Pae White in 'Destiny is a Rose: The Eileen Harris Norton Collection' at Hauser & Wirth →

Pae White
February 24 – April 26, 2026 | Hauser & Wirth, Los Angeles

Pae White and Brian Eno
Oblique Strategies, 1996
Printed cards in Corian container
4 × 11 × 9 in. (10.2 × 27.9 × 22.9 cm)
Norton Family Christmas Edition

Renowned for her generosity to artists and institutions, Eileen Harris Norton has built a collection and philanthropy actively focused upon the work of women, artists of color and her native California. Marking fifty years since Harris Norton’s first acquisition—a print purchased directly from Los Angeles artist Ruth Waddy in 1976—‘Destiny Is a Rose’ presents more than 80 works that together reflect Harris Norton’s prescient vision and commitment to social justice and learning.

Titled after a painting by Kerry James Marshall, ‘Destiny Is a Rose’ includes work by such artists as Mark Bradford, Felix Gonzalez-Torres, David Hammons, Glenn Ligon, Marshall, Lorraine O’Grady, Adrian Piper, Betye Saar, Lorna Simpson, Kara Walker, Carrie Mae Weems and Jack Whitten, among others. In conjunction with ‘Destiny Is a Rose,’ Hauser & Wirth Publishers will release a catalogue featuring texts by Dr. Kellie Jones and curator Ingrid Schaffner, celebrating a collector who continues to be an agent of cultural change and growth.

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Jack Goldstein: Pictures, Sounds and Movies →

Jack Goldstein
January 24 – May 31, 2026 | Beim Stadthaus, Kunst Museum Winterthur

Jack Goldstein (1945–2003), who was born in Montreal and graduated from the California Institute of the Arts, became a key figure of the Pictures Generation, the artist movement that shunned traditional art forms and appropriated images from advertising, television, and popular culture.

His work is characterized by radical reduction, technical brilliance, and conceptual focus. At the beginning of his career, he created Post-Minimalist sculptures and performances. In the 1970s, he made experimental 16mm films such as The Jump (1978) in which a diver from Leni Riefenstahl’s film Olympia seems to jump into a void—a symbol for Goldstein’s own grappling with presence and erasure. Other videos, too, such as Shane (1973) and Metro-Goldwyn-Mayer (1975) explore the power of film images. 

In the same period, Goldstein began doing sound pieces and produced the series A Suite of Nine 7-Inch Records (1976), in which he combined sound effects from feature films to create sound artworks. Starting in 1980, he produced noteworthy large-format Photorealist paintings of natural phenomena, war scenes, and technological pictures, which consisted of illustrations from newspapers and magazines that his assistants had painted according to his directions. It was important for him to have as much distance to the work as possible and to minimize personal artistic style.

Whether sculpture, film, sound, or painting, Goldstein’s art revolves around transience, invisibility, and the mechanisms of reproduction through the media. He cleverly achieves a balance between spectacle and vacuousness. His suicide in 2003 marked the end of an oeuvre that had a considerable influence on an entire generation of younger artists—however, in Switzerland it was largely overlooked. Together with MAMCO Geneva (Musée d’Art Moderne et Contemporain), private lenders, and thanks to a permanent loan from the Jochen Kienzle Foundation, the Kunst Museum Winterthur presents a representative selection of paintings, films, and records for the first time.

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Uta Barth in 'MoCP at 50: Collecting Through the Decades' →

Uta Barth
January 22 – May 16, 2026 | The Museum of Contemporary Photography at Columbia College, Chicago

Uta Barth, Field #3, 1995

This year, the Museum of Contemporary Photography turns 50 years old. Since opening in 1976 and initiating collecting in 1979, the MoCP has acquired over 18,000 objects by more than 2,000 artists, representing a broad scope of aesthetics, technologies, and processes. The variety of work collected has allowed the museum to engage in conversations across political, social, and cultural landscapes.

To celebrate this milestone, MoCP at 50 examines the evolving practice of building a dynamic collection, presenting a range of rarely exhibited and newly acquired works. Together, these selections question and reflect on the role of cultural institutions in shaping the photographic canon.

MoCP at 50 honors the museum’s ongoing dedication to collecting as a deliberate, mercurial, and educational process that contributes to keeping photography’s many narratives alive and in dialogue with the present.

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Fiona Banner: Kicking the Weight of Language →

Fiona Banner AKA The Vanity Press | Rosanna Albertini’s The Kite

by Rosanna Albertini

Dis-like, dis-quiet, dis-member, dis-traction, D I S, the 3 (greek) letters that have lived hundreds years and found a place in many languages of today, give the words a strange uncertainty: DIS ARM for instance, it’s an arm and it is not. Fiona Banner decided it is the arm of a clock. Time is gently held inside the hand, it’s human time. As the arm moves around invisible hours the human touch replaces certainty. Time is not written. Movement, inner timing, the unpredictable, surprising clock in our body hosts an infinite shrinking, or enlarging time, the son of emotions. Silent and invisible. Not a hero. 

We all are, including the artist, prisoners of languages that we love and dislike. 

They are a constant challenge. Words are the most tricky. On paper they slip away fast. If we stop on them more than a few seconds each word becomes a deep hole, understanding goes to hell. Paul Valéry showed me that. But placed on the floor cast in industrial fonts — using melted aluminum that was once the wing of a jet attack aircraft originally used by the British Royal Air Force and the French Air Force — the surviving word, V U L V A, becomes heaviness, sculpted mixture of meanings; an object, an absurd object in our face. 

Read more here.

Ann Veronica Janssens in 'Louisiana's New Works' →

Ann Veronica Janssens
December 2, 2025 – June 4, 2026 | Louisiana Museum of Modern Art, Denmark

Photo credit: Camilla Stephan / Louisiana Museum of Modern Art, Humlebaek, Denmark

From 2022 and onwards, Louisiana has once again been able to add a broad and important variety of works to the museum collection. Great surprises therefore await with works in the entire South Wing as well as several rooms in the North Wing.

The exhibition presents more than 130 works by some 80 artists – half of whom are new to the collection. In time they span from a 1945 self-portrait by Diane Arbus to works created this year by Gauri Gill and Issy Wood.

The presentation spans painting, photography, sculpture, video works and installations. And here you come across both classics and artists who have been exhibited at the museum in recent years - such as Diane Arbus, Firelei Báez, Ann Veronica Janssens, Dana Schutz, Alex Da Corte and Richard Prince.

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Jorge Méndez Blake in 'Fragments of Displacement' →

Jorge Méndez Blake
December 2, 2025 - March 1, 2026 | FF Projects, Miami

Curated by Omar Lopez-Chahoud, Fragments of Displacement features works by Mario Garcia Torres, Brian Eno, John Giorno, Andrea Geyer, Jose Davila, Gonzalo Lebrija, Chantal Peñalosa Fong, Stefan Bruggemann, Ian Waelder, Malibu, Linnea Goransson, Andre Komatsu, Jorge Mendez Blake, Matteo Callegari, Alessandro Moroder, Julia Rometti, Abigail Reyes, & Richie Culver.

The exhibition features site specific installations throughout the Miami Produce Distribution Center in Allapatah.

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On Responding: Stolon Press →

Simryn Gill | Art+Australia

by Amy May Stuart

Across two recent exhibitions, Stolon Press: Flat earth (Monash University Museum of Art (MUMA), Melbourne) and Live feed (1301SW, Sydney), the experimental publishing collective Stolon Press (Simryn Gill and Tom Melick) and their interdisciplinary collaborators work with what is close at hand. Discarded cardboard boxes, coffee grounds, one’s own voice, paper, vegetables, typewritten notes, and unframed photographs and prints form the material vocabulary of these two shows. There is a responsiveness too, in their way of working. This became clear in Flat earth—an exhibition put together by Stolon Press, to which they invited long-time collaborators Khaled Sabsabi and Elisa Taber—when the exhibition’s beleaguered completion significantly altered its planned form.

[…]

Instead of Stolon Press’ proposed discursive works, they contributed the ‘residual’ elements of the piece they had planned to show, Mixed business (2025)—direct prints taken from cardboard produce boxes collected in the vicinity of their Sydney studio. Placed across the floor in three of the gallery’s four spaces were ‘carpets’ of stitched-together cardboard from the flattened boxes, with each bearing the left-over ink from its use as a printmaking plate. While Mixed business did contain text, partially obscured labelling on the boxes detailing country of origin and contents, Stolon Press again move away from directly authored writing and towards minimalist abstraction. The gesture generated an ambiguity of meaning—which like Sabsabi’s Aajyna, prompts questions around demands for legibility from both viewers and institutions.

If Flat earth was characterised by minimalism and residuality, Live feed, a subsequent exhibition put together by Stolon Press, enacted an abundance of expression by the collective and their collaborator, chef Chui Lee Luk—not least through the communal dinners organised by Luk to bracket the exhibition period. Here, Stolon Press continued their long-term project of disciplinary disobedience, producing works that sat at the interstices of publishing, art and facilitating. Hosting Luk’s experiments with cooking and the fraught nature of food service they collectively asked questions of globalised flows of foodstuffs alongside the relationality of eating together.

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Gonzalo Lebrija & Jorge Méndez Blake: FINISTERRE at Travesia Cuatro →

Jorge Méndez Blake
November 22, 2025 - February 15, 2026 | Travesia Cuatro, Madrid

Gonzalo Lebrija and Jorge Méndez Blake went to the Costa da Morte and brought back something they did not know they were looking for: lighthouses. Or rather: one imaginary lighthouse, made up of little bits of all the lighthouses—like a synthesis of all of them into one. They could have gone to Cornwall or Brittany or Cork, even to Tierra del Fuego or Nova Scotia, without bringing back the lantern of Lariño, or the sirens of Finisterre, or the light of Silleiro, and instead bringing back other lanterns, other sirens, and other light beams, and the result would have been much the same. Is what we feel when we look out onto the sea from any of the lighthouses mentioned really different from what we feel at any other lighthouse? Thinking that the answer is “yes” would turn us into mere stamp collectors. It is not the case. 

 Jorge Méndez Blake and Gonzalo Lebrija have traveled to the Costa da Morte at night precisely for that reason: daytime infatuation gone, mysteries reveal themselves in their full indecipherability. The candle that once gave light before it was snuffed out, the incandescent silhouette of a boat crossing the horizon, the luminous crown of a tower in the middle of the Atlantic, the imagined conversations between sailors and lighthouse keepers… without their cold presence, without their Beckett-like solitude, without their words—or our own—to point out what transcends us, Finisterre would not even have a name. As stated in one of the dialogues of the exhibition: lighthouses, fractions of hope, flickering over the horizon. “The fog surrounds us,” says one sailor in the same dialogue. “And our light traps us in it,” answers another. 

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Ann Veronica Janssens and Philippe Parreno in 'Highlights from the Permanent Collection' →

Ann Veronica Janssens, Philippe Parreno
November 22, 2025 – June 25, 2026 | The PoMo Collection, Trondheim

The newly established PoMo Collection is growing rapidly. The collection is constantly evolving, with new works that contribute to its relevance, distinctiveness and high international quality. We are also committed to ensuring that the collection represents a wide diversity of artists, across gender, generations, backgrounds and artistic expressions. In this way, the works reflect the cultural and political shifts of our time, while maintaining a timeless relevance.

The presentation also offers a first encounter with new acquisitions, including the installation Amber, Pink and Wisteria (2025) by Ann Veronica Janssens, one of the artist’s iconic fog rooms. Here, you are invited to step inside the artwork itself and experience how time and space dissolve in a symphony of colour. The piece has been site specifically developed for PoMo in collaboration with the artist, who is already represented in the collection with her luminous glass works Sunset B, CL2E354 and CL2 (2020).

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Rirkrit Tiravanija in 'Show & Tell: An Exhibition for Kids' →

Rirkrit Tiravanija
November 20, 2025 – April 5, 2026 | Walker Art Center, Minneapolis

Harold with Rirkrit Tiravanija’s “Untitled 2006 pavilion table and puzzle representing the famous painting by Delacroix La Liberté Guidant le Peuple 1830.” Photo Credit: Sheila Regan of the Minneapolis Post

Show & Tell is an exuberant, hands-on exhibition designed just for kids!

Built around five exploratory zones—Play, Make, Find, Read, and Watch—Show & Tell encourages young people to approach contemporary art with creativity and imagination. Where Cas Holman’s Critter Party (2024) offers a sculpture to touch, climb on, and modify, Caroline Kent’s colorful abstractions inspire kids to create their own collages to project in the gallery. A porthole wall reveals a trove of hidden surprises, from a miniature Spoonbridge and Cherry to a family of funky creatures. And in the comfy “Watch” zone, a varied selection of short films prompts curiosity and conversation.

With vibrant graphics and thoughtful spatial design, Show & Tell is an exhibition full of tiny worlds, tall tales, and endless stories.

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Stolon Press in Gateway 2025: 'Seeds of Memory - Migration as Ceremony, Survival, and Renewal' →

Stolon Press (Simryn Gill)
November 19-23, 2025 | Manarat Al Saadiyat, Abu Dhabi

Stolon Press
Mixed Business No. 1, 2025
cardboard boxes (Missile Apples, South Australia; Durra Sunflower Oil, Malaysia; Tahineh, Kalaajieh, Lebanon; Moloky Thyme, Zaidan al Ammouri and Sons, Jordon; Royal Fields Stuffed Vine Leaves, Turkey; Wagh Bakri, Special International Blend Tea, Ahmedabad, India; Best Taste Pickled Cucumber, Iran; Duru Fine Bulgur, Turkey), etching ink, jute thread
110.24 x 62.99 inches

Gateway is an art exhibition held each November at Manarat Al Saadiyat during the Abu Dhabi Art Fair. Curated by Brook Andrew, the exhibition presents local and international artists through a distinctive curatorial lens. The exhibition is sponsored by Abu Dhabi Art’s Global Partner, HSBC.

The 2025 edition, titled Seeds of Memory - Migration as Ceremony, Survival, and Renewal features Betty Muffler, Issam Kourbaj, Leila Shirazi, Mohamed Majeed Almubarak, Natalia Papaeva and BANG ON Collective, Nomasmetaforas, Stolon Press, Sa Tahanan Co., & Vincent Namatjira 

Migration is a powerful term that encompasses a vast array of experiences across life and the universe. It includes the movement of water, seeds, animals, cultures, people, and their intertwined histories. These migrations—whether visible or invisible, physical or symbolic—are often deeply personal, evoking complex emotions and connections. They serve as profound metaphors for change, survival, and transformation. For Abu Dhabi Art 2025, curator and artist Brook Andrew delves into migration not only as a physical action but also as a poetic and political force. He explores it as a means to inspire and reminisce, to reflect on our place in the world, and to engage with others through performance, storytelling, and diverse cultural expressions. His curatorial vision invites audiences to participate in migration as an evolving and collective memory, one that can be celebratory, challenging, and healing—all at once. Through this lens, migration becomes a universal and shared human experience. 

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Ana Prvački in 'Phallus :: Fascinum :: Fascism' →

Ana Prvački
November 15, 2025 – January 17, 2026 | The Box, Los Angeles

Ana Prvacki, Penis bonus pax in domus, 2017
Bronze, gold patina
8.8 x 5.5 x 3.1 inches
Ed. of 5

The Greek root φαλλός (phallos) is likely related to the Proto-Indo-European root bhel-, meaning “to blow up” or “swell,” which connects it to concepts of inflation or enlargement. This same root appears in other words related to swelling or fullness, such as balloon, bellows, or belly.

A fascinum was an ancient Roman style of an amulet of a phallus, designed to draw away the evil eye from the user towards the amulet (because it was an object of desire). The English word "fascinate" ultimately derives from Latin fascinum and the related verb fascinare, "to use the power of the fascinus", that is, "to practice magic" and hence "to enchant, bewitch, or bind together”.

In ancient Rome, the fasces were a ceremonial symbol of authority carried before magistrates. They consisted of birch or elm rods bound together with a leather strap, often with an axe head protruding from the bundle. The fasces represented the magistrate’s power to punish (the rods for beating) and execute (the axe for beheading). 

Benito Mussolini adopted this terminology when he founded the “Fasci di Combattimento” (Combat Squads) in 1919. The name deliberately evoked both the ancient Roman symbol of state power and the more recent tradition of Italian political organizing.

Now, I would like to draw your attention—at length—to the history of Ancient Roman militarism and fucking, or the suppression of non-procreative sex, if you please:

The endless demands of Roman militarism created an inexorable pressure for population growth that fundamentally transformed sexual culture and law. What began as pragmatic concerns about maintaining adequate military recruitment gradually evolved into a comprehensive system of legal and social controls that systematically suppressed non-procreative sexual behaviors. This transformation reached its culmination not with the end of paganism, but with Christianity’s adoption and intensification of these existing regulatory frameworks. 

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Kirsten Everberg in INCOGNITO for Institute for Contemporary Art, Los Angeles →

Kirsten Everberg
November 15, 6-11pm | Hauser & Wirth, Downtown Los Angeles

INCOGNITO is back for its 16th iteration in support of the Institute of Contemporary Art, Los Angeles.

Hosted by Hauser & Wirth Downtown Los Angeles, Kirsten Everberg joins over 300 artists—both established and emerging—have each contributed 12 x 12-inch works of art in any medium of their choosing. All works generously donated by the artists are sold for $750 each, regardless of their current market or whether they have been working for decades or recently graduated. To further underscore INCOGNITO’s foundation of equity and playfulness, all artists remain anonymous—or incognito—their identities only revealed after the purchase of their work. 

Whether you are an avid collector or a first-time buyer, INCOGNITO is a fantastic opportunity to add new and original works of art to your collection. Guests are encouraged to use their eyes, follow their hearts, and trust their instincts to make their selections! 

All proceeds from INCOGNITO support ICA LA’s roster of dynamic exhibitions and Learning & Engagement programs and allow us to keep them free to the public. 

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Rirkrit Tiravanija in 'Forms of Encounter' →

Rirkrit Tiravanija
November 14-30, 2025 | Organized by STPI at Central Chidlom, Bangkok

Presented on the occasion of the 60th anniversary of diplomatic relations between Singapore and Thailand, Forms of Encounter brings together six leading voices in contemporary art: Heman Chong, Charles Lim Yi Yong, Pinaree Sanpitak, Rirkrit Tiravanija, Natee Utarit, and Suzann Victor. Developed through individual residencies at STPI, the works on view reflect the depth of engagement that each artist has shared with the workshop, bringing into focus the different ways in which artistic inquiry unfolds when supported by time, technique, and space for experimentation. 

Across the exhibition, correspondences emerge gradually. Some works trace the residue of spaces, gesture or memory; others pare down language into sign, rhythm, or delay. The impression is one of proximity rather than sameness—parallel intensities each shaped by a distinctive sensibility that underscores a shared commitment to the rigor of making. A subtle dialogue emerges between the works, not through convergent themes, but through a common attention to process. These are practices grounded in material inquiry: folding, layering, staining, casting, and imprinting. Surfaces are worked and reworked to uncover what might appear through repetition, resistance, or the unexpected behavior of a substrate. 

In this respect, resolution is found in the layered experience of the exhibition itself, in the way the works reveal different facets in proximity, each encounter building upon the last. Across gestures, surfaces, and temporalities, meaning accrues gradually, shaped by attention and sustained looking. Here, Forms of Encounter speaks not only to the coming together of discrete practices, but also to the manifold ways in which art engages: as process, as presence, as relation.  

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Blake Rayne at Miguel Abreu →

Blake Rayne
November 13, 2025 - January 10, 2026 | Miguel Abreu, New York

Relay (Transduction Protocol 01 : Spit Test), 2025
Oil, acrylic, spray paint, synthetic fabric on canvas
88 x 58 inches (223.5 x 147.3 cm)

Blake Rayne’s paintings are structured by the generative duplicity of words like script, folder, application, dissolve, and screen. These operative terms locate the work between structures of linguistic description and the history of reflexive material procedures. Rayne begins from an orientation that would consider the terms ‘painter’ and ‘painting’ as signs—that is, as fictions. They have no stable material definition, but rather are shaped by linguistic, institutional, and physical relations. Rayne’s mode of abstract painting is irrevocably marked by conceptual art. Here, context is constitutive. The exhibition is Blake Rayne’s eighth one-person exhibition with Miguel Abreu.

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Rirkrit Tiravanija in the 15th Shanghai Bienniale 'Does the flower hear the bee?' →

Rirkrit Tiravanija
November 8, 2025 - March 31, 2026 | Power Station of Art, Shanghai

Rirkrit Tiravanija, untitled 1992 (cure), installation view, Exit Art, New York, USA (1992)

Launched in 1996, the Shanghai Biennale is not only the first international biennial of contemporary art on the Chinese mainland, but also one of the most influential in Asia. In 2012, the Power Station of Art became the main organizer and permanent exhibition location of the Shanghai Biennale.

The Biennale takes its cue from recent scientific discoveries about the interactions between different life forms. Like the flower that “hears” the bee’s wings, this exhibition aims to operate at the intersection of differing models of intelligence, both human and nonhuman. It is based on the belief that recent art provides us with a privileged space for such investigations, offering an embodied and interconnected sphere in which communities may form stronger bonds with what eco-philosopher David Abram has called “the more-than-human world.”

We live in a moment of great uncertainty and global emergency that has given rise to a widespread sense of disorientation. Our world is transforming at a pace that eludes our capacity for comprehension, leaving us feeling bewildered and uncertain. If a return to the past is impossible, art offers us potential pathways out of despair and malaise, helping us to find emergent forms-of-life and new modes of sensorial communication amid this instability.

Conceived in dialogue with the ideas of artists, curators, intellectuals, musicians, poets, scientists, and writers, Does the flower hear the bee? recognizes that much depends on our capacity to sense the world around us and attune ourselves to its diverse array of intelligences. Its hopeful vision rests on art’s ability to orient us towards an unknown future.

For the 15th Shanghai Biennale, titled Does the flower hear the bee?, Rirkrit Tiravanija brings together new and historical works that continue his long-standing engagement with social space, language, and shared experience. The presentation combines two new large-scale text banners—THE FORM OF THE FLOWER IS UNKNOWN TO THE SEED and MY BODY IS FILLED WITH WAITING. Alongside them, untitled 1992 (cure)—the now-iconic orange tea tent—and untitled 1994 (angst essen seele auf), a functioning Fassbinder Bar and T-shirt printing workshop featuring the phrase FEAR EATS THE SOUL, extend the artist’s exploration of hospitality and encounter.

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Jan Albers in 'What Inspire the Artists for Their Ideas?' →

Jan Albers
November 7 – December 20, 2025 | Sanatorium, Istanbul

Featuring works by Jan Albers, Rey Akdogan, Burak Bedenlier, Irmak Canevi, Andy Fabo, Claus Föttinger, Kavachi, Simin Keramati, Mirjam Kuitenbrouwer, JiSun Lee, Yağız Özgen, Ursula Schulz-Dornburg and Jaan Toomik, 'What Inspire the Artists for Their Ideas?' explores the conditions and influences that shape artistic production.

Bringing together artists working across diverse geographies, the exhibition sheds light on the often-overlooked "formation processes" behind artistic creation. Curated by Necmi Sönmez, the show at Sanatorium features 13 artists working across painting, sculpture, installation, and drawing, with several participants presenting their work in Istanbul for the first time.

Contemporary economic, political, and social realities provide a critical framework for artistic production. The concepts artists develop in their studios and living spaces reveal not only their creative practice but also their responses to a constantly shifting world. Through works informed by cultural identity, belonging, and political positioning, the exhibition examines the multifaceted nature of artistic production.

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Rirkrit Tiravanija: (the intellects take leave) →

Rirkrit Tiravanija
November 5 - December 20, 2025 | Gladstone Gallery, Brussels

In his latest solo exhibition at Gladstone Gallery in Brussels, Rirkrit Tiravanija presents recent works that build upon an ongoing body of work referencing Canadian American artist Philip Guston’s paintings on American newspapers in the 1970s. Using tree lacquer and oil, Tiravanija adapts the concept for contemporary times by painting on editions of The New York Times that feature Donald Trump’s election and inauguration. The series reflects his broader practice which is grounded in relational aesthetics and approaches art as a catalyst for social commentary and change.

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Rirkrit Tiravanija in 2025 Singapore Biennale: pure intention →

Rirkrit Tiravanija
October 31, 2025 - March 29, 2026 | Singapore Biennale

Singapore Biennale 2025: pure intention presents contemporary art in multiple venues and public spaces, inviting audiences of all walks of life to experience Singapore's many layers built by all of those who have been a part of its history, collectively creating a city that is as planned as it is full of discovery, surprises and interesting juxtapositions.

Singapore Biennale 2025 takes place across 5 neighbourhoods, ranging from pre-colonial and colonial landmarks transformed into public, green areas repurposed for recreation, residential neighbourhoods and lived spaces, to shopping centres that have evolved into social spaces for Singapore's diverse communities.

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Eli Bornowsky & Jessica Stockholder: is a knot helpful at Catriona Jeffries →

Jessica Stockholder
October 31 - December 13, 2025 | Catriona Jeffries, Vancouver

A knot is a line turned back on itself. A two-dimensional gesture becomes a spatial configuration, perhaps even unfolding temporally as we follow its arc from beginning to end. Whether formed by hand or through circumstance, a knot interrupts the flow to hold materials together through tension. Making use of lines, knots, and tangles, artworks by Jessica Stockholder and Eli Bornowsky draw connections across symbolic and material realities, tracing the entanglements through which perception takes shape.

The artists’ overlapping tactics of ‘picture-making’ give both practices a metonymic quality. Whereas metaphor operates through resemblance—one thing standing in for another—metonymy depends on adjacency and material connection. Stockholder literally draws lines across what we call nature and society, each hooked terminus acting as an anchor that clasps nearby objects in a continuous chain. Bruised Elbow (2025) features elemental copper and an amputated tree limb aligned with a plastic food tray. What do they have in common but everything? The tree evokes nature, yet this tree was cultivated, replanted among others to replenish clearcut tracts, while plastic has become ubiquitous within so-called nature. Her practice insists that there is no raw material from which to construct—only matter already shaped by culture, industry, and environmental pressures. Bornowsky’s work asks similar questions, to different effect. How can we conceive of infinity from within our decidedly finite perspective and existence? The procedurally-coloured, aperiodic patterns that comprise his work are subject to multi-stability—which is the optical condition of having several likenesses at once. For Bornowsky, multi-stability is universality, the common denominator of dissimilar perspectives is their difference and their ongoing interpretability. In this way, both artists’ works entangle the viewer, drawing us into a chain of causality that unfolds in simultaneously material and symbolic dimensions.

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