Galerie Derouillon (Étienne Marcel)

From 29 January to 26 April 2026, the exhibition Beyond our Horizons is being held at la Galerie du 19M in Paris/ Aubervilliers. With the participation of: Mathilde Albouy, Zengoro Eiraku, Julian Farade, Yukio Fujita, Pauline Guerrier, Daisuke Igarashi, Clara Imbert, Akiko Ishigaki, Koh Kado, Yasuyuki Kanazawa, Harumi Klossowska de Rola, Nile Koetting, konomad, Matthew Lutz-Kinoy, Thomas Mailaender, Yoshiki Masuda, Aurélie Mathigot, Mélanie Matranga, Shuji Nakagawa, Mitsue Nakamura, Simone Pheulpin, Morihisa Suzuki, Naoki Sutter-Shudo, Thomas Takada, Noritaka Tatehana, Mikiya Toyoshima, Xavier Veilhan, Jeanne Vicérial, Miyoko Yasumoto. Building on the success of its Japanese edition, it travels to France in a reimagined presentation, celebrating the creative dialogue between Japanese and French artisans and designers.

For her new solo exhibition in Galerie Derouillon's main space, Anastasia Bay presents a new body of work featuring unsettling imagery, imbued with intimate and collective tensions. The exhibition will be accompanied by a text by Phœbe Hadjimarkos Clarke. "The series “Night Mother” stems from my personal experience of becoming a mother. Noticing an increasing number of images of mothers and pregnant women on social media, I wondered why this change in status is always magnified. I found a historical recurrence of the retro inspiration of the tradwife, championed by reactionaries during times of crisis and fear of social change taking hold. These images of perfect mothers create a limited and anti-feminist space for discussion. I felt the need to transform the conservative image of pregnancy, birth, and early childhood." Anastasia Bay

For her first solo exhibition at Galerie Derouillon's main space, Mathilde Albouy unveils an ambiguous theatre, composed of a new set of works—a troubled space in which one moves forward without certainty, guided only by the clues she chooses to let surface. The question of desire, imbued with the thought of Audre Lorde, for whom the erotic is a creative force, occupies a central place. The sculptures specifically created for this new exhibition become places of tension, where desire, power, and control are continually tested. Thus, the wooden and wax coffers, titled Widows, stand in the gallery space like thresholds. Their title evokes both loss and the persistence of a feminine figure who survives, bearing memory, freeing herself from the structures that once held her. This shifting space can therefore be understood through the lens of a quest—the quest for feminine identity. In this sense, Mathilde Albouy reinterprets the ideas of Claire Kahane in her essay Gothic Mirrors and Feminine Identity (1980) on Gothic literature, where the heroine moves through unstable architectures that reflect her own search for emancipation. In this theatre of forms, desire becomes a battleground, and fiction a means of reclaiming narratives. Mathilde Albouy’s work does not seek to deliver a univocal message: it opens a space where desire, survival, memory, and ambiguity overlap—an space where one can never be certain whether they are moving towards the light or into shadow. The exhibition will be accompanied by a text by Oona Doyle.