Vincent Grange - About
The Madwomen of Chaillot (2025)
_hey wan_ _o break free (2025)
The House of Dorothy - Milano (2025)
Il Gioco dell’Oca di Dorothy (2025)
Dorothy’s Interior Boulevard (2025)
Dorothy’s Closet - Ljubljana (2024)
Dorothy’s Picnic Set (2024)
Dorothy’s Closet - Carouge (2024)
Dorothy’s Closet - Basel (2024)
La voisine qui en savait trop (2024)
The House of Dorothy - Carouge (2024)
Entre 70 et 75 degrés (2024)
The House of Dorothy - Geneva (2023)
Bonnie (2023)
First Encounter (2022)
Maison Sauvage (2022)
KETA1000 (2021)
L’Allégorie de la Caverne (2021)
Dorothy’s Office (2026) - Basel Social Club (ArtBasel 2026)
Galerie Fabian Lang
“Introducing oneself as a “Friend of Dorothy” has been one of the many secret codes used by the LGBTQIA+ community to discreetly share one’s sexual orientation and/or gender identity in times of segregation. In 1981, when it was still illegal to be gay in the U.S. military, the Naval Investigative Service (NIS) in Chicago heard about this expression being used among servicemen and launched an investigation to identify and apprehend “Dorothy,” believing her to be a real person at the center of a vast homosexual network. The authorities hoped that finding Dorothy would allow them to uncover the names of all her gay friends.
Dorothy’s Office is a room extracted from The House of Dorothy (2023–2026), an ongoing immersive installation imagining the secret home of the community’s fictional best friend. Through a series of interconnected rooms, the project pays homage to queer spaces, histories, and strategies of survival from around the world. Taking the form of a surreal surveillance office, this chapter explores the mechanisms of observation, identification, and categorization that have historically been used to police queer lives. Cameras monitor the outside world, a filing cabinet contains the traces of the investigation, and everyday objects are subtly transformed, blurring the boundaries between domesticity and control. Playing with the paradoxes of visibility and concealment, the office questions who watches whom, and what it means to live under the constant awareness of being seen.”
Special thanks to:
Basel Social Club
Geraldine Belmont
Fabian Lang
Anita Pezzolesi
Maude Renevier
Collectif Kimera
Installation views Basel Social Club - Courtesy of the artist and Galerie Fabian Lang
entre 10 et 1000 bornes (2026) - Espace Dukat, Carouge, CH
Project in collaboration with Tanguy Troubat (SOUPLEX)
"At the intersection of their practices as artists and scenographers, the duo Souplex (Vincent Grange & Tanguy Troubat) create a space in transition within Espace Dukat. The tiled floor gives way to a beige carpet, while metal shutters, clad in latex, begin to swell, suggesting that a more intimate memory is taking root within this industrial setting. The installation forms a space that feels both familiar and unsettled, where domestic interior and transitional passage overlap within an architecture that has a dreamlike quality.
At the centre of the space, a border milestone becomes a table, supported by a ruined Tower of Babel. This displacement re-enacts the biblical narrative: the impulse towards a common language coexists with the experience of dispersion and separation. Across this ruin, elements drawn from different borders come together to form a surface of encounter, as though fragments of territories were composing a new shared space. The ceramic object transforms a vertical symbol of division into a horizontal support for cohabitation, echoing Hannah Arendt’s notion of a “common world” — a shared space grounded in the plurality of viewpoints.
Reactivated over the course of the exhibition by members of the collective using photography, the installation becomes the site of an evolving narrative. Its activation extends the idea of a common world, in which family is no longer defined by inheritance but by choice, making this space the foundation of a reconfigured community." Text by Anes Dhif
Special thanks to:
Collectif Kimera
Anes Dhif
Photos by Tanguy Troubat
The Madwomen of Chaillot (2025) - Galerie Fabian Lang - Zürich, CH
"Bobby pins, compacts, curlers, lipstick tubes and other femme fatale missiles have landed in Zurich. The unapologetically fierce, delusional and imaginary girl group ‘The Madwomen of Chaillot’ has returned. While they have been sitting in the park by the pissoir, the world has gotten out of its mind. The poets, paddlers, jugglers, innocents and the mad who once thrived are now vanishing. So upset they have not bothered to shave, Molly, Lily, and Dorothy are putting their spiked heel down and intend to remind everyone that the glitter of all the broken glass from '69 is still sparkling."
Les _an_ouzes solaires (2025)
fabric, lace, feathers, wire, plastic, wood
Femme Fa_ale missiles (2025)
fabric, lace, glass, plastic, LEDs
Pu__ing our spiked heel down (2025)
steel, plastic, wood
_hey wan_ _o break free (2025)
plastic, lace, glitter, LEDs
_uileries’ disco s_umps (2025)
steel, PVC, vinyl, LEDs, ceramic, soil, wood, spotlights
Mourning Hose (2025)
textile, PVC
Voyeuris_ic Gay Cops Mee_ here Nigh_ly (2025)
ceramic, glaze
Cas_ro S_ree_, Jardin des _uileries, Chris_opher S_ree_ (2025)
Project in collaboration with Tanguy Troubat
stainless steel
Il Gioco dell’Oca di Doro_hy (2025)
Project in collaboration with Tanguy Troubat
The Madwomen of Chaillot visual communication was designed by Souplex Atelier
Special thanks to:
Fabian Lang
Tanguy Troubat
Anita Pezzolesi
Souplex Atelier
Collectif Kimera
Installation view of Vincent Grange, The Madwomen of Chaillot, 2025, Galerie Fabian Lang, Zurich. © The artist and Galerie Fabian Lang. Courtesy of the artist and Galerie Fabian Lang.
_hey wan_ _o break free (2025)
“_hey wan_ _o break free” (2025) was exhibited as part of the group show “Eyes open, I breath again” at -> Alice Amati Gallery in London - curated by Samuele Visentin.
A vacuum cleaner with a bag full of glitter appears to have just collected the remnants of a party that took place last night at Dorothy’s house. This eccentric sculpture evokes the vacuum cleaner used by Freddie Mercury in drag in the Queen’s I Want to Break Free video, which became an icon of subverting expectations around gender identity. A playful monument to challenging gender stereotypes and rebelling against domestic labour, the vacuum cleaner, upon closer inspection, also suggests a darker reference. The colours of the glitter match the trans flag, and the cleaning it has undergone might allude to an attempt to erase the rights of the community. Glitter, a material often considered frivolous and linked to celebration and fun, transforms into a symbol of resistance and a reminder to stick together in the face of threats of our time.
Text by Lucrezia Visconti Calabro
Special thanks to:
Samuele Visentin
Alice Amati
Rosalita Baldassin
Claudia Buraschi
Courtesy of the artist and Alice Amati, London | Photo Tom Carter
The House of Dorothy (2025) - solo show at the Istituto Svizzero, Milano (Italy)
Special thanks to:
Lucrezia Calabrò Visconti
Tanguy Troubat
Maude Renevier
Michele Bertolino
Dafne Boggeri
Sandra Cane
Barbara Casavecchia
Claudia Buraschi
Flavia Parea
Mousse Magazine
Esquire Italia
Miart
Milan Design Week
Laura
Hsuan Lee
Tristan Bartolini
Philippe Buchs
Arthur Bigatel
Jeanne Caron
Ariane Grange
Marcel Rüdisühli
Simone Rüdisühli
Histoire Sans Chutes
Materiuum
HEAD Atelier Prototypage
HEAD Atelier Métal
Collectif Kimera
Souplex Atelier
Photos by Tanguy Troubat ©Souplex Atelier