All profits from R5 will benefit For the Gworls — a Black, trans-led collective that helps Black transgender people pay for their rent, gender-affirming surgeries, smaller co-pays for medicines / doctor’s visits, and travel assistance.
Farley Aguilar (b. 1980, Managua, Nicaragua) lives and works in Miami. Aguilar’s oil paintings collapse periods of time as he reworks snapshots from American history in vibrant compositions. Aguilar intervenes in the way images mediate our relationship to history and, by extension, the present. Aguilar is concerned with the structural and institutional violence, bolstered by cultural conditioning, that sustains American ideology and perpetuates cycles of oppression. His practice is driven by restoring dignity to those who have been denied it and destabilizing the posture of those responsible for withholding it, as is the case in this print based on a photograph of group of nine Black teenagers in Alabama referred to as the Scottsboro Boys, who were wrongly accused of raping two white women in 1931. Their trial came to represent a gross miscarriage of justice as carried out by an all-white jury and led to two landmark Supreme Court rulings that established important rights for criminal defendants. Aguilar’s works are held in numerous public collections including The Yuz Museum, Shanghai, The Bass Museum of Art, Miami, the Akron Art Museum. Recent exhibitions include Lyles & King, New York; SPURS Gallery, Beijing; Edel Assanti, London and Spinello Gallery, Miami.
Chino Amobi (b. 1984, Tuscaloosa, Alabama) lives and works between Richmond, VA and Paris. His work bridges painting, electronic music, literature, film and fashion. Having toured for years as an experimental electronic musician and founder of the record label NON Worldwide, he names his exotic flower still life paintings after the cities where he has performed, as in Tokyo, his print for Art for Black Lives. He approaches painting with the same vernacular as his music compositions, using sound as a means of immersing the listener in the space of a landscape. His paintings frame visions of life bursting forth in a fevered neon dream with sonic vibrations: the exotic bloom a proxy for his entranced audience on the dancefloor. Selected solo presentations include Luma Westbau, Schwarzescafe; Liste Art Fair, Fitzpatrick Gallery; and Endeavor Gallery, Richmond, as well as forthcoming solo presentations with Fitzpatrick Gallery, Paris and June, Berlin and group exhibitions with Sandy Brown, Berlin and Edward Ressle, Shanghai.
Ei Arakawa’s (b. 1977, Fukushima, Japan) exhibitions and performances are often created through collaborations with artists, art historians, and with audience members themselves. His activities undertake the lo-fi mimicry, duplication, and embodiment of cultural forms — be they architectural structures, art historical legacies, or organizational systems — to reanimate their potentialities anew. Since the early 2000s, Arakawa has been at the forefront of renewing the visibility and advancement of performance art internationally, and has mined both its vintage forms (such as Japanese Gutai, New York’s Fluxus, Happenings, and Judson Dance Theater, and Viennese Actionism) as well as numerous contemporary manifestations of movement, entertainment, and togetherness. For the Performance People series, Ei Arakawa conducted historical research to figure out the premiere date and time of various works of performance art to which he personally relates. The artist translated the birth data of a performance — here, a music piece by Julius Eastman — into an astrological chart, making the performance’s cosmic personality legible. Ei Arakawa’s selected performances and exhibitions include Tate Modern, London; Honolulu Biennial; Liverpool Biennial; Sculpture Project Münster; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; Museum Ludwig, Cologne; The 9th Berlin Biennale; Museum Brandhorst, Munich; Gwangju Biennial and the Whitney Biennial, New York.
Fossil Psychic for Christa
Sintra board cut-out
2021 24.9 x 21.0 x 0.5cm / 9.8 x 8.3 x 0.2 in
Sintra board cut-out
Edition of 5, each unique
Kerstin Brätsch (b. 1979, Hamburg, Germany) lives and works between New York and Berlin. Known for her large-scale painting installations, her materially-varied practice destabilizes and expands the definition of painting. She uses painting to explore the ways in which the body can be expressed psychologically, physically, and socially, while questioning the subjectivity ascribed to the figure of the painter. This sculptural, cut-out print draws from Brätsch’s Fossil Psychic (Stucco Marmo) series, produced in collaboration with the Roman artisan Walter Cipriani. Stucco is an ancient form of plaster historically used to imitate marble and other rare stones, a form of “stone mimicry” still found in many Italian and European Churches. Using stucco, Brätsch creates “paintings” that appear to be the result of geological phenomena. The work’s bright colors might recall prescient monsters, fragments from past and future, body parts or ritualistic amulets. Brätsch’s work was the subject of a survey at Museum Brandhorst in Munich and she recently finished a permanent commission in the Parc Cafe of Luma Arles and a semi-permanent commission in the Terrace cafe at the Museum of Modern Art in New York. Brätsch has worked extensively in collaboration alongside her solo practice, with Adele Röder as DAS INSTITUT, with solo exhibitions at the Serpentine Galleries, London and Kunsthalle Zürich and participation in the 54th Venice Biennale, and with Debo Eilers as KAYA, participating in the 2021 AB 07 Athens Biennial and 2016 Whitney Biennial.
29.7 x 21.0 cm / 11.7 x 8.3 in
Fine art digital print
Edition of 20 + 2AP
Jenna Gribbon (b. 1978, Knoxville, Tennessee) lives and works in Brooklyn, New York. Her syncretic canvases draw on several centuries of painting: figures disporting themselves in a sylvan setting recall Fragonard’s fêtes galantes; interiors with swiftly articulated walls evoke the cursory backgrounds of Mary Cassatt; gently distorted architectural features summon the laissez-faire depictions of Karen Kilimnik. Sampling freely from various representational techniques and movements, Gribbon’s paint handling ranges from the virtuosic to the intentionally slapdash; fast, impressionistic strokes often about minutely illustrated details, highlighting the artist’s interest in collapsing numerous pictorial strategies into a single canvas. Selected solo presentations include Fredericks & Freiser, NY, Gnyp Gallery, Berlin and MASSIMODECARLO (upcoming). Selected group exhibitions include Museum of Modern Art, Warsaw; the Museum of Contemporary Art Jacksonville; and the Kurpfälzisches Museum, Heidelberg.
Sandra Mujinga (b. 1989, Goma, Democratic Republic of the Congo) is a Norwegian artist and musician whose practice plays with economies of visibility and disappearance, and negotiates questions of self-representation and -preservation, appearance and opacity. Moving across mediums she departs from a purely anthropocentric approach to understanding the transient world we are living in now. The Reworlding Remains series explores the science-fantasy genre’s concept of world building, and re-worlding, as a way to rethink existing concepts. Mujinga thinks of dinosaur fossils as similar to the state architecture is in when it is in the process of either decaying or being built. These processes as well as the process of excavating and replicating found fossils are in some ways indeterminate as to whether they represent states of decay or construction or both. Through researching the process of replication of dinosaur fossils, thinking about bones that have to be replicated and mirrored to build imagined /speculative bodies, Mujinga started to think about the idea of decay and rebuilding as ways of “reworlding” in parallel timelines. The body of the dinosaur becomes a speculative site, and a way to think of future bodies. Mujinga graduated with a MFA from Malmö Art Academy in 2015. Recent solo-exhibitions include Midnight at Vleeshal in Middelburg, and SONW – Shadow of New Worlds in Bergen Kunsthall.
Jack Pierson (b. 1960, Plymouth, Massachusetts) lives and works in New York. Pierson calls his subject matter “hope” in his work across sculpture, photography and video. He explores the emotional undercurrents of everyday life, from the intimacy of romantic attachment to the distant idolization of others. Informed in part by his artistic emergence in the era of AIDS, Pierson’s work is moored by melancholy and introspection, yet his images are often buoyed by a celebratory aura of seduction and glamour. Using friends as models, he has consistently engaged star culture, whether the stars are from the screen, stage, or art world. Sometimes infused with a sly sense of humor, Pierson’s work is fueled by the poignancy of emotional experience and by the sensations of memory, obsession and absence. Recent solo exhibitions include the CAC Malaga, the Irish Museum of Modern Art, Dublin and the Aspen Art Museum. His work is in collections including the Metropolitan Museum of Art, the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the Museum of Contemporary Art, Los Angeles and the San Francisco Museum of Modern Art.
Lucie Stahl (b. 1977, Berlin) is a Berlin-based artist, whose close-up photographs often examine consumer products, body parts, and substances. In these artful arrangements of textures, Stahl’s work often plays with the idea of liquidity — from finance to bodily fluids, the slipperiness of identity. Her ‘GOO’, 2021 series captures crude oil wells with a textural verisimilitude that appears wet to the touch — but the substance, goo, is neither solid nor liquid but formless. Liminal, becoming. Stahl studied at UdK Berlin, Glasgow School of Art and Städelschule, Frankfurt am Main. Recent solo shows include dépendance, Brussels, Queer Thoughts, New York USA, Freedman Fitzpatrick, Paris, Cabinet, London, Fri Art Kunsthalle, Fribourg, Halle für Kunst, Lüneburg, Dallas Museum of Art. She is currently working on a solo show at Bonner Kunstverein, Bonn (opening in March 2022).