Zidoun-Bossuyt Gallery

Zidoun-Bossuyt Gallery presents This House Is Not A Home, a new solo exhibition by Haitian American artist Olivier Souffrant in Paris. Rooted in assemblage, accumulation, and the recomposition of visual fragments, Olivier Souffrant’s practice explores the intersections of memory, history, and identity, bringing forth spaces where intimate experiences and collective narratives converge. In this new body of work, domestic and social spaces are less observed than reconstructed. Figures, architectures, and interiors emerge from an assemblage of historical, cultural, and personal fragments brought together within a single pictorial surface. This layered approach finds affinities with Romare Bearden’s additive method, Bob Thompson’s free engagement with art history, and the symbolic density associated with Jean-Michel Basquiat. References to Haiti’s cultural heritage, which constitutes one of the mnemonic and cultural frameworks through which the artist develops his visual language, surface throughout the exhibition, from the lakou to sugar cane and the histories it evokes. Far from functioning as illustrations, these references operate as sedimented layers of memory embedded within the very materiality of the works. At the same time, the question of an ever-unfinished sense of belonging runs throughout the series, echoing the historical and contemporary experiences of African Americans and, more broadly, racialized communities in the United States. The houses, studios, and transitional spaces Souffrant constructs thus appear as sites charged with memory and affect, yet never fully coalescing into a home. The result is a nuanced meditation on belonging, transmission, and displacement, and on the ways diasporic identities continue to be shaped and negotiated in the present.

We are pleased to have one work of Khalif Tahir Thompson included in the group exhibition Bold: New Voices in Contemporary Art at the Indianapolis Museum of Art at Newfields, Indianapolis, IN from 15 November 2025 to 28 June 2026. Bold: New Voices in Contemporary Art November 15, 2025–June 28, 2026 This exhibition brings together thirteen groundbreaking works that reflect the dynamic, global conversations shaping art today. All were made in the twenty-first century, and most are recent acquisitions being shown here for the first time. The artists come from Africa, the Americas, and beyond, offering new perspectives that challenge familiar ideas and incorporate unconventional materials and techniques. Together, they prompt reflection on the expanding possibilities of artistic expression and the frameworks that shape our understanding of the world and its possibilities. These works also point to the future of the IMA’s collection. Showing why these artists matter now demonstrates the choices curators are making to build a collection that is more global, more relevant, and more inclusive. The exhibition underscores art’s dynamic reinvention in the contemporary moment and anticipates a bold future for the IMA’s collection as it continues to expand and evolve. – Michael Vetter, PhD, Associate Curator of Contemporary Art at Newfields

Zidoun-Bossuyt Gallery is pleased to announce Noel W Anderson: Black Excellence, the artist’s largest solo museum exhibition to date, features tapestries, video, and works on paper exploring themes of Black success, labor, and performance, at the The University Art Museum, Albany, NY. On view from August 2025 to April 2026. The use of cotton and its attendant vocabulary once woven is an intricate exchange with American history. Loose threads and the natural warp of the material represent a glitch that invites viewers to revisit their memories and notions. The Jacquard weave recalls analog media while accompanying sound and video further develop dialogue with how technological developments have changed our seeing. Expanding on ideas from Anderson and Bennett’s recent work for the 15th Gwangju Biennale, Gwangju, South Korea (2024), curated by Nicolas Bourriaud, this new video features appropriated and manipulated cinema and archival footage that includes audio of conductor Dean Dixon speaking on music theory, music of Duke Ellington, singer and actor Paul Robeson in his film portrayal of Emperor Jones, and news footage of OJ Simpson’s 1994 car chase, among other images. With the moving image, Anderson continues his strategy of appropriation seen in his tapestries and introduces a sonic dimension. For Anderson, “Sound breaks the surface of the image” in a way analogous to his physical disruptions of his tapestries’ surfaces.

For the first time in Paris, Zidoun-Bossuyt brings together four Luxembourgish artists – Feipel & Bechameil, Anne Mélan, Franck Miltgen, and Luc Wolff – in a dialogue exploring notions of space, memory, and perception. The exhibition highlights the vitality of Luxembourg’s contemporary art scene by juxtaposing established figures with emerging voices, reflecting both generational breadth and creative diversity. Founded in Luxembourg before establishing itself in Paris three years ago, Zidoun-Bossuyt affirms through this project the continuity of a cultural and territorial anchoring that informs its international program. Among the artists presented, Martine Feipel & Jean Bechameil and Luc Wolff marked key turning points in their careers by representing Luxembourg at the Venice Biennale in 2011 and 1997 respectively, paving the way for international recognition. In a world where points of reference are constantly shifting and landscapes – natural, urban, or technological – are endlessly recomposed, these artists probe with rare acuity our ways of inhabiting reality. Feipel & Bechameil situate their practice within a critical reflection on modernity and its ideological architectures: by appropriating the know-how of industrial robotics, they create installations in which illusion and instability fracture the regulated spaces of the contemporary, reintroducing sensibility and imagination into territories dominated by technical rationality. Anne Mélan reinvents the genre of landscape painting by drawing upon the tradition of the classical masters while asserting a contemporary sensibility; her canvases become sites of memory and contemplation, where glazes and chromatic contrasts reveal fragility and impermanence, transforming nature into a mirror of our emotions and dreams. At the intersection of architecture and landscape, Franck Miltgen interrogates materiality and the traces of time: his surfaces, inscribed with history, ecology, and culture, elevate ornament beyond mere decoration to become a bearer of collective memory, exposing tensions between creation and destruction, and between nature and culture in the age of the Anthropocene. Finally, Luc Wolff constructs visual structures oscillating between frieze and tapestry through the systematic repetition of motifs and the use of series. His watercolors and inks, ranging from vibrant polychromy to hushed monochrome, establish a meditative temporality in which repetition suspends the gaze and transforms the surface into a space of perception. By bringing together these four singular voices, Zidoun-Bossuyt Paris offers a sensitive cartography where memory, imagination, and materiality converge, inviting visitors to rediscover space as a living and shared experience.

Zidoun-Bossuyt Gallery presents Fréquences, the first solo exhibition of Gaultier Rimbault-Joffard in Luxembourg, from 5 February to 7 March 2026. Gaultier Rimbault-Joffard’s work revolves around an exploration of light, considered both in its spatial, physical, and temporal dimensions, as well as in its interaction with textures and their materiality. The most recent bodies of works consists of pure gradients, where the weave gradually disappears to give way to a diffuse glow. Through a minimal approach, these works investigate what emerges when material is stripped away, revealing what lies beneath the textures. Depending on light and context, the canvases evoke sometimes a sense of serenity, sometimes a feeling of tension. In the series Textures and Geometries, vibrant weaves interact with light and perception. The pictorial gestures, executed using a tool designed by the artist, overlay textures and transform the surface into a field of sensory exploration. The artist also creates sculptural objects, such as a table crafted from painted composite material and shaped according to a design that follows the trajectory of light from a central flame. These pieces reflect his ongoing dialogue between materiality and light. Other works, such as Green Variations on Red and Red Variations on Green, explore the dissociation between foreground and background, altering the perception of the composition. Brass and mirrored pieces establish a dialogue of reflections and light, whose perception shifts depending on the viewer’s perspective. At times dark and defined by relief, at times luminous under polished brass, these works oscillate between opacity and brilliance, depth and illusion. Furniture pieces in wood and steel, designed by the artist, play on contrasts between materials of opposing natures—massive and raw, cold and finely worked—extending his exploration of interactions between surface, light, and material. Gaultier Rimbault-Joffard’s work finds its essence in materiality, exploring the subtle dialogue between color, matter, and light. Through a careful balance of these elements, the artist creates work in which perception constantly evolves, inviting contemplation and reflection.