Hold on, there at Paris IntERNATIONALE 2025
PARIS INTERNATIONALE, PARIS
Lux Feminae is proud to announce its debut at the 11th edition of Paris Internationale, taking place from October 22–26, 2025, with Hold On, There, a two-person exhibition featuring new works by Italian, Paris-based mixed media artist Daniele Toneatti and New York-based multidisciplinary artist and photographer Hedi Stanton. Following Toneatti and Stanton’s first presentation together in Vita Dopo Vita, Lux Feminae’s inaugural Paris exhibition in February 2025, Hold On, There marks a new chapter for both artists and for Lux Feminae as it participates in an international art fair for the first time. The exhibition presents a total of 15 works, including painting, photography, and installation. Toneatti will unveil new, previously unseen paintings alongside a site-specific wallpaper installation in the booth. Hold On, There, reflects on the idealization of memory, how time and desire blur the boundary between lived experience and its later reflection. Both artists consider the instability of recollection, the layering of selfhood, and the shifting border between
perception and reality. Stanton’s photographs depict dreamlike states that trace the transition from girlhood to adulthood, exploring how identity develops through stages of change and awakening. Using the female form and archival framing methods, she situates her work at the intersection of intimacy, sensuality, and history. Toneatti’s paintings are built through fragments of past works, plasteline forms, poured mediums, discarded canvases, reborn through collage and layering. Among the key works on view are Toneatti’s Gloo (2025), a large-scale oil on canvas that layers fragments of earlier paintings with sculptural immediacy, collapsing memory and material into a single charged surface. In contrast, Stanton’s Kiss, rub, flower I (2025) captures an intimate encounter with the tomb of journalist Victor Noir, a historic figure whose death 1870 and subsequent memorial effigy became an international phenomenon. Noir’s grave in Père Lachaise Cemetery, sculpted to depict his body as if freshly fallen, has long been mythologized as a site of fertility and ritual, where women would kiss and touch the bronze figure in acts of remembrance and desire. By restaging this charged iconography through the female body, Stanton reactivates the statue’s layered history, connecting it to Lux Feminae’s exploration of memory, intimacy, and femininity. Together with Toneatti’s site-specific wallpaper installation, these works anchor the exhibition’s meditation on how personal and collective memories are both preserved and
transformed. “My paintings are built slowly and tentatively, layering fragments from earlier works until they transform into something new. I think of them as ‘recuperation paintings,’ experiments that turn memory and material into something meditative, obscure, and in flux,” says Daniele Toneatti. Hedi Stanton adds: “This series explores the awakening of sensuality during the transition from girlhood to young adulthood. It is a state of knowing before fully embodying an essential but often overlooked part of growing up.” “In shaping Hold On, There, we thought of it less as a traditional exhibition and more as creating an environment, somewhere you might actually want to live. Daniele’s collaged fragments and Hedi’s dream-like photographs each offer distinct pathways into memory, but together they construct a shared interior, a space that feels familiar yet shifting. Presenting this dialogue at Paris Internationale allows us to introduce Lux Feminae’s vision to a wider international audience,” comment Lux Feminae co-founders Lily Cohen and Olivia Zabludowicz. With thisdebut, Lux Feminae looks ahead to expanding its international presence, building new platforms for dialogue between emerging artists and audiences worldwide.
