Darmo

A little bit of this and a lot of that

A solo exhibition by

April 24 - May 21, 2026
11am-19pm
16 boulevard des Invalides, 75007 Paris
RSVP required

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There is, in Pauline d’Andigné’s painting, less a gradual entry into the medium than a decisive shift. Painting does not arise from an initial sense of certainty, but from a conquest shaped by an inner tension, a form of doubt that the pictorial gesture itself seeks to dispel. She expresses it without hesitation: “I am certain of nothing in life, yet, strangely, a form of clarity emerges when I construct a painting. Working intuitively eliminates the doubt that arises through reflection.”

The title of the exhibition, A Little Bit of This and a Lot of That, encapsulates this logic. The artist describes her practice as being “of the order of a mixture or a recipe.” Painting brings together heterogeneous elements to produce a harmony that is forged through adjustment, sometimes unexpected associations, and sustained tensions.

Mara Di Maggio

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How to start collecting ?

Herb Vogel and Dorothy Vogel built one of the most significant contemporary art collections of their time while living modestly in New York.

Their approach was simple: support emerging artists, engage with them, collect consistently and above all, follow a vision.

A collection doesn’t begin with a purchase : it begins with a position.

Collecting is about constructing a language: creating dialogues between works, shaping a direction, and building coherence over time. A thoughtful ensemble often matters more than a single statement piece.
Because what matters is not only what you choose but how each work speaks to another.

This is how we approach collecting at Darmo: helping collectors define a vision and build collections that endure.

Quelque chose qui demeure
A solo exhibition by .o

March 20 – April 3, 2026
11am – 7pm
16 boulevard des Invalides, Paris
RSVP required

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In this new series, Oussama Garti explores what, within our experience of the world, resists disappearance. Between tension and suspension, his works attempt to hold on to the elusive: a tremor, an emotion, the trace of an inner movement.

The sculpted reliefs of Ripples fix the fabric within the material, like the memory of a vibration. The paintings of Odyssey draw inspiration from water, its depths, its shifting surfaces, its infinite variations of blue.

For the first time, these two lines of research meet. The drapery receives colour, and the material seems to be permeated by a liquid memory. The forms evoke foam, waves, and the silent rhythms of a surface in perpetual transformation.

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