Showing posts with label Chapter NY Gallery. Show all posts
Showing posts with label Chapter NY Gallery. Show all posts

26/07/25

Nova Jiang @ Chapter NY Gallery, New York - "Recorded Syllable" Exhibition

Nova Jiang: Recorded Syllable
Chapter NY Gallery, New York
June 27 - August 8, 2025

Chapter NY presents Recorded Syllable, Nova Jiang’s first solo exhibition with the gallery. The exhibition features a new series of intimate, symbol-laden paintings that reflect Jiang’s ongoing exploration of memory, time, and disappearance—both personal and collective.

Taking its title from Macbeth’s haunting phrase, “to the last syllable of recorded time,” the exhibition considers the traces we leave behind. Throughout the exhibition, books reappear as enduring metaphors for the passage of time, the accumulation of memory, and a life lived. She draws inspiration from artists like Philip Guston, whose own use of the book as a symbolic object resonates with her interest in the book as a vessel of personal and historical meaning.

In Trilogy, three figures—a child, an adult, and a skeleton—share a cyclical narrative embodied by a single book, its surface marked by the tracks of insects. In Words, a book composed of identically crumpled pages becomes a haunting gesture toward the unread books lost to the past, poetically suggesting how some words fail to speak to us across time.  

Themes of dislocation and legacy surface in Exile, where camellias—native to China and Japan and common in the artist’s Los Angeles neighborhood—appear beside the spectral image of a fractured vase, evoking the fragility of home, memory, and belonging. Her neighborhood was once home to many Japanese Americans after WWII, and in light of the current political climate, Nova Jiang reflects on the ongoing vulnerability of displaced populations. In Silhouette, a skull nestles into the void carved from a book’s interior, surrounded by line drawings of Jiang’s own face. The image suggests a form that is missing and serves as a kind of self-portrait.

In Animator, a golden toad automaton perches atop the pages of a flip book. Rather than illustrations, the book is composed of cut-outs that flip over the automaton as it moves, collectively animating the act of the toad swallowing a moth. Nova Jiang is drawn to toads—which appear throughout her oeuvre—in part due to their sensitivity to climate change and their symbolic resonance in Chinese art history. She reminds viewers that while a toad may be reimagined through human artifice, an extinct species is lost forever.

Jiang’s practice is steeped in art historical dialogue, from Hans Baldung to Pieter Claesz, and suffused with references to natural systems, literature, and grief. In Recorded Syllable, she considers what it means to record, to mark, and to remember—even as language, species, and selves begin to vanish.

NOVA JIANG (b. 1985, Dalian, China) lives and works in Los Angeles. She received her BFA from the University of Auckland, Elam School of Fine Arts in 2006 and her MFA from the University of California, Los Angeles in 2009. She has had recent solo exhibitions at Union Pacific, London and Simone Subal, New York. Her work has been included in group exhibitions at Union Pacific, London; Am Schwarzenbergplatz with KOW and LambdaLambdaLambda, Vienna; Simone Subal, New York; Honor Fraser, Los Angeles; and the Los Angeles Municipal Art Gallery, Los Angeles; among others.

CHAPTER NY 
60 Walker Street, New York, NY 10013

02/07/25

Vicky Colombet, Stuart Middleton, Valerio Nicolai, Yutaka Nozawa, Minh Lan Tran, Alix Vernet @ Chapter NY Gallery, New York

Vicky Colombet, Stuart Middleton, Valerio Nicolai, Yutaka Nozawa, Minh Lan Tran, Alix Vernet
Six
Chapter NY Gallery, New York
June 27 - August 8, 2025

Chapter NY presents Six, a group exhibition featuring works by Vicky Colombet, Stuart Middleton, Valerio Nicolai, Yutaka Nozawa, Minh Lan Tran, and Alix Vernet. The exhibition explores states of perception, embodiment, and transformation. Across painting, sculpture, video, and drawing, the six artists reflect on the act of shaping, whether by human or environmental forces, emphasizing a continual state of becoming.

Stuart Middleton’s graphite drawings belong to an ongoing series based on photographs of industrial meat processing machinery. They transform functional mechanisms into imaginary architectures, suggesting everything from Futurist prototypes to science fiction landscapes. Seen from the viewpoint of the processed, the works conjure an uncanny, visceral space—both coldly mechanical and disturbingly organic—extending Middleton’s long-standing inquiry into the abstraction of the body in modern systems of labor, consumption, and control.

Abstract paintings by Vicky Colombet embody the artist’s meditative relationship to process and meticulous brushwork. Her atmospheric surfaces evoke elemental forces—breaking ice, dissolving forms, geological drift—suggesting the invisible rhythms and transformations of the natural world. Colombet’s practice emerges from a deep engagement with landscape, natural pigments, and quantum theory, cultivating a vision of abstraction rooted in stillness and flux. In Quantum Gold Fields (2025), she introduces gold pigment into her expanding body of work.

With a focus on resistance, ritual, and political embodiment, Minh Lan Tran’s painting embraces language and movement as co-constitutive forces. Drawing from her background in calligraphy, theology, and choreography, Tran composes works that trace physical intensities, with gestures referencing spiritual-political actions—from protest chants to self-immolations—foregrounding embodiment over representation.

By shifting perspectives, Yutaka Nozawa quietly disrupts conventional perceptions of time and space. Diptychs from his ongoing CANVAS series include one painting depicting a blank canvas installed in an interior space paired with a photograph of the same canvas painted to portray the setting in which it hangs. These works engage with still life conventions, offering a subtle and humorous meditation on seeing, representation, and the fluidity of perception. Nozawa also includes li (2025), a durational video of a bird resting on top of a post, captured over an extended period of time.

Valerio Nicolai’s paintings of imagined structures draw from the visual languages of still life, architecture, and absurdist narrative. Fusing elements of humor and drama, Nicolai’s canvases depict surreal spaces populated by castle-like constructions. His deadpan imagery complicates art historical tropes, embedding allegories of decay, doubt, and regeneration into every constructed scene. These are paintings that wobble between the banal and the eternal, the poetic and the grotesque.

For her ongoing series of Heat Exchange Poems, Alix Vernet makes floor and wall-based sculptures with repurposed AC unit condensers. The backs of AC units become surfaces for tactile inscription, bearing found and added marks: scratches, tags, smudges, handprints. These traces function like accidental archives— a body, a prayer, a memory. By staging these altered objects in the gallery, Vernet reanimates the condenser as both a transient summer relic and a fossilized site of urban encounters.

Together, the works in Six propose a mutable world in which matter, perception, and form remain open to transformation. In this space of continuous re-making, each artist traces how we are shaped and how we shape in return.

Vicky Colombet (b. 1953, Paris, France) lives and works between New York City, the Hudson Valley, and Paris. Colombet has had solo exhibitions at Fernberger, Los Angeles, CA; The Elkon Gallery, New York, NY; Galerie Dutko, Paris, FR; Museé Marmottan Monet, Paris, FR; Leonard Hutton Galleries, New York, NY, among others. Her work is included in numerous public and private collections including the Albright-Knox Art Gallery, Buffalo, NY; the Musée Marmottan Monet, Paris, FR; the Museum of Fine Arts, St Petersburg, FL; and the Museum of Fine Arts, Houston, TX. She is the Recipient of the Esther and Adolph Gottlieb Foundation Grant (2001) and the Pollock- Krasner Foundation Grant (2014).

Stuart Middleton (b.1987 Crewe, UK) lives and works communally in West Wales. He received his BA in Painting from Camberwell College of Art, London in 2009 and graduated from HBK Städelschule, Frankfurt am Main, Germany in 2016. Middleton has had solo exhibitions at Chapter NY, New York; Carlos/Ishikawa, London; Clementin Seedorf, Cologne; Kunstlerhaus Graz; Tramway, Glasgow; and ICA London, among others. His work has been shown in group exhibitions at Villa Imperiale, Pesaro; National Gallery of Art, Washington, DC; Greene Naftali, New York; Museum MMK für Moderne Kunst, Frankfurt; Kunsthaus Glarus; and Camden Arts Centre, London; among others.

Valerio Nicolai (b. 1988, Gorizia, Italy) lives and works in Milan, Italy. He studied at Accademia di Belle Arti di Veneziain. Nicolai was awarded the Licini Prize in 2023 and the 2020-21 Pollock-Krasner Foundation grant. He has had solo exhibitions at: Museo Osvaldo Licini, Ascoli Piceno, IT; Campoli Presti, Paris, FR; Clima, Milan, IT; Galeria Madragoa, Lisbon, SP; Las Palmas Project, Lisbon, SP; smART Foundation, Rome, IT.  His work has been shown in group exhibitions at MAMbo, Bologna, IT; MADRE Museum, Naples, IT; Casa Testori, Milan, IT; MAXXI L’Aquila, L’Aquila, IT; Triennale, Milano, IT; MACTE, Termoli, IT; Fondazione Zimei at Teatro Michetti, Pescara, IT; Fondazione Zimei, Pescara, IT; All Stars, Lausanne, CH; Galeria Madragoa, Lisbon, SP; Palazzo Monti, Brescia, IT; GAM Torino, Turin, IT; Quadriennale Arte 2020, Roma, IT; Spirit Vessel, Espinavessa, SP; Marselleria, Milan, IT; Palazzo Cavour, Turin, IT.

Yutaka Nozawa (b. 1983, Shizuoka, Japan)  lives and works in Shizuoka, Japan. He received his BFA from Tokyo Zokei University, Tokyo, and his MFA from the Tokyo National University of Fine Arts and Music, Tokyo. He also received his MFA in Photography from IED Madrid.
Yutaka has presented his work at: KAYOKOYUKI, Tokyo, JP; Condo London 2024 at Sadie Coles HQ, London, UK; void+, Tokyo, JP; THE UNIVERSITY ART MUSEUM, Tokyo, JP; TMMT Art Projects, Tokyo, JP; UTRECHT, Tokyo, JP; Intercambiador ACART, Madrid, SP; Galería Santa Fe - La Decanatura, COL; Shizuoka Prefectural Museum of Art, Shizuoka, JP.

Minh Lan Tran (b. 1997, Hong Kong) lives and works in Paris, France. She received her MA in Byzantine studies and visual theology from the Courtauld Institute of Art, London (2020) and an MA in Painting from The Royal College of Art, London (2023). She studied Art History at the Ecole du Louvre, Paris and the University of Oxford. Her works have been exhibited at High Art, Seoul, KR; François Ghebaly, Los Angeles, CA; Balice Hertling, Paris, FR; House, Berlin, DE; Sadie Coles HQ, London, UK; the Museum of the Home, London, UK; the Royal College of Art, London, UK; the House of Annetta, London, UK; and the San Mei Gallery, London, UK.

Alix Vernet (b. 1997) lives and works in New York City. She received a BA from the University of California, Los Angeles and completed a MFA in Sculpture at Yale. Vernet has had solo exhibitions at Helena Anrather, New York, NY; and group exhibitions at Museion, Bolzano, IT; the Gund Gallery, Kenyon College, Gambier, OH; Jeffrey Deitch, Los Angeles, CA; and Soft Opening, London, UK. Her photographs have been published by Dashwood Books, and she has received critical recognition in Frieze, Texte Zur Kunst, Artforum, and Art in America.

CHAPTER NY 
60 Walker Street, New York, NY 10013

27/04/25

Antonia Kuo @ Chapter NY, New York - "Milk of the Earth" Exhibition

Antonia Kuo
Milk of the Earth
Chapter NY, New York
April 18 - June 14, 2025
“The successful negotiation
Of holes…
Is dependent on maintaining
A healthy respect
For what cannot be seen.”
Pope.L, Hole Theory
In Milk of the Earth, Antonia Kuo continues her engagement with personal histories rooted in alchemical transformation, metallurgy, and Chinese painting. She focuses on an ecology of material extraction—extraction of the body and the Earth—wombs, mines, cavities, milk, and metal. This framework brings our attention to the viscous liquidity of milk and ceramic slurry, the act of mining as milking the earth, and the mine as an excavated void, or negative. The site of the negative is a focal point for Kuo, a vital space activated by protean energies.  Antonia Kuo utilizes photographic and sculptural technologies to convey aspects of these lineages, including chemical paintings on light-sensitive silver gelatin paper, X-ray film and corresponding photograms, video footage from her family foundry, micrographs of metal alloys, ultrasound video she recorded of her fetus, and sculptures referencing the industrial mold making process.

In mold making, a “mother mold” is fabricated as an inverse matrix from which multiples are produced. Kuo’s ceramic mold sculptures are hollow, precisely recording an initial wax form that has been vacated, flushed from the ceramic. As a new mother, Kuo is interested in her body as a transformed and emptied vessel, one that has been mined by her infant, both in vitro and on a daily basis.

Kuo’s work is inextricable from her relationship with her own Taiwanese artist mother who has a lifelong Chinese painting and calligraphy practice. Antonia Kuo uses the lens of Chinese painting to interpret aspects of landscape through embodied memory and engages the concept of emptiness which is pivotal to the Chinese conception of the universe. Emptiness is not inert or vacuous; it is active, dynamic, and connects the visible world to an invisible one. It is the site of continual becoming.

From this emptiness over 10 billion years ago, all metallic elements in the universe were forged in stellar processes. Most of the copper in the Milky Way originated in supergiants, the most massive stars in the universe. In this exhibition, copper appears in several different modalities: as a supportive substrate, an electroplated coating, and a selective chemical sensitizer for her painting Pit Mine, producing chalky iron oxide tonalities.

Antonia Kuo reflects on her family’s roots in the copper mining town of Butte, Montana, a metalworking heritage that inspired her uncles to start their own foundry. Berkeley Pit is a massive open pit mine in the heart of Butte, which Kuo remembers since childhood to be as breathtaking as an earthwork, a radical mile-long excavation of terrain waterlogged by deep burgundy and startling turquoise water containing high levels of heavy metals and toxic chemicals.

At the crux of Kuo’s work is a complex ambivalence in relation to toxicity and awe. Kuo is familiar with collaborating with the caustic, unpredictable nature of chemistry, but is transfixed by its extreme transformative capabilities. Her paintings on paper coated with silver halide crystals are sensitive receptors to light and time. While copper was forged over the course of millions of years, silver was created in the flash of an eye during the intensely bright explosive moment of a star’s death.

Antonia Kuo (b. 1987, New York, NY) lives and works in New York, NY. She received an MFA from Yale University in 2018, her BFA from School of Fine Arts Boston and Tufts University in 2009, and a one-year certificate from the School of the International Center of Photography in 2013. In 2024 Kuo had a two-person exhibition with Martin Wong at the Frye Art Museum, Seattle. Her work has been exhibited at Metropolitan Museum of Manila, PH; Centre Pompidou, Paris; the Whitney Museum of American Art, New York; Chapter NY, New York; James Cohan, New York; Project Native Informant, London; Jeffrey Deitch, Los Angeles; Moskowitz Bayse, Los Angeles; Jack Barrett Gallery, New York; F, Houston; Chart, New York; Each Modern, Taipei; MAMOTH, London; Make Room, Los Angeles; among others. Kuo has performed and screened her work at Pioneer Works, Brooklyn, NY; Knockdown Center, Queens, NY; MoMA PS1, Queens, NY; and the Musee d’art contemporain de Montreal, among others. She has been an artist-in-residence at Mass MoCA, Vermont Studio Center, The Banff Centre, and was a MacDowell Colony Fellow. Kuo’s work is included in the collections of the Whitney Museum of American Art, New York and Centre Pompidou, Paris. In May 2025, Antonia Kuo will have a solo exhibition at Adams and Ollman in Portland, OR.

CHAPTER NY 
60 Walker Street, New York, NY 10013