[…] Tony Regazzoni develops a new artwork for the Sélestat biennial entitled Equinox. It is by no means irrelevant that the artist has chosen the space of a roundabout for this purpose: common and minimal, this pragmatic and familiar round shape of our daily environment is nonetheless a spatial marker, generating perspectives in the urban fabric that could recall the layout of certain ancestral cromlechs such as the megalithic site of Stonehenge for example. Such a location allows him to blur the lines and divert the purely decorative aspect of the “roundabout sculpture”, which has become a genre in itself. Here he interweaves sculptural elements reminiscent of simple, minimal geometric forms with what could be considered secular remains. Underlining the ritual potential of such an installation, Tony Regazzoni does not hesitate, however, to deconstruct the illusion that his sculpture produces: as we walk around it, we realise that it is indeed a make-believe cromlech, like a theatre stage that anyone could occupy.

Extract from the text by Marc Bembekoff.