The Shape of a Circle in the Mind of a Fish, Edited by Lucia Pietroiusti and Filipa Ramos, Hatje Cantz + Serpentine

The Shape of a Circle in the Mind of a Fish

Edited by Lucia Pietroiusti and Filipa Ramos

Hatje Cantz + Serpentine

The Shape of a Circle in the Mind of a Fish

Edited by Lucia Pietroiusti and Filipa Ramos

Hatje Cantz + Serpentine

Serpentine announces the launch of The Shape of a Circle in the Mind of a Fish, a book edited by Lucia Pietroiusti, Head of Serpentine Ecologies and curator and lecturer at the Academy of Art and Design of Basel Filipa Ramos. The launch event of the publication, which includes 100 contributors across the arts and sciences, will take place in London at the Royal College of Art on 27th October 2025.

 

The Shape of a Circle in the Mind of a Fish is a publication that brings together interventions across the arts, the humanities and the sciences to investigate the history and cutting-edge of more-than-human theories, from animal, plant and fungal intelligence, consciousness and affect, machine sentience and interspecies communication. This publication is an important landmark in Serpentine’s long-term research project of the same name, begun in 2018 to inaugurate Serpentine’s General Ecology project.

 

The publication includes original conversations, essays, interviews, meditations, poems and artwork representations by 100 of the most celebrated environmental thinkers and creatives across disciplines – anthropologists, artists, biologists, ecologists, gardeners, musicians, philosophers, theologians and more, including Sophia Al-Maria, Ted Chiang, Emanuele Coccia, Peter Gabriel, Tim Ingold, Elizabeth A. Povinelli and Karrabing Film Collective, Maria Puig de la Bellacasa, Himali Singh Soin, Merlin Sheldrake, Superflex, Jenna Sutela, Anna L. Tsing, Chris Watson and many more.

 

The Shape of a Circle in the Mind of a Fish is arranged in five chapters. The first, titled Worlds, focuses on principles of symbiosis and coevolution, anthropological approaches to more-than-human beings; and radical reimaginings of the planet. The second, Beings, presents more-than-human beings as collaborators, co-thinkers, and interlocutors – from the sound of a forest stretching and shifting to the swarming messiness of the soil, through to the body language of animals. The third, entitled Grounds, hosts debates concerning more-than-human and planetary life within the social and political entanglements of anthropocentrism, and calls for more-than-human and environmental practices of justice. Odes, the fourth chapter, brings to the fore an understanding of mythology, storytelling, and meaning-making as planetary manifestations, tracing human/more-than-human relations across deep time. In Oracles, the book’s closing chapter, the spiritual realm and advanced technologies (human and non-human) meet at the porous and uncertain edges of planetary computation and complexity.

 

Publication launches are planned internationally throughout 2025, including at IMMA Dublin on 14th September and then a launch at the Royal College of Art, London, on October 27th 2025, which will feature a Serpentine Cinema programme as well as the presentation of Filipa Ramos’ latest monograph, The Artist as Ecologist (London: Lund Humphreys, October 2025), which discusses the ways in which contemporary artists embrace practices of environmentalism. The London event will include a lecture performance by Elizabeth A. Povinelli. The first launch of the publication took place at E-WERK Luckenwalde, Germany as part of the festival’s sixth iteration, subtitled Love and Lament, and presented by Schering Stiftung, Berlin.

 

Art Direction by Giles Round. Contributors: Andrew Adamatzky; Yussef Agbo-Ola/Olaniyi Studio; Sophia Al-Maria; Allora & Calzadilla; Saelia Aparicio; Chloe Aridjis; Heather Barnett; Antoine Bertin; Lynne Boddy; Elizabeth-Jane Burnett; Vivian Caccuri; Mariana Caló & Francisco Queimadela; Federico Campagna; Teresa Castro; Alex Cecchetti; Vint Cerf; Ted Chiang; Sean Cho A.; Nicola Clayton; Emanuele Coccia; Revital Cohen; & Tuur Van Balen; The Coven Intelligence Program; Marisol de la Cadena; Michela de Mattei; Onome Ekeh; Cru Encarnação; James Fairhead; Adham Faramawy; Simone Forti; Claire Filmon; Rosalind Fowler; Peter Gabriel; Elaine Gan; Jay Gao; Sabine Hauert; Daisy Hildyard; Amy Hollywood; Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser); Tim Ingold; Derek Jarman; Alex Jordan; Karrabing Film Collective; Leah Kelly; Asim Khan; Kapwani Kiwanga; Dominique Knowles; Bettina Korek; Simone Kotva; Daisy Lafarge; Hannah Landecker; Yasmeen Lari; Long Litt Woon; Annea Lockwood; Thandi Loewenson; Miranda Lowe; Sophie Lunn-Rockliffe; Marcos Lutyens; Carlos Magdalena; Michael Marder; Alex McBratney; Natasha Myers; Nahum; Rasmus Nielsen/ SUPERFLEX; Hatis Noit; Hans Ulrich Obrist; Angelica Patterson; Lucia Pietroiusti; Elizabeth A. Povinelli; Maria Puig de la Bellacasa; Filipa Ramos; Asad Raza; Diana Reiss; Tabita Rezaire; Ben Rivers; Giles Round; Merlin Sheldrake; Kostas Stasinopoulos; Jenna Sutela; bones tan jones; Phoebe Tickell; Anaïs Tondeur & Germain Meulemans; Laurence Totelin; Anna L. Tsing; Oula A. Valkeapäa & Leena Valkeapäa; Sumayya Vally; Kim Walker; Chris Watson; Elvia Wilk; Rain Wu & Mariana Sanchez Salvador.

 

Published by Hatje Cantz, The Shape of a Circle in the Mind of a Fish is distributed worldwide as well as on Serpentine’s website.

The Shape of a Circle in the Mind of a Fish 

History of the programme

The Shape of a Circle in the Mind of a Fish began as a multi-year symposium, podcast and research project investigating consciousness and intelligence across species and beings and was launched in 2018 at the London Zoo. Since 2018, it has welcomed over 10,000 audience members and viewers and been a pioneer in environmental and ecological convenings.

 

2018 at the London Zoo: PART 1 LANGUAGE: On interspecies communications, with Ted Chiang, Vint Cerf, Peter Gabriel and more.

 

2018 at Ambika P3: we have never been one: On Gaia theory and micro-organisms, with Anna Lowenhaupt Tsing, Sophia Al-Maria and more.

 

2019 at EartH Hackney: with plants: on plant consciousness, plant intelligence and communication with the vegetal world, with Tabita Rezaire, Chris Watson and more.

2020 online: the understory of the understory: on land, earth, soil, fungi, with Elizabeth A. Povinelli and Merlin Sheldrake and more. This event marked the launch of Sheldrake’s landmark publication, Entangled Life.

 

2022, Galeria da Biodiversidade, Porto, Portugal: The Shape of a Circle in the Dream of a Fish: on dreams in the non-human world, with Alex Jordan, Onome Ekeh, Federico Campagna and more.

2025, E-WERK Luckenwalde/Schering Stiftung: The Shape of a Circle in the Mind of a Fish: Love and Lament: on grief and intimacy in a more-than-human world, with Aslak Aamot Helm, Antoine Bertin, Kapwani Kiwanga, Michael Ohl, Alejandra Pombo Su, Elizabeth Povinelli, Claudia Rankine, Asad Raza, Giles Round, Jenna Sutela, Jovana Maksic, Staci Bu Shea and Revital Cohen & Tuur Van Balen.

 

In addition, releases on Serpentine Podcast’s series: “On General Ecology” and collaborations with renowned environmental podcast Future Ecologies brought together some 60,000 listeners to dive deeper into the ideas and experimentations of the series.

About Serpentine Ecologies

Since 2014’s Extinction Marathon with artist Gustav Metzger, Serpentine has been at the forefront of environmental action and thought. Since the establishment of the General Ecology project in 2018,  the Ecologies initiatives nurture Serpentine’s ongoing engagement with ecology, climate breakdown, more-than-human consciousness, environmental justice and complexity in a changing world. Stretching across all of Serpentine’s activities, infrastructures and networks, Serpentine Ecologies takes a speculative and active stance towards embedding alternative narratives and deep ecological principles into the everyday. Ecologies’ initiatives manifested with projects such as Court for Intergenerational Climate Crimes: The British East India Company on Trial in April 2025, Back to Earth, (2020- 2022), Infinite Ecologies Marathon in 2023, and Daisy Ginsberg’s Pollinator Pathmaker in Kensington Gardens among many other projects. As part of Serpentine’s Back to Earth project, Serpentine and Penguin Press published 140 Artists’ Ideas for Planet Earth, a book inviting artists to re-think the climate emergency.

SERPENTINE GALLERIES

www.serpentinegalleries.org

Claes Oldenburg @ Pace Gallery, Tokyo - "いろいろ / This & That" Exhibition

Claes Oldenburg 

いろいろ / This & That

Pace Gallery, Tokyo

July 17 – August 23, 2025

Claes Oldenburg 

Geometric Mouse--Scale B, 1970-72 

© Claes Oldenburg, courtesy Pace Gallery

Claes Oldenburg

Miniature Soft Drum Set, 1969 

© Claes Oldenburg, courtesy Pace Gallery 

Pace presents This & That, an exhibition of work by American artist CLAES OLDENBURG, at its Tokyo gallery. Bringing together sculptures and prints that exist in series created by the artist between the 1960s and mid 2000s, this lively survey showcases the importance of multiplicity in Oldenburg’s practice, inviting visitors to immerse in the artist’s madcap world and uncover resonances and touchpoints to Japanese culture. Curated by Pace CEO Marc Glimcher and Maartje Oldenburg—daughter of Claes Oldenburg and his wife and longtime collaborator Coosje van Bruggen, and head of the artists’ estates—the exhibition is organized as part of the gallery’s 65th anniversary year celebration. It is also be Pace’s first major presentation of Oldenburg’s work since the gallery announced its global representation of the Claes Oldenburg estate, the Coosje van Bruggen estate, and the Oldenburg and van Bruggen estate, continuing its commitment to sharing the intertwining legacies and individual achievements of the two artists with its global

audience. 

The Japanese title of the gallery’s presentation is いろいろ (“Iroiro”), which roughly translates to “various,” “variety,” or “miscellany.” Suggesting a mixed-bag or a hodgepodge, “Iroiro” can also be written as 色々, which comprises a repetition of the Kanji character 色 (“Iro”). “Iro” literally means “color,” but it typically refers to the color or hue of things. It can also suggest an object’s general appearance, and even more metaphorically, can refer to the sensuality of a thing (as in the occasional English usage of the word “colorful”). “Iroiro” thus echoes Oldenburg’s almost passionate involvement with banal objects, the way he lovingly coaxed a vast array of ordinary, miscellaneous things from their humdrum existence in the normal course of life—the "this and that”—into subject-matter for serious artistic inquiry.

In a broad sense, Pace’s show sheds light on Oldenburg’s fascination with multiplicity, the act of artistic reproduction, and the mutability of imagery. Widely known for the monumental artworks he realized around the world with Coosje van Bruggen, he also created many domestically sized objects across a wide variety of media throughout his career. “The multiple object,” he once said, “was for me the sculptor’s solution to making a print.”

This exhibition in Tokyo is the first major presentation of Oldenburg’s work in the Japanese capital since 1996. The artist’s only other solo show in the city took place in 1973 at Minami Gallery. Notably, he debuted his large-scale Giant Ice Bag (1970) sculpture, which is animated by mechanical and hydraulic components, in the US Pavilion at Expo 70 in Osaka. Since 1995, Claes Oldenburg and Coosje van Bruggen’s large-scale sculpture Saw, Sawing has been on public view outside the Tokyo International Exhibition Center. Oldenburg’s sculptures Inverted Q (1977–88) and Tube Supported by Its Contents (1983) can be found in the collections of the Yokohama Museum of Art and the Utsunomiya Museum of Art, respectively.

Claes Oldenburg—who presented his first solo exhibition with Pace in 1964—was a leading voice of the Pop Art movement who, over the course of more than six decades, redefined the history of art with his sculptures, drawings, and colossal public monuments that transform everyday objects into idiosyncratic entities. He rose to prominence in New York in the late 1950s and early 1960s, when he was among the artists staging Happenings—a hybrid art form incorporating installation, performance, and other mediums—on the city’s Lower East Side. Collaborative and ephemeral, these environments included The Street (1960) and The Store (1961)—his first solo presentation with Pace featured works from The Store. Following his work with props in these Happenings, Claes Oldenburg began creating his iconic soft sculptures, which charted new frontiers in the medium, upending its traditional contents, forms, and materials.

Claes Oldenburg and Pace’s Founder and Chairman Arne Glimcher maintained a friendship for 60 years, working closely from the early years of the artist’s career up until his death in 2022. Since the 1960s, Pace has presented Oldenburg’s work in some 30 exhibitions and produced seven catalogues dedicated to his practice. The gallery also supported Oldenburg and van Bruggen’s creation of the large-scale sculptures Typewriter Eraser, Scale X (1998-99), which is part of the collection of the National Gallery of Art in Washington, D.C., Balzac Pétanque (2002), which is in the collection of the High Museum of Art in Atlanta, and Floating Peel (2002) at the Cantor Center for Visual Arts at Stanford University, among many other projects.

Claes Oldenburg

N.Y.C. Pretzel, 1994 

© Claes Oldenburg, courtesy Pace Gallery

Among the works in the gallery’s Tokyo show are some 60 multiples of Oldenburg’s painted cardboard sculpture N.Y.C. Pretzel (1994)—these works will be presented in a vending machine vitrine near the entrance of the gallery space. Other multiples in the exhibition include the artist’s cast plaster Wedding Souvenir (1966), his painted aluminium and brass Profiterole (1989–90), and his sewn canvas Mouse Bags (2007–17), all of which speak to his engagement with the quotidian, from the food we eat to pop cultural icons like Mickey Mouse.

In the way of larger-scale sculpture, This & That features Tied Trumpet (2004), a knotted bright yellow trumpet rendered in aluminum, plastic tubing, canvas, felt, and foam, and Miniature Soft Drum Set (1969), a set of nine sewn screen-printed elements on canvas. Another highlight is Knife Ship 1:12 (2008), an aluminum and mahogany wood reprisal of the monumental Knife Ship that Claes Oldenburg and Coosje van Bruggen presented as part of their legendary 1985 performance Il Corso del Coltello (The Corse of the Knife) in Venice, Italy—this storied, site-specific project, realized by the artists in collaboration with curator Germano Celant and architect Frank Gehry, centered around a boat in the shape of a Swiss-army knife, which was floated down the city’s canals.

Claes Oldenburg 

Alphabet in Form of a Good Humor Bar, 1970 

© Claes Oldenburg, courtesy Pace Gallery

A 1976 screenprint of the Knife Ship superimposed onto the image of the Guggenheim Museum in New York—an artwork that predates the performance—is also be included in This & That. Other prints on view at Pace in Tokyo will be Alphabet in Form of a Good Humor Bar (1970), which renders the alphabet in the shape of an ice cream bar; The Letter Q as Beach House, with Sailboat (1972), where Claes Oldenburg imagines the letter ‘Q’ as a towering waterfront home; and the artist’s Apple Core prints, each representative of one of the four seasons, from 1990.

Through his iterative and elastic process of translating imagery from one medium to another—and suggesting innumerable possible transformations as part of that process—Claes Oldenburg expanded the possibilities of art by inviting the viewer to look again. Taken together, the works in this exhibition reflect his uncanny ability to render the familiar strange, and to imbue magic and wonder into the most mundane of subject matter.

Maartje Oldenburg is the daughter of Claes Oldenburg and Coosje van Bruggen and is the head of the artists’ estates. A writer, editor, and lawyer, Maartje Oldenburg formally studied Japanese language, literature, and history for many years. She lived and worked in Japan in the 1990s.

Claes Oldenburg (b. 1929, Stockholm; d. 2022, New York) is renowned for his sculptures, drawings, and colossal monuments that transform familiar objects into states that imply animation and sometimes revolt. A leading voice of the Pop art movement, Oldenburg came to prominence in the New York art scene of the late 1950s and early 1960s. His seminal installations The Street (1960) and The Store (1961) launched his career, subverting artistic and institutional conventions while creating a backdrop for happenings and performances under the production name Ray Gun Theater. Initially conceiving of monumental works based on everyday items in drawings and collages, Claes Oldenburg installed his first realized outdoor public sculpture, Lipstick (Ascending) on Caterpillar Tracks (1969–74), during an antiwar protest at Yale University in 1969. He subsequently collaborated for over three decades with Coosje van Bruggen to create largescale projects across the world. Conflating notions of art and banality, and high-brow and low-brow, the investigation of objecthood spans Oldenburg’s earliest production to his work today.

PACE GALLERY TOKYO

1F; Azabudai Hills Garden Plaza-A

5-8-1 Toranomon, Minato-ku, Tokyo

www.pacegallery.com

Summer House @ Pablo’s Birthday Gallery, NYC - Exhibition Curated by Thea Smolinski with Alex Becerra, Mark Ryan Chariker, Gabrielle Garland, Brice Guilbert, Gala Knörr, Amy Lincoln, Maud Madsen, Nat Meade, Koichi Sato, Tony Toscani, Lorena Torres

Summer House

Alex Becerra, Mark Ryan Chariker, Gabrielle Garland, Brice Guilbert, Gala Knörr, Amy Lincoln, Maud Madsen, Nat Meade, Koichi Sato, Tony Toscani, Lorena Torres

Curated by Thea Smolinski 

Pablo’s Birthday Gallery, New York

26 June - 1 August 2025

Pablo’s Birthday presents Summer House organized by curator and advisor, Thea Smolinski. The presentation features work by Alex Becerra, Mark Ryan Chariker, Gabrielle Garland, Brice Guilbert, Gala Knörr, Amy Lincoln, Maud Madsen, Nat Meade, Koichi Sato, Tony Toscani, and Lorena Torres. Smolinski borrows the title from a tradition of urban escapism, with all the implications of cooler breezes, slower paces, and endless afternoons; as if the warmer weather suddenly authorizes spontaneity, cheer, and idleness - and the occasional dubious decision. 

With lusciousness comes both the drought and rain, the exhibition brings together artists whose main themes tend to reflect this summer agenda; our bodies desperate to reconnect with nature, our sudden amusement with mundanity, sweating in a collective revelry, and the ultimate authorization to be lazy. In Summer House, figures indulge in this nothingness; basking in apathy, appearing blissful in the slow passing of time, or posing together in celebration. Outdoor scenes evoke the awesomeness of nature and playfully use color tuned into the vibrancy of the season. 

A quiet, heat-laden stillness permeates many of the works in Summer House. In Lorena Torres’ UNA VEZ EN ABRIL (2025), a man rests in a hammock, suspended in languor, while in Tony Toscani’s Where She Waits, a woman perches in airy summer clothes. Gala Knörr’s La fiesta terminó, larga vida a la fiesta (2024) drifts into the surreal, with a green face lost in ecstasy.  Maud Madsen’s Pillow Fort (2022) introduces a playful mystery, cloaked in hues of blue. Nat Meade and Alex Becerra offer male figures immersed in summer reverie—whether caught in ocean waves or shaded beneath a brimmed hat. Nature comes alive in the dreamy, almost otherworldly color palette of Amy Lincoln’s Pink and Green Storm Clouds (2020), to the explosive volcanic light in Brice Guilbert’s Fournez. Gabrielle Garland paints an idyllic summer escape, while Koichi Sato and Mark Ryan Chariker create tender, reflective scenes that gently remind us of the joy—and strangeness—of being together again.

CURATOR THEA SMOLINSKI

Thea Smolinski is an advisor, collection manager, and curator who believes wholeheartedly in the power of providing a platform for art and artists. She has a BA in Art History from Georgetown University, and completed an MA and doctoral exams at the Institute of Fine Arts, New York University. She has held positions in various sectors of the arts, including museums (The Wolfsonian-FIU), galleries (Michael Werner and Shaheen Modern and Contemporary Art), advisories (Allan Schwartzman), private collection management, and research (the great Linda Nochlin). She has only mild regrets about not taking that internship with Phillips in 2005, and knows more about international shipping regulations than she ever expected to. Recent curatorial efforts with the Jane Club (Los Angeles), the Pit (Palm Springs), Shrine (Los Angeles), Massey Klein (New York), Future Fair (Los Angeles), and Mrs (New York) reflect an ongoing interest in women, networks, and labor. She lives in Los Angeles with painter Craig Kucia and their two children.

ARTIST ALEX BECERRA

Alex Becerra (b. 1989, lives in Los Angeles, CA) has had solo exhibitions at Galerie Timonier, New York, NY; Shane Campbell Gallery, Chicago, IL; Karma International, Beverly Hills, CA and Zürich, Switzerland; Weiss Berlin, Germany, and One Trick Pony, Los Angeles, CA. Selected group exhibitions include VETA by Fer Francés , Madrid, Spain; Jeffrey Deitch Gallery, Los Angeles, CA; Kunstraum Potsdam, Germany; Wilding Cran Gallery, Los Angeles, CA; The Journal Gallery, New York, NY; Richard Telles Gallery, Los Angeles, CA; The Green Gallery, Milwaukee, WI; M+B Gallery, Los Angeles, CA; Journal Gallery, Brooklyn, NY; Ben Maltz Gallery, Westchester, CA; and more.

ARTIST MARK RYAN CHARIKER

Mark Ryan Chariker (b. 1984, Spartanburg, SC) currently lives and works in Brooklyn, New York. He received a BFA from the School of the Museum of Fine Arts at Tufts University in Boston, MA. Chariker’s work has been included in numerous exhibitions, including Ojos de perro azul, Marinaro, New York; Lost Hours, Anat Ebgi, Los Angeles, UK; I have an idea!, 1969 Gallery, New York, NY; Platform, presented by David Zwirner Gallery, New York, NY; Red Root, Green Root, The Valley, Taos, NM. Mark Ryan Chariker has completed residencies at PM/AM Gallery in London, RAiR Foundation in Roswell, New Mexico, SÍM in Reykjavik, Iceland, and NES in Skagaströnd, Iceland. Chariker’s works are in the collection of Cleveland Museum of Art, Cleveland, OH, Institute of Contemporary Art Miami, Miami, FL Center of International Contemporary Art, Vancouver, Canada, and Moët Hennessy Louis Vuitton, New York, NY; Paris, France. His paintings have been featured in Artforum International, Artnet News, and Art of Choice.

ARTIST GABRIELLE GARLAND

Gabrielle Garland (b. 1968, New York, NY) received her Master of Fine Arts at the University of Chicago, Chicago, IL and her Bachelor of Fine Arts from the School of the Art Institute of Chicago, Chicago, IL.Gabrielle Garland has been the subject of solo exhibitions at The Pit LA, Los Angeles, CA; Taymour Grahne Projects, London, United Kingdom; Corbett vs. Dempsey, Chicago, IL; The Brent and Jean Wadsworth Family Gallery, Lewis University, Romeoville, IL; Hap Gallery, Portland, OR; and DOVA Temporary, Chicago, IL. Recent group exhibitions have been held at The Pit LA, Los Angeles, CA; The Hole, New York, NY; Weinberg/Newton Gallery, Chicago, IL; DeVos Art Museum, Northern Michigan University, Marquette, MI; 1969 Gallery, New York, NY; and Campbell Project Space, Sydney, Australia. Over the last decade she has been working on a series of images based in, on, and around architecture, portraits of apartments and houses featuring uniquely American interiors and exteriors. These paintings utilize a wide range of mark-making devices and an elastic perspective that draws out the specific personality of each domicile.

ARTIST BRICE GUILBERT

Brice Guilbert (b. 1979, Montpellier) lives and works in Brussels, Belgium. Guilbert’s work has been shown in a number of exhibitions including Mendes Wood DM, Anat Ebgi, Los Angeles, Island, Brussels, Belgium, Corrida, Ghent, Belgium, Théâtre National, Brussels, Belgium, Johannes Vogt, New-York, Louise 186, Brussels, Belgium, Super Dakota, Brussels, Belgium, MNAC Anenda, Bucharest Romania, Hunchentoot, Berlin, Germany, and We-Projects, Brussels, Belgium, among others.

ARTIST GALA KNORR

Gala Knörr (b. 1984, Vitoria-Gasteiz, Spain) received her BFA in Fine Arts from Parsons Paris The New School in 2007, and an MA Fine Art from Central Saint Martins in 2011. She has been the recipient of Generación 2020 - Fundación Montemadrid, the Basque Artist Program Grant from the Solomon R Guggenheim Museum, and the Cultura Resident Artistic Research Fellowship from the Consorci de Museus GVA. Gala Knörr was the Education Department Assistant at the Saatchi Gallery in 2014, and appointed the 2018-2019 Artist-Researcher in residence at Centre for Postcolonial Studies at Goldsmiths University in London. She has also done residencies at Tabakalera International Centre of Contemporary Culture in San Sebastian, Cité Internationale des Arts Paris, AIR Wro in Breslau, and Fundación Bilbaoarte Fundazioa in Bilbao. She currently lives between Vitoria-Gasteiz and Marbella.

ARTIST AMY LINCOLN

Amy Lincoln (b. 1981, Bloomington, Indiana) completed her MFA at Temple University’s Tyler School of Art in 2006 and her BA at University of California, Davis in 2003. Lincoln’s work has been the subject of solo exhibitions at Sperone Westwater (2024; 2023; 2021), Taymour Grahne Projects, London (2022), Morgan Lehman Gallery, New York (2018; 2016) and Monya Rowe Gallery, Saint Augustine, FL (2016), among others. Her work has also been featured in numerous group exhibitions including Johansson Projects, Oakland, CA (2024), Columbus Museum of Art, OH (2023), The Hole, New York (2022), Sargent’s Daughters, New York (2018), and Regina Rex, New York (2017), as well as internationally at Galerie Valerie Bach, Brussels, Belgium (2020) and Taymour Grahne Projects, London (2022; 2021). Lincoln has been awarded residencies at the Wave Hill Winter Workspace program, the Inside Out Art Museum Residency in Beijing, and a Swing Space residency from the Lower Manhattan Cultural Council. Her work is in the permanent collections of the Columbus Museum of Art and Pennsylvania Academy of the Fine Arts, Philadelphia.

ARTIST MAUD MADSEN

Maud Madsen (b. 1993, Edmonton, Alberta, Canada) is an artist living and working in Brooklyn, NY. Maud Madsen earned a BFA from the University of Alberta, Edmonton, Alberta, in 2016, an MFA from the New York Academy of Art, New York, NY, in 2020. Recent solo exhibitions include Dog Days, Half Gallery, New York, NY (2023); Daisy Chain, Marianne Boesky Gallery, New York, NY (2022); Maud Madsen, Half Gallery, Los Angeles, CA (2022); and Maud Madsen: Three Paintings, 1969 Gallery, New York, NY (2021). Her work has been included in numerous group exhibitions, including A Crack in Overton’s Window, The Ranch, Montauk, NY (2023); Painters of Modern Life, Ibiza, Spain (2023); Up All Night, Frederick & Freiser, New York, NY (2023); Come a Little Closer, DC Moore Gallery, New York, NY (2023); Women of Now, Green Family Art Foundation, Dallas, TX (2022); Stiltsville, Half Gallery, Miami, FL (2021); among others. Maud Madsen is the recipient of the 2022 Canadian Women Artists’ Award, New York Foundation for the Arts.

ARTIST NAT MEADE

Nat Meade (b. 1975, Greenfield, Massachusetts) received his BFA from the University of Oregon and his MFA from Pratt Institute. His work has shown in numerous group and solo exhibitions nationally and internationally, and has been reviewed in publications such as Art Forum, Juxtapoz, The Boston Globe, and Hyperallergic. Meade is an instructor of painting and drawing at Pratt Institute, where he also serves as the Assistant Chairperson of Fine Arts.

ARTIST KOICHI SATO

Koichi Sato (b. 1974, Tokyo, Japan) is a self-taught New York City based artist. Having grown up influenced by the abundance of images in television and sports, his paintings generally focus on the playful reinvention of these images in bold stylization, pattern, and color. Sato has been the subject of solo exhibitions at NANZUKA in Tokyo, Jack Hanley in New York and East Hampton, Bill Brady Gallery in Miami, Woaw in Hong Kong, and the Hole, New York. Selected group exhibitions include Bortolami, New York; Stems Gallery in Brussels; the Parco Museum in Tokyo; Jeffrey Deitch in both Los Angeles and New York; and Galerie Nagel Draxler in Cologne.

ARTIST TONY TOSCANI

Tony Toscani (b.1986, Abington, PA) received his BFA from Saint Joseph’s University in Philadelphia, and his MFA from the School of Visual Arts in 2011. He has exhibited in solo exhibitions with Carl Kostyal, London, UK; Stems Gallery, Brussels, BE; and Massey Klein Gallery, New York, NY. Recent group exhibitions include Volery Gallery, Dubai, UAE; Massey Klein Gallery, New York, NY; Here Arts Center, New York, NY; Knee Pits Gallery, Miami, FL; Gowanus Ballroom , Brooklyn, NY; Gesamtkunst Workshop, Brooklyn, NY; Field Projects Gallery, New York, NY; Barrett Art Center, Poughkeepsie, NY and Stillhouse Gallery, Brooklyn, NY. Tony Toscani currently lives and works in Brooklyn, New York.

ARTIST LORENA TORRES

Lorena Torres (b. 1991, Barranquilla, Colombia) holds a BFA in Visual Arts from Pontificia Universidad Javeriana in Bogotá. Her most recent solo exhibitions include Huxley-Parlour, London, 2024; Weinstein Hammons, Minnesota, 2024; Pablo’s Birthday, New York, 2023; and SGR Galeria, Bogotá, 2023. Torres recently completed a residency at Casa Santa Ana in Panama City and will be an upcoming resident at the Thread residency in Sinthian, Senegal, a collaboration between the Josef and Anni Albers Foundation and Le Korsa. Lorena Torres lives and works in Bogotá, Colombia.

PABLO'S BIRTHDAY GALLERY

105 Hudson Street, #410, New York, NY 10013

pablosbirthday.com