Hungry Mood: Angélique, Stéphane Belzère, Marcos Carrasquer, Philippe Hortala, Martinet & Texereau, Leticia Martínez Pérez, Raphaël-Bachir Osman, Till Rabus, Raphaëlle Ricol, Marcos Uriondo, Davor Vrankić⎜co-curated by Amélie Adamo

November 17-28, 2026

The exhibition gathers artworks centered on the motif of food, revisiting the delightful tradition of still-life painting from a contemporary perspective. Spanning diverse worlds and media - drawing, sculpture, painting - the selected works all question the ambiguous spirit of a saturated age whose voracious mood oscillates between attraction and disgust. With more or less biting wit, they cast a critical eye on our consumerist and capitalist society that favors possession and compulsion: tidal wave of useless products and collective neuroses masking a deeper existential dizziness, where individuals lose themselves in the feverish pursuit of vacuum desires. Through tight framing and the proliferation and saturation of food motifs - sweets, addictive treats, packaging - the works embody an alluring vision of appetizing colors but set against dark backgrounds, leaving a more acidic aftertaste.

Amélie Adamo

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Leticia Martínez Pérez x Marcos Uriondo
series "Sublime Salumeria", 2025, blown glass, variable dimensions
The "Sublime Salumeria" (Sublime colds meats) series by Leticia Martínez Pérez and Marcos Uriondo originated during a stay in Palermo, inspired by an observation of Sicilian mosaics that revealed surprising formal analogies to culinary products, specifically the visual aspect of the fat and the lean meat of the sicles of saucisson. Ham, mortadella, scamorza and fuet are transfigured - through the technique of glassblowing - into hybrid ornamental sculptures that confuse with humour the boundaries between heritage and food, the sublime and the common, the museum and the supermarket. These pieces were produced and made during a research residency at Cirva (International Glass and Visual Arts Research Centre) in Marseille.

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Till Rabus
Viande sous vide n°2, 2015, oil on canvas, 140 x 100 x 4 cm⎜55 x 39 ¼ x 1 ½ in, courtesy Galerie Lange + Pult
Set against a dramatic black background, this piece of meat is striking for its dimensions and its shades of red, pink and white whose vacuum packing creates the effect of a magnificent transparent drapery. Engaging in a dialogue with the paintings of flayed figures and dismembered bodies by Bruce Nauman, Till Rabus employs his technical virtuosity to craft a baroque and ambivalent image that is thought-provoking to the viewer. Is this a staging of a vanitas, a denunciation of the animal condition, a critique of the excesses of consumer society-or all of these at once?

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Stéphane Belzère
series "Tableaux-saucisses", 1995-2018, vinyl on canvas, 30 x 30 cm⎜11 ¾ x 11 ¾ in
Alongside his series of "Bocaux anatomiques" (Anatomical Jars), Stéphane Belzère began in 1995 his "Tableaux-saucisses" (Sausages-Paintings) from his own collection of food jars purchased according to his personal whims, or rather, to a sense of attraction and repulsion he felt toward these sausages, tripe dishes, vegetables, and other canned specialities. Fascinated by their texture, color, and form, the painter saturates the canvas with these motifs, which are immersed in a preserving liquid permeated by light. The series evokes the animal organs preserved in formalin jars and - with a touch of humor and mischief - underlies an ontological questioning: "I have often asked myself what brings us together, what is common to all human beings, and how one might express that. What we all share is our body, our sex-our sexuality-and the food we consume."

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Martinet & Texereau
Series ”Entrée-Plat-Dessert" and "Desserts Glacés", 2024-2026, oil on wood, variable dimensions
The series "Entrée-Plat-Dessert" (Starter-Main Course-Dessert) and "Desserts glacés" (Frozen Desserts) are based on cookbooks published several decades ago. The duo Martinet & Texereau draws from them a repertoire of recipes and images, which they transpose into small-format oil paintings on wood. In contrast to contemporary "foodie" culture or modern trends of rapid consumption, these artworks present a style of cooking that is old-fashioned, unpretentious, and shared in togetherness by taking the time. According to curator Amélie Adamo, "they evoke the flavor of family meals prepared by our grandmothers" and, much like the madeleine of Proust, they rekindle the more or less buried memories that accompany them.

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Angélique
Series "Géométriques", 2020, acrylic plaster, variable dimensions, edition of 8
The "Géométriques" series is based on blister packagings - thermoformed food packaging in this case - collected for their plastic quality by Angélique who used them as a cast. These sculptures revisit the theme of food - without showing it but its container - and question the meaning and the beauty of these industrial packagings destined for the bin.

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Marcos Carrasquer
Chop-chop, 2026, oil on canvas, 65 x 92 cm⎜25 ½ x 36 ¼ in, courtesy Galerie Polaris
Coming from a family that fled the Franco regime, Marcos Carrasquer shows the worrying international surging of the far right in Chop-chop. In his typical grotesque and rebellious style, he portrays Donald Trump as a sow that suckles and gives birth to his easily recognizable admirers - in a nightmarish and monstrous vision reminiscent of Hieronymus Bosch. In the background are juxtaposed a slaughterhouse, a graveyard and paintings of sausages dedicated to Hitler and Mussolini. This food metaphor serves to denounce ad nauseam the voracity of a political class that champions a boundless capitalism and cornering that crush the weakest people to satisfy an uncontrollable bestial urge and a deathly ideology.

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Marcos Carrasquer
Ismène, 2022, oil on canvas, 46 x 38 cm⎜18 x 15 in, courtesy Galerie Polaris
In Greek mythology, Ismene was born from the involuntary incestuous union of Oedipus and his mother Jocasta - the sister of King Creon that becomes here the name of the supermarket chain. Marcos Carrasquer introduces an ancient reference into this everyday scene, transforming the cashier into a figure of both obedience and suffering. By scanning herself through the barcode reader, Ismène expresses her rebellion and her awareness that, within the labor market, she is merely another product-perishable and interchangeable.

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Davor Vrankić
Scenes from the Interior, 2005-2006, graphite on paper, 34.5 x 49 cm⎜13 ½ x 19 ¼ in
Scenes from the Interior is part of a series of the same name, which explores architectural interiors, still lifes and landscapes. Despite its classic subject - a still life on a table - this drawing appears to have been pulled from a hallucinatory vision. Food - what is transformed, sliced, and ingested - becomes the characters of a narration that is simultaneously unsettling and familiar, yet ultimately elusive to the viewer. The virtuosity of Davor Vrankić's near-photographic drawing - that uses blurred effects, plays of light and shadow, and makes palpable the various textures - challenges our perception and turns everyday objects, like food in this case, into an experience of strangeness. 

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Marcos Uriondo
series "Pickle", 2022–2026, resin and acrylic-painted figurines, variable dimensions
In his "Pickles" series, Marcos Uriondo encapsulates acrylic-painted figurines of businessmen inside resin-cast pickles. These small sculptures - displayed either individually or in jars - illustrate the alienation of the new human condition in an era defined by hyper-productivity, high tech and overconsumption. They offer a reflection on the role of the individual, caught somewhere between the promise of liberation through work and the reality of a bread and butter work.

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Marcos Uriondo
series "Pizza Planet", 2023, resin, modelling clay, acrylic painting, variable dimensions
The realistic sculptures of the "Pizza Planet" series blend in with the food waste that covers the streets and overflows from trash cans. Since this junk food is, for many, the only affordable source of diet, these slices of pizza are metaphors for precarious living and for its corollary, the pollution generated by this industry.

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Raphaël-Bachir Osman
MF-M0 Choco Menthe, 2026, oil on canvas 18 x 10 cm⎜7 x 4 in & Scarpetta n°11, 2023, NYC, oil on canvas, 27 x 35 cm⎜10 ¾ x 13 ¾ in
Raphaël-Bachir Osman deals with the motif of food as an analogy with the act of painting and an interplay with its conventions. Decontextualized, the MF-M0 Choco Menthe mille-feuille becomes a hybrid object; its materiality and two-tone marbled pattern engage in a dialogue with the avant-garde movements of the 20th century. Painting and pastry merge into an abstract work of art, including in the process through the applying of painting with a piping bag. This mille-feuille stimulates the senses through trompe l'œil, blending humor with formal artistic research, prosaicness with illusionism.

The scarpetta comes from the Italian expression "fare la scarpetta" ("making the little shoe"), which metaphorically describes the act of mopping up the sauce from a plate with a piece of bread after a good meal. Under the pretext of dealing with a classic subject - the still life - Raphaël-Bachir Osman is, in fact, painting the act of painting itself, celebrating it much like a fine dish. The pleasure of the table and the pleasure of painting merge beneath his brush, which dances across the canvas like "a little shoe" in a blend of material and form, reflection and intuition, rigorous discipline and spontaneous gesture.

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Raphaëlle Ricol
La guerre de la gourmandise, 2021, acrylic on canvas, 160 x 160 cm⎜63 x 63 in
In La guerre de la gourmandise (The War of Gluttony), Raphaëlle Ricol revisits and subverts a breakfast scene with regards to clichés propagated by advertising. Beneath the exaggerated presence - like an idol - of a jar of chocolate spread, a family gorges themselves on chocolate-topped bread, wearing expressions of blissful and vacant delight. This vision of artificial happiness - rendered with free and thick brushstrokes - serves as a biting critique of the religion of consumerism, which standardizes tastes and creates false desires.

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Philippe Hortala
Series "Pâtisseries", 1986-1998, acrylic on canvas, variable dimensions, courtesy Galerie Henri Chartier
Started in 1986, the "Pâtisseries" (Pastries) series shows - in a pop art vein - many appetizing little cakes (cream puffs, millefeuilles, strawberry cream cakes, etc.) lined up on display stands, like landscapes of shapes, textures, and colors to be devoured by the eye. These sugary temptations saturate the canvas with a disquieting and ambivalent presence that oscillates between gluttony and geometric order, erotic exaltation and industrialized proliferation.

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