PAD PARIS 2026

Booroom Gallery took part in PAD Paris — one of the oldest and most prestigious fairs dedicated to design and collectible art—taking place in the Jardin des Tuileries from 8 to 12 April. This marks the gallery’s fourth participation in PAD, following two editions in Paris and its debut at PAD London in 2025.

Remaining true to its DNA, Booroom continues to explore the boundaries between design and art at the intersection of its interests—from historical design and internationally renowned names to emerging talents from the local scene. As defined by Irina Budtseva-Vinitskaya, the gallery’s mission is to create a space where the convergence of different voices gives rise to new cultural meanings and values. At the heart of Booroom Gallery are artists and designers—each shaped by distinct backgrounds, temperaments, and trajectories. They share an ability to capture the impulses of their time, reinterpret them, and give them form.

For the 2026 edition, the gallery will present works by Portuguese sculptor Rui Matos; expressive pieces by Brazilian visionary José Zanin Caldas; a sculptural table by Ariana Ahmad from the La Réflexion series; new objects by Charles Kalpakian from the Castle series; as well as the first large-scale graphic works by Kolya Dykhne, alongside pieces by the gallery’s newly represented artist, Nikita Erokhin, from the KAMEH.06 collection.

This year’s presentation is united by the theme of resilience—understood as fidelity to oneself in a time of instability and constant change, as well as commitment to one’s principles and values, despite all circumstances. José Zanin Caldas’s works from the Protest Furniture series embody not only a singular vision that helped shape the trajectory of Brazilian design, but also a deliberate refusal of standardised mass production. Instead, they affirm a return to craftsmanship, to collaboration with master artisans, and to an unmediated expression of the material—at once raw and sensual.

Resilience, as a form of resistance, is equally present in Rui Matos’s sculptures. It emerges through his longstanding engagement with metal—its rigidity and structural force—within which he captures the fragile texture of memory, but also through a more personal gesture. For the first time in nearly two decades, the artist returns to stone, the material that marked the beginning of his practice. The result of this renewed exploration will be unveiled to the public at PAD. While these works possess a utilitarian function, sculpture ultimately prevails: a delicate balance emerges between the formal language shaped by the artist and the inherent form of the natural material itself.

In Nikita Erokhin’s KAMEH.06 series, resilience takes on an inward, almost meditative dimension. The collection draws inspiration from the “desert rose”, a natural formation of gypsum and barite that crystallises over centuries in arid landscapes. Both geological phenomenon and sculptural object, it stands as a quiet testament to time. In Middle Eastern cultures, the desert rose is regarded as a symbol of resilience and inner strength—its delicate, petal-like forms evoking structures that appear fragile, yet endure the most extreme conditions that Nikita carefully captures in his objects.