Showing posts with label art show. Show all posts
Showing posts with label art show. Show all posts

07/09/25

Coco Fusco @ El Museo del Barrio, NYC - "Tomorrow, I Will Become an Island" Exhibition

Coco Fusco
Tomorrow, I Will Become an Island
El Museo del Barrio, New York 
September 18, 2025 — January 11, 2026

Coco Fusco
Coco Fusco
Photo by Aurelio Fusco

Coco Fusco
Coco Fusco
Your Eyes Will Be an Empty Word (still), 2021
HD Video, 13:30 mins
Courtesy of the artist and Mendes Wood DM

Coco Fusco
Coco Fusco
A Room of One's Own: Women and Power
in the New America, 2006-2008
Performance documentation
Courtesy the artist and Mendes Wood DM

El Museo del Barrio presents Coco Fusco: Tomorrow, I Will Become an Island, the first U.S. survey of the influential Cuban-American interdisciplinary artist and writer COCO FUSCO (b. 1960, lives in New York). The exhibition is spanning more than three decades of Fusco’s groundbreaking career.

Widely recognized for her incisive explorations of the dynamics of politics and power, Fusco’s interdisciplinary practice spans video, performance, installation, photography, and writing. Tomorrow, I Will Become an Island traces her extensive practice through a selection of more than twenty of her works, created since the 1990s and extending to a new photographic series on view for the first time at El Museo del Barrio.
“Coco Fusco stands among the most provocative voices in contemporary art. Her work challenges conventions, sparks vital conversations, and continues to resonate powerfully at a time of profound social and political reckoning.” —Patrick Charpenel, Executive Director, El Museo del Barrio
Organized thematically, the exhibition explores central concerns that Coco Fusco has addressed across her practice, including immigration, military power and surveillance, post-revolutionary Cuban history, and the lasting legacies of colonialism. The presentation offers an expansive view of her multidisciplinary approach through key bodies of work, including:

Immigration Narratives: Works addressing the perception of immigrants in the US and Europe, including Everyone Here is a New Yorker (2025), a new photographic suite that extends from Fusco's 2024 public art video animation commission by More Art, Inc.

Intercultural Misunderstandings: A room dedicated to Fusco’s projects, created in counterpoint to the 500th anniversary of the so-called “discovery” of the Americas, including a reproduction of her iconic Two Undiscovered Amerindians Visit the West (1992/2025), originally performed in collaboration with Guillermo Gómez-Peña.

Interrogation Tactics: Video, photographs, and performance documentation that consider military tactics, surveillance technologies, and the exploitation of female sexuality in the War on Terror.

Poetry and Power: A focused selection of video, featuring several works that reflect on the history of artists’ challenges to the Cuban government—a central subject in Fusco’s oeuvre. Together, this selection illuminates the breadth and depth of Fusco’s artistic vision—one that remains acutely relevant in today’s national political and cultural climate.

Coco Fusco
Coco Fusco 
La noche eterna (The Eternal Night), 2023
HD Video, 1:13:45 mins
Courtesy the artist and Mendes Wood DM

Coco Fusco
Coco Fusco 
La plaza vacía (The Empty Plaza), 2012
HD Video, 11:53 mins
Collection of El Museo del Barrio, New York 
Acquisition enabled by VEZA New Media Fund 2022 
and headline supporters South SOUTH and Niio 

Coco Fusco - Paula Heredia
Coco Fusco and Paula Heredia
The Couple in the Cage: A Guatinaui Odyssey, 2003
Video, 31 mins
Collection of El Museo del Barrio, New York
Acquired through "PROARTISTA: Sustaining the Work 
of Living Contemporary Artists," 
a fund from the Jacques and Natasha Gelman Trust 2008.1
“El Museo del Barrio has been a steadfast supporter of Coco Fusco’s groundbreaking practice from early on, recognizing the power and potency of her work. This includes her participation in the groundbreaking 2008 exhibition Arte No es Vida, as well as her presence in recent collection-based shows such as Culture and the People and Something Beautiful. This survey extends that dialogue, offering audiences a deeper understanding of an artist whose voice remains as vital as ever.” —Susanna V. Temkin, Interim Chief Curator, El Museo del Barrio
Tomorrow, I will Become an Island is organized by El Museo del Barrio in collaboration with MACBA Museu d’Art Contemporani de Barcelona.

Borrowing its title from the artist's recent monograph publication, Tomorrow, I will Become an Island is organized at El Museo del Barrio by Susanna V. Temkin, interim chief curator, and Rodrigo Moura, former chief curator, with support from Lee Sessions and Maria Molano Parrado. Exhibition design by Solomonoff Architecture Studio/SAS and graphic design by estúdio gráfico.

ARTIST COCO FUSCO

Coco Fusco is an interdisciplinary artist and writer based in New York. She is a recipient of a 2023 Free Speech Defender Award from the National Coalition Against Censorship, a 2021 American Academy of Arts and Letters Art Award, a 2021 Latinx Artist Fellowship, a 2021 Anonymous Was a Woman award, a 2018 Rabkin Prize for Art Criticism, a 2016 Greenfield Prize, a 2014 Cintas Fellowship, a 2013 Guggenheim Fellowship, a 2013 Absolut Art Writing Award, a 2013 Fulbright Fellowship, a 2012 US Artists Fellowship and a 2003 Herb Alpert Award in the Arts.

Fusco’s performances and videos have been presented at the 56th Venice Biennale, the Sharjah Biennale, Frieze Special Projects, Basel Unlimited, three Whitney Biennials (2022, 2008, and 1993), and several other international exhibitions. Her works are in the permanent collections of the Museum of Modern Art, The Walker Art Center, The Art Institute of Chicago, The Whitney Museum, the Centre Pompidou, and the Museum of Contemporary Art of Barcelona. 

Coco Fusco is the author of numerous books, and she contributes regularly to The New York Review of Books and numerous art publications. Her monograph publication Tomorrow, I will Become an Island was published by Thames & Hudson in 2023.

Coco Fusco received her B.A. in Semiotics from Brown University (1982), her M.A. in Modern Thought and Literature from Stanford University (1985), and her Ph.D. in Art and Visual Culture from Middlesex University (2007). She is a Professor at the Cooper Union School of Art.

EL MUSEO DEL BARRIO, NEW YORK
1230 5th Avenue at 104th Street, New York, NY 10029

Nicasio Fernandez @ Berggruen Gallery, San Francisco - "Light Whispers" Exhibition

Nicasio Fernandez: Light Whispers
Berggruen Gallery, San Francisco
August 21 – October 16, 2025

Berggruen Gallery presents Light Whispers, an exhibition of new work by New York artist NICASIO FERNANDEZ. This marks the gallery’s first solo presentation with Nicasio Fernandez. 

In Light Whispers, Nicasio Fernandez’s paintings convey a quiet intensity within moody, introspective settings, where his figures are steeped in a spectrum of emotions ranging from uncertainty and tension to concern and doubt. Drawing on film noir motifs—low-key light, deep shadows, and psychological intensity—Nicasio Fernandez places otherworldly figures in eerie, dramatic atmospheres that leave the viewer both unsettled and curious. Though traces of the domestic linger, the paintings deliberately omit any indicators of place, cultivating an enigmatic sense of space.  

Rather than referencing specific film stills, Fernandez’s works are instead constructed around a captivating moment, lingering feeling, or a memory Nicasio Fernandez has held onto and reshaped into his own vision. All but one painting conceal their cinematic references. "Dark Corner", titled after the 1954 film, depicts a forward-leaning figure in motion, the face and long brown overcoat partially backlit by an ambiguous source just outside the frame. The figure moves swiftly through a mysterious nightscape—perhaps in pursuit of something—seems to pause in hesitation, as if aware of a lurking presence.

While Nicasio Fernandez is known for his vibrant chromatic choices, subtle dark humor, and precise handling of materials—demonstrating an ability to be loud and provocative—this body of work marks a decisive shift toward restraint and alteration. His bold palette has been pared down and placed within a uniform tonal temperature. Scratchy brushwork reveals parts of the underpainting, while sharp, crisp edges begin to dissolve. The use of light nods not only to cinema but also to the art historical references such as Rembrandt’s portraiture and the soft glow of Vuillard’s domestic interiors. Fernandez’s purposeful obscuring of elements of the paintings in deeper shadows acts as a framing device to guide the viewer’s eye across the canvas.

Nicasio Fernandez refers to these small paintings as whispers; much like the transfer of sound, these works require close proximity to spark an exchange—inviting the viewer to step into the scene in order to fully dissect and absorb its information. Like considered sequences from cinema, the paintings invite open dialogue and allow space for interpretation. Through this quietness, Fernandez’s paintings offer a light whisper to the viewer, gently luring them into a mysterious, contemplative state.

NICASIO FERNANDEZ (b. 1993, Yonkers, NY) received a BFA from the School of Visual Arts in 2015. Most recently, his work has been exhibited at Harper’s, Los Angeles, New York, and East Hampton (2024, 2023, 2022, 2021, 2020, and 2018); Half Gallery, New York (2023, 2022); Alexander Berggruen, New York (2023, 2022); Ross + Kramer, New York and East Hampton (2022, 2021, and 2020); Over the Influence, Hong Kong and Los Angeles (2020, 2019). Fernandez’s work is included in the collections of the Hall Art Foundation, North Adams, MA; and The Bunker, Palm Beach, FL. His work has appeared in Artnet, At Large, and New American Paintings, among other publications. Nicasio Fernandez lives and works in upstate New York.

BERGGRUEN GALLERY
10 Hawthorne Street, San Francisco, CA 94105

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer @ Portland Art Museum

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer
Portland Art Museum
September 6, 2025 – January 11, 2026

Jeff Koons
Jeff Koons
, American, (b. 1955)
Gazing Ball (da Vinci Mona Lisa), edition 38/40, 2016
Archival pigment print with inlaid mirrored glass
40 11/16 x 27 3/4 in. Overall
Published by Two Palms, New York, NY
Collection of Jordan D. Schnitzer
© Jeff Koons
Photography Courtesy of the artist and Two Palms, NY


Dinh Q. Le
Dinh Q. Lê
, Vietnamese-American, (1968 - 2024)
I am Large, I Contain Multitudes, edition AP 1/1, 2009
Bicycle, steel, mirrors, wood, plastic, rubber, and metal lock
72 x 90 x 40 in. Overall, 90 x 106 1/2 x 57 in. Crate
Published by the artist
Collection of the Jordan Schnitzer Family Foundation
© Courtesy of Elizabeth Leach Gallery and the Dinh Q. Lê Estate
Photography Aaron Wessling

Amy Sherald
Amy Sherald
, American, (b. 1973)
As Soft as She Is..., edition 2/35, 2024
70-color screenprint on Lana Aquarelle 600 gsm
50 5/8 x 42 3/8 x 1 3/4 in. Frame, 
45 1/4 x 37 in. Sheet, 40 1/4 x 32 in. Image
Published by Hauser & Wirth, New York, NY
Collection of the Jordan Schnitzer Family Foundation
© Amy Sherald. Courtesy the artist and Hauser & Wirth
Photography Aaron Wessling

Portland Art Museum (PAM) presents Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer, an exhibition that shares works from Oregon’s foremost fine art collector by some of today’s leading artists with local Portland audiences.

Highlighting recent acquisitions from the collections of Jordan Schnitzer and his Family Foundation, the exhibition includes more than 75 works—some of which have never previously been exhibited—by celebrated artists of the 20th century, such as Louise Bourgeois, Jasper Johns, Ellsworth Kelly, and Robert Rauschenberg, in addition to contemporary luminaries such as Nick Cave, Jenny Holzer, Mickalene Thomas, and Hank Willis Thomas.

Jordan Schnitzer, who has been named an ARTnews Top 200 art collector globally, is a lifelong Portland resident and local business owner. His collaboration with PAM to exhibit these collections is an extension of the Jordan Schnitzer Family Foundation’s mission to share art with audiences across the globe.
“Instead of having to travel to New York City to go to the Museum of Modern Art or the Whitney, all you have to do is visit the Portland Art Museum to see exceptional artwork by some of today’s biggest artists," said Jordan Schnitzer. “Each year, when I collect new works, I think about how to share them with museums across the country through the Jordan Schnitzer Family Foundation exhibition program. My hope is that they will inspire audiences who might not otherwise have the opportunity to see works by these amazing artists.”
Jeffrey Gibson
Jeffrey Gibson
Native American, Mississippi Band of Choctaw Indians 
and Cherokee, (b. 1972)
SPIRIT AND MATTER, 2023
Acrylic paint on elk hide inset in custom wood frame
90 x 72 1/2 x 5 in. Frame
Collection of the Jordan Schnitzer Family Foundation
© Jeffrey Gibson
Photography Aaron Wessling

Tschabalala Self
Tschabalala Self
, American, (b. 1990)
Untitled (Bodega Run), 2023
Unique cast and pigmented paper in artist designed frame
40 1/4 x 49 1/4 in. Sheet, 45 3/4 x 54 3/4 x 6 7/16 in. Frame
Published by Two Palms, New York, NY
Collection of the Jordan Schnitzer Family Foundation
Courtesy of the artist and Two Palms, NY
Photography Aaron Wessling

Katherine Bernhardt
Katherine Bernhardt
, American, (b. 1975)
Untitled, 2024
Monotype in watercolor and crayon
100 3/4 x 52 3/4 x 2 5/8 in. Frame, 96 x 48 in. Sheet
Published by Two Palms, New York, NY
Collection of the Jordan Schnitzer Family Foundation
Courtesy of the artist and Two Palms, NY
Photography Aaron Wessling

The exhibition features works across various media including paintings, textiles and tapestries, sculpture, photography, glass, ceramics, mixed media, and more, many of which will be shown publicly for the first time. Additional artists in the exhibition include Roy Lichtenstein, Jeff Koons, Helen Frankenthaler, Andy Warhol, Keith Haring, Dinh Q. Lê, Julie Mehretu, and Tschabalala Self. The wide array of artists represented in this presentation includes numerous women, Native American and Black artists, and other artists of color, building on PAM’s own work to spotlight underrepresented artists who represent the myriad communities that comprise Oregon.
“Portland Art Museum is a vital cultural resource for the region, which is why we are thrilled to partner with the Jordan Schnitzer Family Foundation collection to provide our community more opportunities to access and find inspiration in the art that brings the world to Portland,” said Brian Ferriso, Director. “Jordan and his family have long been ardent supporters of the Museum and our city, and we are grateful for his collaboration with PAM to further our mission to engage and enrich Portland’s diverse communities through art.”
Nick Cave
Nick Cave
, American, (b. 1959)
Rescue, 2014
Mixed media including ceramic birds, metal flowers, 
ceramic Basset Hound, and vintage settee
70 x 50 x 40 in. Overall
Collection of the Jordan Schnitzer Family Foundation
© Nick Cave. Photo by James Prinz Photography 
Courtesy of the artist and Jack Shainman Gallery, New York

Alison Saar
Alison Saar
, American, (b. 1956)
Plucked, 2022
Charcoal and acrylic on vintage cotton picking bag, 
found hooks and chain, 93 x 28 in. Overall
Collection of the Jordan Schnitzer Family Foundation
© Alison Saar. Courtesy of L.A. Louver, Venice, CA.
Photography Aaron Wessling 

Christopher Myers
Christopher Myers
, American, (b. 1974)
Let the Mermaids Flirt with Me, 2022
Stained glass lightboxes and tent
42 3/4 x 42 3/4 x 5 in. Frame
Collection of the Jordan Schnitzer Family Foundation
© Christopher Myers 2022 
Courtesy of the artist and James Cohan, New York 
Photo by Dan Bradica

Other notable works in the exhibition include Christopher Myers' immersive and mesmerizing installation Let the Mermaids Flirt with Me, on view for only the second time since debuting at Art Basel Miami in 2022. Featured in the Museum’s grand Arlene and Harold Schnitzer Sculpture Court, the installation is a suite of stained glass paintings in lightboxes installed within a freestanding octagonal architectural structure, creating a chapel for contemplation of the illuminated compositions.

Several of the artists featured in the exhibition have previously exhibited works at PAM or are represented within PAM’s encyclopedic collection, including Hank Willis Thomas, with whom PAM organized a traveling solo exhibition in 2019, and Jeffrey Gibson, whose work PAM commissioned and exhibited at the Museum in 2023 before serving as co-commissioner for his exhibition for the U.S. Pavilion at the 60th International Art Exhibition of La Biennale di Venezia (the Venice Biennale).

PAM has also previously featured works from the collections of Jordan Schnitzer in its exhibitions including En Suite: Contemporary Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2001), Location/Dislocation: Recent Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2003), Minimalism/Postminimalism: Selections from the Collections of Jordan D. Schnitzer and His Family Foundation (2007), Ellsworth Kelly Prints (and Paintings) (2012), Anish Kapoor: Prints from the Collections of Jordan D. Schnitzer (2015), Andy Warhol Prints (2016), Josiah McElheny’s Cosmic Love (2018), and Jeffrey Gibson: To Name An Other (2022).

This exhibition is organized by the Portland Art Museum in partnership with The Jordan Schnitzer Family Foundation. 

ABOUT THE JORDAN SCHNITZER FAMILY FOUNDATION

Jordan Schnitzer
Jordan Schnitzer 
Courtesy of Jordan Schnitzer Family Foundation

The Jordan Schnitzer Family Foundation’s contemporary art collection is one of the most notable in North America. The Foundation has shared its art with millions across the U.S. and internationally through groundbreaking exhibitions, publications, and programs. Founded by ARTnews Top 200 Collector Jordan D. Schnitzer—whose passion for art began in his mother’s contemporary art gallery in Portland, Ore.—the Foundation has organized over 180 exhibitions from its collection and additionally loaned thousands of artworks to over 120 museums at no cost to the institutions. Jordan Schnitzer began collecting contemporary prints and multiples in 1988 and today is North America’s largest print collector. His Foundation’s collection consists of more than 22,000 works of art, including a wide variety of prints, sculptures, paintings, glass, and mixed media works.

PORTLAND ART MUSEUM - PAM
1219 SW Park Avenue Portland, OR 97205

06/09/25

Matt Kleberg @ Berggruen Gallery, San Francisco - "Bless Babel" Exhibition

Matt Kleberg: Bless Babel
Berggruen Gallery, San Francisco
August 21 – October 16, 2025

Berggruen Gallery presents Bless Babel, an exhibition of new work by San Antonio-based artist Matt Kleberg. This exhibition will mark the gallery’s second solo exhibition with Matt Kleberg.

In Bless Babel, each painting builds around a singular central niche, suggesting the absence of a subject. Confronted with this vacancy, the viewer finds themselves at the center of Kleberg’s geometric abstractions. Influenced by architectural and ritualistic spaces, the works in Bless Babel investigate the tropes through which conception is framed by institutional or personal belief. Kleberg’s paintings are not interested in objective truth, but rather in how belief transforms our relationship to space and objects. These paintings are not portals, unless you believe they are. They are not windows, unless you believe they are. 

This exhibition derives its title from Donald Barthelme’s 1987 essay Not Knowing, in which the writer and critic considers uncertainty, improvisation, and discovery as fundamental to the creative act. Barthelme speaks of commentary, elaboration, exegesis, and contradiction as necessary modes of engagement between a piece of art and the earlier works of previous makers that inform it. Babel and the scattering of languages offer an example of how different approaches to the same concept are inherent to human expression. Kleberg’s new paintings embrace the constraints of particular shapes borrowed from Tramp Art frames and Italian Renaissance devotional objects, to explore how different resolutions can come out of multiple iterations of the same motifs.

Matt Kleberg’s paintings contradict themselves, oscillating between ecstasy and oblivion, exuberance and tranquility. Hues of pink, terracotta, and bright blue radiate amongst moody browns, maroon, and sap green. Scumbled surfaces complicate illusionistic shadows; interior space collapses into itself as one moves closer. Shimmering like television static or speckled concrete, colors that appear solid break apart upon inspection. Chromatic undertones shift in their nature–perhaps waiting to coalesce. Some paintings tower, their stripes and bands undulating, monumental and inviting, formal yet playful. Indebted as much to American folk art traditions as to Duccio and the Sienese School, Kleberg’s paintings pay homage—yet with their vacancies and their tensions, the drama is of their own conjuring. A frame within a frame within a frame. The pleasure is in the not-knowing. 

MATT KLEBERG was born in 1985 in Kingsville, Texas. He received his BA from the University of Virginia in 2008 and his MFA from the Pratt Institute in 2015. Coverage of his work can be found in various publications, including The New York Times, The Brooklyn Rail, Artsy, Vice, Maake Magazine, ArtDaily, Juxtapoz Magazine, Square Cylinder, and Hyperallergic. His work is featured in multiple private and public collections, including the Williams College Museum of Art, the AD&A Museum of the University of California Santa Barbara, the Old Jail Art Center, the Addison Gallery of American Art, the Museum of Fine Arts Houston, and the National Gallery of Art. Matt Kleberg currently lives and works in San Antonio, TX.  

BERGGRUEN GALLERY
10 Hawthorne Street, San Francisco, CA 94105

05/09/25

Maria Helena Vieira da Silva @ Guggenheim Museum Bilbao - "Anatomy of Space" Exhibition

Maria Helena Vieira da Silva
Anatomy of Space
Guggenheim Museum Bilbao
October 16, 2025 - February 22, 2026

An in-depth survey of the visual language of Portuguese-born French artist Maria Helena Vieira da Silva (1908–1992), this exhibition traces key moments in her career from the 1930s to the late 1980s through eight thematic sections. Particular focus is placed on her exploration of architectural space, where she dissolved the boundaries between real and imaginary urban landscapes, moving beyond formal references to Portuguese visual culture and avant-garde movements such as Cubism and Futurism.

Born in Lisbon, Maria Helena Vieira da Silva trained both there and in Paris. Influenced by her studies in sculpture and anatomy, as well as by the great masters of the past—particularly Paul Cézanne—and the avant-garde movements of the twentieth century, she developed a distinctive pictorial idiom in which the physicality of space merges with the dimensions of time and memory.

Her compositions, characterized by labyrinthine structures, chromatic rhythms, and fragmented perspectives, capture the essence of a world in constant transformation.

Curator: Flavia Frigeri

GUGGENHEIM MUSEUM BILBAO | BILBAO, SPAIN

04/09/25

Alexandre Diop @ Stephen Friedman Gallery, London - "Run For Your Life !" Exhibition

Alexandre Diop
Run For Your Life !
Stephen Friedman Gallery, London
19 September - 1 November 2025

Alexandre Diop
Alexandre Diop
A Vos marques ! Prêt ! Illegal, 2025
© Alexandre Diop, courtesy Stephen Friedman Gallery

Stephen Friedman Gallery presents Run For Your Life !, a solo exhibition of new paintings by Franco-Senegalese artist ALEXANDRE DIOP. This marks the artist's debut show with the gallery and his first solo exhibition in London.

Alexandre Diop’s powerful mixed-media works explore themes of history, metaphorical archaeology and socio-political change, with this body of work focusing on the relationship between movement and time, represented by dance or migration. The title of the exhibition, Run For Your Life !, is an invitation to stand for change, show tolerance, and be alert to crises around the world. Diop’s practice is interdisciplinary; his experience as a dancer, musician, and visual artist allows him to create artworks that transcend traditional paintings.

Physicality is central to the artist’s process. Diop’s rigorous approach to his work—which he refers to as object-images—combines found and recycled materials such as scrap metal, wood, leather, and textile remnants with classical techniques like oil painting. The materials are sourced from scrapyards, urban streets and derelict buildings, and then transformed through an intensive process of layering, burning, tearing, stapling and collaging onto wood panels. His material language, while firmly rooted in personal and political narratives, also engages with multiple art-historical lineages. His work draws from movements such as Dada, Art Brut, Expressionism and the Viennese Secession, while maintaining a strong dialogue with both West African aesthetic traditions and the visual codes of contemporary urban culture.

Alexandre Diop’s practice is anchored in drawing. He combines calligraphic strokes, symbols, and layered images that are painted, drawn, or sprayed. Figures— both human and animal—emerge from textured surfaces that blur the boundaries of painting, sculpture, and relief. Their stance recalls the awareness of a dancer, attuned to the body’s own rhythms. In this sense, the works look inward: they stage a dialogue between movement and stillness, surface and depth, becoming mirrors through which viewers may glimpse fragments of their own inner reality.

At the same time, Alexandre Diop’s work confronts the world beyond the self. It reflects on how individuals are bound by external forces—systems of illegality, oppression, and exclusion. In A Vos marques ! Prêt ! Illegal, 2025, a central figure cries out yet remains unheard, embodying the suffocation of life within unjust structures. The work echoes the story of Jesse Owens, the African-American runner who won Olympic gold in 1936 under Nazi rule, and becomes a call for freedom, justice, and resilience against overwhelming odds. Alexandre Diop constructs new worlds where historical, political, and social narratives unfold, offering his figures a space to resist, endure, and reimagine history.

Artist Alexandre Diop

Alexandre Diop is a Franco-Senegalese artist whose powerful, mixed-media works interrogate themes of ancestry, beauty, violence and social transformation. Drawing upon his experience as a dancer, musician, and visual artist, Alexandre Diop brings a multidisciplinary lens to his practice, crafting works that are deeply visceral and formally innovative. Alexandre Diop was born in Paris, France in 1995. He lives and works in Vienna, Austria.

Alexandre Diop’s work has been the subject of major solo museum exhibitions. In 2023, his work was presented with 18th century anatomical wax models of bodies and body parts in Anatomie at Josephinum Medical Museum, Vienna, Austria. His residency at the Rubell Museum in Miami culminated in a touring exhibition, Jooba Jubba, l’Art du Défi, the Art of Challenge, shown in Miami (2022) and Washington DC (2023). In 2022, Alexandre Diop exhibited alongside Kehinde Wiley in La Prochaine Fois, Le Feu, presented by Reiffers Art Initiatives in Paris.

Notable group exhibitions include Les Apparitions, Reiffers Art Initiatives, Paris, France (2025); De Sculptura, Albertina Klosterneuburg, Klosterneuburg, Austria (2025); The Beauty of Diversity, Albertina Modern, Vienna, Austria (2024); Being Mortal, Dom Museum, Vienna, Austria (2023); The New African Portraiture, Shariat Collections, Kunsthalle Krems, Krems an der Donau, Austria (2022); and Le Mouton Noir, Gesso Art Space, Vienna, Austria (2021).

Alexandre Diop’s works can be found in the collections of Albertina Museum, Vienna, Austria; AMA Venezia, Venice, Italy; AMOCA, Cardiff, Wales, UK; Espacio Tacuarí, Buenos Aires, Argentina; Josephinum Medical Museum, Vienna, Austria; Kunsthalle Krems, Krems an der Donau, Austria; MB Collection, Germany; National Museum of African American History and Culture, Washington DC, USA; Reiffers Art Initiatives, Paris, France; Rubell Museum, Miami, Florida and Washington DC, USA; Ståhl Collection, Norrköping, Sweden; Stora Wäsby Public Collection, Stockholm, Sweden and The Bunker Artspace, West Palm Beach, Florida, USA.

STEPHAN FRIEDMAN GALLERY LONDON
5-6 Cork Street, London W1S 3LQ 

2025 Annual Exhibition @ The Campus, Hudson, NY - A platform for expansive thought and free-ranging artistic expression

2025 Annual Exhibition
The Campus, Hudson, NY
Through October 26, 2025

The Campus presents its second annual exhibition, on view through October 26, 2025. Organized by Timo Kappeller, this exhibition stretches over 35 rooms and the surrounding grounds of the former Ockawamick School in Claverack, NY, newly revived as a dynamic venue for contemporary art. As in the 2024 edition, The Campus seeks to build community and foster dialogue in upstate New York, and many of the included artists have ties to the region. Performances and programming are scheduled throughout the run of the exhibition.

A diverse group of artists has been invited to respond to the spatial rhythm of the site and layer new meaning atop existing associations and touchstones. Thirty solo and duo full-room installations anchor the show alongside focused group presentations of painting, photography and ceramics. These site-responsive activations, recently created artworks, and historical reevaluations were developed through a yearlong process-led and artist-driven curatorial strategy. Rather than situating these works within a thematic framework, The Campus functions as a platform for expansive thought and free-ranging artistic expression.

Selected highlights:

Recent large-scale paintings by Rita Ackermann take earlier work as a starting point to reexamine a scene from multiple angles. Relationships between bodies of work, camera and picture plane, and abstraction and figuration are layered in a state of continual flux.

Corydon Cowansage’s murals and paintings suffuse a former classroom with hypnotic color and sensual shapes, straddling the space between biological and botanical imagery.

Rarely seen sculptures by Ming Fay explore the symbolic resonance, shape, color, and texture of fruits, seeds, seashells, and other nature-inspired hybrid forms—enlarged to invite both encounter with and appreciation of the natural world.

Katharina Grosse, known for large-scale site interventions, has conceived two adjoining silk-draped rooms in visual dialogue with mirrored works by Daniel Buren and improvisational sculptures by Arlene Shechet.

Exploring the unknowability of his own body, Naotaka Hiro presents a bronze sculpture along with a pair of new paintings—maps of a body’s workings as it grapples with the painting’s surface from above and below.

Char Jeré’s layered installation draws on Afro-fractalist theory, her own autobiography, and a background in data analytics to examine the ways in which the built networks of our world enact a complicated relationship between race and technology.

A group of vibrant soft sculptures by Marta Minujín epitomize her ongoing pursuit of a radically dynamic and temporal art, implicating the body of the artist, the viewer, and the body politic.

Drawing sessions hosted by Oscar Murillo Studio took place throughout the opening weekend (end of June), and visitors of all ages were invited to draw freely on canvases in a celebration of collective spirit. The canvases will go on to become part of a collaborative artwork for the 36th São Paulo Biennial.

Naudline Pierre debuts new paintings and works on paper in a large former classroom, inviting viewers to step into her immersive and otherworldly landscapes that situate personal mythology and transcendent intimacy alongside canonical narratives of devotion.

Dana Schutz and Ryan Johnson—partners in life and studio—present an exchange between their practices, combining Schutz’s paintings with Johnson’s sculptural forms in a spirited interplay.

Kiki Smith’s dreamlike photographs, sculptures, and textile works illustrate a multifaceted reflection on how the literal and symbolic meanings of light and sight affect the human condition.

A compelling group of sculptural wooden wall works by Richard Tuttle, recently made in New Mexico and on view for the first time, offer insight into the artist’s ongoing investigation of material and form.

An immersive, museological display by Francis Upritchard features sculpture and works on paper that tread the line between realism and fantasy, fusing her idiosyncratic blend of references from literature, ancient sculptures, burial grounds, science fiction, folklore, miniatures, and frescoes.

Participating artists include: Rita Ackermann, Lisa Alvarado, Jean Arp, Tauba Auerbach, Trisha Baga, Ranti Bam, Ernie Barnes, Huma Bhabha, Blinn & Lambert, Katherine Bradford, Daniel Buren, William Copley, Corydon Cowansage, Sarah Crowner, Carmen D’Apollonio, Michael Dean, Mark Dion, Hadi Falapishi, Monir Shahroudy Farmanfarmaian, Ming Fay, Jason Fox, Magdalena Suarez Frimkess, Vanessa German, Ann Gillen, Jan Groover, Katharina Grosse, Nicolás Guagnini, Daniel Guzmán, Maren Hassinger, Cynthia Hawkins, Paula Hayes, Lena Henke, Naotaka Hiro, Marcus Jahmal, Xylor Jane, Ann Veronica Janssens, Char Jeré, Ryan Johnson, Allison Katz, Byron Kim, Zak Kitnick, Andrew Kuo, Alicja Kwade, Dr. Lakra, Jim Lambie, Liz Larner, Margaret Lee, Fernand Leger, Richard Long, Liz Magor, Sylvia Mangold, Marta Minujín, Oscar Murillo, Aliza Nisenbaum, Mary Obering, Virginia Overton, Paul Pfeiffer, Naudline Pierre, Charles E. Porter, Nancy Rubins, Dana Schutz, Nancy Shaver with Wolf, Arlene Shechet, Dana Sherwood, Elias Sime, Skuja Braden, Kiki Smith, Monika Sosnowska, Vivian Suter, Toshiko Takaezu, Cynthia Talmadge, Richard Tuttle, Francis Upritchard, Nari Ward, Lawrence Weiner, Jordan Wolfson, Stanley Wolukau-Wanambwa, Molly Zuckerman-Hartung.

The Campus is owned and operated by a consortium of six galleries: Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps, and kurimanzutto. 

The exhibition is curated by Timo Kappeller, Artistic Director of The Campus. Curatorial team: Jesse Willenbring and Shira Schwarz. Embracing a collaborative model, the galleries have turned an abandoned former school building into a platform for cultural exchange.

THE CAMPUS 
341-217 Hudson, NY

2025 Annual Exhibition @ The Campus, Hudson, NY, June 28 - October 26, 2025

Emma Luukkala @ HAM Gallery - Helsinki Art Museum - "Night Wash" Exhibition

Emma Luukkala: Night Wash
HAM Gallery, Helsinki 
20 September - 9 November 2025

Emma Luukkala
Emma Luukkala
Night Wash, 2025 (detail)
Photo: Emma Luukkala

In her HAM gallery exhibition, EMMA LUUKKALA ponders the overlap between the sacred and the everyday. Life flows in endless piles of things and to-do lists, with moments of meaning, intense in their brightness, at the heart of the chaos.
Jobs I’ve done today: swept the floors, folded the laundry, and moved things from place to place. From somewhere, I can hear a blackbird singing.
Not even the grandest and most solemn situations are pure and uncontaminated by the outside world – they are always adorned with everyday chores and annoying dirt. Emma Luukkala asks what sacred could mean in a new materialist context, where the world is not divided dualistically into the superior spiritual and the inferior material, but instead consists of a wide range of intertwined players.

EMMA LUUKKALA (b. 1992) is a Helsinki-based artist who uses painting materials in a variety of ways, combining flat blocks of colour with relief details. She graduated with a Master of Fine Arts (MFA) degree from Helsinki Academy of Fine Arts in 2020. In recent years, her work has been exhibited at venues including Jyväskylä Art Museum, Kunsthalle Helsinki, tm•gallery and Galerie Anhava.

HAM GALLERY - HELSINKI ART MUSEUM
Eteläinen Rautatiekatu 8, 00100 Helsinki

03/09/25

Yuan Fang @ Skarstedt Gallery, NYC - "Spaying" Exhibition

Yuan Fang: Spaying
Skarstedt Gallery, New York
September 4 – October 25, 2025

Skarstedt Chelsea presents Spaying, Yuan Fang’s second solo exhibition with the gallery (the previous one was in London). In this deeply personal and formally rigorous body of work, Yuan Fang turns inward, offering a meditation on illness, identity, and the intricate architecture of womanhood. In addition to her large-scale canvases, Yuan Fang debuts a suite of smaller, more intimate paintings—what the artist refers to as “subplots,” fragments of a larger, lived narrative.

The exhibition’s title alludes to the medical and emotional ramifications of Fang’s recent breast cancer diagnosis and subsequent treatments, functioning as a reference not only to the potential biological consequences of her treatment, but also the literal act of cutting—a gesture central to her process. Through cycles of modification, layering, and erasure, Yuan Fang pares down each composition until a dominant “entity” emerges. These central forms, always abstract yet bodily, function as torsos, anchoring each painting with a visceral sense of presence. “I need my paintings to be confrontational,” Yuan Fang notes, and indeed, each image carries that charge, meeting the viewer with both the emotional weight of her experience and a visual strength that builds like a storm on the horizon. 

New to this body of work is Fang’s embrace of negative space. Informed by the tradition of “leaving blank” in Chinese painting, these compositional voids focus the viewer’s attention on what remains. Separately, the rhythm of her studio practice has slowed, inviting longer periods of contemplation and greater attention to detail. The resulting compositions feel more deliberate with each painting charged with quiet intensity.

Autobiographical threads run throughout. Several works incorporate the artist’s own medical imaging subtly embedded in the compositions, such as Accumulating, Breaking Through the Defense Line. Others channel the psychic toll of external expectation and all of the rage, pressure, and fatigue that accompany it. 

Throughout the show, Yuan Fang navigates the porous boundaries between vulnerability and strength, life and death. This emotional duality is echoed in the palette of deep burgundies, forest greens, and indigos, and in the evocative titles of works such as Standing, Injured Horse and Bloody Meteorite Falling from the Sky. In the ease of her oil transitions and the fluidity of her lines, there is a quiet but profound sense of release. The works in Spaying may emerge from pain, but they insist on clarity. Though anchored in personal experience, Spaying broadens Fang’s ongoing investigation into the construction of feminine identity and the quiet rebellions required to reclaim it. Confronting her own mortality has yielded a new lucidity, and with it, a sharpened resolve to live on her own terms.

SKARSTEDT NEW YORK CHELSEA
547 West 25th New York, NY 10001

02/09/25

Jangueando: Recent Acquisitions, 2021-2025 Exhibition @ El Museo del Barrio, New York

Jangueando: Recent Acquisitions, 2021-2025 
El Museo del Barrio, New York 
August 28, 2025 — Summer 2026 

Laura Aguilar
Laura Aguilar
Plush Pony #25, 1992
Gelatin silver print 
Collection of El Museo del Barrio, New York 
Gift of the Acquisitions Committee
Photo by Matthew Sherman 

william cordova
william cordova 
2 tienes santo pero no eres Babalawo, 2023 
Mixed media 
Collection of El Museo del Barrio, New York 
Gift in memory of Rudy Perez

Danielle De Jesus
Danielle De Jesus 
Loyalty like this doesn't exist anymore, 2021 
Oil on linen 
Collection of El Museo del Barrio, New York
Gift of Noah Roy 
Photo by Dario Lasagni

Mundo Meza
Mundo Meza 
Kuikuro Jakui Flutes, 1976 
Acrylic on canvas 
Collection of El Museo del Barrio, New York 
Gift of the Estate of the artist 
Photo by David Frantz

El Museo del Barrio in New York presents Jangueando: Recent Acquisitions, 2021–2025, a dynamic exhibition showcasing 39 newly acquired works by 36 artists that reflect the Museum’s ongoing commitment to representing the cultural vibrancy and complexity of Latinx and Latin American communities. This exhibition marks a bold and celebratory moment for El Museo’s evolving Permanent Collection.
Jangueando embodies El Museo del Barrio’s unwavering commitment to artists whose work captures the complexities, resilience, and brilliance of our Latine culture. In this moment of heightened threats, this exhibition becomes more than a celebration—it asserts the power of gathering—of hanging out—as a form of resistance, healing, and transformation.” —Patrick Charpenel, Executive Director, El Museo del Barrio.
The title is a play on words. It looks to janguear, Puerto Rican slang for socializing with friends. From hanging out to hanging art, here it uses the museum context to create a space of dialogue and gathering. At a time when many of the communities represented by El Museo del Barrio are under attack—through immigration raids, backlash against DEI initiatives, and the cancellation of federal grants—these multiple interpretations imply both solidarity and a political call to action through holding space and kinship.

Hiram Maristany
Hiram Maristany
The Gathering, 1964/2022
Silver gelatin print
Collection of El Museo del Barrio, New York 
Museum Purchase

Carlos Motta - Higinio Bautista
Carlos Motta
with Higinio Bautista 
Shaman Boa, 2023 
Carved wood 
Collection of El Museo del Barrio, New York 
Gift of the Acquisitions Committee 

Benjamin Munoz
Benjamin Muñoz 
Contract Labor, 2024 
Chine collé woodcut on paper 
Collection of El Museo del Barrio, New York 
Gift of Benjamin & Julianna Muñoz

Jaime Munoz
Jaime Muñoz 
Metal Only, 2022
Acrylic, glitter, paper, and velvet on wood panel
Collection of El Museo del Barrio, New York
Gift of Lio Malca

El Museo del Barrio’s Permanent Collection of more than 8,500 artworks was shaped by the Museum’s unique history as an artist-led, community-focused institution from when it was first established in 1969. The founding community of the Museum faced extreme racism and economic hardship and insisted that art had the power to help communities connect in the face of these trials and, together, imagine alternative ways of being.

Jangueando brings together 39 works by artists at various stages in their careers, representing a range of generations, cultural perspectives, and media—including painting, photography, sculpture, and video. Organized into thematic clusters, select groupings build on the museum’s historical strengths, such as Puerto Rican and Nuyorican portraiture, Latinx photography, and printmaking. The exhibition also highlights the evolution of the museum’s collecting strategy, with renewed focus on queer artists and those of Indigenous descent.
“Ever evolving, El Museo del Barrio’s distinct Permanent Collection stands as a testament to the artists, cultural workers, donors, and community members who have helped build and shaped it over time,” says Susanna V. Temkin, Interim Chief Curator, El Museo del Barrio. “Jangueando marks an exciting new chapter in the Museum’s evolution as a collecting institution—serving not only as a platform to debut new acquisitions, but also as a reflection of our shared, collective spirit. The exhibition offers both a framework and a provocation to what is at stake in being together.”

Juan Sanchez
Juan Sánchez 
Still from Unknown Boricua Streaming: 
Nuyorican State of Mind, 2011 
Video, color with sound, 8:09 mins 
Collection of El Museo del Barrio, New York
Gift of Javier Lumbreras

Ethel Shipton
Ethel Shipton 
Change Cambio, 2020 
House paint and vinyl on wooden panel 
Collection of El Museo del Barrio, New York 
Gift of the artist and Ruiz-Healy Art 

Daiara Tukano
Daiara Tukano 
Hori, 2023 
Acrylic on canvas
Collection of El Museo del Barrio, New York 
Gift of Daiara Tukano and Millan

Artists whose works are on view in the exhibition include:

Eduardo Abaroa (1968, Mexico City, Mexico; lives in Mexico City)
Laura Aguilar (1959, San Gabriel, CA – 2018, Long Beach, CA)
José Alicea (1928, Ponce, Puerto Rico; lives in Río Piedras, Puerto Rico)
Lola Álvarez Bravo (1903, Lagos de Moreno, Mexico - 1993, Mexico City, Mexico)
assume vivid astro focus (formed in New York, NY in 2001)
Myrna Báez (1931, Santurce, Puerto Rico – 2018, Hato Ray, Puerto Rico)
Higinio Bautista
Eloy Blanco (1933, Aguadilla, Puerto Rico – 1984, New York, NY)
Luis Carle (1962, San Juan, Puerto Rico; lives in New York, NY)
Los Carpinteros (formed in La Havana, Cuba in 1992)
Manuel Chavajay (1982, San Pedro La Laguna, Guatemala, lives in San Pedro La Laguna)
william cordova (1971, Lima, Peru; lives in North Miami Beach, FL)
Abraham Cruzvillegas (1968, Mexico City, Mexico; lives in Mexico City)
Danielle De Jesus (1987, Brooklyn, NY; lives in Brooklyn)
Sandra Gamarra Heshiki (1972, Lima, Peru; lives in Madrid, Spain)
Luis Gispert (1972, Jersey City, NJ)
Matías González Chavajay (b. 1959, San Pedro La Laguna, Guatemala, lives in San Pedro La Laguna)
Pedro Rafael González Chavajay (b. 1956 in San Pedro la Laguna, Guatemala, lives in San Pedro La Laguna)
Julia Isidrez (1967, Itá, Paraguay; lives in Itá)
Antonio C. Ixtamer (b. in 1968 in San Juan la Laguna, Guatemala, lives in San Juan la Laguna, Guatemala)
Lidia Lisbôa (1970, Guaira, Brazil; lives and works in São Paulo, Brazil)
Marepe (Marcos Reis Peixoto) (1970, Santo Antônio de Jesus Bahia, Brazil; lives in Santo Antônio de Jesus)
Hiram Maristany (1945, New York, NY – 2022, St. Petersburg, FL)
Maria Teodora Mendez de González
Mundo Meza (1955, Tijuana, Mexico - 1985, Los Angeles, CA)
Carlos Motta (1978, Bogota, Colombia; lives in New York, NY)
Benjamin Muñoz (1993, Dallas, TX; lives in Dallas)
Jaime Muñoz (1987, Los Angeles, CA; lives and works in Pomona, CA)
Paula Nicho Cúmez (1955, Comalapa, Guatemala, lives in Comalapa)
Miguel Pou y Becerra (1880, Ponce, Puerto Rico - 1968 San Juan, Puerto Rico)
Juan Sánchez (1954, Brooklyn, NY; lives in Brooklyn)
Ethel Shipton (1963, Laredo, TX; lives in San Antonio, TX)
Valeska Soares (b. 1957, Belo Horizonte; lives in Brooklyn)
Laureana Toledo (1970, Ixtepec, Mexico; lives in Mexico City, Mexico)
Rigoberto Torres (1960, Aguadilla, Puerto Rico; lives in New York, Puerto Rico, and Florida)
Daiara Tukano (1970, Guaira, Brazil; lives and works in São Paulo, Brazil)

The exhibition is organized by the Curatorial Department of El Museo del Barrio: Zuna Maza, Lee Sessions, and Susanna V. Temkin, with María Molano Parrado.

EL MUSEO DEL BARRIO, NEW YORK
1230 5th Avenue at 104th Street, New York, NY 10029 

01/09/25

Wayne Ngan @ James Cohan Gallery, NYC - "Spirit and Form" Ceramics Exhibition

Wayne NganSpirit and Form
James Cohan Gallery, New York
September 5 — October 4, 2025 

Wayne Ngan Ceramics
Wayne Ngan 
Yellow Vase with Lugs, 2016, Rust Coloured Vase, 2017 
Yukon Black Jar with Geometric Lugs, c. 2000s, 
Thin Vase with Cast Iron Glaze, 2014, White Vase, 2016 
Photo courtesy of James Cohan Gallery

Wayne Ngan (b. 1937 Guangdong, China - d. 2020 Hornby Island, BC, Canada) is recognized as one of Canada’s premier ceramic artists. Ngan’s lengthy career spanned over six decades. At the age of thirteen, Wayne Ngan moved from Guangdong, China to a vastly different British Columbia, Canada. Wayne Ngan was determined to make a name for himself as an artist despite challenging circumstances. His practice drew influence from traditional Chinese, Korean, and Japanese pottery, as well as Modernist painting, pre-Columbian and ancient Egyptian art. Ngan’s extensive knowledge of these historic precedents and his connection to the natural beauty of Canada’s Hornby Island informed his abstract sculptural forms. This exhibition at James Cohan spotlights a selection of cornerstone works, created in the 1990s and the last decade of the artist’s life.

Inspired by the back-to-the-land movement, popularized in the 1960s and 70s, Wayne Ngan centered his life and artistic practice around a harmonious relationship with the environment anchored in self-sufficiency. Ngan sourced natural materials both to build his home and studio on Hornby Island, and also to fuel his artmaking, experimenting with creating various glazes from clay like Yukon black, a deep noir glaze with high shine. Ngan was committed to exploring process, using the wealth of knowledge he gained from his regular travels to China and Japan as well as independent research to refine techniques such as raku, hakeme (coarse brush decoration), and salt glazing. Waynes Ngan built his forms by throwing and altering pieces of clay, then sculpting them together. He would occasionally fashion elements that extend outwards and generate curvilinear, spouted openings in others. Here, elegantly elongated vessels in earth tones are in dialogue with compact lidded forms, which seem to contain the energy Ngan expended to render them. Their surfaces are varied – ranging from textural and patterned to slick and smooth. According to Wayne Ngan, “There are two ways of looking at pots: one is the actual clay pot, but the real pot to me is all around me—the spirit of the pot.”

Through his work in clay, Wayne Ngan fused East and West, the past and the present, collapsing disparate chronologies and geographies into intimate, evocative objects.

CERAMIC ARTIST WAYNE NGAN

Wayne Ngan studied at the Emily Carr University of Art and Design, formerly the Vancouver School of Art. The influential teachings of British potter Bernard Leach and Soetsu Yanagi, founder of the Mingei, a Japanese folk art movement (prioritizing beauty in the everyday) resonated strongly with ceramic artists in British Columbia, including Wayne Ngan. In 1967, Wayne Ngan settled on Hornby Island, where he lived and worked until his passing in 2020.

Wayne Ngan’s work has been exhibited in numerous solo and group exhibitions since the 1960s at venues including the Vancouver Art Gallery; the National Gallery of Canada; the Gardiner Museum, Toronto; Hanart Art Gallery, Taipei, Taiwan; Nathalie Karg Gallery, New York; the Art Gallery of Greater Victoria; The Apartment in Vancouver; and the American Crafts Museum, Concord, Massachusetts, among others. Ngan’s ceramics are in notable public collections such as the Vancouver Art Gallery, the Montréal Museum of Fine Art, the Gardiner Museum, the National Palace Museum (Taipei, Taiwan), the Art Gallery of Greater Victoria, the Canadian Museum of Civilization, and the Morris and Helen Belkin Art Gallery, University of British Columbia.

JAMES COHAN
48 Walker Street, New York, NY 10013

31/08/25

Ana Cláudia Almeida @ Stephen Friedman Gallery, NYC - "Over Again" Exhibition

Ana Cláudia Almeida: Over Again
Stephen Friedman Gallery, New York
5 September - 18 October 2025

Ana Claudia Almeida
Ana Cláudia Almeida
Licking, 2025
© Ana Cláudia Almeida, courtesy Stephen Friedman Gallery

Stephen Friedman Gallery, New York, presents Over Again, an exhibition of new paintings and drawings by Brooklyn-based, Brazilian artist ANA CLAUDIA ALMEIDA. This marks the artist’s first solo exhibition in New York.

Ana Cláudia Almeida is an artist whose work explores materiality through movement and mark-making, incorporating a range of media including paper, plastic, oil pastels, paint, video, and sculpture. Her practice seeks to disrupt the functional role of objects by examining the dynamic tension between interior and exterior, individual and environment. The fluttering nature of her works on fabric, the shifting quality of her sculptures, and the kaleidoscopic fragmentation of her large-scale paintings transform intangible memories into physical form.

In Over Again, drawing, oil painting, sculpture, and plastic collide in what Ana Cláudia Almeida describes as an “ecosystem of pieces,” where each medium leaks into the next—a monotype that wants to be a drawing, a drawing that yearns to be a painting, and plastic remnants that refuse to be cast aside. Processes coexist and collide across surfaces, embodying the changeability that sustains both life and artistic practice. Her work reflects the cyclical nature and plasticity of life, tracing the ways in which every action leaves an imprint that shapes what comes next.

Ana Cláudia Almeida’s new body of work—and the exhibition’s title—draws inspiration from Brazilian musician Tim Maia’s song Over Again, which she embraces as a mantra urging liberation from rigid patterns in mind, body, and daily life. Literature, music like Maia’s, and the people she’s met have opened her to alternative ways of living, offering a vision of a less harsh existence. “Precisely in the moments when everything felt more urgent than fabulation, allowing myself that exercise was one of the greatest experiences of freedom I could have had… and now my new pleasure is to lean into the place that hope occupies in the lives of us, Black people.”

In works like Cascata II (2025), Ana Cláudia Almeida revisits the notion of freedom—inseparable, for her, from hope. The largest work in the exhibition is composed of vividly painted fabric that cascades from the gallery ceiling. Its free-flowing brushstrokes unfurl in winding swaths of color, a stunning display of the artist’s intuitive process. This sense of unrestrained movement extends throughout the exhibition: in Dew (gripe) and Belly full of liquids (both 2025), Almeida uses expanses of white space to frame and amplify her vibrant, expressive line drawings. 

For Over Again, Ana Cláudia Almeida assembles a constellation of works that speak to difference, resilience, and the radical act of imagining otherwise. Together, they form what she calls “an essay for a world of differences and complexities”—a defiant refusal of the “machine of existence-flattening” and an invitation to inhabit a space where freedom and hope are lived, shared possibilities.

Artist Ana Cláudia Almeida

Ana Cláudia Almeida (b. 1993, Rio de Janeiro, Brazil; lives in Brooklyn, New York) is a multidisciplinary artist whose practice spans painting, sculpture, and video. Her work has been exhibited widely in Brazil and internationally. Notable presentations include a two-person exhibition with Tadáskía at the Nevada Museum of Art as part of the Joyner/Giuffrida Visiting Artists Programme; Guandu Paraguaçu Piraquara at Fortes D’Aloia & Gabriel, Rio de Janeiro; Buracos, Crateras e Abraços at Quadra, Rio de Janeiro; and Wasapindorama at Fundação de Arte de Niterói, Niterói. Group exhibitions include Ensaios sobre a Paisagem at Instituto Inhotim, Brumadinho; Olhe bem as montanhas at Quadra, São Paulo; Essas Pessoas na Sala de Jantar at Casa Museu Eva Klabin, Rio de Janeiro; Crônicas Cariocas at Museu de Arte do Rio; and Casa Carioca at Museu de Arte do Rio.

Ana Cláudia Almeida holds a BFA from Universidade do Estado do Rio de Janeiro and an MFA from the Yale School of Art. 

Her work is held in the public collections of Museu de Arte do Rio, Instituto Inhotim, Sesc Rio de Janeiro, and the Nevada Museum of Art.

STEPHEN FRIEDMAN GALLERY NEW YORK
54 Franklin Street, New York 10013