Inside L’Appartement: The Geneva Gallery that Unfolds as a Modern Day Salon

At the heart of Geneva’s blossoming contemporary art scene, L’Appartement Gallery rises like cream as a distinctive sanctuary—where intimacy, heritage, and a feminine curatorial vision unite. Founded by Thea Montauti d’Harcourt Lyginos, L’Appartement challenges conventional gallery norms by ideating a space that shimmers like a modern-day salon.

“Anima Mundi,” the gallery’s emotionally arresting summer exhibition curated by Alkistis Tsampouraki, Director of Exhibitions and Curatorial Projects, encapsulated this ethos. Drawing profound inspiration from Carl Jung’s concept of the collective unconscious and the archetype of the soul, the show interlaced artists from diverse backgrounds who explore highly relevant themes of metamorphosis, sanctity, and the feminine form. 

This fall season at the gallery, in rapturous collaboration with Objects With Narratives, a group presentation titled “Convergent Lines,” on view from September 18 to December 19, harmonizes gems of art and design by Mariana Oushiro, Jojo Corväiá, Maarten Vrolijk, and Marius Ritiu. As L’Appartement continues to advance its prismatic dream, with upcoming projects like creative incubator Il Castello di Azeglio in Piedmont, Italy, Thea Montauti d’Harcourt Lyginos shares insights with Whitewall, reacquainting the world with the luxury of time, presence, and the essence of art.

Inside “Anima Mundi” with Thea Montauti D’Harcourt Lyginos

WHITEWALL: How did “Anima Mundi” emerge as the heartbeat of the summer exhibition?

THEA MONTAUTI D’HARCOURT LYGINOS: We’re exploring how artists across centuries are influenced by archetypes and archaic symbols that shape the inner self, and how this manifests through art. Today, we investigate how contemporary artists engage with the concept of the anima—the soul, spirit, or life force.

WW: When shaping “Anima Mundi,” what textures—emotional, philosophical, spiritual—did you seek to weave into the visitor’s experience?

TMDL: The works in the exhibition draw from mystical symbolism, ancient philosophy and Jungian psychology to explore this idea that our inner worlds reflect the larger universe. A really important influence for the exhibition and for many of the artists is Jung’s concept of archetypes and the collective unconscious. Another key idea that organizes the show is duality that exceeds binary thinking, of wholeness and unification of opposites. There is no conscious without unconscious, no masculine without the feminine, above without below.

For me personally, the exhibition is very much about the idea of transformation and how we can see this most prominently in the work of female artists. For example, Konstantina Krikzoni, a young Greek artist based in London, explores the female body in various stages of transformation and her work is always in conversation with the body whether that’s her own body or an art historical body. Interestingly, she incorporates rose petals into her paintings, creating dreamlike and mystical interpretations of the feminine.

Myrtle Williams, an African American self-taught sculptor from Atlanta, portrays the female body always modeled from the torso up, challenging classical representations of the bust in art history. She usually paints prominent black women like Ella Fitzerland and spirits like goddesses… In her own words her works express the idea that ‘women rule the world’. Eleni Christodoulou, a Greek artist based in Athens, makes life-size sculptures using different and contrasting textures to represent cyborgian bodies that challenge traditional notions of femininity. Her sculptures signify everything that exists in the margins of a heteronormative society: non-normative desires, practices of gender in the periphery, different kinds of love such as polyamorous love.

Yulia Iosilzon, with Russian and Israeli roots and based in London, draws from fairy tales and Greek mythology. The works are imbued with spirituality—moons as feminine symbols, the idea of metamorphosis personified by recurring creatures like the frog and the snake, the feminine body abstracted fusing into nature—her work is really a quest for harmony between women, animals and nature.

The Gallery, Reimagined

WW: L’Appartement feels like more than a gallery—it’s a domestic space reimagined. What drew you to this model, and how does the setting influence the types of artists and works you invite in?

TMDL: The gallery was conceived as a modern salon—those cultural places of the 17th and 18th centuries often led by women. We wanted to create a warm space that contrasted with the “white cube” gallery model.

It has a strong Mediterranean philosophy, reflecting my Italian and my husband’s Greek heritage. We aim to foster a home for cultural exchange, where collectors, artists, and the public can come together for meaningful conversations. 

My passion for art comes from a feminine lineage—my mother and great-aunt, both great art lovers—and opening this space truly brought out that side of me. It’s important that the gallery supports female artists and female leadership.

WW: Geneva is a city of diplomacy, depth, and restraint. In what ways do you feel L’Appartement challenges or mirrors the tempo of the city? Is there a particular kind of conversation you’re hoping to open up with the Genevan public?

TMDL: Geneva is known for watches and finance, not as much for contemporary art. It has a small, somewhat struggling art scene—many artists don’t live here due to the cost of living.

L’Appartement seeks to challenge that by creating a lively, welcoming space where something exciting is happening in art. Geneva is strong in art dealing and advisory, especially with modern art, because of free ports, but younger galleries and emerging artists have had fewer opportunities.

We want to open conversations that bring new energy—connecting collectors, local audiences, and artists in a way that feels intimate yet impactful.

Dialogues Across Time

WW: Can you speak to how your ethos manifests in “Anima Mundi,” and in your programming more broadly?

TMDL: Our ethos is about creating dialogues across generations, geographies, and media. For example, our first exhibition paired Yves Dana, a Swiss-based Egyptian sculptor, with Takis—a Greek kinetic artist, two artists who never met but shared a conceptual link.

Our second exhibition brought contemporary Aboriginal artists into conversation with modernist artists like Riopelle and André Masson, juxtaposing different times and cultures. The goal is to provoke thought and invite viewers to question “What am I looking at?” through unexpected pairings.

“Anima Mundi” continues this by bringing diverse artists together under a unifying theme of spiritual and archetypal exploration.

“The goal is to provoke thought and invite viewers to question ‘What am I looking at?’ through unexpected pairings,”

Thea Montauti d’Harcourt Lyginos

WW: In an era of rapid digital mediation, your practice seems to lean into slowness. How does this philosophy shape your programming choices?

TMDL: We prioritize works that embody tactility and presence—whether through sculpture, painting, ceramics, or video. For instance, Eleni Christodoulou’s sculptures incorporate materials like fur and leather, creating living, interactive works.

Yulia’s ceramics complement her paintings, highlighting the physicality of making. Sheila’s video installation invites viewers to slow down and reflect on life’s journey.