Ohan Breiding: Belly of a Glacier @ MASS MoCA, North Adams

Ohan Breiding: Belly of a Glacier

MASS MoCA, North Adams

Through December 14, 2025

Ohan Breiding

To dress a wound from the light that 

shines from it (Belly of a Glacier)

111 Giclée Prints on Fine Art Luster Paper

128.55 in x 266.93 in / 326.5 cm x 678 cm

Ohan Breiding

To dress a wound from the light that 

shines from it (Belly of a Glacier) [detail]

111 Giclée Prints on Fine Art Luster Paper

128.55 in x 266.93 in / 326.5 cm x 678 cm

Ohan Breiding

To dress a wound from the light that 

shines from it (Belly of a Glacier) [detail]

111 Giclée Prints on Fine Art Luster Paper

128.55 in x 266.93 in / 326.5 cm x 678 cm

MASS MoCA (Massachusetts Museum of Contemporary Art) in North Adams, in collaboration with The Williams College Museum of Art (WCMA), presents the exhibition Ohan Breiding: Belly of a Glacier, a series of photographs and video that ruminates on the imminent loss of the Rhône glacier, amplifying the current state of climate emergency while expressing the intimate entanglement of human and environmental well-being. 

In 2019, Iceland constructed the first memorial to mark the death of its Okjökull glacier. Since then, funerals have been held around the world to mark the melting of glacier bodies. Consisting of an experimental documentary film and a photographic installation, Breiding’s Belly of a Glacier captures the efforts of the residents of Obergoms, Switzerland, to drape the nearby Rhône Glacier with thermal blankets to insulate it from rising temperatures. Despite these hope-filled actions of ecological care, scientists predict the Rhône will have fully melted by 2050.

“Ohan Breiding’s work is a powerful, intimate portrait of a dying glacier,” said Susan Cross, MASS MoCA Senior Curator. “The stunning photographs and video make the loss feel very personal—as it should, given that we are part of the ecosystem being forever transformed by climate change.”

Ohan Breiding

Belly of a Glacier, 2024

HD video, with sound, 32:55 min.

Courtesy of the artist and OCHI Gallery, Los Angeles

Ohan Breiding

Belly of a Glacier, 2024

HD video, with sound, 32:55 min.

Courtesy of the artist and OCHI Gallery, Los Angeles

Ohan Breiding

Belly of a Glacier, 2024

HD video, with sound, 32:55 min.

Courtesy of the artist and OCHI Gallery, Los Angeles

The film documents the community at the National Science Foundation’s Ice Core Facility in Lakewood, Colorado, who are preserving ancient ice cores for future generations. Ice is like a time capsule, storing atmospheric debris, including volcanic ash and greenhouse gasses, that can tell us about major natural disasters as well as resulting human activity over thousands over years. Breiding’s project connects acts of mourning to ongoing practices of care that strive to protect the ice — a material that contains both remnants of the past and the conditions of a future world.

“WCMA and MASS MoCA joining together to present Ohan Breiding’s deeply moving and thought-provoking installation exemplifies the best of what our Berkshire arts ecosystem can provide to our visitors and local community,” said Pamela Franks, WCMA Class of 1956 Director. “We are thrilled to have the opportunity to collaborate across institutions in this way.”

ARTIST OHAN BREIDING

Ohan Breiding is a Swiss-American artist, raised in a Swiss village and living between Brooklyn, N.Y., and Williamstown, MA. They work with photography, photographic and filmic archives, and video in a collaborative practice that reinterprets historical events, putting the past into a meaningful transformative relation with the present. They employ a trans-feminist lens to the discussion of ecological care to amplify the systemic failures and violence of the Anthropocene.

Ohan Breiding has presented their work at numerous museums, galleries, and film festivals including ICA LA, Photo LA, the Armory Center for the Arts, LAMAG, LAXART, Human Resources, Oakland Museum of California, Berkeley Art Museum and Pacific Film Archive, Haus N Athens, Sharjah Art Foundation, IKOB Museum of Contemporary Art, Kunsthaus Zürich, Hallwalls Contemporary Arts Center (Buffalo, N.Y.), Frac des Pays de la Loire and Oceanside Museum (as part of the Getty’s PST Art — Pacific Standard Time).

Ohan Breiding is a 2024 A.I.R. Fellow, a 2024 FIAR resident, a 2024 Triangle Artist Resident, a 2021 TBA (Thyssen-Bornemisza Art Contemporary) Academy Ocean Space Fellow, a 2019 Millay Colony Resident and a 2018 Shandaken: Storm King resident. They are the recipient of the 1945 World Fellowship Award, the Hellman Award, the SIFF (Swiss International Film Festival) Award for The Rebel Body, a short film made with Shoghig Halajian and the participation of Silvia Federici, the Rema Hort Mann Emerging Artist Award, and the DAAD Award. Their practice has been written about in Artforum, Art in America, BOMB, e-flux, Hyperallergic and Whitewall.

Ohan Breiding is an assistant professor in the Art Department at Williams College and is represented by OCHI Gallery in Los Angeles.

MASS MoCA

Massachusetts Museum of Contemporary Art

1040 MASS MoCA Way, North Adams, MA 01247

www.massmoca.org

Ohan Breiding: Belly of a Glacier

MASS MoCA, North Adams, February - December 14, 2025

Paolo Roversi @ Pace Gallery, NYC - "Along the Way" Focused Retrospective Exhibition (early 1990s - present)

Paolo Roversi: Along the Way

Pace Gallery, New York 

September 12 – October 25, 2025

Paolo Roversi 

Natalia, Paris, 2003

© Paolo Roversi, courtesy Pace Gallery

Pace presents an exhibition of work by photographer PAOLO ROVERSI at its 508 West 25th Street gallery in New York. Opening on September 12, during New York Fashion Week, and running through October 25, this focused retrospective will feature works produced by Paolo Roversi between the early 1990s and the present, highlighting the artist’s relationships with his many collaborators in the fashion industry.

Roversi’s upcoming exhibition with Pace in New York—his first solo show with the gallery since 2019—will present an overview of his storied career through a selection of photographs created over the past 35 years.“Every portrait is a meeting, an exchange, a mutual intimate confession,” Paolo Roversi has said of his work. The show will shed light on Roversi’s legacy as the artist behind some of the most iconic fashion images of our time.

Drawing inspiration from the work of August Sander, Robert Frank, and Diane Arbus, Paolo Roversi developed a distinctive style that is deeply influenced by the Byzantine architecture and rich cultural history of his birthplace, Ravenna, Italy. “Paolo's photography is timeless,” Sylvie Lécallier, curator Roversi’s 2024 exhibition at the Palais Galliera in Paris, said in an interview last year. “It is detached from the spirit of the times, from the ephemeral trends of fashion. It is located both at the heart of fashion and at the edge.”

Made with Polaroid film and mostly taken in his Parisian studio, Roversi's dreamlike, enigmatic images are imbued with a classical sensibility. His studio, he has said, “is a place for the chance, the dream, the imaginary to prevail. I give these forces as much space as I can.”

In addition to his collaborators in the fashion world, Polo Roversi has recently joined forces with his friend and fellow artist Sheila Hicks. For these works, which will figure in Pace’s exhibition, no discussion is had between the two artists regarding a direction for the final work, each knowing and respecting the other’s practice.

Born in Ravenna, Italy in 1947, Paolo Roversi discovered his passion for photography during a 1964 family holiday in Spain— upon his return from the trip, he built a darkroom in the basement of his home. He began his career in 1970, taking photojournalism assignments from the Associated Press. In 1973, at the invitation of photographer and ELLE art director Peter Knapp, Paolo Roversi moved to Paris, where he has lived and worked ever since. After a nine-month period assisting British photographer Lawrence Sackmann, whom he cites as an influential teacher, Paolo Roversi started shooting independently with small commissions for ELLE and the band Depeche Mode, gaining wider recognition with a Dior beauty campaign in 1980 and ultimately forging his reputation as one of the industry's leading photographers by the mid- 1980s. As model Guinevere van Seenus, who has worked with Roversi for nearly three decades, has said, “Having your portrait taken is more than just looking at the camera, [Paolo] creates the space for the person to [emerge]."

Today, Paolo Roversi’s work can be found in museum collections around the world, including the Museum of Modern Art in New York; the Getty Museum in Los Angeles; and the National Portrait Gallery in London. He has had major exhibitions around the world—in recent years, at the Museo d'Arte della città di Ravenna, Palazzo Reale in Milan, the Palais Galliera in Paris, the Multimedia Art Museum in Moscow, and Dallas Contemporary in Texas—and has published numerous books, including Paolo Roversi: Palais Galliera (2024), Lettres sur la lumière, with philosopher Emanuele Coccia (Gallimard, 2024), Des Oiseaux (Éditions Xavier Barral, 2023), Paolo Roversi – Studio Luce (Museo d'Arte della città di Ravenna, 2020), Natalia (Stromboli, 2018), and Nudi (Stromboli, 1999).

PACE NEW YORK

508 West 25th Street, New York City

www.pacegallery.com

Emmanuel Osahor @ The Power Plant, Toronto - "To dream of other places" Exhibition Curated by Adelina Vlas

Emmanuel Osahor 

To dream of other places

The Power Plant, Toronto

Through September 14, 2025

Emmanuel Osahor 

Room for two, 2023 

Oil on canvas 

Photo: Joseph Hartman  

© Emmanuel Osahor, courtesy The Power Plant

Emmanuel Osahor’s practice focuses on beauty as a necessity for survival, respite, and sanctuary. Known primarily for his paintings of lush, verdant gardenscapes—inspired by real and imagined locations—these works meditate upon the complicated histories of these sites that entail the domestication of lands, plants, and individuals alike. To dream of other places is the artist’s first major solo presentation in his home city of Toronto and includes paintings, drawings, prints, ceramic sculptures, and a new, site-specific photographic wallpaper. Conceived as a night garden, the exhibition presents Osahor’s work in a unique environment intended to immerse the viewer in a contemplative space where feelings of delight and sorrow coexist as reflections of human experience. The artist’s poetic yet critical approach to a subject that has been well represented throughout art history reflects a practice that is profoundly engaged with beauty, painting, and the everyday at a time when meaningful encounters with art are needed more than ever.

Curator: Adelina Vlas, Head of Curatorial Affairs

THE POWER PLANT Contemporary Art Gallery

231 Queens Quay West, Toronto, Ontario M5J2G8

www.thepowerplant.org

Emmanuel Osahor: To dream of other places

The Power Plant, Toronto, April 11 - September 14, 2025

HIP HOP – Living a Dream @ Saatchi Gallery, London - An exhibition of the photographs of Jamel Shabazz, Joseph Rodriguez, Gregory Bojorquez

HIP HOP – Living a Dream

Jamel Shabazz, Joseph Rodriguez, Gregory Bojorquez

Saatchi Gallery, London

31 July – 11 September 2025

JAMEL SHABAZZ 

THE DOWNTOWN BROOKLYN CREW, 

DOWNTOWN BROOKLYN, NYC, 1985

Courtesy of Saatchi Gallery and Galerie Bene Taschen

JOSEPH RODRIGUEZ 

PUBLIC ENEMY CONCERT, 

STOCKHOLM, SWEDEN, 1990

Courtesy of Saatchi Gallery and Galerie Bene Taschen

GREGORY BOJORQUEZ 

CHELSEA - 4TH STREET BRIDGE, 

LOS ANGELES, CA, 1998

Courtesy of Saatchi Gallery and Galerie Bene Taschen

Saatchi Gallery presents HIP HOP – Living a Dream, an exhibition showcasing the work of renowned photographers JAMEL SHABAZZ  (b. 1960), GREGORY BOJORQUEZ (b. 1951), and GREGORY BOJORQUEZ (b. 1972). From the early 1980s on, each of these three American chroniclers provides distinct insights into the rise and global impact of American Hip Hop culture. HIP HOP – Living a Dream delves into the lifestyle that, in combination with music, graffiti, breakdancing, and fashion, evolved into a worldwide phenomenon – from the streets of 1980s New York to Los Angeles, the Southern United States, Europe, and beyond, persisting into the present day.

JAMEL SHABAZZ 

REPRESENTING, BROOKLYN, NYC, 1988

Courtesy of Saatchi Gallery and Galerie Bene Taschen

JAMEL SHABAZZ 

THE DISCO ENFORCERS, NY

Courtesy of Saatchi Gallery and Galerie Bene Taschen

Jamel Shabazz’s work from the 1980s serves as both a personal visual diary and a historical document, capturing the birth of the Hip Hop movement in the vibrant metropolis of New York City. Shabazz’s portraits embody the zeitgeist of New York, illustrating a pivotal era of music, fashion, and art. Jamel was stationed in the US Army in Germany when he heard one of the first major Hip Hop groups, Positive Force, debut their 1979 hit song “We Got the Funk”. His love for the genre is manifested in the images he would produce over the decades. The first of many Hip Hop artists he photographed were LL Cool J, and Public Enemy. Today, his portraits are synonymous with the movement itself.

JOSEPH RODRIGUEZ 

MASTER P IN HIS OFFICE ON THE PHONE MAKING MOVES, 

NEW ORLEANS, LA, 1997

Courtesy of Saatchi Gallery and Galerie Bene Taschen

In his series East Side Stories – Gang Life in East L.A., Brooklyn-born photographer Joseph Rodriguez provides a documentary-style look at gang culture during the 1990s. His work portrays the lived experiences, nuances, and harsh realities of gang life. According to Joseph Rodriguez, “My interest in going to L.A. began in early 1992. I was strongly influenced by the Hip Hop coming out of the streets of Los Angeles and other cities across the country. These youth were rapping about the very important issues in their communities. Their music were like the newspapers of the streets.” In addition to his documentation of American Hip Hop on both the West and East Coast, Rodriguez’s portraits of groups in Sweden point to the many facets of international forms of Hip Hop and its prevalence in cities beyond New York, such as Los Angeles and New Orleans, where Joseph Rodriguez documented notable figures Master P and the No Limit Crew.

GREGORY BOJORQUEZ 

ANDRE 3000 AND BIG BOI, ATLANTA, GA, 2002

Courtesy of Saatchi Gallery and Galerie Bene Taschen

GREGORY BOJORQUEZ 

MISSY ELLIOTT, ADVENTURA, FL, 2003

Courtesy of Saatchi Gallery and Galerie Bene Taschen

Los Angeles native Gregory Bojorquez has been documenting the Hip Hop scene since the 1990s: “Before I started photographing it, I was a fan of L.A. Hip Hop. The first things I photographed in Hip Hop were underground Hip Hop shows. Some were promoted by Orlando and Bigga B. Those shows were called Unity. Some artists they featured were Wu Tang affiliated artists, Goodie Mob, Big Pun. Sway & Tech had the Wake up Shows reunions. Some acts were OutKast, Gang Star, Pharoahe Monch and the legendary freestyle battle between Supernatural & Juice.” His works also feature Snoop Dogg & Tha Dogg Pound (DPG), 50 Cent, Eminem, DMX, Lil Wayne, Jay-Z, Missy Elliott, Mos Def, Swizz Beatz, and Ice Cube.

Like Hip Hop itself, the three photographers Shabazz, Rodriguez, and Bojorquez have garnered international acclaim, reaching audiences far beyond the United States. Jamel Shabazz’s photographs are part of esteemed collections worldwide, including the National Gallery of Art (Washington, DC); the Whitney Museum of American Art (New York), the Deutsche Börse Photography Foundation (Frankfurt am Main), the J. Paul Getty Museum (Los  Angeles),  and  the   Gordon  Parks Foundation in New York. Gregory Bojorquez’s works have been exhibited at the Vincent Price Art Museum in Los Angeles and internationally in Cologne, Berlin, and other locations. Joseph Rodriguez’s photographs are housed in institutions such as the Los Angeles County Museum, the International Center of Photography in New York, the Smithsonian American Art Museum and the National Gallery of Art in Washington DC, Museum Ludwig in Cologne, and the Albertina in Vienna.

This exhibition is produced with Galerie Bene Taschen, Cologne

SAATCHI GALLERY 

Duke of York's HQ, King's Road, London SW3 4RY

Location in the gallery: Galleries 3 & 4

Admission: Free entry, pre-booking not required

www.saatchigallery.com

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The Culture: Hip Hop and Contemporary Art in the 21st Century 

Schirn Kunsthalle Frankfurt, February 29 - May 26, 2024

Renoir Drawings @ The Morgan, NYC - Exhibition of drawings, watercolors, and pastels of the French Master of Impressionism

Renoir Drawings

Morgan Library & Museum, New York

October 17, 2025 - February 8, 2026

Auguste Renoir (French, 1841–1919)

Portrait of a Girl (Elisabeth Maître), 1879

Pastel on Ingres paper

The Albertina Museum, Vienna – The Batliner Collection, DL535

While the paintings of Auguste Renoir (1841–1919) have become icons of Impressionism, his drawings, watercolors, and pastels are far less widely known. In fact, drawing remained central to his artistic practice even as his interests and ambitions changed over the course of a long career. This exhibition explores the ways in which Auguste Renoir used paper to test ideas, plan compositions, and interpret both landscape and the human figure.

Thematic sections cover the full span of the artist’s career, ranging from academic studies he made as a student, to on-the-spot impressions of contemporary urban and rural life, to finished, formal portraits, to intimate sketches of friends and family completed late in life. In-depth case studies of favored themes and preparatory work for landmark canvases further illuminate Renoir’s practice of drawing.

Inspired by the major gift to the Morgan of a large-scale preparatory sketch for one of Renoir’s most significant paintings, The Great Bathers, this exhibition is the first in a century to explore the artist’s works on paper in depth. Organized by the Morgan Library Museum and the Musée d’Orsay, Paris, Renoir Drawings brings together nearly one hundred drawings, pastels, watercolors, prints, and a small selection of paintings, enabling visitors to engage with Renoir’s creative process while offering insights into his artistic methods over five decades.

Organized by Colin B. Bailey, Katharine J. Rayner Director, and Sarah Lees, Research Associate.

THE MORGAN LIBRARY & MUSEUM

225 Madison Avenue at 36th Street, New York, NY 10016

www.themorgan.org

Nigerian Modernism @ Tate Modern, London - This Major Exhibition traces the development of modern art in Nigeria with 50 artists and 250 artworks across 50 years

Nigerian Modernism 

Tate Modern, London

9 October 2025 - 11 May 2026

Uzo Egonu 

Stateless People an artist with beret, 1981

© The estate of Uzo Egonu. Private Collection

Ben Enwonwu

The Durbar of Eid-ul-Fitr, Kano, Nigeria, 1955

© Ben Enwonwu Foundation. Private Collection

Bruce Onobrakpeya,

The Last Supper, 1981

© Reserved. Tate Collection

Tate Modern presents the first UK exhibition to trace the development of modern art in Nigeria. Spanning a period from indirect colonial rule to national independence and beyond, Nigerian Modernism will celebrate an international network of artists who combined African and European traditions, creating a vibrant artistic legacy. The exhibition presents the work of over 50 artists across 50 years, from Ben Enwonwu to El Anatsui. They each responded to Nigeria’s evolving political and social landscape by challenging assumptions and imagining new futures, reclaiming Indigenous traditions to create a new African vision of Modernism. Featuring more than 250 works, including painting, sculpture, textile, ceramics and works on paper from institutions and private collections across Africa, Europe and the US, it offers a rare opportunity to encounter the creative forces who revolutionised modern art in Nigeria.

Nigerian Modernism - List of artists: Jonathan Adagogo Green, Tayo Adenaike, Jacob Afolabi, Adebisi Akanji, Justus D. Akeredolu, Jimo Akolo, El Anatsui, Chike C. Aniakor, Abayomi Barber, Georgina Beier, Alexander “Skunder” Boghossian, Jimoh Buraimoh, Avinash Chandra, Nike Davies-Okundaye, Ndidi Dike, Uzo Egonu, Ibrahim El-Salahi, Afi Ekong, Erhabor Emokpae, Ben Enwonwu, Sir Jacob Epstein, Clara Etso Ugbodaga-Ngu, Okpu Eze, Adebisi Fabunmi, Agboola Folarin, Buraimoh Gbadamosi, Sàngódáre Gbádégesin Àjàlá, Yusuf Grillo, Felix Idubor, Solomon Irein Wangboje, Ladi Kwali, Akinola Lasekan, Jacob Lawrence, Valente Malangatana, Naoko Matsubara, Demas Nwoko, Olu Oguibe, Rufus Ogundele, J.D Ojeikere, Emmanuel Okechukwu Odita, Simon Okeke, Uche Okeke, Olowe of Ise, Asiru Olatunde, Lamidi Olonade Fakeye, Oseloka Okwudili Osadebe, Aina Onabolu, Bruce Onobrakpeya, Ben Osawe, Muraina Oyelami, Ru van Rossem, Karl Schmidt-Rottluff, Gerard Sekoto, Twins Seven Seven, Ahmad Shibrain, F.N. Souza, Ada Udechukwu, Obiora Udechukwu, Etso Clara Ugbodaga-Ngu, Susanne Wenger.

Ben Enwonwu 

The Dancer (Agbogho Mmuo - Maiden Spirit Mask) 1962 

© Ben Enwonwu Foundation, 

courtesy Ben Uri Gallery & Museum

The exhibition begins in the 1940s amid calls for decolonisation across Africa and its diaspora. With the Nigerian education system under British governance, many artists trained in Britain, adopting European artistic techniques and witnessing Western modernism’s fixation on African art. The balance between Nigeria’s Indigenous traditions, colonial realities and calls for independence was evident in the practices of artists, many of whom became involved in arts education and reform. Aina Onabolu pioneered new figurative portraits of Lagos society figures, whilst Akinola Lasekan depicted scenes from Yoruba legends and history. Globally celebrated artists of the period, Ben Enwonwu and Ladi Kwali, combined their Western training with Nigerian visual art traditions. Drawing upon his knowledge of Igbo sculpture, Ben Enwonwu adapted his Slade School education to celebrate the beauty of Black and African culture. Meanwhile, Ladi Kwali who trained under British potter Michael Cardew at Pottery Training Centre in Abuja, developed a new style of ceramic art that synthesised traditional Gwarri techniques and European studio pottery.

Jimo Akolo 

Fulani Horsemen, 1962

© Reserved. Courtesy Bristol Museum and Art Gallery

Clara Etso Ugbodaga-Ngu

Elemu Yoruba Palm Wine Seller, 1963

© Clara Etso Ugbodaga-Ngu. Hampton University Museum

National independence on 1 October 1960 inspired a sense of optimism throughout the country, with artistic groups creating art for a new nation. The exhibition will look at the legacy of The Zaria Arts Society whose members included Uche Okeke, Demas Nwoko, Yusuf Grillo, Bruce Onobrakpeya and Jimo Akolo. Encouraged by teachers like Clara Etso Ugbodaga-Ngu, they developed independent creative styles centred around a concept of ‘Natural Synthesis’, merging Indigenous forms with modern expression. In the 1960s amid an economic boom, Lagos became a dynamic cultural hub, inspiring tropical modernist architecture, public art commissions and nightclubs filled with Highlife music. Meanwhile in Ibadan, The Mbari Artists’ and Writers’ Club founded by German publisher Ulli Beier, offered a discursive space run by an international group of artists, writers and dramatists including Chinua Achebe, Wole Soyinka, and Malangatana Ngwenya. The Mbari Club was closely associated with the influential Pan-African modernist journal Black Orpheus, which will be displayed at Tate Modern.

During this period, many artists reflected on Nigeria’s rich cultural and religious heritage as home to more than 250 ethnic groups. The late 1950s saw the emergence of the New Sacred Art Movement, founded by Austrian born artist Susanne Wenger who drew on Yoruba deities and beliefs to explore the ritual power of art. The group led the restoration of the Osun-Osogbo Sacred Grove where ancient shrines were adorned with cement sculptures and carvings. In parallel, The Oshogbo Art School emerged out of series of influential workshops at Duro Ladipo’s Popular Bar providing a space for experimentation among untrained artists and performers including Nike Davies-Okundaye, Jacob Afolabi and Twins Seven Seven who explored Yoruba cultural identity and personal mythologies in their work.

Obiora Udechukwu 

Our Journey, 1993 

© Obiora Udechukwu. Hood Museum of Art

The outbreak of the Nigerian Civil War in 1967 caused a cultural and political crisis for many artists. The post-independence feeling of optimism and unity were replaced with division, and later a desire to reconnect across Nigeria’s diverse ethnic groups. The exhibition looks to the revival of ‘uli’ - linear Igbo designs which can be decorative or represent natural elements and everyday objects. Historically passed down between women, artists like Uche Okeke who had inherited this knowledge from his mother, and those from the Nsukka Art School including Obiora Udechukwu, Tayo Adenaike and Ndidi Dike, adapted this visual language as a modernist art form, reclaiming an element of ancestral culture and reflecting on the struggles of conflict during the war.

Uzo Egonu

Northern Nigerian Landscape, 1964

© The estate of Uzo Egonu. Tate

Uzo Egonu 

Women in Grief, 1968 

© The estate of Uzo Egonu. Tate

The exhibition ends with a spotlight on Uzo Egonu, exploring how artists towards the end of the 20th century began to respond to global Nigerian identities. Living in Britain since the 1940s, Uzo Egonu’s work was informed by his perspective as an expatriate, creating works imbued by his childhood memories and feelings of nostalgia, as well as his response to current events, observed from overseas. The exhibition brings together Uzo Egonu’s Stateless People paintings, the first time these works have been reunited in 40 years. Begun in 1980, the series reflects on questions of nationhood and cultural identity. Depicting a single figure in each painting - a musician, artist and writer - Uzo Egonu represents the growing visibility of Nigeria’s diaspora around the world. The series sums up the tension between national identity and artistic independence which shaped Nigeria’s story of modern art.

Nigerian Modernism is curated by Osei Bonsu, Curator, International Art, Tate Modern and Bilal Akkouche, Assistant Curator, International Art, Tate Modern.

TATE MODERN

Bankside, London SE1 9TG

www.tate.org.uk

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