Wanderlust Ice & Ink – Art Review: Convergent Lines, a dialogue of matter, gesture & architecture at L’Appartement Gallery

Founded by Thea Montauti d’Harcourt Lyginos, L’Appartement Gallery has established itself as a distinctive presence in Geneva’s cultural landscape. Housed on the second floor of a historic building, the gallery embraces a hybrid model that bridges modern art, contemporary practice, and design. Its intimate scale fosters dialogue between artists, curators, and audiences, while its program highlights both emerging voices and historically significant figures. Looking ahead, this vision will extend beyond Geneva with the opening in 2026 of a satellite space at the Castello di Azeglio in Piedmont, Italy—an incubator for experimentation and cross-disciplinary projects.

It is within this spirit of exchange that the gallery presents two distinct exhibitions this autumn. The first, Convergent Lines (September 18 – December 19, 2025), is a group exhibition that brings together four contemporary artists whose practices differ in form but converge through a shared focus on materiality and process. Sculptures emphasize permanence and weight. Ceramics highlight fragility, craftsmanship, and memory. Design objects invite intimacy and light. Paintings introduce rhythm, movement, and flow.

In parallel, the gallery inaugurates La Suite (launched September 19, 2025), a new program housed in L’Appartement’s living room. Conceived as a reflective space and presented three times a year, La Suite showcases carefully selected works from the secondary market, often rarely or never exhibited publicly. The inaugural edition will feature historical pieces by Foujita, Dadamaino, Olivier Mosset, and Jannis Kounellis, setting them in dialogue with contemporary practices. By juxtaposing past and present, La Suite creates unexpected conversations across centuries, exploring enduring artistic concerns such as gesture, materiality, and transformation.

📍 L’Appartement Gallery – 5 rue Pierre-Fatio, 1204 Geneva
🗓️ Convergent Lines: September 18 – December 19, 2025, 11 am – 6 pm
🎨 La Suite: Launching September 19, 2025, three editions annually
🌐 www.lappartement-geneve.com

📲 Instagram: @lappartement_art_gallery

📩 Press contact: isabella@lappartement-geneve.com

As the first of L’Appartement’s two autumn exhibitions, Convergent Lines spans the gallery’s three main rooms. It gathers four contemporary artists whose practices differ widely in form yet converge in their shared exploration of materiality, process, and spatial rhythm.

The architectural monumentality of Marius Ritiu

Romanian-born and based in Antwerp, Marius Ritiu anchors the first room with monumental sculptures and sculptural furniture. Matter here asserts itself through density and scale: metal, texture, and architectural presence combine in works that are both massive and functional. They confront the viewer directly with weight, stability, and the enduring imprint of human intervention on space.

The meditative ceramics of Jojo Corväiá

The second room shifts into a more intimate, contemplative register. Jojo Corväiá, a Venezuelan artist based in Berlin, presents hand-molded ceramics reminiscent of archaeological relics. Raw, silent, and tactile, they preserve the trace of the maker’s gesture. These fragile yet timeless forms invite reflection, evoking humanity’s enduring bond with earth and memory.

The poetic objects of Maarten Vrolijk

In the third room, Dutch artist Maarten Vrolijk, based in Amsterdam, introduces vases and lamps that blur the line between design and sculpture. Defined by delicacy, transparency, and light, his works create a visual poetry that challenges the distinction between the functional object and the work of art.

Mariana Oushiro’s choreographic gesture

Threading through all three spaces are the canvases of Mariana Oushiro, a Brazilian-born, New York–based painter whose practice balances architectural precision with spontaneous bodily movement. Beginning with sharp geometric structures, she layers sweeping gestures made directly with her hands, knees, and feet. This performative process transforms her canvases into more than painted surfaces: they become stages where the body leaves its imprint. The result is a visual choreography in which lines converge, dissolve, and recombine. Oushiro injects breath and vitality into the exhibition, counterbalancing the solidity of the sculptural forms. Her paintings act not as background but as connective tissue, binding the ensemble together with rhythm and coherence.