India Sachi At Hotel Grand Amour

For India Sachi’s first solo exhibition and European debut, Bureau.Art transformed Suite 104 at Hôtel Grand Amour into a world drawn from the artist’s own memories of growing up in hotel rooms. Much of Sachi’s childhood was spent accompanying her father, a fashion catalog photographer, as he traveled for work. While he was away on shoots, the hotel became her home. Tightly tucked white sheets, glamorous women in sun hats and gold swimsuits, floral wallpaper, sheer curtains blocking the daytime light, and belongings scattered across a temporary room became part of an early visual language that now reappears throughout her paintings. For Sachi, these rooms were their own miniature universes, places where she could become a character, disappear into her surroundings, and play with who she might be. Curated by Sarah Daoui during Paris Art Basel as part of the inaugural Paris edition of Upstairs Art Fair, the exhibition returned Sachi’s paintings to the environment that had shaped them. Rather than place the works within a conventional gallery setting, paintings, unique objects, and the artist’s personal belongings were integrated throughout the suite, allowing the boundary between artwork and hotel room to begin to dissolve. The exhibition also looked to the lineage of women Surrealists who made Paris their home, including Leonor Fini, Claude Cahun, Dorothea Tanning, and Toyen, artists who similarly used interiors, concealment, and transformation to complicate representations of women. Within Suite 104, Sachi’s figures hide behind ornament, dissolve into foliage, and camouflage themselves within their surroundings, turning the hotel room into a stage for self-authored intimacy and illusion. Presented at Hôtel Grand Amour in October 2025, the exhibition marked Sachi’s first solo presentation and European debut. Bureau.Art hosted an opening night dinner at the hotel, followed by an after party, bringing together artists, collectors, and friends around the exhibition. The project was featured in ARTnews, Artnet, Hyperallergic, and Observer.