Entrance Gallery

NR and The Salon by NADA and the Community are excited to introduce a media partnership for the novel invitational fair’s first edition.

Spanning three floors of 30 bis Rue de Paradis in the 10th arrondissement of Paris, a historic location that once housed the Baccarat crystal factory, The Salon is designed as an alternative cultural experience during Paris Art Week, showcasing a dynamic selection from over 50 galleries, art spaces, and non-profit organizations spanning 18 countries and 24 cities, including Basel, Cologne, Dubai, Glasgow, Oslo, Guayaquil, Los Angeles, Mexico City, New York, Paris, Tokyo, and Warsaw.

NR’s comprehensive media coverage will highlight The Salon’s unique model and amplify the fair’s vision for a cultural experience that challenges standardised models, emphasizing the importance of supporting new voices and underrepresented creators in the art world, while bringing together new, and established, voices in contemporary culture.

As part of our coverage, we spoke with Louis Shannon, founder of Entrance Gallery, one of the most interesting Lower East Side spaces in NYC.

Let’s start by taking a little step back. This is not the first time you work with The Community, right?

We had a show in The Community’s space in Pantin last November, titled LA RENTRÉE. It was the first of The Community’s invitationalformat, which I guess they also expanded, in a way, with The Salon. It was a beautiful, very spontaneous show –the reasoning behind it was bringing everything that fitted into a single suitcase. [laughs] 

This time, with more preparation, we brought a fuller range of works reflecting our gallery’s vision in a more organic, and complete, manner. The selection gives an overview of what we’re aiming to accomplish in New York—primarily supporting artists ready for their debut solo exhibitions. I love working with emerging artists, and here at The Salon, we’re showcasing artists who’ve never shown before. For instance, Ethan Means, a remarkable oil painter from Flatbush, Brooklyn, is showing his work for the first time here, at The Salon, and it has been an exciting experience to see the public’s response.

Alongside him, we have pieces from more established artists in our program, like Hannah Lee, whose work references Caillebotte, whose work is currently being exhibited at the Museeè D’orsay. Having these artists side by side captures the essence of our program, emphasizing new voices and ongoing dialogues. 

How’s working with artists who are just starting out?

It definitely adds a layer of curiosity and collaboration, allowing us to nurture meaningful relationships from the outset. This approach aligns with the salon’s ethos and its conversational format, fostering open interactions, much like NADA’s broader mission to connect communities in art.

As we’ve already said, this isn’t my first collaboration with The Community—I’ve known them for a long time—and it’s always been about intellectual curiosity, introducing fresh voices and keeping things innovative. 

Was supporting emerging art always part of your mission from the start? Since you began collecting, has that focus always been there, or do you feel it developed over time as you gained experience?

It is a mission, 100%. Since opening our gallery in 2017, our goal has been to elevate emerging art. It started as a DIY space, driven by an underground spirit, and that ethos remains central to everything we do. For instance, Pat McCarthy is one of the artists I brought to the salon; his background in zine culture and punk aesthetics reflects our gallery’s roots in alternative art scenes, and his work blends high and low art in a way that resonates with our values.

I see each show as a collaborative journey that connects me with the artist on a deeper level. The Salon has been especially rewarding because it feels less like a conventional fair and more like a community of art lovers sharing ideas and engaging in meaningful conversations.

And those conversations become part of the story. Just like the way you work with artists, that same deep involvement in their practice. The way you described Pat’s work really shows the thoughtful, long-term relationships you seem to cultivate with artists. Is it challenging sometimes to keep that up?

Honestly, it’s good. It’s my everyday, my whole life—I live and breathe it, so I don’t think about anything else. For me, it’s all about the relationship, and when your work becomes your life, that’s when it’s truly rewarding. That personal, enduring connection with the artists and their work is central.

Speaking of connections, have you had a chance to attend any talks or activations here?

Not yet, but I’m excited to see Nick Sethi and pick up one of his books. He’s a friend and a talented artist, also involved with The Community for years.

Is there a particular medium you’re interested in curating right now? Or that perhaps you wanted to specifically focus on for a fair setting?

Not really. For me, it’s more about the artist’s intention. I enjoy working with artists at various stages of their practice, especially when they’re deeply engaged and obsessed with their chosen material. If they’re passionate about oil painting on panel, that’s fantastic. If they’re drawn to English porcelain ceramics or performance, I’ll support that too—as long as it’s an authentic pursuit. It’s not about creating what sells; it’s about creating because they have an undeniable drive to express through their art. Also, The Salon’s format is less costly than larger fairs, allowing us to take more creative risks. 

How’s your feedback on The Salon experience so far? How would you describe it?

I think that there’s a more relaxed environment that lets visitors, including collectors, approach the works with an open mind, which fosters a greater receptivity to new perspectives. It’s refreshing compared to the high-stakes, high-commercial settings of other fairs. Plus, it’s nice to see students and young creatives engaging with the art, it’s different.

What are the next steps for you after The Salon?

Right now, we’re in the midst of our season, with several shows lined up through the end of the year, including a fair in Miami. I’m also working on a sculpture garden in Red Hook in collaboration with the gallery, an exciting new project focused on expanding our sculptural offerings.

Credits

  1. Entrance Gallery booth at The Salon by NADA & The Community, Paris, 2024. Photography by Gabriele Abbruzzese.
  2. Ethan Means, Fashion parents, 2024. Oil on wood panel. Photography by Stephen Faught.
  3. Ethan Means, Doing some rooftop reading, 2024. Oil on wood panel. Photography by Stephen Faught.
  4. Lizzy Gabay, Building at Night II, 2024. Oil on linen. Photography by Stephen Faught.
  5. Lizzy Gabay, The Water Statues, 2024. Oil on canvas. Photography by Stephen Faught.

Discover more on entrance.nyc

The Salon by NADA & The Community opens on Thursday, October 17. Please use the link here to RSVP. and confirm your visit

Opening Hours
Thursday, October 17, 6pm-8pm
Friday, October 18, 11am-8pm
Saturday, October 19, 11am-8pm
Sunday, October 20, 11am-6pm

Address
30 bis Rue du Paradis
75010 Paris

Foreign & Domestic Gallery

NR and The Salon by NADA and the Community are excited to introduce a media partnership for the novel invitational fair’s first edition.

Spanning three floors of 30 bis Rue de Paradis in the 10th arrondissement of Paris, a historic location that once housed the Baccarat crystal factory, The Salon is designed as an alternative cultural experience during Paris Art Week, showcasing a dynamic selection from over 50 galleries, art spaces, and non-profit organizations spanning 18 countries and 24 cities, including Basel, Cologne, Dubai, Glasgow, Oslo, Guayaquil, Los Angeles, Mexico City, New York, Paris, Tokyo, and Warsaw.

NR’s comprehensive media coverage will highlight The Salon’s unique model and amplify the fair’s vision for a cultural experience that challenges standardised models, emphasizing the importance of supporting new voices and underrepresented creators in the art world, while bringing together new, and established, voices in contemporary culture.

Hey Alex! How’s it going?

Last day vibes, you know? I guess we are all more relaxed, and tired. [laughs] But I am definitely happy. 

Should we start this with a little introduction about your work?

Sure. The story actually traces back to 2018. I first used the project name “Foreign & Domestic” when I participated in The Salon de Normandy’s first edition, back in 2019. The name originated from an exhibition I held in London in 2018, titled “European Foreign and Domestic,” which was inspired by a road sign advertising mechanic services in Los Angeles. You see signs like “Foreign and Domestic” throughout the U.S., often referring to parts from both Europe and America. But the phrase sparked a question for me: What’s truly foreign nowadays? So, everything kind of revolved around this theme and wordplay.

I held the show in a big abandoned hotel in London, and one of the artists showing was actually The Community. There’s an exact replica of an English town in China, It’s called Thames Town. This town, a near-exact recreation, even down to its decor, served as a fascinating setting for their work. Replicating European architecture like this isn’t allowed in China anymore, as recent policies under Xi Jinping restrict European-style designs. But back then, they were able to create almost identical replicas. 

The Community contributed with a video filmed in Thames Town. They sent two of their members to stay in an Airbnb that looked like a stage set for an English home, complete with decor that imitated traditional British interiors. The effect was surreal—like a TV set with three walls, furnished to mimic a scene straight out of the UK. That’s what they brought to my space, capturing this unique blend of cultural imitation. 

How did, from there, Foreign & Domestic become what it is today?

In 2020, I moved to New York. I kept the original name, dropped European –The shadow of the old continent. One of the first artists I showed in NYC was Michael Iveson, a British artist whose work I had shown extensively in London. He created a significant installation there, featuring double-wrapped sculptures and smaller prints. It felt right to bring Michael back into focus, and his work is also here at The Salon. Now, five years on, in 2024, things have evolved. I’ve been running a more established gallery program since December 2022, with Michael set to have his next show in November. My presentation at the Salon this year is straightforward, showcasing snapshots of recent gallery highlights: the previous show with Joseph Brock, the upcoming one with Michael Iveson, and the show I did with Greg last year, which I also curated for another exhibition. 

You were there for the first Salon de Normandy, The Community’s project that served as the baseline for where we are right now. How would you say the project evolved?

It’s definitely more professional now, but the spirit remains the same. NADA and The Community might operate slightly differently, but they share the same mission. There’s a special energy of support and innovation. They even had artists giving away work for free—a beautiful gesture. I’m referring to Nick Sethi’s performance. I think they managed to elevate and translate to a bigger framework what the original Salon was. A very diverse mix of people visited the fair, and the presence of music and art roaming through the halls adds a unique touch.

Would you say your role as an exhibitor, or perhaps how audiences interact with your work, has shifted over these years?

Yes, in some ways. It’s a more diverse audience now, and it’s exciting to see people interact differently with the pieces. I’m showing at NADA Miami next, where I’ll explore this further.

What drew you to participate in fairs? Is it just about exposure, or something deeper?

Mostly, it’s about connecting with new audiences who resonate with the gallery’s programming. Fairs like NADA’s or The Salon attract a unique crowd, and the community among exhibitors is strong—each gallery has its own story and perspective, which keeps the experience rich and varied. Which I think it’s what made this experience very interesting. Each exhibitor had its own very individual aesthetic, program, history, but we managed to create a communal experience. A certain kinship I’d say. Neighboring galleries often collaborate, and friendships emerge organically. These “invisible lines” form between spaces, making the event feel truly communal.

How would you describe your curatorial approach?

I’m interested in the personal connection and experimenting alongside the artists. The results come naturally through these collaborations. Some artists I work with are known for using found or recycled materials—like magazines, old t-shirts, or even candles—giving their work a raw, sustainable quality.

The relational side seems essential in the way you work, beyond just what ends up on the walls.

Absolutely. A gallery is like an iceberg—the art on display is just the visible tip of a much larger social and creative context. I still very much believe in the idea of social scenes, and I mean that in a more meaningful way, not just you know, going to openings and the social side of being in the art world, and I see that a lot in the interactions we managed to build here during these four days. 

Discover more on foreignndomestic.io

The Salon by NADA & The Community opens on Thursday, October 17. Please use the link here to RSVP. and confirm your visit

Opening Hours
Thursday, October 17, 6pm-8pm
Friday, October 18, 11am-8pm
Saturday, October 19, 11am-8pm
Sunday, October 20, 11am-6pm

Address
30 bis Rue du Paradis
75010 Paris

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