An independent space, Rue Antoine is a gallery open to the street. It fosters dialogue with artists — established or emerging, recognized or not, contemporary or otherwise — through evolving collaborations: installations, performances, and the production and publication of hybrid and original works.
INVITATION TO LOVE : An exhibitions and events cycle related to David Lynch
June 2026 - June 2027
For some, it was a brief excerpt from The Elephant Man, a midnight screening of Eraserhead, or a song by Julee Cruise; for others, the revelation of Mulholland Drive, a photograph of an abandoned factory, or a public statement about meditation; for many of us, the unforgettable fiction of Twin Peaks, unfolding over several decades. Whatever our point of entry into David Lynch’s work, we sensed that, through it, we were entering an entire world—one that would irrevocably change our own. A world made of ideas—to borrow a notion often told by the artist, who, when asked where his inspiration came from, would say that one had to know how to receive an idea, restoring to the word its etymological power of vision. A world woven from forms, true and singular. A world inhabited by the dream of a life devoted to art (The Art Life).
To mark the first anniversary of David Lynch’s death, brought about in the wake of the devastating wildfires that engulfed Los Angeles in early 2025, Rue Antoine gallery welcomes ASAP and recreates, for one year, the alternative space of the Red Room, so familiar to Twin Peaks fans. In this place, open to the street day and night, we will host a succession of concerts, exhibitions, talks, screenings, and performances. This will be neither a memorial tribute nor a series of pastiches, but a collective demonstration of David Lynch’s unique importance to the arts, to thought, and to life.
June 2026 Programmation
- Thursday, June 11 at 8 pm, “Twin Peaks: See You in 25 Years”: a conversation between Stéphane Delorme and Laurent Dubreuil.
- Thursday, June 18 at 8 pm, “(w)hole”: opening of Jack Clauss’s exhibition (photographs, film, and objects), followed by a conversation between the artist and Laurent Dubreuil. The exhibition will be on view until the end of the month.
Both events will take place at 10 rue Antoine, Paris.
THE OWLS ARE NOT WHAT THEY SEEM
19.09 - 17.10.2026
Twin Peaks, season 2, episode 1 — May the Giant Be with You
Saturday 19th of september 2026, from 3pm : Opening of the exihbition
Artists : Corine Borgnet · Damien Cadio · Larry Clark · Salvador Dalí · Jessy Deshais · Richard Hamilton · La Dame à la valise · Emmanuel Lefrant · David Lynch · Mathilde Marc · Judith Prigent · Man Ray · Raphaëlle Ricol · Mathieu Weiler
Images never quite coincide with themselves. Behind a reflection, another space emerges; behind a portrait, another face; behind a copy, an original whose status has become uncertain. They slip, double, transform.
It is in this gap that the double comes into being.
The myth of Sosias already tells the story of a man confronted with his own image. In Germanic traditions, the Doppelgänger is the one who walks beside us: our other self, our apparition, sometimes the omen of our disappearance. In Dostoevsky, this doubling manifests itself as a crisis of the individual. In David Lynch’s work, the double ceases to be a mere character and becomes a property of the image itself. Bodies change appearance, identities pass from one face to another, and several realities seem to coexist.
But the double does not belong to cinema alone. It runs throughout the history of the visual arts. The mirror, the shadow, the reflection, the copy, and repetition all bring into play the instability of representation. In the twentieth century, with Rrose Sélavy, Marcel Duchamp invented his own double, while Andy Warhol repeated images until rendering them unstable.
This exhibition does not seek to illustrate the Doppelgänger. At the crossroads of literature, philosophy, music, cinema, and the visual arts, The Owls Are Not What They Seem brings together works in which the image becomes blurred, doubled, or estranged from itself.
As in the universe of David Lynch, nothing is ever quite what it seems. The owls are not what they seem.
Neither are the images.
Programmation of september 2026
• Saturday, the 19th of September 2026, from 3pm : Opening of the exihbition
• Friday, the 25th of September 2026 : Lookalike/Doble Party “Bring your Own Double”
• Friday, the 9th od October 2026 : Experimental film screening by Emmanuel Lefrant, with LightCone
PROJECTION -
THE ARTIST AND THEIR DOUBLE
October 9, 2026, at 7:30 pm
A 16mm screening of experimental films from the Light Cone collection at Rue Antoine gallery, held in conjunction with the exhibition The Owls Are Not What They Seem. The programme explores the motif of the double, and in particular the figure of the artist portraying themselves alongside their own double.
Illusion, alter ego, mirror images and ghosts, reflections of identity: a range of possibilities for approaching the impenetrable.
DOPPELGÄNGER — Telemach WIESINGER
2017 / 16mm / b&w / sound / 3 min
DOUBLE 8 — Christiana PERSCHON
2016 / 16mm / b&w / silent / 3 min 21 sec
OM — John SMITH
1986 / 16mm / colour / sound / single screen / 4 min
GLASS FACE — Gary BEYDLER
1975 / 16mm / colour / silent / 3 min
LA FACE ET LE DOS EN MÊME TEMPS — Jun'ichi OKUYAMA
1990 / 16mm / colour / sound / 6 min
SYNTAGMA — Valie EXPORT
1983 / 16mm / colour / sound / single screen / 18 min
TOTAL RUNNING TIME: 36 min
The Black and White Lodge — An Installation by Emmanuel Lefrant
On view until October 17th
16mm projector, silent 16mm film, wooden screen sculpture, suspended loop.
200 × 100 × 168 cm (16mm projector dimensions), 200 × 100 × 168 cm (screen sculpture dimensions), 200 × 100 × 168 cm (film loop dimensions).
The Black and White Lodge is a site-specific installation conceived especially for the Red Room at Rue Antoine gallery. It features a rectangular black-and-white wooden sculpture mounted on a plinth. The back of the sculpture holds a screen onto which the 16mm image, projected in a continuous loop, is cast. The film loop itself moves within a frame suspended above the projector, reproducing the same pattern as the sculpture and the film in a triangular, concentric play of reflections.
LIVING-ROOMS by Laurent Abitbol
3.06 - 7.09.2025
Opening : thursday, june mardi 3d 2025, from 6pm
I film people. I build boxes. I put lives inside them. I make lives in boxes. I create dioramas in which holographic characters are projected. I create video installations that take the form of panopticons. I revisit phantasmagoria by bringing it back into the realm of the intimate and the everyday. I construct narratives about parallel lives and the inability of human beings to communicate with one another. I explore identity by confronting the identical with the unique. I place the voyeur and the exhibitionist face to face. I stage solitude, isolation, confinement, but also orgies. I choreograph the ordinary, the mundane, the trivial, and sometimes the obscene. I watch people move about, assert their singularity, try to exist. Strangely, through all of this, I am searching for a form of joy.
An extension of cinema through another medium, miniature theatre, dancing sculptures. I try to explain my work, and I don’t always find the words. I believe people understand it better by seeing it.
Laurent Abitbol
ILLITERATES STORIES by Georgik
24.04 - 22.05.2025
Opening : thursday, april the 4th, from 6pm
“Illiterates Stories”, Georgik’s second solo exhibition at Galerie Rue Antoine, is not merely the story of two little characters and their adventures. It sings of the joys and sorrows of creation, its torments and enchantments, its fullness and its gaps.
Born in La Chaux-de-Fonds, Switzerland, in the vicinity of the architect and builder Le Corbusier, Georgik approached drawing at an early age like a child afraid of getting burned by it. So he found a way around it: by diverting the use of a typewriter, he traces lines, diagonals—two strokes backwards make an arm, two lines a body or an H-shaped ladder, in short, as the artist himself puts it, “enough to make a thousand mistakes”—until he creates a story without words.
Having outwitted writing through line, Georgik continues his quest for drawing without a pencil and painting without a brush. Old machines, plotters, carbon paper, lithographic stone, an iron, stamps, computers, and so on become the invisible intermediaries of a travelling circus.
More recently, the Invisibles series, in which doll’s clothes cover a chimerical body, unfolds and overlaps across several stages and mediums: inks, paintings, lithographs, and augmented reality. Wearing a headset, the visitor enters the absent artist’s brain and apartments and, using a controller resembling a landing net, catches here a pair of knickers, there a brassiere, trying them on at will.
Another headset belongs to the archaeologist: after breaking ceramics found at flea markets into pieces, Georgik patiently reconstructed the objects, adorning them with cut-out openings.
Finally, another game is offered to the visitor: for the modest sum of €40, visitors can draw at random a drawing from a 250-page notebook from the Franco-Swiss Biscuit Factory, unfolded like a screen across the large wall.
Text >>
GEORGIK, Stories of the illiterate
by Fiona Fortunato