I HAVE NO REGRET FOR THE PAST AND THIS IS NOT THE END OF THE WORLD

Thirty years in a single doorway.

That is what Joël Andrianomearisoa's sixth solo exhibition at Sabrina Amrani asks a viewer to stand inside. Walk into Calle Sallaberry, 50, this September, and you are not touring a retrospective. You are walking through a single sentence the artist has been writing since 1996, one that moves from language to drawing, from paper to textile, from object to architecture, each material picking up where the last one left off.

For the Indian collector watching African and Indian Ocean contemporary art quietly enter the world's most serious galleries, this show is worth more than a diary note. It is a working case study in how an artist's market matures, medium by medium, over three decades, and in how a single Madrid gallery weekend can be the moment a name moves from "watch list" to "collection." That same shift, from watch list to collection, is one LuxuryAbode has tracked closely wherever serious capital meets serious art, including through a comprehensive guide to understanding ultra high net worth individuals.

What Is the Joël Andrianomearisoa Exhibition at Sabrina Amrani About?

The exhibition, titled I Have No Regret For The Past And This Is Not The End Of The World, is Joël Andrianomearisoa's sixth solo presentation with Sabrina Amrani in Madrid, opening as part of APERTURA Madrid Gallery Weekend 2026. It brings together works made between 1996 and 2026, tracing three decades of practice without presenting itself as a career survey. Instead, the show is structured as an open trajectory, an argument that creation does not conclude but continues, each work seeding the next. The format sits within a broader trend of city-wide gallery weekends anchoring serious collector attention, a pattern also visible when Mayfair Art Weekend brings together London's galleries and artists.

The Madagascar-born, Paris-based artist has built his reputation on what he calls an architecture of emotions, using textile, paper, ink, and constructed form to give intimate memory a physical place to live. Nothing here is meant to be looked at from a safe distance. The works are built to be inhabited, not admired from across a room, which is precisely why they read differently to a collector than to a casual gallery-goer.

Who Is Joël Andrianomearisoa and Why Does His Market Matter Now?

Joël Andrianomearisoa represented Madagascar at the Venice Biennale in 2019, the country's first-ever national pavilion, and has spent the years since building an international exhibition history that runs through major European institutions and galleries.

Sabrina Amrani, one of Madrid's most consistently serious galleries for African and Global South contemporary practice, has now given him six solo shows, a depth of institutional relationship that collectors read as a signal in itself. Galleries do not invest six solo exhibitions in an artist whose market is not compounding.

For Indian collectors, the relevant comparison is not a Western art-star trajectory. It is closer to how India's own textile and mixed-media artists, think of the serious market built around fibre and cloth-based practice from South Asian modernists, moved from being a connoisseur's secret to an institutional fixture, a shift traceable across successive sales such as when notable Indian modernists are auctioned in AstaGuru's Collectors Choice sale, and when AstaGuru presents a kaleidoscope of Indian art from Bawa to Bendre. Andrianomearisoa is several years into that same arc, on a European gallery circuit, at a moment when African and Indian Ocean art is being actively sought by the same UHNWI collecting class that has already absorbed South Asian modern and contemporary work into its portfolios.

The LuxuryAbode Artistic Expansion Index

Original framework: how LuxuryAbode assesses whether a living artist's practice is built to hold and grow collector value over time.

Most collectors judge an artist by a single canvas. LuxuryAbode judges an artist by how many rooms their practice can walk into. We assess five factors, scored qualitatively across a career, to gauge durability of value rather than a single season's heat.

An artist who scores well across all five, as this exhibition demonstrates Andrianomearisoa does, tends to be a collector who entered early and did not have to chase the market later. That is the pattern this show puts on full display, and it is the pattern worth learning to spot before the next artist follows it.

Where Should a First-Time Collector Enter?

Collecting an artist working across five distinct mediums means the entry point matters as much as the artist's name. A first acquisition of a work on paper is a fundamentally different decision, and a fundamentally different budget, than a first acquisition of a large-scale textile installation piece.

Indian collectors approaching a gallery of Sabrina Amrani's standing should expect pricing conventions typical of established European galleries representing biennale-level artists, where works on paper generally open a collection at a meaningfully lower threshold than textile or installation pieces, with the gallery's own current price list the only reliable source at the time of acquisition. LuxuryAbode advises treating any figure quoted outside direct gallery correspondence as indicative only.

What Makes This Exhibition Different From a Retrospective?

A retrospective looks backward and asks what an artist has done. I Have No Regret For The Past And This Is Not The End Of The World does the opposite. The title itself, and the curatorial position behind it, treats the past thirty years as material rather than monument. Each work is presented as containing the promise of the next, not the conclusion of what came before.

This distinction matters commercially as much as it matters artistically. A retrospective can flatten an artist's market, signalling that the major chapter has closed. An exhibition framed as continuous, open-ended trajectory does the opposite. It tells serious collectors the artist's most significant work may still be ahead, which is precisely the condition under which early and mid-career acquisitions tend to appreciate fastest, a dynamic collectors have also watched play out when a debut show becomes a gallery's own statement of intent, as it did when Collins Obijiaku's inaugural solo exhibition opens at Roberts Projects, and when Perrotin inaugurates a second Seoul space with Emma Webster's debut.

Visit Details for APERTURA Madrid Gallery Weekend 2026

For Mumbai and Delhi-based collectors timing a European trip around September, this weekend offers a rare double access point: a guided walkthrough with the artist himself, followed within the hour by the presentation of his limited-edition publication at the gallery's dedicated editions space next door. Few gallery weekends offer both in a single afternoon. For those extending the trip into a broader Madrid stay, LuxuryAbode has previously covered the top luxury hotels in Madrid, Spain.

Frequently Asked Questions

Who is Joël Andrianomearisoa?

He is a Madagascar-born, Paris-based artist known for an architecture of emotions built across language, drawing, textile, object, and architectural-scale work, and he represented Madagascar at its first-ever Venice Biennale pavilion in 2019.

What is Sabrina Amrani's relationship with the artist?

I Have No Regret For The Past And This Is Not The End Of The World is Andrianomearisoa's sixth solo exhibition with the Madrid gallery, indicating a sustained, deepening institutional relationship rather than a single show.

When does the exhibition open and close?

The show opens September 10, 2026, from 1:30pm to 10pm, and runs through November 7, 2026.

Is this a retrospective?

No. The gallery and artist have deliberately framed it as an open trajectory spanning works from 1996 to 2026, positioning the past as material for continued creation rather than a closed chapter, an idea also explored through institutional reckonings with history and inheritance, such as when LACMA exhibits the transatlantic slave trade's aftermath in the African diaspora.

What should a first-time collector consider before acquiring a work?

Match the medium to the collecting goal: works on paper offer the most accessible entry point, while textile, sculptural, and architecture-scale pieces represent progressively deeper commitments, much as a major sculptural commission signals a different order of institutional weight, as it did when the Orange County Museum of Art commissions a monumental sculpture by Sanford Biggers, and any pricing should be confirmed directly with the gallery rather than estimated externally.