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Galerie Peter Kilchmann Paris is pleased to present Pinochiette dans les Alpes, bringing together 19 artists with distinctive practices and singular artistic worlds in a rich and multifaceted exploration of contemporary painting. Primarily drawn from the gallery’s programme, these artists offer a broader insight into its diversity and artistic directions.
The exhibition provides a unique opportunity to discover an expanded selection of artists represented by the gallery, alongside invited artists, several of whom have never before been exhibited in France. Taking its title from a painting by Valérie Favre presented in the exhibition, Pinochiette dans les Alpes also pays tribute to the gallery’s longstanding ties with Switzerland
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Chris Huen Sin Kan (*1991, Hong Kong; lives and works in West Sussex, UK) Invited artist Chris Huen Sin Kan explores in his paintings states of uncertainty, in which forms and meanings remain in the process of becoming. His compositions are built up through successive layers: certain marks are covered, erased, or abandoned, while others reappear at the surface, retaining traces of the hesitations inherent to the creative process. This layering gives his works an appearance that is at once fragile and unstable, as though the image could still transform. Painting thus becomes an open space, in which meaning is never entirely fixed and the unfinished retains its full place.
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Rooted in the tradition of German Expressionism, Boehm’s painting explores the human figure through the grotesque, distortion, and doubling. The two works presented testify to this practice, notably Le Bureau des guerres (2024-2026), in which a head reminiscent of Hitler, marked by a despondent expression, faces that of a dog. In a second painting, Boehm depicts the façade of the legendary Babylon cinema in Berlin, before which three figures appear, rendered in a palette and painterly treatment evocative of Fauvism. Moving between references to cultural and art history, popular culture, and contemporary reality, Boehm creates scenes in which the familiar slips into the uncanny, revealing the tensions and ambiguities of the present world.
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Drawing on different traditions of nineteenth and twentieth century Western painting, Deplazes’s work develops an imagery that is both dramatic and dreamlike. His paintings combine personal experiences with fragments of current events, revolving around two central concerns: the place of human beings within society and their relationship to nature. Often nude, androgynous figures with indistinct features appear in everyday scenes rendered strange by their atmosphere and direct gaze. In the works presented, figures gathered around a swimming pool or a family meal seem suspended in a silent moment, their eyes directed towards the viewer. This direct and enigmatic presence lends the scenes a particular tension, poised between intimacy, vulnerability, and distance.
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Patil’s practice, situated at the intersection of painting, drawing, sculpture, video, and performance, draws on the lived realities of Mumbai’s working-class neighbourhoods and the histories of labour, migration, and transmission that run through them. In the series Who is Invited to the City? (2025), groups of figures move through nocturnal urban landscapes, illuminated by small torches that reveal fragments of bodies while leaving faces invisible. The city thus becomes both a physical and mental horizon, suspended between aspiration, displacement, and exclusion. Light, which both guides and conceals, conveys this tension between visibility and erasure.
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Known for her intensely coloured all-over paintings, Streuli develops compositions in which forms, patterns, signs, and gestures overlap in a balance between structure and movement. Her recent work is particularly concerned with landscape and our relationship to an environment in constant transformation. In her paintings, landscape is never represented as fixed: it is constructed through associations of forms and signs, in which a gesture may evoke a wave, a stain, a globe, or a gradient of colour suggesting a sunset. Through the superimposition of layers of paint, techniques, and stencilled motifs, Streuli turns painting into a living space, traversed by the forces of nature and the contemporary world.
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Ribbeck’s paintings belong to a tradition of geometric and spiritual abstraction, which he translates into a resolutely contemporary language. The two new works presented play with the tension between surface and depth: glazes, layers of paint, and successive sanding create a sensation of lightness, space, and materiality. Between geometry, ornament, and architecture, Ribbeck’s compositions remain deliberately open, inviting both figurative readings and narrative associations. Their apparent timelessness seems to make them belong to another world, or to a fictional era.
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Pinochiette dans les Alpes: With works by: Alÿs, Bas, Boyer, Boehm, Deplazes, Favre, González, Hänsli, Huen, Ikemura, Lee, Nielsen, Patil, Ribbeck, Rilliet, Rodriguez, Streuli, Spichtig and WilliamGalerie Peter Kilchmann
11-13 rue des Arquebuisers, Paris
Current viewing_room
