by placing the other – visitor, reader, viewer – at the center of every human experience. From the outside, the title displayed on the façade addresses the public directly and opens onto a space where emotions guide the artist’s entire approach.

Deployed like an architectural gesture, black tissue paper pervades the @transfo.emmaus.solidarite space, carrying the visitor through a whirlwind of black surfaces in a fluid, almost organic motion. Tissue paper, neon lights, a Malagasy song, embroidery, and poetry together create an environment in which sensory experience comes alive: an inner landscape inhabited by emotions and feelings.

Thank you @studiojoelandrianomearisoa, as well as the galleries @sabrinaamrani and @alminerech, for their support.

Image: @marcdomage and @alexandrephilippefranck

I am excited to have curated “All My Hopes Belong to You”, an exhibition by Joel Andrianomearisoa (@joelandria), presented at Transfo, the cultural center of Emmaüs Solidarité, reconnecting with the dynamic that shaped my early curatorial practice, one that brings contemporary art into places of reality and, above all, considers art as a space of solidarity.

An introspective and sentimental exhibition, "All My Hopes Belong to You", as its title suggests, explores the notion of hope by placing the other – visitor, reader, viewer – at the center of every human experience. From the outside, the title displayed on the façade addresses the public directly and opens onto a space where emotions guide the artist’s entire approach.

Deployed like an architectural gesture, black tissue paper pervades the @transfo.emmaus.solidarite space, carrying the visitor through a whirlwind of black surfaces in a fluid, almost organic motion. Tissue paper, neon lights, a Malagasy song, embroidery, and poetry together create an environment in which sensory experience comes alive: an inner landscape inhabited by emotions and feelings.

Thank you @studiojoelandrianomearisoa, as well as the galleries @sabrinaamrani and @alminerech, for their support.

Image: @marcdomage and @alexandrephilippefranck

I am excited to have curated “All My Hopes Belong to You”, an exhibition by Joel Andrianomearisoa (@joelandria), presented at Transfo, the cultural center of Emmaüs Solidarité, reconnecting with the dynamic that shaped my early curatorial practice, one that brings contemporary art into places of reality and, above all, considers art as a space of solidarity.

An introspective and sentimental exhibition, "All My Hopes Belong to You", as its title suggests, explores the notion of hope by placing the other – visitor, reader, viewer – at the center of every human experience. From the outside, the title displayed on the façade addresses the public directly and opens onto a space where emotions guide the artist’s entire approach.

Deployed like an architectural gesture, black tissue paper pervades the @transfo.emmaus.solidarite space, carrying the visitor through a whirlwind of black surfaces in a fluid, almost organic motion. Tissue paper, neon lights, a Malagasy song, embroidery, and poetry together create an environment in which sensory experience comes alive: an inner landscape inhabited by emotions and feelings.

Thank you @studiojoelandrianomearisoa, as well as the galleries @sabrinaamrani and @alminerech, for their support.

Image: @marcdomage and @alexandrephilippefranck

I am excited to have curated “All My Hopes Belong to You”, an exhibition by Joel Andrianomearisoa (@joelandria), presented at Transfo, the cultural center of Emmaüs Solidarité, reconnecting with the dynamic that shaped my early curatorial practice, one that brings contemporary art into places of reality and, above all, considers art as a space of solidarity.

An introspective and sentimental exhibition, "All My Hopes Belong to You", as its title suggests, explores the notion of hope by placing the other – visitor, reader, viewer – at the center of every human experience. From the outside, the title displayed on the façade addresses the public directly and opens onto a space where emotions guide the artist’s entire approach.

Deployed like an architectural gesture, black tissue paper pervades the @transfo.emmaus.solidarite space, carrying the visitor through a whirlwind of black surfaces in a fluid, almost organic motion. Tissue paper, neon lights, a Malagasy song, embroidery, and poetry together create an environment in which sensory experience comes alive: an inner landscape inhabited by emotions and feelings.

Thank you @studiojoelandrianomearisoa, as well as the galleries @sabrinaamrani and @alminerech, for their support.

Image: @marcdomage and @alexandrephilippefranck

I am excited to have curated “All My Hopes Belong to You”, an exhibition by Joel Andrianomearisoa (@joelandria), presented at Transfo, the cultural center of Emmaüs Solidarité, reconnecting with the dynamic that shaped my early curatorial practice, one that brings contemporary art into places of reality and, above all, considers art as a space of solidarity.

An introspective and sentimental exhibition, "All My Hopes Belong to You", as its title suggests, explores the notion of hope by placing the other – visitor, reader, viewer – at the center of every human experience. From the outside, the title displayed on the façade addresses the public directly and opens onto a space where emotions guide the artist’s entire approach.

Deployed like an architectural gesture, black tissue paper pervades the @transfo.emmaus.solidarite space, carrying the visitor through a whirlwind of black surfaces in a fluid, almost organic motion. Tissue paper, neon lights, a Malagasy song, embroidery, and poetry together create an environment in which sensory experience comes alive: an inner landscape inhabited by emotions and feelings.

Thank you @studiojoelandrianomearisoa, as well as the galleries @sabrinaamrani and @alminerech, for their support.

Image: @marcdomage and @alexandrephilippefranck

🇲🇽 Glad to be featured in “La Revista de Milenio”, one of the best Mexican magazine, as “the curator who shakes trees.”

Reference:“El curador que sacude los árboles,” La Revista de Milenio, N°26, Febrero 2026.

Photographer: @baardlunde
Editor: @sarahgorereeves
Magazine: @m__milenio

🇲🇽 Glad to be featured in “La Revista de Milenio”, one of the best Mexican magazine, as “the curator who shakes trees.”

Reference:“El curador que sacude los árboles,” La Revista de Milenio, N°26, Febrero 2026.

Photographer: @baardlunde
Editor: @sarahgorereeves
Magazine: @m__milenio

🇲🇽 Glad to be featured in “La Revista de Milenio”, one of the best Mexican magazine, as “the curator who shakes trees.”

Reference:“El curador que sacude los árboles,” La Revista de Milenio, N°26, Febrero 2026.

Photographer: @baardlunde
Editor: @sarahgorereeves
Magazine: @m__milenio

🇲🇽 Glad to be featured in “La Revista de Milenio”, one of the best Mexican magazine, as “the curator who shakes trees.”

Reference:“El curador que sacude los árboles,” La Revista de Milenio, N°26, Febrero 2026.

Photographer: @baardlunde
Editor: @sarahgorereeves
Magazine: @m__milenio

No introduction is necessary for this multi talented man.We had the pleasure to shoot @jcdecastelbajac in his studio for @m__milenio 📸 in Paris by @fabienmontique .Interviewed by friend #artisticdirector @jeromesans.The Imagination is the key to all doors.Hope you enjoy the new issue @m__mileniowww.mrevistademilenio.com. So proud of this story😘

No introduction is necessary for this multi talented man.We had the pleasure to shoot @jcdecastelbajac in his studio for @m__milenio 📸 in Paris by @fabienmontique .Interviewed by friend #artisticdirector @jeromesans.The Imagination is the key to all doors.Hope you enjoy the new issue @m__mileniowww.mrevistademilenio.com. So proud of this story😘

No introduction is necessary for this multi talented man.We had the pleasure to shoot @jcdecastelbajac in his studio for @m__milenio 📸 in Paris by @fabienmontique .Interviewed by friend #artisticdirector @jeromesans.The Imagination is the key to all doors.Hope you enjoy the new issue @m__mileniowww.mrevistademilenio.com. So proud of this story😘

No introduction is necessary for this multi talented man.We had the pleasure to shoot @jcdecastelbajac in his studio for @m__milenio 📸 in Paris by @fabienmontique .Interviewed by friend #artisticdirector @jeromesans.The Imagination is the key to all doors.Hope you enjoy the new issue @m__mileniowww.mrevistademilenio.com. So proud of this story😘

No introduction is necessary for this multi talented man.We had the pleasure to shoot @jcdecastelbajac in his studio for @m__milenio 📸 in Paris by @fabienmontique .Interviewed by friend #artisticdirector @jeromesans.The Imagination is the key to all doors.Hope you enjoy the new issue @m__mileniowww.mrevistademilenio.com. So proud of this story😘

No introduction is necessary for this multi talented man.We had the pleasure to shoot @jcdecastelbajac in his studio for @m__milenio 📸 in Paris by @fabienmontique .Interviewed by friend #artisticdirector @jeromesans.The Imagination is the key to all doors.Hope you enjoy the new issue @m__mileniowww.mrevistademilenio.com. So proud of this story😘

No introduction is necessary for this multi talented man.We had the pleasure to shoot @jcdecastelbajac in his studio for @m__milenio 📸 in Paris by @fabienmontique .Interviewed by friend #artisticdirector @jeromesans.The Imagination is the key to all doors.Hope you enjoy the new issue @m__mileniowww.mrevistademilenio.com. So proud of this story😘

No introduction is necessary for this multi talented man.We had the pleasure to shoot @jcdecastelbajac in his studio for @m__milenio 📸 in Paris by @fabienmontique .Interviewed by friend #artisticdirector @jeromesans.The Imagination is the key to all doors.Hope you enjoy the new issue @m__mileniowww.mrevistademilenio.com. So proud of this story😘

No introduction is necessary for this multi talented man.We had the pleasure to shoot @jcdecastelbajac in his studio for @m__milenio 📸 in Paris by @fabienmontique .Interviewed by friend #artisticdirector @jeromesans.The Imagination is the key to all doors.Hope you enjoy the new issue @m__mileniowww.mrevistademilenio.com. So proud of this story😘

No introduction is necessary for this multi talented man.We had the pleasure to shoot @jcdecastelbajac in his studio for @m__milenio 📸 in Paris by @fabienmontique .Interviewed by friend #artisticdirector @jeromesans.The Imagination is the key to all doors.Hope you enjoy the new issue @m__mileniowww.mrevistademilenio.com. So proud of this story😘

With Jean-Michel Jarre & Marc-Olivier Deblanc @perrotin gallery Parisduring @sebastientellier openingPhoto by @jeanpicon @saywho

“In the Tibet series, the temples wrecked on the sides of the mountains or standing on their crests are emptied of all human presence. Torn roofs unveil bare walls, gaping window openings reveal snatches of torn curtains. These spaces are set in equally deserted landscapes. The mountain, the horizon and the sky mark three spaces that are often clearly defined on the canvas, which are sometimes reduced to the density of a monochrome, melted into the ocher abstractions of the rocks. By day and by night, at dawn or dusk, the silence of the stone resounds like an alarm.

Like the bunkers represented earlier, with the abandonment of the temples that followed the massacre of their occupants, the initial function of the architectural envelope changes. The place that was dangerous to leave and reassuring to occupy becomes a worrying enclosure to cross. Haunted by history and the overflowing absence of those who created them, Alejandro Campins’s Tibetan landscapes are initially empty before becoming something else: a temple, a village, a mountainside, or an abandoned valley. Yet the spaces are all imbued with strangeness without being truly disturbing because it is the landscape as a whole and not the architecture for its own sake that motivates the artist’s painting.”

Extract from the essay “The theater of emptiness” by Jérôme Sans @jeromesans

Viajes de Retorno (Return Journeys). Alejandro Campins
Published by Hatje Cantz @hatjecantzverlag

Artworks info:

1. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
2. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
3. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
4. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
5. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm

#alejandrocampins #returnjourneys #artbook #photography

“In the Tibet series, the temples wrecked on the sides of the mountains or standing on their crests are emptied of all human presence. Torn roofs unveil bare walls, gaping window openings reveal snatches of torn curtains. These spaces are set in equally deserted landscapes. The mountain, the horizon and the sky mark three spaces that are often clearly defined on the canvas, which are sometimes reduced to the density of a monochrome, melted into the ocher abstractions of the rocks. By day and by night, at dawn or dusk, the silence of the stone resounds like an alarm.

Like the bunkers represented earlier, with the abandonment of the temples that followed the massacre of their occupants, the initial function of the architectural envelope changes. The place that was dangerous to leave and reassuring to occupy becomes a worrying enclosure to cross. Haunted by history and the overflowing absence of those who created them, Alejandro Campins’s Tibetan landscapes are initially empty before becoming something else: a temple, a village, a mountainside, or an abandoned valley. Yet the spaces are all imbued with strangeness without being truly disturbing because it is the landscape as a whole and not the architecture for its own sake that motivates the artist’s painting.”

Extract from the essay “The theater of emptiness” by Jérôme Sans @jeromesans

Viajes de Retorno (Return Journeys). Alejandro Campins
Published by Hatje Cantz @hatjecantzverlag

Artworks info:

1. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
2. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
3. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
4. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
5. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm

#alejandrocampins #returnjourneys #artbook #photography

“In the Tibet series, the temples wrecked on the sides of the mountains or standing on their crests are emptied of all human presence. Torn roofs unveil bare walls, gaping window openings reveal snatches of torn curtains. These spaces are set in equally deserted landscapes. The mountain, the horizon and the sky mark three spaces that are often clearly defined on the canvas, which are sometimes reduced to the density of a monochrome, melted into the ocher abstractions of the rocks. By day and by night, at dawn or dusk, the silence of the stone resounds like an alarm.

Like the bunkers represented earlier, with the abandonment of the temples that followed the massacre of their occupants, the initial function of the architectural envelope changes. The place that was dangerous to leave and reassuring to occupy becomes a worrying enclosure to cross. Haunted by history and the overflowing absence of those who created them, Alejandro Campins’s Tibetan landscapes are initially empty before becoming something else: a temple, a village, a mountainside, or an abandoned valley. Yet the spaces are all imbued with strangeness without being truly disturbing because it is the landscape as a whole and not the architecture for its own sake that motivates the artist’s painting.”

Extract from the essay “The theater of emptiness” by Jérôme Sans @jeromesans

Viajes de Retorno (Return Journeys). Alejandro Campins
Published by Hatje Cantz @hatjecantzverlag

Artworks info:

1. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
2. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
3. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
4. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
5. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm

#alejandrocampins #returnjourneys #artbook #photography

“In the Tibet series, the temples wrecked on the sides of the mountains or standing on their crests are emptied of all human presence. Torn roofs unveil bare walls, gaping window openings reveal snatches of torn curtains. These spaces are set in equally deserted landscapes. The mountain, the horizon and the sky mark three spaces that are often clearly defined on the canvas, which are sometimes reduced to the density of a monochrome, melted into the ocher abstractions of the rocks. By day and by night, at dawn or dusk, the silence of the stone resounds like an alarm.

Like the bunkers represented earlier, with the abandonment of the temples that followed the massacre of their occupants, the initial function of the architectural envelope changes. The place that was dangerous to leave and reassuring to occupy becomes a worrying enclosure to cross. Haunted by history and the overflowing absence of those who created them, Alejandro Campins’s Tibetan landscapes are initially empty before becoming something else: a temple, a village, a mountainside, or an abandoned valley. Yet the spaces are all imbued with strangeness without being truly disturbing because it is the landscape as a whole and not the architecture for its own sake that motivates the artist’s painting.”

Extract from the essay “The theater of emptiness” by Jérôme Sans @jeromesans

Viajes de Retorno (Return Journeys). Alejandro Campins
Published by Hatje Cantz @hatjecantzverlag

Artworks info:

1. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
2. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
3. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
4. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
5. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm

#alejandrocampins #returnjourneys #artbook #photography

“In the Tibet series, the temples wrecked on the sides of the mountains or standing on their crests are emptied of all human presence. Torn roofs unveil bare walls, gaping window openings reveal snatches of torn curtains. These spaces are set in equally deserted landscapes. The mountain, the horizon and the sky mark three spaces that are often clearly defined on the canvas, which are sometimes reduced to the density of a monochrome, melted into the ocher abstractions of the rocks. By day and by night, at dawn or dusk, the silence of the stone resounds like an alarm.

Like the bunkers represented earlier, with the abandonment of the temples that followed the massacre of their occupants, the initial function of the architectural envelope changes. The place that was dangerous to leave and reassuring to occupy becomes a worrying enclosure to cross. Haunted by history and the overflowing absence of those who created them, Alejandro Campins’s Tibetan landscapes are initially empty before becoming something else: a temple, a village, a mountainside, or an abandoned valley. Yet the spaces are all imbued with strangeness without being truly disturbing because it is the landscape as a whole and not the architecture for its own sake that motivates the artist’s painting.”

Extract from the essay “The theater of emptiness” by Jérôme Sans @jeromesans

Viajes de Retorno (Return Journeys). Alejandro Campins
Published by Hatje Cantz @hatjecantzverlag

Artworks info:

1. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
2. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
3. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
4. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
5. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm

#alejandrocampins #returnjourneys #artbook #photography

“In the Tibet series, the temples wrecked on the sides of the mountains or standing on their crests are emptied of all human presence. Torn roofs unveil bare walls, gaping window openings reveal snatches of torn curtains. These spaces are set in equally deserted landscapes. The mountain, the horizon and the sky mark three spaces that are often clearly defined on the canvas, which are sometimes reduced to the density of a monochrome, melted into the ocher abstractions of the rocks. By day and by night, at dawn or dusk, the silence of the stone resounds like an alarm.

Like the bunkers represented earlier, with the abandonment of the temples that followed the massacre of their occupants, the initial function of the architectural envelope changes. The place that was dangerous to leave and reassuring to occupy becomes a worrying enclosure to cross. Haunted by history and the overflowing absence of those who created them, Alejandro Campins’s Tibetan landscapes are initially empty before becoming something else: a temple, a village, a mountainside, or an abandoned valley. Yet the spaces are all imbued with strangeness without being truly disturbing because it is the landscape as a whole and not the architecture for its own sake that motivates the artist’s painting.”

Extract from the essay “The theater of emptiness” by Jérôme Sans @jeromesans

Viajes de Retorno (Return Journeys). Alejandro Campins
Published by Hatje Cantz @hatjecantzverlag

Artworks info:

1. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
2. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
3. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
4. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm
5. Untitled. 2019, Archival pigment ink print from scanned negative, 110 x 130 cm

#alejandrocampins #returnjourneys #artbook #photography

The Cookie Factory family with Gary Simmons in Denver!

Thank you all for this incredible project that is so meaningful today.

@garysimmonsstudio
@ajprecourt
@studiojensdotter

Photo by Conor King @thirdduneproductions