Yoan Estevenin - L'ora delle nuove storie | Until May 2, 2026
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193 Gallery is pleased to renew its connection with the city of Venice with the opening of its new space in Salizada San Samuele 3337, within the historic residence traditiona ly known as the house of the painter Veronese. The Venetian venue is conceived as an intimate project room dedicated to site-specific projects and artistic practices that benefit from a more focused and immersive setting. The curatorial program wi l focus exclusively on solo exhibitions, offering artists the opportunity to develop projects with greater freedom and depth, conceived in close conversation with the space and its audience.
193 Galery opens with the exhibition L’ora delle nuove storie by Yoann Estevenin (1992, Cagnes-sur-Mer, France), a multidisciplinary artist whose practice unfolds across drawing, ceramics, sculpture, and works on wood. A graduate of the École des Beaux-Arts in Montpe lier and the École nationale supérieure des Beaux-Arts in Paris, Estevenin has emerged in recent years as one of the most compeling voices of his generation. His work has been presented in major European institutions, including the Musée Fabre, the Palacio Cadaval, and the Salon de Montrouge, and is held in public and private co lections such as the Beaux-Arts de Paris and the Fondation Daniel et Florence Guerlain. In 2024, the National Museum of Ceramics Princessehof (Leeuwarden, The Netherlands) acquired a group of his monumental sculptures.
With L’ora de le nuove storie, Estevenin leads viewers into worlds suspended between reality and imagination, inhabited by faces and figures that seem to emerge from myths, fairy tales, and arcane rituals. Nothing is entirely stable; nothing fu ly coincides with what it appears to be. His images inhabit a liminal dimension where i lusion becomes revelation and the marvelous manifests as a more intense form of reality.
At the core of his research lies a direct relationship with material. Wood, earth, and fire play a central role in his creative process: fire, in particular, is used as a tool of transformation and drawing, leaving burns, marks, and alterations that actively contribute to the construction of the image. This dimension of irreversibility introduces a tension between control and surrender, granting material a decisive narrative and symbolic function.
The figures populating his works — human, animal, or vegetal — appear as hybrid and ambiguous presences, traversed by symbols, colors, and adornments. His imagery weaves together heterogeneous references, from the circus to cinema, from poetry to spirituality, entering into dialogue with a tradition that includes artists such as Odilon Redon, James Ensor, and Edvard Munch.
Estevenin’s works appear as sudden visions, almost epiphanies that seem to detach from wa ls and supports to move toward the viewer. They do not ask merely to be observed, but to be experienced. It is within this silent and intense encounter that the distance between dream and life dissolves, and new stories find their voice.
YOANN ESTEVENIN
L’ora de le nuove storie
March 28 - May 2, 2026
Salizada San Samuele 3337, 30124, Venice