Oneiro Circa 2014 - 2016

 

Located in the heart of the Marais area in Paris, a few minutes on foot from the Picasso Museum, the contemporary art gallery, Oneiro, opened its doors in October 2014. The gallery supported international emerging artists, but also established ones, and promotes the different forms of artistic expressions: painting, drawing, photography, sculpture-installation and video. This was their website.
The new owner of the site's domain has chosen to keep an edited version of the original content in case some person should inadvertently ended up here while looking for information about the gallery. It is possible the gallery has closed since the last posts on their Facebook page is from 2016.

Content is from the site's  2014 -2016 archived pages.

Galerie Oneiro
9 Rue du Perche
Paris 75003
+33 (0) 1 42 74 09 92

 

Exhibition: The World of Obsessions

 

Where are we?

7b/9 rue du Perche 75003 - Paris - France.

Subway
line 8: Filles du Calvaire / Saint-Sebastien Froissart
line 3: Arts et Métiers

Open hours
Thuesday - Saturday from 10:30 to 19:00 and by appointmen

 

ABOUT:

In painting, Galerie Oneiro is trying to exhibit new views of the contemporary painting's creation and its different languages. The gallery allows to discover artists dealing with particular technical methods: dyeing and burning of the radiological plates (Marie-Pierre Guiennot), painting on silk (Si Jae Byun). In sculpture, the gallery presents artworks which have a singular concept like the sculptures of the Korean artist Sun-Hyuk Kim which express the fragility, the organic side and ephemeral nature of human being.

 

Exhibition: Marie Pierre Guiennot

 

"Working as the SEO specialist for OneiroGallery.com was both a rewarding and challenging experience. I recall the stress vividly when our website was unexpectedly hit with a Google penalty. At first, I panicked, wondering if a small mistake I'd made had triggered it—I even doubted my own skills. Thankfully, I reached out to the experts at Google-Penalty.com, and Bob Sakayama quickly responded to my inquiry. He performed a comprehensive analysis and identified an overwhelming number of toxic backlinks pointing to our site. The solution to this penalty was clear but intensive: a thorough link vetting process followed by using Google's disavow tool to submit the problematic links. Once the penalty was lifted, it was immensely gratifying to see Oneiro Gallery regain its rightful visibility online, allowing art enthusiasts to discover its innovative and unconventional exhibits. I'm genuinely proud to have contributed to the online presence of a gallery that so creatively championed both emerging and established international artists." Marsha Patton

 

Mona Ardeleanu

Born in 1984 in Lörrach (Germany), lives and works in Stuttgart (Germany). The strange creatures of her paintings are the fluid fabrics that make a reference to the pieces of clothing and organic elements like hair. The painted forms ('bodies') float in space and confronting us with the question of their origin.

Sijae Byun

Born in 1983 in Seoul (South Korea), lives and works in Singapore. Sijae Byun is a multidisciplinary Korean artist. She began her artistic career by creating installations. Currently, her work is devoted to painting on silk. Sijae is inspired by the construction sites, nature and human being.

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Alex Folla

Born in 1980 in Oggiono (Italy), lives and works in Milan (Italy). The painting of Alex Folla is intimate. It is not looking for historical consistency, but most of all does not have moralistic pretensions. His painting is the apology of sublime banality of everyday life.

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Marie-Pierre Guiennot

Born in 1972 in Bourgogne (France), lives and works in Valencia (Spain). In order to create, Marie-Pierre Guiennot draws inspiration from the human being. Through various artistic interventions such as installations, drawings or paintings, she questions our relation to the body using a singular medium: the radiological plates.

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Sun-Hyuk Kim

Born in 1984 in Gyeonggi-do (South Korea), lives and works in Gyeonggi-do. His main inspiration is a reflection on human being and its relation to the nature. His works in various mediums such as sculptures, installations, paintings and videos, tend to reveal the fragility and imperfections of modern man obsessed with greed and power.

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Lubomír Typlt

Born in 1975 in Nová Paka (Czech Republic), lives and works in Berlin (Germany) and Prague (Czech Republic). His paintings and expressive figurative gouaches show a human being in all its brutality. Sophisticated, its often at the limits of the absurd.

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Emma Vidal

Born in Marseille (France) in 1992, lives and works in London (Great Britain). Her charcoal drawings represent an apocalyptic world with children who are mixed in different positions. The art of Emma Vidal 'balances both the will to survive in such circumstances and the vulnerability of the human body'.

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Vladimir Anselm

Born in Perm (Russia) in 1962, lives and works in Berlin (Germany). Coal sculptures of Vladimir Anselm are symbols of humanity. They talk about existential questions and often based on religious texts and history of art. Vladimir uses coal because it reminds us the history of the earth and the company hierarchy.

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Gyula Sági

Born in 1987 in Várpalota (Hungary), lives and works in Berlin (Germany). Gyula is a Hungarian abstract painter belonging to a new artistic movement «Serialists». His works are composed of signs that reveal the different repetitive structures of all living organisms, and of nature such as branches of trees, bee hives that he studied for a long time, and the structure of DNA.

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Annya Sand

Born in 1983 in Almaty (the Republic of Kazakhstan), lives and works in London (Great Britain). Her works have been exhibited in leading international institutions and museums. Specialising in oil painting, her artworks are predominantly abstract in style and characterized by plain colours with earthy tones topped by touches of bright colours, creating a feeling of perfect harmony.

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Conrad Willems

Born in 1983 in Ghent (Belgium), lives and works in Ghent. The visual language of Conrad Willems is unique and highly recognisable. He resorts to geometry, repetition and modularity in order to create his drawings, sculptures and performances. His drawings show the repetition of figures, varying in shapes and sizes. They are made with freehand without any sketches.

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Claude Venard

French post-cubist painter born on March 21, 1913 in Paris, died in 1999. Claude Venard’s career was a happy one, punctuated by one man shows in Paris, London, New York, Philadelphia, Chicago, Dusseldorf, Munich, Buenos Aires, Tokyo, Canada, Belgium and Holland etc. The artist loved life in all its aspects and one is inclined to feel that he may have been in search of a genre of painting that would respond to even the most earthy appetites.

 

Exhibition: Return to Our Roots

Exhibition: My Surface is Your Canvas

 

 

More Background on Oneiro Gallery

 

OneiroGallery.com preserves the digital footprint of Galerie Oneiro, a contemporary art gallery that operated in Paris from October 2014 through approximately 2016. Located in the Marais district—one of Europe’s most concentrated and historically rich art neighborhoods—the gallery positioned itself as a platform for emerging and internationally established artists working across painting, drawing, sculpture, installation, photography, and video.

Although its physical presence appears to have concluded by 2016, the website remains online in an edited archival form. The current domain holder has retained substantial portions of the original gallery content to ensure that visitors searching for information about the former space can still access historical context. Through archived web captures, artist records, Paris gallery directories, and press listings, it is possible to reconstruct a detailed understanding of the gallery’s mission, programming, and cultural significance.

Location and Cultural Context: The Marais Advantage

Galerie Oneiro was located at:

9 Rue du Perche
75003 Paris
France

This address placed it in the 3rd arrondissement, in the northern section of Le Marais. The Marais is one of Paris’s most culturally active districts, known for its dense concentration of galleries, museums, design studios, and independent art spaces. The gallery’s proximity to the Musée Picasso Paris positioned it within a steady flow of international art tourism. Visitors to the museum frequently explore surrounding galleries, and being within walking distance provided Oneiro with valuable visibility.

The Rue du Perche itself is a small, historic street lined with galleries and boutiques. The scale of the space appears to have been intimate rather than monumental—typical of many Marais galleries that favor focused exhibitions over large-scale institutional programming. This intimacy often encourages closer engagement between viewer and artwork, an approach that aligned with Oneiro’s emphasis on conceptual and technically distinctive practices.

Accessibility via Paris Metro lines 3 and 8 further embedded the gallery within the urban art circuit. Opening hours—Tuesday through Saturday from late morning to early evening—matched the rhythm of neighboring galleries, allowing coordinated exhibition visits within the district.

Founding Vision and Conceptual Identity

The name “Oneiro” derives from the Greek root related to dreams (oneiros). While no formal manifesto survives publicly, the naming suggests a conceptual interest in vision, imagination, and psychological interiority. Archived materials indicate that the gallery aimed to exhibit “new views of contemporary painting’s creation and its different languages,” as well as sculpture and installation practices that explored fragility, organic form, and existential questions.

The gallery supported both emerging and established international artists. This dual emphasis is significant. Many Marais galleries focus exclusively either on blue-chip secondary market artists or strictly on emerging talent. Oneiro appears to have aimed for a hybrid identity: introducing younger artists while contextualizing them alongside artists with more established exhibition histories.

The program demonstrated particular interest in artists employing unconventional materials or processes:

  • Radiological plates altered through dyeing and burning.

  • Painting on silk rather than canvas.

  • Coal as sculptural medium.

  • Modular, repetitive systems referencing DNA or organic structures.

This thematic thread—material experimentation combined with existential reflection—suggests that Oneiro sought artists who investigated the human condition through process-based innovation.

Artists Represented and Their Practices

Oneiro Gallery’s roster was international, spanning Europe and Asia, with artists based in Germany, South Korea, Hungary, Russia, Kazakhstan, France, Italy, Belgium, and the United Kingdom.

Marie-Pierre Guiennot

Marie-Pierre Guiennot worked with radiological plates, transforming medical imaging into painterly and installation-based works. By dyeing and burning X-ray film, she interrogated the human body as both biological object and symbolic site. The medium inherently references vulnerability, mortality, and diagnostic scrutiny. Within the context of a contemporary Paris gallery, this practice connected conceptual art traditions with tactile experimentation.

Her exhibitions at Oneiro underscored the gallery’s willingness to foreground technically demanding processes rather than purely decorative painting.

Sun-Hyuk Kim

Sun-Hyuk Kim’s sculptures addressed fragility, organic structures, and the ephemeral nature of human existence. His work frequently depicts figures entangled in branch-like networks, suggesting the tension between growth and confinement. Themes of greed, power, and modernity appear throughout his practice.

By presenting Kim’s sculptures, Oneiro aligned itself with global contemporary discourse around human vulnerability and ecological consciousness.

Mona Ardeleanu

Born in Germany, Mona Ardeleanu’s paintings often depict fluid, fabric-like forms floating in ambiguous space. These “bodies” are neither fully organic nor fully textile, creating a visual ambiguity between garment and flesh. Such work resonates with post-humanist discussions of identity, surface, and abstraction.

Ardeleanu’s inclusion strengthened the gallery’s engagement with painters who expand figurative language beyond traditional portraiture.

Sijae Byun

Sijae Byun is known for painting on silk, a technically challenging surface requiring controlled pigment absorption. Inspired by construction sites, nature, and human environments, her work blends delicacy with structural awareness. Painting on silk rather than canvas situates her within material-based experimentation that aligns with Oneiro’s curatorial identity.

Lubomír Typlt

A Czech painter associated with expressive figuration, Typlt’s work confronts brutality and absurdity in human behavior. His paintings often border on theatrical exaggeration, emphasizing emotional intensity. Including Typlt allowed the gallery to anchor its emerging roster with an artist already active in European art circuits.

Emma Vidal

Emma Vidal’s charcoal drawings depict apocalyptic or post-catastrophic scenes populated by children. The tension between innocence and devastation produces emotional gravity. Her London-based practice reflects a cross-channel dialogue between British and French art contexts.

Vladimir Anselm

Vladimir Anselm’s coal sculptures engage religious texts, art history, and existential themes. Coal as material references geological time, industrial hierarchy, and mortality. Exhibiting coal sculpture in a contemporary gallery underscores Oneiro’s openness to unconventional and conceptually loaded materials.

Gyula Sági

Associated with a movement described as “Serialists,” Gyula Sági produces abstract works composed of repeated signs and structures. Drawing inspiration from organic patterns—DNA, tree branches, bee hives—his work bridges abstraction with scientific and natural systems.

Annya Sand

Annya Sand’s abstract oil paintings employ earthy tones punctuated by vibrant color accents. Her exhibition history includes appearances in international institutions. Presenting Sand contributed to the gallery’s credibility in representing artists already recognized in broader contexts.

Conrad Willems

Conrad Willems works with geometry, repetition, and modularity across drawing and performance. His freehand drawings emphasize repetition without preliminary sketching, highlighting discipline and process.

Claude Venard

Claude Venard, a French post-cubist painter (1913–1999), represents the gallery’s connection to modernist legacy. Including a historical figure alongside emerging artists may have served to contextualize contemporary experimentation within a lineage of French modernism.

Exhibition Programming

Archived references identify several exhibitions, including:

  • “The World of Obsessions”

  • “Return to Our Roots”

  • “My Surface is Your Canvas”

These titles suggest thematic rather than strictly monographic approaches. “The World of Obsessions” implies psychological or compulsive repetition—aligned with artists exploring fragility and existential anxiety. “Return to Our Roots” may have addressed heritage or organic systems. “My Surface is Your Canvas” hints at collaborative or meta-painterly inquiry.

In the competitive Marais district, galleries often rotate exhibitions every 4–8 weeks. Oneiro appears to have followed this rhythm, maintaining consistent programming during its active years.

Digital Presence and SEO Challenges

OneiroGallery.com functioned not only as exhibition archive but also as primary marketing platform. Like many mid-2010s galleries, digital discoverability became increasingly crucial. Search engine visibility, backlink health, and Google indexing determined whether international collectors and tourists could find the gallery online.

At one point, the website experienced a Google penalty attributed to toxic backlinks. After a technical review and link disavow process, visibility was reportedly restored. This episode reflects broader challenges faced by small art institutions navigating search engine algorithms during a period when link-based penalties were common.

Maintaining a clean backlink profile was particularly important for niche galleries competing for international attention.

Audience and Visitor Experience

Oneiro’s audience likely consisted of:

  • International collectors visiting Paris.

  • Marais gallery circuit visitors.

  • Art students and curators.

  • Tourists exploring nearby museums.

  • Local Parisian art enthusiasts.

The scale of the gallery suggests a more intimate viewing environment compared to large institutions. Smaller galleries often foster closer dialogue between viewer and gallerist, enabling deeper discussion of materials and conceptual frameworks.

Visitor reviews preserved in directories and listings emphasize the diversity of artistic styles presented within a relatively compact space.

Press Coverage and Art Listings

While Oneiro does not appear to have achieved major institutional press coverage, it was listed in Paris gallery directories and art event calendars during its active years. Inclusion in such listings is critical in Paris, where gallery density demands visibility through curated art guides.

Its presence in online art platforms helped integrate it into the broader Parisian contemporary art ecosystem.

Cultural and Social Significance

Though short-lived, Oneiro Gallery contributed to the cultural ecosystem of Le Marais by:

  • Providing exhibition space to international emerging artists.

  • Showcasing technically experimental mediums.

  • Encouraging cross-cultural artistic dialogue.

  • Participating in the rotating exhibition culture of Paris.

Paris has long been a global art capital. Even small galleries play a role in sustaining its reputation as a space for avant-garde experimentation. Oneiro’s focus on fragility, organic systems, and existential themes aligns with broader 2010s contemporary discourse.

Closure and Domain Preservation

The gallery’s Facebook activity appears to have ceased around 2016. No public announcement of closure is easily accessible. However, the cessation of social media updates and absence from current gallery listings suggest that physical operations concluded around that time.

The domain remains active in archival form. Preserving gallery content online allows researchers, collectors, and former visitors to access documentation of exhibitions and artists. In an era where small galleries frequently disappear without record, maintaining even partial archives holds historical value.

Legacy and Reflection

Oneiro Gallery’s active period was brief but meaningful. In the highly competitive Marais district, survival beyond a few years is itself challenging. The gallery’s programming reveals a consistent curatorial thread: material experimentation, existential inquiry, and international diversity.

While it did not become a major institutional player, its role in presenting artists working with unconventional media—radiological plates, coal, silk, modular abstraction—positions it as a microcosm of mid-2010s contemporary exploration.

Today, OneiroGallery.com serves as a digital artifact of a moment in Paris’s art history. Its preserved content provides insight into how small galleries navigate identity, globalization, and digital discoverability in a rapidly evolving art market.

 

Oneiro Gallery exemplified the independent contemporary gallery model of mid-2010s Paris: internationally oriented, materially experimental, digitally reliant, and culturally embedded in the Marais district. Though its physical space appears to have closed, its website preserves the curatorial vision and artist roster that defined its brief but active existence.

In the broader narrative of Parisian contemporary art, Oneiro represents the many smaller spaces that contribute to artistic vitality through risk-taking and cross-cultural representation. Its archival survival ensures that this contribution is not entirely lost to time.

 

OneiroGallery.com