The domestic sphere is often described as the most private of spaces — a shelter, a sanctuary, a retreat. Yet home is also a site of performance, memory, and negotiation, where identity is shaped through repetition and where the smallest of gestures acquire symbolic resonance. The philosopher Gaston Bachelard famously wrote in The Poetics of Space(1958) that the house is not just an architectural form, but a vessel of imagination, “our corner of the world, our first universe.” From this perspective, every room, every routine, every silence becomes a locus of meaning.
The exhibition Home Habits brings together works by Dmitry Bulnygin, Jeanine Cohen, Semyon Agroskin, and Mathieu Zurstrassen, four artists who, each in their own language, explore how home habits shape our perception of the world. Their works highlight the fragile threshold where the ordinary becomes poetic, where daily repetition becomes ritual, and where silence can be as eloquent as voice.
For Dmitry Bulnygin, the domestic is never neutral. Employing sculpture and installation as a medium, he frames ordinary gestures — setting the table, making tea, sitting in a chair — as acts both absurd and revealing. This estrangement of the everyday recalls Michel de Certeau’s The Practice of Everyday Life (1980), in which ordinary actions are understood as forms of quiet resistance, tactics through which individuals navigate structures of power. Bulnygin’s practice shows how the smallest of domestic routines can reveal the hidden choreography of social and psychological life.
Jeanine Cohen’s practice unfolds in another register, one of perception and materiality. Through her reliefs and installations, she reduces the domestic sphere to its essentials: light, color, shadow, repetition. These minimalist interventions invite a meditative engagement with space, transforming habitual perception into heightened awareness. Her work echoes Henri Lefebvre’s reflections in Rhythmanalysis (1992), where the rhythms of everyday life — cyclical, linear, repetitive — are seen as the pulse of lived experience. In Cohen’s hands, the quiet repetition of domestic life becomes both sculptural form and contemplative encounter.
Semyon Agroskin, by contrast, turns to the house as a repository of memory and affect. His paintings and objects capture the traces of the intimate: fragments of interiors, muted tones, and elusive forms that evoke both presence and absence. If Bachelard imagined the home as a container for dreams, Agroskin shows it equally as a container for loss and recollection. His practice recalls Paul Ricoeur’s writings on memory and narrative, suggesting that domestic space is never simply lived in the present but always layered with echoes of the past — with what has been, and with what is imagined.
Mathieu Zurstrassen approaches the theme from a technological and conceptual angle, exposing the instability of domestic systems. His kinetic and digital works often hover between order and collapse, suggesting that the rituals of everyday life are fragile architectures, always vulnerable to disruption. In this sense, Zurstrassen’s practice resonates with contemporary discourses on the precariousness of private life in an age of constant technological mediation and surveillance. If the home is traditionally seen as a space of stability, his works remind us that it is equally a site of uncertainty.
Together, these four practices reveal that the domestic is not simply a backdrop for life, but a primary site of meaning-making. Household habits — whether pouring water into a glass, opening a window to the street, or arranging objects on a shelf — are revealed as aesthetic gestures in their own right, rituals that give shape to lived time. This perspective resonates with feminist art histories of the 1970s, in which artists such as Mierle Laderman Ukeles or Martha Rosler challenged the invisibility of domestic labor by reframing it as performance, critique, or art. In dialogue with these precedents, Home Habits demonstrates how contemporary practices continue to expand the artistic vocabulary of the home.
Ultimately, the exhibition proposes that the home is not only where we live, but also where we imagine, remember, and transform. It is the place where voices and silences coexist, where the ordinary and the dreamlike meet. Through the works of Bulnygin, Cohen, Agroskin, and Zurstrassen, the exhibition invites us to slow down and attend to the overlooked gestures of daily life — to discover in them a subtle yet profound poetry.