Monday, December 21st, 2020

Winter Break

The gallery closes today for our annual winter break. Happy holidays and see you again when our offices reopen on January 4th. Appointments to view our exhibition will resume on January 4th.
“What fruit it bears” will remain on view till January 15, 2021 and online on our website.
WhatsApp +4917624601985

Xinyi Cheng, Dalton Gata, Nicholas Grafia, Hugh Hayden, Stanislava Kovalcikova, Vojtech Kovarik, Emily Ludwig Shaffer, Eric N. Mack
Shota Nakamura, Marc Padeu, Paulo Nimer Pjota, David Rappeneau, Mostafa Sarabi
what fruit it bears
Installation View
December 4 – January 15, 2021
Peres Projects, Berlin

Tuesday, November 3rd, 2020

Dalton Gata, Diálogos Remotos – Peres Projects

Dalton Gata, Diálogos Remotos

October 30 – November 27, 2020

Opening Friday, October 30th, 11–7PM

Peres Projects is pleased to present Diálogos Remotos, Dalton Gata’s (b. 1977, Santiago de Cuba, Cuba) first solo exhibition in Berlin. Born in Cuba and based in Puerto Rico, Gata’s work operates across multiple registers; the symbolic, political, as well as the personal to address themes of migration, desire, and consciousness.

In Diálogos Remotos Gata, invites us into an imagined home and the six paintings on view are set in various rooms, looking out at the world beyond their walls. Their compositions hover between the intimacy of private interiors and distant vistas and are populated with details from the Gata’s real life and home – a photograph of the artist as a baby, the terrazzo flooring in his studio. These instances of the real are haunted by their own instability, as with the bloodied floor under the tiger’s lunch, and the sleek equine figure with a human face, uncanniness populates each canvas. Gata’s domestic spaces draw on an association of familiarity and safety while simultaneously offering unsettling revelations into the unconscious mind – that which is dreamed, the ego and its projections. We are asked to traverse both Gata’s real and psychic spaces.

The characters in this body of work take on lives that extend and diverge beyond the originator, usually the artist’s own friends and family. They are arranged in constellations reminiscent of Renaissance portraiture, rigid in posture, icily returning the gaze of the viewer, they seem to make a claim for their own agency and inner world. The feminine figures in these works are unapologetic, centered in the composition, adornments to the body like hair and heels act to extend and facilitate the occupation of space. Gata’s luminous and vivid paintings are celebrations of these figures, reverent and enamored, Gata builds his house to commemorate them. Besides evoking the canon of renaissance painting, Gata’s work builds upon Latin American Surrealism, drawing on his own background, foregrounding the overlapping cultures of the Caribbean which are deeply rooted in African and Spanish histories.

The spatial field in these works is extended by the gaze of the figures, who look out at lush and mysterious landscapes or bright skies, where depth is simultaneously flattened and elongated. Gata reveals the capacity of desire to construct an image of proximity, which ultimately exacerbates a feeling of remoteness. This focus on the window and the gaze outward is evocative of a sense of ennui and loneliness, a meditation on isolation and kinship, the individual and our capacity for intimacy.

Gata’s house resembles the form of the exquisite corpse, an assemblage, operating through humor and melancholy alike, which builds upon itself as we navigate from painting to painting. As the gap between our daily lives and the bizarre closes, Gata presents a group of works that draws on the visual language of surrealism and stylized realism to situate us in a liminal, crossover space – between dreaming and waking life, fantasy and reality. His work centers this hybridity, with characters that include fusions of multiple creatures, bodies, and temporalities. Gata’s canvases explore the liminal border zone between fantasy, reality, familiar, grotesque, uncanny, urbanity and the rural.

Dalton Gata (currently lives and works in Coamo, Puerto Rico) graduated in 2005 from the Escuela de Diseño Altos del Chavón in Santo Domingo, Dominican Republic with a BFA in Fashion Design. He has exhibited widely in the Dominican Republic and the Caribbean including the 27th National Biennial of Visual Arts, Santo Domingo (2013), Ramos Mederos Gallery, Santo Domingo (2014), Lucy Garcia Gallery, Santo Domingo (2015, 2016, 2017), and the Spanish Cultural Center of Santo Domingo (2016), as well as Embajada Gallery, San Juan (2018). Recent solo exhibitions include The Sunday Painter, London, Chapter NY, New York, and Agustina Ferreyra, San Juan, Puerto Rico.

With gratitude to Galeria Agustina Ferreyra, San Juan, Puerto Rico.

Peres Projects is open Monday through Friday, 11am – 6pm. For further information and sales inquiries, please contact Javier Peres (, Nick Koenigsknecht ( Benoît Wolfrom ( or call at +49 (0) 30 275 950770. For press and media inquiries, please contact or +49 (0) 30 275 950770.

Monday, October 26th, 2020

Ajarb Bernard Ategwa, Studio Ekwe’s – Peres Projects

Ajarb Bernard Ategwa, Studio Ekwe’s

October 23  – November 20, 2020

Opening Friday, October 23, 11–7PM

Peres Projects is proud to present Studio Ekwe’s,  Ajarb Bernard Ategwa’s second solo exhibition at the gallery. The exhibition consists of a new series of portrait based works and the title of the exhibition references the photo studio beside the house that the artist grew up in. The portraits in this exhibition straddle two temporalities – referencing the black and white studio portraiture popular across countries in post-independence Africa, as well as a contemporary selfie culture.

In both cases, the camera that Ategwa imagines is a technology that marks ascendance, status, abundance. The artist demonstrates that to pose for a camera is to control your own image, to know what part of yourself to project, to know what to be proud of. That celebratory energy is channeled by Ategwa through these new paintings. The documentation of a life, is also to be seen. Evident in these portraits is the post-colonial shift away from the ethnographic view of “Africa”, towards a reclamation of the camera as a tool for the affirmation of the self.

The medium of portraiture is being rapidly reshaped by new forms of distribution and technologies, which Ategwa engages and reflects on – referencing these global social media platforms in the titles of the works. In the canvases that comprise this exhibition, Ategwa’s background in billboard painting is apparent. The action of the painting occurs across one field and depth is flattened – prioritizing the immediate; the subject. On this plane, the painter’s lines are given weight, creating shapes, frames and patterns that are reminiscent both of the colorful textiles that the west so often conflates with “Africa”, as well as the traditional beading and weaving of the Bamileke kingdom of which Ategwa is a descendent.

Implicit in all these works is a tension that runs throughout Ategwa’s practice – between technology and the hand. In these new works, the artist experiments with techniques that resemble watercolor – effectively surrendering control over to the paint, rather than leading with the brush (which we see in the lines that make up the rest of the canvas). The artist uses this technique for the bodies of his subjects, obscuring any information we may expect to gather from what remains naked. In doing so, Ategwa sidesteps the types of disclosure that we have come to expect and demand from those who we scroll past.

Studio Ekwe’s constructs an image of Cameroon – of Cameroonian people through the gaze of a West-Cameroonian artist. This view is complicated, tainted by the sight of its own image constructed by a western gaze – a dialectic of historical African aesthetics and Western influences.

Ajarb Bernard Ategwa’s (b.1988, CM) work explores the fast changing urban landscape in his native Cameroon. The large format of Ategwa’s paintings mimic the scale of cityscapes and public spaces, while his vivid color palette and graphic style speak the language of advertising familiar to inhabitants of Douala, Cameroon’s largest city and economic capital. Ategwa’s painting style is based on complex line drawings on canvas, which are executed free-hand. They imply a movement and momentum reflective of his rapidly transforming city. Recent solo-exhibitions include Peres Projects, Berlin; Espace Doual’art, Douala; and Jack Bell Gallery, London.

Peres Projects is open Monday through Friday, 11am – 6pm. For further information and sales inquiries, please contact Javier Peres (, Nick Koenigsknecht ( Benoît Wolfrom ( or call at +49 (0) 30 275 950770. For press and media inquiries, please contact or +49 (0) 30 275 950770.

Monday, September 28th, 2020

Ad Minoliti, Nave Vermelhe – Kunsthalle Lissabon

Peres Projects is pleased to announce the opening of Ad Minoliti’s solo exhibition at Kunsthalle Lissabon.

The exhibition is open to the public from September 16 to November 21, 2020.

Ad Minoliti is an artist whose work combines the pictorial language of geometric abstraction with a whimsical interpretation of queer and feminist theory. Engaging in a diversity of formats and media, Minoliti assumes painting not as a mere material practice, but rather as a visual set of ideas to approach normative categories of sexuality and biology. Throughout her work, geometrical forms and surreal landscapes serve to conjure a post-humanist setting (and set of references) in which feminist and gender theories can be applied to an open interpretation of painting, design, and art history. Whether in paintings and installations that tackle queer theory or as cofounder of the feminist art collective PintorAs, Minoliti makes little distinction between life and artistic practice: both serve as vectors for challenging social hierarchies in art and politics.

Nave Vermelhe is an installation that invites visitors of Kunsthalle Lissabon into a queer and alien vehicle of space exploration. Referencing the artist’s long interest in pop culture’s obsession with sci-fi and how it imagines and depicts the construction of otherness, the ship that has landed in the Lisbon basement presents itself as a place in which binaries tend to be completely irrelevant: human vs animal vs plant vs technology vs male vs female make very little sense for the space visitors. A cute furry being, simultaneously species and gender ambiguous, greets visitors to an empty room where one can find nothing besides a group of abstract painted stools. Whether alien furniture, or a coded language remains uncertain. The command center is visible through a round window and seems busting with activity. Control panels and view screens are being operated by big-eyed, cartoonish or pet-like, spheres and vagina-eye plant hybrids.

Ad Minoliti (Buenos Aires, 1980) lives and works in Buenos Aires. Minoliti makes experimental installations around geometry and abstraction that encompass art history, architecture, queer feminism, childhood, animalism, and speculative fiction. AM looks for a non-binary geometry where gender theories are applied to pictorial language using collage and mixed media. They earned a BFA from the National Academy of Fine Arts Pueyrredón, Argentina. She was an agent at the Artistic Investigation Center of Argentina since 2009, year in which they also founded the group PintorAs, a feminist collective of Argentinian painters. Besides he has won more than seven awards in her country, and he has received grants from the Ministry of Culture of Argentina, the Metropolitan Fund for the Arts of Buenos Aires and Mexico’s FONCA Conaculta, among others. Their work has been exhibited at galleries, institutions, and museums in Los Angeles, Puerto Rico, London, San Francisco, Berlin, Paris, Mexico, New York, Japan, Brazil, Peru, Spain, Ireland, Bolivia, Chile, Austria, among other countries. She participated in the Bienal del Mercosur in Porto Alegre, the Aichi Triennale, Front Cleveland Triennal and 2019 Venice Biennale.

Saturday, September 12th, 2020

Melike Kara, Risquons-Tout – Wiels Contemporary


Peres Projects is pleased to announce Melike Kara’s participation in the group exhibition Risquons-Tout at Wiels Contemporary.

Risquons-Tout is an ambitious, thematic group exhibition that explores the potential of transgression and unpredictability. It examines how art challenges the homogenisation of thought in the now infamous echo chambers of our overcrowded info-sphere.

Risquons-Tout presents some of the most innovative and influential artists and authors from the Eurocore region, which extends between Amsterdam, Paris, Cologne, Düsseldorf and London, with Brussels at its centre. The title is borrowed from a place located on the Belgian-French border, a real yet liminal space of transition, passage and informal exchanges, notably smuggling. The invited artists negotiate different dynamics of bridging, passing, translating and transgressing. In doing so they burst the safe bubbles generated by prediction algorithms, designed to avoid any risk, whether intellectual, financial, emotional or physical. The exhibition’s geographic and political scope addresses today’s global connectivity, trans-national circulation and diasporic movements.

Friday, September 11th, 2020

Austin Lee, Aah – Peres Projects

Austin LEE
Gallery Weekend Berlin
September 11 – October 9, 2020
The gallery will be open Friday, September 11 – Sunday, September 13th from 10AM–7PM

Peres Projects is pleased to present Aah, Austin Lee’s second solo exhibition at the gallery on the occasion of Gallery Weekend Berlin. The exhibition will present new paintings and sculptures. The works stage a collapse in the distinctions between real and imaginary, digital and physical. In our everyday lives, we move between online and offline space in an increasingly seamless way, in his translation between mediums, Lee’s practice becomes the conduit for bringing the digital into reality.

As Lee assumes this role of transmutator, the paintings and sculptures that comprise this exhibition are concerned with our ways of seeing and being in the world which now also includes the digital lived experience. Lee’s practice plays with how a work can be limited and defined by the tools and technologies that compose it, reflecting on our own experiences of mediation and how these same tools shape and construct our subjectivities.

Playful and childlike, the characters that dominate Lee’s paintings and sculpture operate through a visual language of simple lines, and direct emotion. Speaking across a register familiar to us from childhood, these works locate and acknowledge the formative power of images. Lee borrows this aesthetic language to create new and impossible worlds, and suggests that these realities can exist through digital space.

Lee’s works provide an uncompromisingly optimistic view of our reality, locating transformative power in darkness

Austin LEE (b.1983, US) lives and works in New York. He received his MFA in Painting from Yale School of Art and his BFA from Tyler School of Art. In 2019 Lee’s work was included in Wild Metropolis curated by Xu Zhen and Lu Pingyuan at the Powerlong Museum, Shanghai. In 2021, Lee will have a major solo exhibition at the M Woods Museum, Beijing curated by Victor Wang.

Peres Projects is open Monday through Friday, 11am – 6pm. For further information and sales inquiries, please contact Javier Peres (, Nick Koenigsknecht ( Benoît Wolfrom ( or call at +49 (0) 30 275 950770. For press and media inquiries, please contact or +49 (0) 30 275 950770.

Thursday, September 10th, 2020

Shuang Li, Exit Wound – Callie’s

Peres Projects in pleased to announce Shuang Li’s solo exhibition Exit Wound at Callie’s, Berlin.

Shuang Li’s Exit Wound is a somber reflection of the circumstances that dictated her unanticipated stay in Europe following the outbreak of COVID-19. Doormats lead out of windows into the unknown, with ornamental cuts forming a newly-created symbolism. A projection of digital works complements the installation, taking on poetic and political forms.

Thursday, September 10th, 2020

Richard Kennedy, STUDIO BERLIN – Berghain

Studio Berlin / Boros Foundation, Berghain, Berlin 2020
Artwork: © Rirkrit Tiravanija
Photo: © Noshe

Peres Projects is pleased to announce Richard Kennedy’s participation in STUDIO BERLIN.

In the STUDIO BERLIN exhibition the Boros Foundation is presenting works from 117 contemporary artists, who live and work in Berlin. National and international artworks in the fields of photography, sculpture, painting, video, sound, performance and installation will be on view. The exhibition, organized by the Boros Foundation, can be viewed from September 9 onwards and will take place in Berghain, Panorama Bar, Säule and Halle.

Berlin has the highest density of ateliers, studios and art workshops in Europe – artists from all over the world move to the German capital to work. In the Spring of 2020, drastic changes occurred: planned exhibitions and art fairs were cancelled or postponed, galleries and museums closed and larger projects could not be realized. In addition, the nightlife in Berlin was completely shut down. It is because of this situation that Boros and Berghain came together. The main purpose of this exhibition is to reflect upon the current status and the shifts in art and society and to give artists in Berlin a platform to present their work.

Tuesday, July 14th, 2020



Thursday, July 16, 2020, 8 pm & Friday, July 17, 2020, 9 pm

at Traumabar und Kino, Berlin, DE

Peres Projects is pleased to announce the new Opera by Richard Kennedy, hosted by New Models & Traumabar und Kino, Berlin. 

The second in a series of events that New Models is hosting at Berlin’s Trauma Bar und Kino, SimCity 2020 will consider the ways in which the world’s physical urban centers and internet “cities” of sorts—the clearnet metropolises and dark forest neighborhoods where we spend perhaps even more psychological time—interface now, in a time of public unrest and contagion. Featuring: a lecture-performance by Pierce Myers, Philip Maughan, and Bryan Wolff of Strelka’s Terraforming; and the premiere of Richard Kennedy’s new opera Fubu Fukú, 2020. Due to limited capacity, please reserve tickets (€10) in advance.


Digitally connecting through facts and fantasy in this virus year, we collapse time and geography to build new cities in our minds, private clubs and autonomous zones where we emancipate our bodies and psyches from the curses of history. This Thursday, RICHARD KENNEDY premiers their new opera FUBU FUKÚ, condensing the 579 years since the first Portuguese exploration of—and abduction of people from—Africa’s west coast into a 60 minute live journey. Joined by Miss Hollywood, Fernando Casablancas, PK Gyaba, and Peter Fonda, plus costumes by Florian Mathé, Kennedy stages a queer, black retelling of the colonial project from sugarcane to ketamine.

Richard Kennedy (b. 1985, Long Beach, California) is an artist, experiential composer, and librettist originally from Middletown Ohio and currently living in Brooklyn, New York. Kennedy’s multi-disciplinary practice includes a focus on the disruption of traditions of Western Theatre, where the primary mode of engagement is through observation, in order to generate new, participatory modes of viewership. Kennedy works in painting, sculpture, installation, video and performance in order to examine notions of the Queer African American experience. They received their MFA from the Milton Avery Institute at Bard College. Kennedy is a 2019 MacDowell Colony Fellow and recently completed residencies at Open Forum Berlin and Mana Contemporary. Recent solo exhibitions include at Peres Projects, Berlin, and the Institute of Contemporary Art, Virginia Commonwealth University. Kennedy has recently presented performance works at MoMA, The Shed, The Kitchen, The Studio Museum Harlem, BOFFO Performance Festival and Disney Concert Hall, Los Angeles.

Photo by: Tianna Strickland

Peres Projects is open Monday through Friday, 11am – 6pm. For further information and sales inquiries, please contact Javier Peres (, Nick Koenigsknecht  (, Benoît Wolfrom ( or call at +49 (0) 30 275 950770. For press and media  inquiries, please contact or +49 (0) 30 275 950770.

Monday, July 13th, 2020

Paolo Salvador – Alegorías Perdidas


Alegorías Perdidas

June 19 – July 31, 2020

Opening Friday, June 19

Peres Projects is pleased to present Alegorías Perdidas, Berlin based Paolo Salvador’s first solo exhibition at the gallery. At once mythical chroniclers of our time as well as highly personal, Salvador’s paintings straddle the individual and allegorical. While it takes time to develop new words and syntax to describe our histories, allegory remains the language of the present.

Salvador’s oil paintings are virtuosic, fluent in the coded language of the Western cannon. This painting language is turned on its head by an artist born and raised in South America. The human figures are rendered with clay-based minerals, literally linking the human to the earth. Formally, these figures are based on selfie images taken by the artist in the studio. 

The images are rigorously composed, humans and animals cohabit the often architecturally broken down canvases. Their human subjects are seldom alone, either accompanied by other people or animals, yet they are charged with a sense of melancholic isolation. It is this tension between isolation and connectedness which is so familiar in contemporary life.

Memory collapses time, and in contemporary life, so does the constant flow of image material on the internet. Personal memory of life in Peru is both augmented and diffused by new images of distant friends and family. Memory becomes myth and in Salvador’s paintings, these stories come to represent universal issues facing us as a global society.

Paolo Salvador’s (b. 1990, Lima, Peru) paintings assemble a distinct cosmovision. Drawing on mythic imagery, his works lend contemporary reflection to ancient subjects. With loose brush strokes, and saturated colors, Salvador’s practice is evocative of biography, both personal and national. Educated in the west, his paintings offer a proximate view of his Peruvian identity, but from a distance. Salvador’s methodology involves a careful engagement with his materials, as he builds layers and details of paint across the canvas. These different planes of the painting trespass and bleed into one another, both revealing and covering, simultaneously creating and flattening out the depth in the landscapes. Salvador recently had a solo exhibition at Open Forum, Berlin. In 2014 he  earned his BFA from Pontificia Universidad Católica del Perú, and in 2019 he earned an MFA at Slade School of Fine Art in London.

Peres Projects is open Monday through Friday, 11am – 6pm. For further information and sales inquiries, please contact Javier Peres (, Nick Koenigsknecht  (, Benoît Wolfrom ( or call at +49 (0) 30 275 950770. For press and media  inquiries, please contact or +49 (0) 30 275 950770.

Alegorías Perdidas
Installation View
June 19 – July 31, 2020
Peres Projects, Berlin
Courtesy of Peres Projects, Berlin
Photographed by: Matthias Kolb

Thursday, January 23rd, 2020

Ad Minoliti, Fantasías Modulares – Mass MoCA

Ad Minoliti
Fantasías Modulares
On view beginning Saturday, January 25, 2020
Mass MoCA

We are pleased to announce Ad Minoliti’s upcoming exhibition Fantasías Modulares at Mass MoCA curated by Isabel Casso, opening this Saturday, January 25th. Experience the grinning triangles, lounging cows, and winking circles that populate the vibrant, queer landscapes of Minoliti’s imagined worlds. 

Trained as a painter, Minoliti draws on the rich legacy of geometric abstraction in her native country, Argentina, where geometry was used as a tool for picturing utopian alternatives. By combining abstraction with playful figuration, Minoliti upends familiar fairy tales, turning them on their head. She is particularly interested in disrupting pictorial cultural norms that uphold traditional views of sexuality and gender.

The artist sees many of these cultural norms established in the formative stories of childhood. In contrast to these indoctrinations, Minoliti uses her work to picture alternate realities free of biases by utilizing diverse, colorful, and playful hybrid forms. Her characters are non-binary, challenging the usual categories of male and female, and also blurring boundaries between human, animal, and machine. Her work frequently unsettles anthropocentric views of the world and allows hierarchies between humans and non-humans to dissolve. Working in both two and three dimensions, and between the vocabularies of painting, sculpture, architecture, and design, the artist also collapses traditional categories in art history to harness a more capacious and fluid language. This activation of other beings, entities, and otherwise inanimate objects generates a multitude of possibilities — joyful, colorful, and inviting of a more inclusive world.

Find more information on the exhibition here.

Open Wednesdays – Mondays, 10am–5pm

Mass MoCA
North Adams, MA 01247


Tuesday, January 21st, 2020

Ajarb Bernard Ategwa, Morning Bread & Jazz – Jack Bell Gallery, London


Ajarb Bernard Ategwa
Morning Bread & Jazz
January 17 – January 31, 2020
Jack Bell Gallery, London

Peres Projects is pleased to announce the current exhibition of Ajarb Bernard Ategwa, Morning Bread & Jazz, at Jack Bell Gallery in London.

Ategwa’s bright works mimic the scale of cityscapes and public space from his hometown of Douala, Cameroon where he currently lives and works. From the taxi stands and newsagents, to the bars and roadside markets; Ategwa offers fleeting snapshots of everyday life. His vivid colour palette, large scale, and graphic style speaks the language of advertising familiar to Douala’s inhabitants.

Jack Bell Gallery
13 Mason’s Yard
St James’s
London SW1Y 6BU

More information on the exhibition here.

Tuesday, January 21st, 2020

George Rouy – Maelstrom

George Rouy
January 17– February 14, 2020
Opening Friday, January 17th from 6–8PM

Peres Projects is pleased to present Maelstrom, a solo exhibition by London based painter George Rouy. Rouy’s approach to the body and his overall pursuit of painting is one of contradiction, harmony, and perpetual transformation, criss-crossing gender, form, and disposition. His work is a fever dream of amorphous and fluid embodiments depicting rhapsodic portraits of 21st century desire that is continuously refilled with physical dissonance, mystery and secrecy, ecstasy and turmoil. 

Each work is liberated from established ways of being and becoming which examine the essence and meaning of encounters, drawing equally from the here-and-now, the internet and the machine, as well as more primordial expression and classical demands of color and form. The human figure has always preoccupied artists; its story dominates the history of art. In its imagination and in its image-making, we find clues as to how artists have engaged with the political and socio-cultural conditions and sentiments of their moment. Now we are in a time of renewed and committed interests in figurative painting, Rouy uses the figure as a multi-sided prism to examine and interrogate the contemporary crucibles of gender, fiction and technology. 

The works that make up George Rouy’s Maelstrom behave visually as the word does verbally and in meaning; with dynamism, force, and unease – resonating as the world does now. They present us with images that could not exist in another time, place or context than our own, yet these paintings know the perils of the narrative world. And so Rouy’s work at the eye of the storm continues: delimiting canvas, disturbing substance, disquieting ideas.

George Rouy (b.1994 in Kent, UK) is best known for his contorting figures that subvert the canvas boundary. Often depicting nudes, his sensual paintings have a hazy, dream-like quality thanks to the soft, airbrush-like application of layers of paint and the prevalence of fleshy pink coloring. Without context or characterisation, these figures seem to float in endless voids of nothingness, but their movements are actually inspired by the shapes thrown by clubbers. Rouy cites medieval artists such as Jean Fouquet or Rogier van der Weyden as inspirations, as well as great modernists including Picasso, Matisse, and perhaps even Chagall. Rouy received his BFA from Camberwell College of Arts in London in 2015. 

Peres Projects is open Monday through Friday, 11am – 6pm. For further information and sales inquiries, please contact Javier Peres (, Nick Koenigsknecht ( or call at +49 (0) 30 275 950770. For press and media inquiries, please contact or +49 (0) 30 275 950770.

Monday, January 20th, 2020

Melike Kara, No Friends but the Mountains – Kunstverein Göttingen


Melike Kara
No Friends but the Mountains
January 17 – February 23, 2020
Opening Friday January 17th, 2020
Kunstverein Göttingen

Peres Projects is pleased to announce the opening of Melike Kara’s solo-exhibition No Friends but the Mountains, curated by Tomke Braun, at the Kunstverein Göttingen.

With “No Friends but the Mountains”, Kunstverein Göttingen presents Melike Kara’s first institutional solo show in Germany. The artist, who is based in Cologne, shares a personal view of her Kurdish-Alevist roots using photography, painting and installation with questions regarding ancestry, tradition and community.

The center of Kara’s artistic analysis is the region surrounding the mountain massif “Düzgün Baba”, close to the city Nazımiye, in the east of Turkey. The mountain’s peak is named after the legend of a shepherd who was said to have miraculous powers. It is an Alevist pilgrimage site, where people go to seek healing and blessing. Kara’s family is originally from this region and some of her ancestors were shamans closely connected to the pilgrimage site. Kara visited Düzgün Baba with her grandmother, who also immigrated to Germany, and took part in several rites and sacrificial rituals. In the exhibition, Kara combines photographic material from the pilgrimage site and the people she met there, with references to cultural traditions that are on the verge of vanishing. For example, a series of her sculptures and paintings are dedicated to the so-called “deq” tattoos, which Kurdish women have decorating their faces, necks and hands. They are regarded as jewelry and as protection from bad spirits. The symbols represent important events in each woman’s life and are connected to meanings of happiness, hope, pain and fear. Nowadays, they mostly only adorn the older generations, thus Kara takes on the role of chronicler and records these diminishing traditions.

The mountains of Anatolia have special historical meaning to the Kurdish people in account of their political situation, as they offer the possibility to withdraw and be protected by them. At the same time, a spiritual connection to the mountains and hills exist, which is equally present in many religions, where mountains are regarded as holy and godly places because of their close proximity to the heavens. The Kurdish saying “No Friends but the Mountains” has, in the face of recent occurrences, acquired a sad relevance. The invasion by Turkish troops into the autonomously governed Kurdish regions of Northern Syria has pushed the longing for Kurdish political autonomy out of reach.

In the face of this, Kara dedicates the exhibition to the Kurds without land and builds a bridge from her personal story to their collective legacy. The act of connecting her painting practice with sculpture, installation and photography, underlines the narrative character of her works in the exhibition, all the more. They speak of knowledge production through rituals and oral tradition, as well as the meaning thereof for a population whose history is shaped by persecution and displacement.


Melike Kara (*1985) lives and works in Cologne. From 2007-2014 Kara studied at the Kunstakademie Düsseldorf in the class of Rosemarie Trockel. Most recent solo shows were “New Work”, Witte de With Center for Contemporary Art, Rotterdam (2019); “My Beloved Wild Valley”, Arcadia Missa Gallery, London (2019) and “A Taste of Parsley”, Yuz Museum, Shanghai (2018). She has participated in numerous group shows, including exhibitions at Dortmunder Kunstverein, Dortmund (2018); David Roberts Art Foundation, London (2017) and Komplot, Brussels (2016).

Thursday, January 16th, 2020

Dorothy Iannone, KW Institute for Contemporary Art


Over the next five days, performers at KW Institute for Contemporary Art will activate several commissioned pianos, such as that of Dorothy Iannone’s Courting Ajaxander. A bespoke piano that is as sexually charged as any of her paintings or sculptures: on the lid of a grand piano, she has painted a love story.

Read more about Dorothy Iannone’s commissioned Piano on display at KW here.

KW’s program schedule.

Pause: Broken Sounds / Remote Music—Prepared Pianos from the Archivio Conz Collection
KW Institute for Contemporary Art
Auguststraße 69, 10117 Berlin
16–19 January 2020

Image: Dorothy Iannone, (1989/90). Courtesy Archivio Conz. Photo: Giorgia Palmisano

Wednesday, January 15th, 2020

Peres Projects and Functional Art Gallery in Collaboration with CFHILL, “Are You Familiar With Our Concept?”


In collaboration with CFHILL Stockholm, Peres Projects and Functional Art Gallery are excited to announce the opening of a group exhibition titled “Are You Familiar with Our Concept?” opening Friday, January 17th. Featuring the work of Rebecca Ackroyd, Ajarb Bernard Ategwa, Dan Attoe, Théophile Blandet, Richard Kennedy, Donna Huanca, Anna Aagaard Jensen, Melike Kara, Beth Letain, Finn Meier, Ad Minoliti, Manuel Solano, Blair Thurman, Brent Wadden, and OrtaMiklos (Leo Orta/Victor Miklos Andersen).

On view January 17 – February 8, 2020

CFHILL Art Space
Tuesday—Friday 12–5 PM
Saturday 12–4 PM or by appointment
Västra Trädgårdsgatan 9, 111 53 Stockholm

Photographed by: Annika Berglund

Friday, December 20th, 2019

Winter Break 2019-20

Peres Projects will be closed for our annual winter break from December 23, 2019 – January 6, 2020.

The gallery will reopen with the preview of George Rouy’s first exhibition in Berlin, titled Maelstrom, on Friday, January 17th from 6-9PM.

Friday, December 20th, 2019

Artist Bronwyn Katz’s New Show at Peres Projects Is an Elegy for a Lost South African Language – Bronwyn Katz in ArtNet

“Here she uses found materials to create sculptures that act of forms both of retrieval of a lost history and heritage and a resistance against politics and social structures, and which allows the language to assume a new form to being read, written, and understood, an essential first step in rebuilding of a communal South African archive”

Read the full article here.

Thursday, December 12th, 2019

Richard Kennedy, missed connections – Gallery 2


Richard Kennedy
missed connections
Opening December 12, 2019
December 12, 2019 – January 21, 2020
Gallery 2, Seoul

Inspired by Kennedy’s process of producing (G)hosting, an opera without an audience, the paintings on view at Gallery 2 uses the repetition and overlay of terms common in queer communities that are intentionally abstract, to avoid media censorship. It is a language that is whitewashed and at times obfuscated. Kennedy’s elaborate and laborious approach to painting also works as a metaphor of sorts for the language spoken by the community. 

Unclear to the spectator whether they are making utterances or seeking utterances from the spectator, the paintings are full of surreptitious intent to engage the spectator. It heralds the spectator’s senses yet yields no bearing, keeping the spectator in a moral limbo. Richard Kennedy states that his interest is in capturing the lives of black and queer in American society similar to himself, through opera, a holistic performative art predominantly considered to be the realm of the fair-skinned people. His paintings are not interested in presenting images of fellow Americans, blacks, and queers. Rather, they appeal to the potential of life to unfold into various directions through the spectator’s act of observance and utterance. 

Tuesday, December 3rd, 2019

Rebecca Ackroyd, Underfoot – Fondazione Arnaldo Pomodoro



Rebecca Ackroyd
December 4 – January 31, 2020
Opening Tuesday December 3rd, 2019 at 6:30PM
Fondazione Arnaldo Pomodoro, Milan

Peres Projects is pleased to announce the opening of Rebecca Ackroyd’s solo-exhibition Underfoot, curated by Cloé Perrone, at the Fondazione Arnaldo Pomodoro. The works of this show inhabit a walk-in polytunnel, a structure typically used for controlled gardening, which creates an enveloping site suspended between daydreaming and reality. She turns her attention to the construction of a more blended definition of home, one that embodies several paradoxes of today’s society as well as reflecting on the nostalgia we hold for bygone eras. These works act as fragments of conversations, memories or stories, and like broken sentences have been cut short before the full picture emerges. Their translucence alludes to a ghostly echo of reality and oscillates between ideas of domesticity, 70s flower power and personal revelation. At a time when the scale of global tensions loom overwhelmingly Ackroyd reflects inwards and looks to more intimate notions of sanctuary, home and belonging.


Monday, November 18th, 2019

Ad Minoliti, Soft Museum – Museo Moderno


Ad Minoliti
Soft Museum
October 31, 2019 – March 9, 2020
MAMBA, Buenos Aires

Peres Projects is pleased to announce Ad Minoliti’s first major solo exhibition at the Museo de Arte Moderno de Buenos Aires.

Minoliti will convert the galleries of the Museo de Arte Moderno de Buenos Aires into a Soft Museum. Introducing us to fifteen years of work, Minoliti recreates and combines their pieces throughout the museum to make one big play area. Their paintings, murals and installations establish a vivid imaginative world fed by their fascination with abstraction, eroticism, architecture and design.

Based on their readings of feminist and queer theory, Minoliti presents a vision of people and society in which the binary male/female dynamic has no place, fully aware of the power of images to create a reality that transcends traditional cultural patterns. Through colourful murals, sweet characters and animated paintings, the artist concentrates on altering aspects of western culture that in the past were considered opposites: spiritual and rational, nature and culture, seriousness and frivolity, masculine and feminine. Rethinking these oppositions as they relate to art, Minoliti emphasizes the strength of concepts often disdained in the modern world: childhood, sweetness and softness. By re-evaluating these sensibilities, Minoliti questions the ways in which the history of art is written, its roll-call of heroes, and the very nature of the image as the world knows it.

With its welcoming atmosphere, Soft Museum also seeks to break down other barriers and hierarchies. The paintings, in addition to being objects to be viewed, offer shelter to small animals, as seen in Play C coloreadas (Colourful Play C), or dress the characters Fox, Cat and Bear who wander the galleries along with the visitors. Meanwhile, the installations, which feature artworks from the Moderno collection, remove the distinctions between paintings, objects and animated creatures, as seen in Dollhouse and also murals such as Pompis, which play with space and dimensions to highlight the relationship between what is contained within the museum and what is left outside. And so Soft Museum presents a utopian, peaceful fiction where visitors can come in, read and rest among paintings and friendly characters.

Also operating at the museum will be the Feminist School of Painting. Designed to be both an installation and an active classroom, Minoliti has created an educational space populated with murals of friendly characters where, with the help of Argentine artists and cultural theorists, they will take a critical look at iconic works from the history of painting. The School… will offer classes for people of all ages, hosting debates on a variety of topics ranging from the lack of representation of people of African descent in the history of art to the need to deconstruct normative representations of bodies.

Soft Museum is a declaration of principles in which Minoliti uses painting to create a spectacle, aware of the enormous value such an exhibition can have in cultivating habits and practices, emotions and the ways in which pleasure is produced.

Friday, November 15th, 2019

Bronwyn Katz, Salvaged Letter


Bronwyn Katz
Salvaged Letter
November 15, 2019 – January 10, 2020
Opening Friday, November 15th from 6–8PM

Peres Projects is pleased to present Salvaged Letter, Bronwyn Katz’s first exhibition at the gallery. The exhibition serves as a continuation of Katz’s interest in the creation of systems of notation which gesture to lost ancestral language and potential imagined languages. For the exhibition Katz collaborates with words from a 1928 statement made by !Ora language activist Benjamin Kats.

Ta a-b kobab ada kāxu-da, ti khoe-du’e!
‘Do not let our language be lost from us, you my people!’
(Benjamin Kats)

Katz attempts to retain the words of Benjamin Kats by creating codes with her salvaged materials, which aim to support and affirm individual words from the statement. Katz performs a form of translation and interpretation of these words. The formal qualities of these codes are largely influenced by Katz’s existing artistic language. Through the creation of these codes/visual forms realised as sculptures and installation Katz offers an alternative mode of preserving, reading and understanding language. Katz’s work on excavating communal history and the recognition of diverse forms of expression is crucial for the rebuilding of a South African archive and reclaiming what was assumed to be lost or destroyed.

Incorporating sculpture, installation, video and performance, Bronwyn Katz’s practice engages with concepts of mapping, loss, memory and language relative to land and culture. Often using found materials as the departure point for her works, Katz’s approach to making is driven foremost by formal concerns such as composition and line, expressed in an abstract minimalist language. Conceptually, her sculptures refer to the political context of their making, embodying subtle acts of resistance that draw attention to the social constructions and boundaries that continue to define those spaces.

Bronwyn Katz (b.1993) graduated with a BFA from the University of Cape Town in 2015 and was awarded the Simon Gerson Prize. Katz’s oeuvre incorporates sculpture, installation, video and performance. Recent solo exhibitions include at the Palais de Tokyo curated by Marie Ann-Yemsi, and blank projects in Cape Town. Katz has also participated in numerous group exhibitions, including at Peres Projects, Berlin; 15th Lyon Biennale, curated by Le Palais de Tokyo and its team of curators: Adélaïde Blanc, Daria de Beauvais, Yoann Gourmel, Matthieu Lelièvre, Vittoria Matarrese, Claire Moulène, Hugo Vitrani; the Museum of African Contemporary Art Al Maaden (MACAAL) in Marrakesh curated by Meriem Berrada; and the 12th Dak’Art Biennale directed by Simon Njami. In 2020 Katz will participate in the 22nd Sydney Biennale directed by Brook Andrew.

Monday, September 30th, 2019

Richard Kennedy, (G)hosting


Richard Kennedy
September 27 – October 25, 2019
Opening Friday, September 27, 6-8PM

Peres Projects is pleased to present (G)hosting, Richard Kennedy’s first solo exhibition at the gallery.

The title of the exhibition plays on the term hosting, which has been taken up in the gay community on online forums and apps for dating, to indicate a space that’s safe for invitation (i.e. can you host), and ghosting – to drop out of a situation without warning or explanation. The overlapping and entangled actions of hosting and then ghosting, that fit together in spite of their oppositional meanings indicates Kennedy’s preoccupation with the epistemological force of language. The spaces opened up in language for seemingly contradictory affects to coexist.

For his first exhibition in Europe, Kennedy presents (G)hosting, an opera without an audience, which was developed over the course of his 2019 summer residency at Open Forum in Berlin. Considering opera through a language of African American experience – drawing on the oral histories told through spirituals and chain gang songs, Kennedy disrupts the tradition of Western Theatre, where the primary mode of engagement is through observation, in order to generate new participatory modes of viewership.

Kennedy’s multi-disciplinary practice is interested in relationships and navigating sexuality as it occurs at the intersection of class, race and gender. His professional background is in music and opera, through which he initially began communicating and elaborating these ideas. Throughout the process of creating costumes and set design for opera, Kennedy was led to painting, sculpture and video – drawing on a process of layering, obfuscation, and temporality (slowness) that contradicts his practice in live performance. For (G)hosting, through his experience in scenography, Kennedy delivers a translation, an iteration, of his previous work in the painting and sculpture for this exhibition.

Richard Kennedy (b. 1985, Long Beach, California) is an artist, experiential composer, and librettist originally from Middletown Ohio and currently living in Brooklyn, New York. He received his MFA from the Milton Avery Institute at Bard College. Kennedy is a 2019 MacDowell Colony Fellow and recently completed residencies at Open Forum Berlin and Mana Contemporary. His debut solo gallery exhibition (G)hosting opens in September 2019 at Peres Projects in Berlin, and his Collapsed Operetta “A Touch of Elegance” will premiere at the Institute of Contemporary Art, Virginia Commonwealth University in November 2019. Kennedy has recently presented performance works at MoMA, The Shed, The Kitchen, The Studio Museum Harlem, BOFFO Performance Festival and Disney Concert Hall, Los Angeles.


Peres Projects is open Monday through Friday, 11am – 6pm. For further information and sales inquiries, please contact Javier Peres (, Nick Koenigsknecht ( or call at +49 (0) 30 275 950770. For press and media inquiries, please contact or +49 (0) 30 275 950770.

Monday, September 23rd, 2019

Dorothy Iannone, Centre Pompidou

Always Alluring, 2019 – Detail
Painting – Acrylic on wood
173.5 x 143 cm (69 x 57 in)


Peres Projects is pleased to announce TOUJOURS DE L’AUDACE!  Dorothy Iannone’s upcoming solo exhibition at the Centre Pompidou in Paris. The exhibition, curated by Frédéric Paul, includes works that span from 1963 to the present day and will open this Wednesday September 25, 2019.

25 September 2019 – 6 January 2020
Musée – Niveau 5 – Salle Focus – Centre Pompidou, Paris

Thursday, September 12th, 2019

Manuel Solano, Portraits



Manuel Solano
September 13 – October 25, 2019
Opening Friday September 13, 6 – 8PM

Peres Projects is pleased to announce Portraits, the first solo exhibition by Manuel Solano at the gallery.

The work of the Mexico-born artist finds spaces of ambiguity and duality for identity. Their practice, predominantly in portraiture, inserts and interprets the artist into depictions of characters from popular culture or figures from their childhood in order to explore the messiness and proximity of culture and selfhood.

For the exhibition Portraits, the artist has created a series of new works that continues their engagement with problems of identity and subjecthood. Solano has been working with new materials to develop these works – using oil pastels smudged with their fingers over an acrylic paint background, on canvas. They have also produced three new video self-portraits on the occasion of this exhibition.

The characters in Portraits do not figure under a unifying theme or have anything in common other than that they have struck the artist in one way or another. In this sense, the body of work produced for this exhibition demonstrates the conditional and relational nature of identity – that the subject is comprised of the many people in one’s life.

I have portrayed several people in this series who are close to me but whom I have never seen. Damien, for example. I met Damien at the opening of the first show I had after going blind, just a few months after I became blind. We became friends and I knew only vague basic details about his appearance. That he was a ginger, that he had muscles. I never wondered much about his appearance or gave it much thought back then. Then we spent some time apart when he moved back to the US, but later he came back to Mexico City for a short holiday.

Hanging out with him again, I realized how much I liked him and how much we seemed to enjoy each other’s company. I started noticing something else. When we were walking together, me taking his arm, I could feel and smell his breath close to me as we spoke. He was looking at me, turning towards me, during conversation. I guess that indicates or harbingers intimacy in a way. Then quickly, I realized something else, that I could tell by the sound of his voice when he was smiling. I think it was probably the first time since my blindness that I noticed this, that you can tell people are smiling or not by the sound of their voice. I started listening for his smile, and noticing his smile was frequently on his face.

I fell head over feet in love with him over the course of the three days that followed. Even now, years later, when I think about Damien, the image that comes to my mind is him smiling broadly and kindly. I found it very beautiful that I could know somebody’s smile without ever having seen it.

Someone I showed a photo of the portrait of Damien said he looks loved. In that sense at least, I guess I’m a better artist than Frida Kahlo, because looking at her portrait of Diego Rivera you wouldn’t feel like he was a particularly loved man.

I mean, it’s not like the sound of Damien’s voice is all I had for a reference to portray him. By now I’m very familiar with his facial hair or the shape of his nose, for instance. Or the gap between his front teeth. But I knew his smile and had a mental image of it long before I ever kissed him.

– Manuel Solano, 2019

Manuel SOLANO (b. 1987) studied at the National School of Painting, Sculpture and Printmaking in Mexico City. In 2013 Solano went blind due to complications related to an HIV-related infection. Since then, Solano has developed unique methodologies to continue an art practice which includes painting, video, and installation. Through their work, they explore the relationship between memory and identity, and balance the autobiographical with pop cultural imagery.

In 2019 Solano participated in a group exhibition entitled City Prince/sses at the Palais de Tokyo curated by Hugo Vitrani. Recent solo exhibitions include “I Don’t Wanna Wait For Our Lives To Be Over” at the ICA, Miami curated by Alex Gartenfeld and “PUNCHIS PUNCHIS PUNCHIS PUM PUM PUNCHIS PUNCHIS PUNCHIS” at the Museo de Arte Carrillo Gil curated by Guillermo Santamarina in Mexico City. In 2018 Solano also participated in a group exhibition at Peres Projects as well as The New Museum Triennial in New York, co-curated by Gary Carrion-Murayari and Alex Gartenfeld.


Tuesday, September 10th, 2019

Melike Kara, GOWEND GARDEN, Salon 94

O sweet spontaneous, 2019
Painting – oil sticks and acrylic on canvas
200 x 280 cm (79 x 110 in)

Peres Projects is pleased to announce the solo-exhibition GOWEND GARDEN of artists Melike Kara at Salon 94.

Let’s draw a line
Which curls up into herself

barely noticeable
And yet so wanted

Do you hear the scent count
Even and conscientious
The big wild tenderness
Blooming in the darkest rooms
an aftertaste.

– Melike Kara, 2019

This is Kara’s first solo exhibition in the United States. A video work, Gowend, is projected onto windows in the gallery. It shows eight pairs of dancing feet, moving in unison. They perform multiple traditional Kurdish dances to the beat of a drum with a fluctuating rhythm, beginning slow, becoming faster and faster. Gowend is a word used to describe this type of dance, coming from the Zazaki dialect spoken by the artist’s family. While the dances come from different communities and are not typically danced in sequence, the artist combines them in a gesture of representation. Exploring the reverberations of the generations of violence and persecution against the Kurdish people, Kara entwines these dances in order to represent the diversity of tradition and expression amongst Kurdish communities as a rich resource and source of connection. Projected onto the brightness of the windows, the movements become ethereal in their transparency, an idea, or a memory. Yet their transparency grounds itself through the unity of movement and strong relationship to sound. The rhythm allows the dancers to orient within time, making it possible to capture a moment together as something solid.

Gowend Garden investigates methods of uniting the present. Drawing on trauma within Kurdish history, the collective loss of cultural violence and persecution, as well as two personal losses inside her family, Kara’s works look at how identity affirms itself through community and connection. Large groups of figures, void of traditional identity markers, coalesce through posture, touch and a cohesive color palette. The connection amongst the figures is palpable, the belonging they share with one another creating a clear impression of identity, though gender, nationality, age, are invisible. Birds embrace groups of figures, move between them, emerge from bodies, and repeat across the surface of a canvas constructed from pants once belonging to Kara’s grandmother. Like the dancers, there is a rhythm to the movement in the paintings, a beat that brings life into focus. Kara’s works examine methods of asserting life, seeing the potential in the present moment to nurture care, connection and belonging.

– Marina Caron, 2019

Melike Kara (German, b. 1985) live and works in Cologne. Kara attended the Dusseldorf Academy of Art from 2007-2014 where she studied under artist Rosemarie Trockel. Her most recent solo exhibitions include A Taste of Parsley at The Yuz Museum, Shanghai (2018), New Work at Witte de With Center for Contemporary Art, Rotterdam (2019) and My Beloved Wild Valley at Arcadia Missa Gallery, London (2019). She is represented by Peres Projects, Berlin and Jan Kaps, Cologne.

Monday, August 26th, 2019

Austin Lee: Compositions, Mine Project Gallery

On view through October 19, 2019

Peres Projects is pleased to announce Austin Lee’s exhibition Compositions in Hong Kong at Mine Project Gallery.

11/F, The Hennessy, 256 Hennessy Rd, Wan Chai, Hongkong

Monday, August 26th, 2019

LENGUA LLORONA Catalog – Donna Huanca

On the occasion of Donna Huanca’s solo exhibition at Copenhagen Contemporary, Peres Projects is pleased to announce that the LENGUA LLORONA catalog is now available.

The publication was produced by Peres Projects with Copenhagen Contemporary and includes texts by Aukje Lepoutre Ravn and Vi Payaboon, with a forward by Marie Nipper.

Please click here to purchase copies.

Tuesday, July 30th, 2019

Summer Break 2019

Peres Projects will be closed for summer break from August 5 – August 19, 2019.

Our fall program will begin with a solo exhibition by Manuel Solano opening on September 13th at 6pm.

Friday, June 28th, 2019

Donna Huanca, OBSIDIAN LADDER: Marciano Art Foundation, Los Angeles

Exhibition Dates:
June 28, 2019 – December 1, 2019

Peres Projects is pleased to announce OBSIDIAN LADDER, the first large-scale solo exhibition in the United States of Donna Huanca. Huanca’s site-specific installation for Marciano Art Foundation’s Theater Gallery will reveal a new topography of triggered senses, combining sound, scent, and live performance. These elements will be experienced together against a backdrop of carved steel sculptures and large format skin paintings.

Photograph by: Elsa Kostic

Marciano Art Foundation
4357 Wilshire Boulevard
Los Angeles, CA 90010

Saturday, June 8th, 2019

Dorothy Iannone: Liberties, Remai Modern


On view through September 8, 2019

Peres Projects is pleased to announce Dorothy Iannone’s first exhibition in Canada, featuring works from 1960’s – Current. The exhibition includes six large-scale wall paintings, and an audio installation, all which focuses on the Statue of Liberty. A long standing powerful female figure that Iannone has referenced to throughout her practice.

Installation view, Dorothy Iannone: Liberties, Remai Modern, 2019. Photo: Blaine Campbell. Courtesy of Remai Modern

Remai Modern
Saskatoon, SK S7K 3L6

Sunday, June 2nd, 2019

Melike Kara, new work: Witte de With, Rotterdam




On view through August 25th, 2019

Curated by: Sofía Hernández Chong Cuy, and Samuel Saelemakers

Melike Kara’s latest solo-exhibition, new work is a first for the artist in The Netherlands. For this exhibition at Witte de With, in Rotterdam, Kara’s never before seen body of work consists of both painting and sculpture adorned by organically shaped figures, and animals referencing her artistic exploration of her Kurdistan cultural background.

Courtesy of the artist and Jan Kaps.
Installation view Melike Kara, new work at With de with Center for Contemporary Art, 2019.
Photographed By: Kristien Daem

Tuesday, May 21st, 2019

Donna Huanca on Louisiana Channel: Disrupting the Male Gaze

Donna Huanca was interviewed by Roxanne Bagheshirin Lærkesen at Copenhagen Contemporary in Copenhagen, Denmark in April 2019 in connection with her solo exhibition ‘LENGUA LLORONA’.

To see the full video interview.

Camera: Rasmus Quistgaard and Roxanne Bagheshirin Lærkesen

Produced and edited by: Roxanne Bagheshirin Lærkesen

Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2019

Supported by Nordea-fonden

Wednesday, May 8th, 2019

Ad Minoliti – May You Live In Interesting Times – Venice Art Biennale 2019



May You Live In Interesting Times
May 11 – November 24, 2019

Opening May 8th, 9th, and 10th

Peres Projects is pleased to announce Ad Minoliti‘s participation in the 58th edition of the Venice Art Biennale.

The title of this Exhibition could be interpreted as a sort of curse – stated President Paolo Baratta – where the expression “interesting times” evokes the idea of challenging or even “menacing” times, but it could also simply be an invitation to always see and consider the course of human events in their complexity, an invitation, thus, that appears to be particularly important in times when, too often, oversimplification seems to prevail, generated by conformism or fear. And I believe that an exhibition of art is worth our attention, first and foremost, if it intends to present us with art and artists as a decisive challenge to all oversimplifying attitudes.

Curated by Ralph Rugoff and organized by La Biennale di Venezia chaired by Paolo Baratta.

Tuesday, April 30th, 2019

The Search for the Perfect Picture – Beth Letain in Der Tagesspiegel

“The rich, bright colors, the purple, pink, red and blue of the squares, piles and panels seem incredibly weightless, in palpable contrast to the expressive gesture of the broad brushstroke. Although geometric in shape, her work has haptic, physical qualities.”

Read the full article by Heike Fuhlbrügge here.

Wednesday, April 24th, 2019



Beth Letain

April 26  – June 21, 2019

Opening Friday, April 26, 6–9PM
Gallery Weekend opening hours: 11AM–7PM Saturday and Sunday

Peres Projects is pleased to announce ultrapath, Beth Letain’s second solo exhibition at the gallery, opening on the occasion of Gallery Weekend Berlin, 2019.

Beth Letain’s monumentally scaled paintings are adamantly, absurdly honest about what they are: brightly colored stripes, squares, stacks, and slabs suspended across impossibly weightless white grounds. These are lively and quotidian forms, easily named but stubbornly resistant to description. In their simplicity, their unassuming thematic variations, these works hold up a mirror to painting’s modernist past. Reflected in them we can see Malevich’s quest to materialize the immaterial, to make color float in an imagined infinite; also echoed is Gertrude Stein’s strict assurance that there is no repetition, only insistence. The ghosts of the old guard are here, represented by the material directness of the paintings and the painter’s curiosity about the operations of vision, about how almost nothing may be built into absolutely something. But these engagements of modernist problem solving, modernist rigor, and modernist entanglement with material and form have refused the self-seriousness that defines that canon. Letain makes paintings that are both top-heavy and weightless, guffawing and full of grace. These paintings are too homey to claim the sublime, too massive to be pretty, too modest to trade in the existential weight of the expressive gesture. They are, however, absolutely serious about joy, and surprise the viewer time and again by locating that joy with absolute conviction in a field of slippery, slap-dash, reeling exactitude.

Sarah Hollenberg, 2019

Beth Letain (b.1976, CA) studied at the Nova Scotia College of Art and Design, and SUNY Purchase College, graduating with an MFA in 2008. Recent exhibitions include Pace Gallery, London; Peres Projects, Berlin; Kunstverein Reutlingen, Reutlingen.


Peres Projects freut sich, ultrapath, Beth Letains zweite Einzelausstellung in der Galerie anzukündigen, die anlässlich des Gallery Weekend Berlin 2019 eröffnet.

Beth Letains monumentale Gemälde sind auf unerbittliche und absurde Weise ehrlich, was sie selbst betrifft: Streifen, Vierecke, Stapel und Platten in leuchtenden Farben vor unglaublich schwerelosen weißen Hintergründen. Diese Formen sind lebendig und alltäglich; sie lassen sich leicht benennen, widersetzen sich jedoch hartnäckig der Beschreibung. Mit ihrer Einfachheit und ihren bescheidenen thematischen Variationen halten sie der modernistischen Vergangenheit der Malerei einen Spiegel vor: Man kann ihn ihnen Malewitschs Bestreben erkennen, das Immaterielle zu materialisieren und die Farbe in einer imaginären Unendlichkeit schweben zu lassen; und in ihnen klingt Gertrude Steins rigorose Versicherung an, dass es keine Wiederholung gibt, sondern nur ein Beharren. Die Geister der alten Garde sind anwesend und verkörpern sich in der materiellen Direktheit der Gemälde und in der Neugier der Malerin auf die Arbeit des Blicks, in der Neugier darauf, wie man aus fast Nichts etwas machen kann, das definitiv etwas ist. Doch dieser Einsatz modernistischer Problemlösungen, modernistischer Strenge und modernistischer Beschäftigung mit Material und Form lehnte es ab, sich selbst so ernst zu nehmen, wie es für diesen Kanon charakteristisch ist. Letain macht Gemälde, die gleichzeitig kopflastig und schwerelos, voller Gelächter und voller Anmut sind. Diese Gemälde sind zu heimelig, um Erhabenheit zu reklamieren, zu wuchtig, um schön zu sein, und zu bescheiden, um das existenzielle Gewicht der expressiven Geste zu tragen. Aber sie sind absolut ernsthaft, was die Freude betrifft, und überraschen die Betrachter*innen immer wieder, indem sie diese Freude aus tiefster Überzeugung auf dem Feld einer rutschigen, schludrigen, taumelnden Genauigkeit verorten.

Sarah Hollenberg, 2019

Beth Letain (*1976, CA) studierte am Nova Scotia College of Art and Design und am SUNY Purchase College, wo sie 2008 einen MFA erwarb. Ausstellungen in jüngerer Zeit (Auswahl): Pace Gallery, London; Peres Projects, Berlin; Kunstverein Reutlingen, Reutlingen.

Tuesday, April 23rd, 2019

BIENNALE DE LYON – Rebecca Ackroyd

Peres Projects is pleased to announce the participation of Rebecca Ackroyd in the fifteenth edition of the Biennale de Lyon entitled Là où les eaux se mêlent. 

Curated by Jean de Loisy, the former director of the Palais de Tokyo, and the museum’s curatorial team.

18 September, 2019 – 5 January, 2020.

Monday, April 8th, 2019

Dorothy Iannone at Peres Projects

Dorothy Iannone (b. 1933, Boston) is a Berlin-based artist whose work is concerned with the spiritual dimension of Eros, focusing on eroticism and the human sexual experience as a means to explore and celebrate notions of ecstatic unity. In recent years Iannone has had a retrospective at the Berlinische Galerie, Berlin, curated by Annelie Lütgens, as well as solo museum exhibitions at Migros Museum, Zurich, curated by Heike Munder; the Centre Culturel Suisse, Paris; the Camden Arts Centre, London; and the New Museum, New York, curated by Jarrett Gregory. In 2019 Iannone will have a solo exhibition at Centre Pompidou, Paris, and her work will feature in the museum exhibition And Berlin Will Always Need You, curated by Julienne Lorz and Natasha Ginwala at Berlin’s Martin Gropius Bau.

See the full post at Contemporary Art Daily.

Friday, April 5th, 2019



“Mistakes glitches and inconsistencies are all welcome in Wadden’s oeuvre, and it is arguably these nuances keeping perfection at bay that give the works both their handmade feel and their idiosyncratic charm. In ‘Untitled’ (2016), the joins between the repeated, alternating white and blue curved forms are not perfectly aligned, gently confirming that we are not looking at something industrially produced…”

Matthew Price on Brent Wadden, published in Vitamin T: Threads and Textiles in Contemporary Art, Phaidon 2019

Monday, April 1st, 2019



“Her women, once described by painter Amy Sillman as “sirens performing burlesque acts of female pleasure,” are seductive, strong, and above all conscious of their desires, as articulated in explicit texts. “I Begin to Feel Free,” “Look at Me,” “Suck My Breasts,” “Let Me Squeeze Your Fat Cunt”—titles of paintings calligraphed in capital letters decorate bodies and litter the spaces between them. In the immersive, orgiastic chaos of Iannone’s work there is no shame and no taboos. Just a lot of joy.”

(Photo: “The Statue of Liberty”, from Lady Liberty Meets Her Match, Peres Projects, Berlin, 2019. Photo by Matthias Kolb)

Read the full article by Kasia Redzisz in Mousse Magazine.

Wednesday, March 20th, 2019

Donna Huanca – LENGUA LLORONA at Copenhagen Contemporary

Peres Projects is pleased to announce Donna Huanca’s solo exhibition LENGUA LLORONA, at Copenhagen Contemporary.

On View March 22 – September 1, 2019
Opening Thursday March 21, 5–10PM

LENGUA LLORONA is Donna Huanca’s first large scale solo exhibition in Scandinavia, and the first performance-led commission at the museum. Huanca’s painting, sculpture, sound and immersive installation works are rooted in her performance practice. During the exhibition period, visitors will experience several performances, in which models inhabit the installation. Referencing notions of origin, memory and time, Huanca’s work draws attention to the nature of the human body. By using smell as well as sound in her works, Huanca addresses several of our senses, seeking to evoke the memories associated with them. Through this practice, Huanca examines the deeper history and conventions of bodily behavior across various cultures and questions how the ongoing accumulation of bodily gestures comes to define who we are.

There will be free admission for the opening night. The performance will take place from 5:30–9PM.

The exhibition is made in collaboration with Curator Aukje Lepoutre Ravn.

Thursday, March 14th, 2019

“Austin Lee’s Feel-Good Art Is More Complicated Than It Seems” – Austin Lee Featured in Garage Magazine


“Don’t be thrown by the sugary, rainbow tinted allure of painter Austin Lee’s latest show with Jeffrey Deitch. Among the enormous roses—the fields of floating hearts, the goofily grinning faces—there’s an undercurrent that unsettles. Even the exhibition’s title, “Feels Good,” implies an instability, partly alluding to the infamous catchphrase of Pepe the Frog, a hippydippy underground comics character who was coopted by the altright and other hate groups. “Something that seems good can be not so good for you—this show is poking at those different things, Lee tells GARAGE.”

(Photo: “Down” from Austin Lee, Feels Good, Jeffrey Deitch, New York, 2019. Photo by Genevieve Hanson.)

Read the full article featuring Austin Lee in Garage Magazine. 

Friday, March 8th, 2019

Ad Minoliti – 58th International Art Exhibition of La Biennale di Venezia 2019

Peres Projects is pleased to announce the participation of Ad Minoliti in the 58th International Art Exhibition of La Biennale di Venezia.

May You Live In Interesting Times
Curated by Ralph Rugoff

May 11 – November 24, 2019

58th International Art Exhibition of La Biennale di Venezia
Venice, IT

Monday, February 4th, 2019

Lady Liberty Meets Her Match

Peres Projects is pleased to present Lady Liberty Meets Her Match, Dorothy Iannone’s fourth exhibition at Peres Projects. The exhibition is comprised of new works including wall paintings, a sound installation, as well as two new sculptures. The works reference both the figure and text of the Statue of Liberty which Iannone first used in the 1960’s. Iannone’s work is rooted in ideas of freedom and she has continued to revisit Lady Liberty specifically over the years, most recently in her first public art commission at the High Line in New York City curated by Cecilia Alemani. For this exhibition, Iannone has created Lord Liberty, Lady Liberty’s muse, intertwining our associations of political liberty with Iannone’s deeply personal and autobiographical romantic narratives.

Dorothy Iannone (b. 1933, Boston) is a Berlin-based artist whose work is concerned with the spiritual dimension of Eros, focusing on eroticism and the human sexual experience as a means to explore and celebrate notions of ecstatic unity. In recent years Iannone has had a retrospective at the Berlinische Galerie, Berlin, curated by Annelie Lütgens, as well as solo museum exhibitions at Migros Museum, Zurich, curated by Heike Munder; the Centre Culturel Suisse, Paris; the Camden Arts Centre, London; and the New Museum, New York, curated by Jarrett Gregory. In 2019 Iannone will have a solo exhibition at Centre Pompidou, Paris, and her work will feature in the museum exhibition And Berlin Will Always Need You, curated by Julienne Lorz and Natasha Ginwala at Berlin’s Martin Gropius Bau.

Friday, January 11th, 2019

Donna Huanca – New Acquisitions, Rubell Family Collection

Peres Projects are pleased to announce Donna Huanca’s inclusion in the Rubell Family Collection’s New Acquisitions, a new exhibition presenting paintings, sculptures, and installations by 20 artists acquired within the last two years.

December 3, 2018 – June 29, 2019

Rubell Family Collection
Contemporary Arts Foundation
95 NW 29 ST, Miami, FL 33127

Tuesday, January 8th, 2019


Finding your center, standing still, take a deep breath in. Pay close attention to your breath as you pull it in through your nose and push it out through your mouth. Breath slowly, deeply, naturally. Once you’ve found your breath rhythm, we’ll begin your journey. Go at whatever pace feels comfortable, and take breaks whenever you feel is necessary. As you begin to walk counter clockwise through the space, pay attention to your steps, left and right, and check in with your breath. Feel how your body moves, the shifting of your weight, enjoy the motion. You feel strong, energetic, but not rushed. When you’re ready, turn your attention to your surroundings, the idols on your left and right guiding you deeper into this dream world, allow yourself to be submerged in the environment, the sculptures and wall works create the world you’re entering. Pay attention to the characters you begin to encounter, they’re sharing a meal and look up at you as you pass by them, meeting your gaze. You don’t need to feel afraid of them, they are friendly, they are your family although at first glance you didn’t recognize them. For now you must decline their offer for food and wine, and they understand, you both know that they will always be there for you, offering care and nurturance. As you continue your journey, you are accompanied by the now familiar figures, they are your guides. Notice the shininess on the nose of that one over there, it’s been touched and loved, you can see that each one contains a long history of friendship and familiarity. Let that feeling of history and comfort soak into your body. Bring your attention back to your breath, the rhythmic in and out of the air. You do not feel uneasy, you feel calm and taken care of. Now, watch the figure, it will let you know when it’s time to keep moving. When you get the signal, continue around the room, direct your attention towards the deconstructed domestic items around the space. The gutted mattress and the folded bathtubs. Let your observation of their strangeness lead you to the feeling of how familiar these objects are in your life, how your routines around them have become thoughtless and automatic, think of how you touch and use these objects in your daily life. Think of who you share those experiences with. Do you brush your teeth beside someone? Do you share your bed? Do you share your dreams?

Sigmund Freud’s psychoanalytic approach views the dream world as the ‘Royal Road to the Unconscious’. Freud believed that dream analysis was the access point to sublimated and repressed memories, to trauma, it was the key to unlocking a patients mind and also figured heavily in their treatment. Memory itself is imperfect – a  mixture of fantasy and reality, and dreaming steps away further, manifesting those fantasies in the creation of a visual world. Dreams are simultaneously the revealing and uncovering of the unconscious, and the shrouding of it in visual signs and cues. Trauma is re-presented, re-expressed, re-incarnated in objects and environments.

The Road to the Unconscious presents works by Bronwyn Katz, Donna Huanca, Su Chang, Beth Letain and Brent Wadden alongside pieces by unknown African artists hailing from the Fang (Gabon), Mumuye (Nigeria), Senufo (Ivory Coast or Mali), and Luba (Democratic Republic of Congo) people.

With thanks to Marc Leo Felix/Congo Arts, Brussels for his generous loans and Bruno Claessens for his support.

January 11 – February 22, 2019
Opening Friday, January 11th 6–8PM

Friday, December 21st, 2018

Winter Break 2018-19

Peres Projects will be closed for our annual winter break from December 24, 2018.

The gallery will reopen with the preview of our group exhibition Road to the Unconscious from 6PM on January 11, 2019.

Monday, October 8th, 2018

The Feminist School of Painting

The Feminist School of Painting is a solo exhibition by Ad Minoliti. Culminating her residency at KADIST, the project will transform the galleries into an active classroom with new murals of vibrant silhouettes of animals, landscapes, and geometrical forms.

Co-curated by Devon Bella and Amanda Nudelman

Exhibition dates
October 4–December 15, 2018

Workshop dates
Every Saturday from October 6–November 17, 2018

Thursday, September 27th, 2018


Peres Projects is pleased to announce the opening of Donna Huanca’s solo exhibition at the Belvedere Museum, curated by Stella Rollig.
In the Baroque chambers of the Lower Belvedere, Donna Huanca creates an artistic parallel world using sculpture, large-format painting, video works, and soundscapes. Models, whose bodies are transformed with colours and textiles, meditatively move about the space in deep concentration. They are dynamic components of a cosmos, in which visitors embark on a journey from artificial light to mythical darkness, much like superficial perception can lead to insight and recognition. Huanca’s ‘models’ interact with their own environment and the room on their own accord. The artist makes reference not only to the architecture of the palace, but to the exhibition Egon Schiele. Pathways to a Collection, which will take place simultaneously. The gaze upon the naked body, questions of ‘forbidden’ curiosity and sensual pleasure, as well as the relationships between artist, model, and public become as relevant in the face of Egon Schiele’s works as they are in the experience of Donna Huanca’s stagings. Continuous engagement with the human body, its presence in space as well as its use as material and medium of art, is a central aspect of Huanca’s multidisciplinary work.

28 September 2018 – 06 January 2019

Monday, September 10th, 2018

Strange Messengers


With a Beard, 2018

Painting – Acrylic on canvas

154 x 180 cm (61 x 71 in)


September, 2018 update: the rise of right-wing nationalism still seeping across Europe, visible and banal as sweat stains on t-shirts after this ‘uncharacteristically’ hot summer (read: climate change). The energy that is spent on the daily task of filtering out what we are not able to emotionally handle has us drained. Every week there is a planet in retrograde. We are surviving so far.

Peres Projects presents Strange Messengers, a group exhibition presenting strategies and reflections on navigating contemporary life including works by Dorothy Iannone, Ad Minoliti, Donna Huanca, Rebecca Ackroyd, Manuel Solano, Jack O’Brien and Steffen Bunte.

Strange Messengers approaches the impossible task of interpreting the murky semiotics of contemporary life and the seven artists included act as messengers. Their role is both to relay as well as to enact. They are the strange and non-normative. The messages they deliver are vague, obscure, resisting categorization and slipping out from an often violent, patriarchic gaze. The message is at times unintelligible and frequently non-verbal. It depicts non-discrete and alien-like bodies, appendages and extensions of each other or disappeared entirely. Representations of the body in all of these artists’ work is a crucial reflection of the denudation not only of attire, but also of movements, expressions and societal conventions. They aim to disassemble and make visible the work that goes into being a body. These perspectives are vital in today’s unstable world, offering us not only modes of survival, but paths towards fulfillment.

With her erotic narratives, the work of Dorothy Iannone is the historic catalyst for the exhibition, out of which a larger and contemporary discourse emerges. Iannone’s work depicts women’s refusal of shame and states of ecstatic pleasure and through it, we are reminded of how we arrived at where we are now. The messages that pass across generations, between people involved in the same struggles that have lasted eons. Linear time is collapsed in order for us to listen forward and backward to our sisters.

These struggles are the continual confrontations of existing under the hegemony of a social context that demands that we be and love and work under the constraints of normative culture. Every motion therefore is a disruption within the contemporary context. These disruptions have now transcended categorical gender and sexual binaries in favor of more fluid, personal identities. These identities now challenge to push forward the hard won mainstream acceptance of feminism and homosexuality. The artists articulate this confrontation, act it out, and are created from it.

The works in this exhibition function both as objects and signifiers delivered by our strange messengers. The construction of these objects is a mode for the production of better spaces and futures, and the deciphering and interpretation of these new visual languages and signs are necessary in calling these futures into the present. As Iannone’s generation did in the 1960’s, we once again find ourselves at a cultural crossroads. Our messengers propose the road less traveled.

September 14 – October 26, 2018
Opening Friday, September 14th 6–8PM

Monday, August 6th, 2018

Summer Break

The gallery is now closed for summer break, reopening again September 14, 2018 for the opening of our group exhibition Strange Messengers at 6pm.

Friday, July 20th, 2018

Rebecca Ackroyd – Mademoiselle, CRAC, Sète

Peres Projects is happy to announce Rebecca Ackroyd’s participation in the upcoming exhibition Mademoiselle, opening this Friday at Centre Régional d’Art Contemporain OccitanieMademoiselle, curated by Tara Londi, is a collective exhibition that brings together a new generation of international artists, exploring the stakes (and paradoxes) related to contemporary femininity, through a wide range of mediums and subjects. Referring to the recent ban on the title “Mademoiselle”, and inspired by the #Metoo movement, the exhibition exposes the manifold heritage, expansion and evolution of feminist art strategies and theories today.

It is with a candid or calculated disregard for conventions and taboos that the artists explore the convergence of diverse feminist histories with other aspects of identity politics and social critique, supplanting the concept of a singular feminist narrative and identifying contemporary obstacles for women’s emancipation.The artists elaborate on violence, prototypes of domestic bliss, maternity, social and personal relationships, collective rights, individual empowerment by hedonism and narcissism, media visibility and a general sexualization of culture. They reflect upon pervasive models of ‘youthitude and femininitude’ – embodied in the concept of the Young-Girl – as desirable ideals in consumer society and culture at large and as regulators of integration and success within it.

All is questioned with a sensibility that is above all colored with an unprecedented brand of humor which seems not only to provide the critical distance to assess both the gains and the losses of feminism but also to serve as a winning strategy to negotiate new possibilities of feminist practices and ideology.

Curated by Tara Londi

Centre d’Art Contemporain Occitanie à Sète
Sète, FR

July 21 – January 06, 2019

Friday, July 6th, 2018


Peres Projects is pleased to announce the opening of Melike Kara’s A Taste of Parsley, her first solo exhibition in China at the Yuz Museum, Shanghai.

The exhibition will build on Kara’s study of identity with a new series of artworks including works on canvas, glass paintings, and sculptures.

Opening July 07 through September 09, 2018.

Tuesday, July 3rd, 2018



Peres Projects is pleased to announce our participation in Condo Shanghai 2018 where we will be presenting new works by Ajarb Bernard Ategwa at AIKE gallery.

Join us from July 07 – August 26, 2018.

We look forward to seeing you there!

Monday, June 18th, 2018



OPENING: JUNE 29, 2018


Peres Projects is pleased to present Dollhouse, Ad Minoliti’s (b.1980, AR) first solo exhibition in Berlin. As implied in the title of the exhibition, Minoliti employs the symbology of dollhouses in new wall murals and paintings in order to understand and present non-binary alternatives to contemporary social hierarchies, specifically those based on gender roles and sexuality.

The western notion of dollhouse toys were introduced in the 17th century as both a display of the wealth contained in one’s home, and primarily as a pedagogic tool parents and institutions used to instruct girls on household management. Young girls were shown that their world revolved firmly around the home, a place where they could aspire to support the goals of their husband and children. In more contemporary times, though superficially stripped of these more literal pedagogic traditions, dollhouses are still typically introduced into the play of young girls to serve the same function.

Minoliti’s stacks of brightly colored acrylic paintings architecturally reference the backside of these dollhouse toys, allowing us to peer into the “rooms” of an alternative social narrative. At the same time, the gallery is populated by Minoliti’s printed paintings on canvas which present queer interiors inhabited by geometric cyborgs. These digital paintings are hung, juxtaposed on top of large scale, hand painted wall murals which conjure wall paintings in a child’s playroom.

Instead of the familiar feeling of visiting our childhood home where all of our favorite toys have shrunk, evoking a sense of nostalgic distance, the blown up scale and immersive quality of Minoliti’s installation presents us with these objects as if for use in our adult lives. This superimposition of these alternative childhoods onto our adult identities, challenges us to question the validity of binary logic and social hierarchies at large.

When I was a teenager, I would make photonovels with metaphysical and geometrical characters; it was a sort of critique of the repressive and conservative themes most commonly used by metaphysical painters to discuss essentialist truths. I would have legs and modern chairs involved in heterosexual tragedies, or scenes involving buildings and plants to represent, respectively, masculinity/rationality and femininity/the organic, until I finally understood that to really expand those relationships I had to try to extract the human from the equation: modernist thought handed down to us a binary logic of the world. Masculine/feminine, culture/nature, order/chaos, evil/good, are mere discursive constructions to disguise, perpetuate and legitimize domination. And so, if this discourse was behind the metaphysical paintings I was studying, what was left out of their reductive avant garde? Infinite possibilities.

Artist Profile: Ad Minoliti by Gaby Cepeda
Feb 23, 2016

Monday, June 11th, 2018


Please join us for Play Tango, a new performance by Ad Minoliti on the occasion of Parcours Night at Art Basel.

For its ninth edition, Parcours transforms a variety of unique locations in the greater Münsterplatz area, next to the iconic Basel Cathedral, featuring 22 artistic interventions by internationally renowned and emerging artists. Parcours is curated for the third time by Samuel Leuenberger, founder of SALTS, the non-profit exhibition space in Birsfelden, Switzerland.


Saturday June 16, 7pm – Münsterplatz and Rittergasse, presented in collaboration with Peres Projects, Agustina Ferreyra, and Crèvecoeur

Friday, April 27th, 2018

Rebecca Ackroyd – The Mulch – Open for Gallery Weekend

Rebecca Ackroyd’s (b. 1987, UK) debut solo exhibition at Peres Projects, The Mulch, opens for Gallery Weekend Berlin. Ackroyd’s work is vital in today’s chaotic world, offering us modes of survival in dream-like fictional landscapes, informed by tough realities. This exhibition basks in a warm glow from the windows, which are colored red to change the quality of the light.

Ackroyd’s practice involves digging down into existing objects and memories and reconfiguring them into something new. In The Mulch, we see groups of shells and figurative sculptures made from chicken wire, plaster, collage, etc. The shells are giant in scale, yet skeletal, and burn with a fiery intensity next to the larger than life figures. These human forms wear spectacles, masks and motorcycle helmets, confronting us with their stark rawness, they present us with new notions of femininity and and power. In contrast to the self contained power-figures, the walls are peppered with paintings on paper which, having a soft, velvety surface and flowing lines, evoke a vulnerable tenderness and exquisite painterly quality.

Finally, the installation is anchored by a group wall sculptures which evoke shutters, most are battered and charred except for a metal shutter painted pink. Some of the shutters are collaged with black and white images of the rough texture of London streets, some cut from newspapers, and some photographed by the artist herself in the vicinity of her studio. These images are photocopied and layered to combine familiar urban textures with more personal responses to an environment.

Read the full press release here.

Read the Art-Agenda announcement here.

Thursday, April 19th, 2018

Mark Flood in The New York Times

Mark Flood in Catherine Hickley’s review in The New York Times of “Power to the People” curated by Dr. Martina Weinhart at the Schirn Kunsthalle.

Read “Protesting Artists Step Off the Streets and Into the Gallery” below


Wednesday, March 28th, 2018

Donna Huanca artist talk at Art Basel Hong Kong

Read our newsletter HERE
Donna Huanca will speak alongside Antony Gormley, Melati Suryodarmo and Xavier Cha, discussing how their approaches to the figure pay homage to—or rebel against—the body’s representation. Moderated by Qinyi Lim.

Peres Projects is pleased to announce the artist talk:
”Bodies in Practice: On Figures and Figuration” taking place at Art Basel Hong Kong on Thursday 29th March.

Hong Kong Convention and Exhibition Centre
Room N101B
Harbour Road
Hong Kong
33139, Hong Kong, CN
1PM, Thursday 29, March, 2018


Friday, March 23rd, 2018

Donna Huanca ECHO CELL opens at Yuz Museum, CN

Peres Projects is pleased to announce the opening of ECHO CELL, Donna Huanca’s first museum exhibition in China at the Yuz Museum, Shanghai.

The exhibition is centered around a new performance as well as large format paintings, sculpture and video works.

Yuz Museum
35, Fenggu Road, Xuhui District
Shanghai, China

Opening Saturday, March 24, through June 03, 2018

Friday, March 16th, 2018

Ajarb Bernard Ategwa – The New Dialogue

Thursday, January 18th, 2018

Austin Lee – Tomato Can – Opens Friday 19 January

Austin Lee’s Tomato Can opens tomorrow. Join us from 6PM to be among the first to see Lee’s first solo exhibition in Berlin.

Tomato Can

Austin Lee

January 19  – March 2, 2018

Opening Friday, January 19, 6–8PM

Peres Projects is pleased to present Tomato Can, the first solo exhibition in Berlin of American artist Austin Lee. Lee’s impetus for making art capitalizes on his obsession with a digitally and technologically advancing world, the impact this has on contemporary culture, society, politics, and how it affects the way we look at art. Lee’s ambition in this body of work is to ask the viewer to question the relationship between digital manipulation and physical experience, and the exhibition functions as an intersection between reality and a surrealism driven by technological advancement.

In Tomato Can, Lee focuses on paintings which are executed based on digital sketches and painted on canvas with an airbrush. The works follow basic compositional forms, have a flattened spatial depth and are heavy on primary colors, a nod to Lee’s digital sketching process. Lee’s choice of color is based on the purpose of stimulating light and creating intense vibrations, reminding the viewer that the primary way of thinking about color today is in the context of the digital realm. However, the way our computers display color is only an imitation of the way we as humans biologically process it. The human eye is sensitive to three different wavelengths of light – red, green and blue, but by combining these three signals, the brain creates millions of different hues.

With so much of our brain activity devoted to vision, Tomato Can is an effort to translate this activity into perceptual reality. Rooted in perception, interpretation, emotion and action, Lee’s latest exhibition is led by the question of how to take the invisible and make it visible.

Austin Lee (b.1983) lives and works in New York. He received an MFA in Painting from Yale School of Art and a BFA from Tyler School of Art.

Peres Projects’ opening hours are Monday through Friday, 11am – 6pm. For further information and sales inquiries, please contact Javier Peres (, Nick Koenigsknecht ( or  call at +49 (0) 30 275 950770. For press and media inquiries, please contact or +49 (0) 30 275 950770.

Wednesday, December 20th, 2017

Peres Projects wishes you a happy holiday.

Austin Lee’s first exhibition in Berlin, Tomato Can opens at 6PM on Friday 19th January, 2018.



Tuesday, November 28th, 2017

Peres Projects at Art Basel Miami Beach

Peres Projects is pleased to announce its participation at Art Basel Miami Beach. We look forward to the opportunity to present new works by our represented artists: Dorothy IannoneBrent WaddenBlair ThurmanBeth LetainDonna HuancaDean SameshimaMark Flood, and Melike Kara.

We look forward to seeing you at the fair.


Donna Huanca – Melancholic Tongue, 2017 – Sculpture – Mixed media, oil and acrylic on textile, lead, hair, thread, metal on steel frame with aluminium fastenings

Monday, November 13th, 2017

Beth Letain – The Company She Keeps

Peres Projects is pleased to announce Canadian artist Beth Letain’s first solo show at the gallery. Letain will exhibit a range of her most recent paintings, including the Every Other series, and never seen before large format works.

“The Company She Keeps” will open Thursday, 16th November 2017 at 6PM.

We hope you can join us.

The Weight of a Scale

In a recent translation of the Pentateuch, it was discovered that Jacob’s ladder is actually a ramp. This news was not all bad. The ramp, helpful when moving a couch, is useful because it displaces weight; a ramp is a shape for adjusting a burden.

The forms of Beth Letain, however, are mostly square, to use the term loosely. Her lines wobble. Her gravity is evasive. Letain’s paintings rearrange the metaphysical schema and her ladders, shoddy at the rungs, are not made for climbing.

Despite having ramps, ascension in ancient Egypt was tough too, and it was governed by a ritual called the Weighing of the Heart. In this ceremony a soul was appraised and given an afterlife if the heart was found weightless when measured against a feather.

In Letain’s pictures there is no such standard. Her paintings don’t ease the soul by satisfying taste. Instead her forms wander on and off the scale as if they’re trying to see what you are trying to weigh. Her pictures are curious about your measurements, curious about what you’re looking at. Letain uses the form of Painting to misplace the burden of gaze. Her pictures shy away from physical metaphor, words get slippery. And if her paintings hold any gravity, it’s probably equal to the weight of your scale.
– Aaron Weldon
Peres Projects is pleased to present Beth Letain’s first solo show at the gallery. Beth Letain (b. 1976, Canada) is a Berlin based, Canadian painter who graduated in 1999 from McGill University with a degree in biology. She later went on to study painting at the Nova Scotia College of Art and Design from 2005, and completed her MFA at SUNY Purchase College, NY in 2008.

Peres Projects’s opening hours are Monday through Friday, 11am – 6pm. For further information and sales inquiries, please contact Javier Peres (, Nick Koenigsknecht ( or call at +49 (0) 30 275 950770. For press and media inquiries, please contact or +49 (0) 30 275 950770.


Beth LETAIN – Every Other, 2017 – Painting, Oil on Canvas

Friday, October 27th, 2017

Dean Sameshima Solo exhibition opens in Hong Kong

Dean Sameshima’s first solo exhibition in Hong Kong opens this Friday at McNamara Art Projects in collaboration with Peres Projects.

Friday November 3rd, 7 – 9 PM

McNamara Art Projects
202, The Factory,
1 Yip Fat Street,
Wong Chuk Hang
Hong Kong

Through 22nd December, 2017


Dean Sameshima – Though the Story is Not Without Darkness, 2008 – Photograph – C-print

Friday, September 1st, 2017

Melike Kara’s Köpek opens at Peres Projects

Peres Projects is delighted to announce Melike Kara’s second solo exhibition at our Karl-Marx-Allee gallery. Kara will exhibit a range of works in different media, including painting, sculpture, and unique digital prints.

Melike KARA (b. 1985, DE) lives and works in Cologne, Germany. Kara studied under Rosemarie Trockel at the Dusseldorf Art Academy. The artist has an upcoming solo exhibition at Yuz Museum, Shanghai, CN, and will take part in the group exhibition (X) A Fantasy, at DRAF, London, UK. 

We hope that you can join us for the opening of Melike Kara’s exhibition, titled “Köpek”, at 6PM Thursday, 7th September.

Press Release:

You can argue how migration stimulates the economy, or try to explain how structural racism happens anywhere. You can debate the validity of the nation state, and claim that identity is constructed like a flag on the moon. You might call for radical change, but that doesn’t change how people feel about these topics. How they feel depends on who they are, where they are, and how they’re able to relate their particular past. Our memories leave marks, and as the body remembers things it establishes habits. Even though everyone’s body and past are unique, many share a comparable experience. 

Aware of these complexities, Melike Kara’s work addresses the basic ideas of what it means to belong, and how people behave when they have to deal with each other. In her second exhibition at Peres Projects, Kara uses painting, sculpture and photography to explore questions of identity through those of anonymity. As before, Kara’s paintings depict figures which do not seem to belong anywhere but on the canvas they inhabit. Virtually bare, the works represent scenes of human interaction without any reference to gender, age or culture. They might be gods, or end up being monsters. The artistic choice to refuse any such allusions enhances the symbolic quality of the figures that have become emblematic for the artist. This refusal is used to create a pattern of potentiality, defying mere ambiguity. The point that the figures could be anyone isn’t necessarily interesting, rather it is their potential best or worst, the polar divide, which determines them. Like this, the usage of anonymity which characterizes the figures’ identity becomes ornamental, like jewelry, worn to seduce and daunt.

The figures are overtly acting out their function, displaying a wide array of conduct and social mechanisms. Behavior that happens anywhere, anytime. The artist looks at how people touch each other, how they love and fight. She throws them together and isolates them in the brutality of their own presence. As they are made to interact, individuals naturally oppose each other, this seems to exist universally. With analytical precision, Melike Kara tests the psychological breadth of her images, by juxtaposing her figures’ instability with the power which they conjure as a group. There is a fundamental humility to these paintings, as their core idea is rooted in the living body, embracing the chages of life as we live it.

In this exhibition, Melike Kara approaches anonymity in different ways. On another layer, she installed photographic wallpapers which depict places in Germany and Turkey. The images are devoid of people, yet suggest at a human presence through architecture, collected flowers, and a gravestone. Whereas the paintings refuse to make reference to a place or time, the photography decidedly refers to the contemporary state of these worlds, which the artist calls her home. The pictures taken in Turkey are extremely personal, raising question of the self in light of one’s own family history. How much of the self is a composition of our background? Where does my family’s imprint end and where does my identity begin? The German photography, on the other hand, is not related to the artist’s biography. Here, she documented closed market stores owned by second or third generation Turkish immigrants, bringing up the topic of cultural integration and its economic value, how one can be immersed in another culture but never really belong, and how our visibility renders us invisible, denying us access.

The main problem of the concept of diaspora, is the general misconception that people belong to a certain territory when historically, people have always moved around. To claim territory is problematic in many ways and it can lead to jealousy and the fear of loss. However, claiming territory for the weak or marginalized can be an honorable thing to do. But what if those who are marginalized use the same strategies of exclusivity and marginalization of others? What if love always hurts?

Tenzing Barshee

Tuesday, August 8th, 2017

Peres Projects will be on Holiday

Peres Project’s Group Exhibition ‘The Second Self’ will end on Friday 11th August, after which the gallery closes to prepare for the Fall program, reopening on the 21st August.

Wednesday, July 19th, 2017

David Ostrowski at The Blueproject Foundation

Peres Projects is delighted that The Blueproject Foundation in Barcelona will show David Ostrowski in a major new exhibition at the highly reputed foundation. His first exhibition inside Spain, BEI MIR GEHT ES IN DEN KELLER HOCH collects major works from David Ostrowski’s studio and a new installation that takes up the entirety of Sala Project space, the specially designated area for an artist to display a work or theme at The Blueproject Foundation in El Born, Barcelona.

BEI MIR GEHT ES IN DEN KELLER HOCH shows a broad range of David Ostrowski’s works in a personal exhibition that takes strong direction form the artist himself.

The press release for the exhibition states : David Ostrowski (b. 1981) has created an “oeuvre of paintings that comes almost eerily close to the idea of this kind of zero point, while simultaneously reminding us of the impossibility of ever truly getting there”, as Daniel Schreiber explains in a reference to Roland Barthes’ famous zero degree. “According to Barthes, every artwork always also conveys the illusions of the culture in which it was created and whose language it employs. The mesh of everyday myths is ineluctable, the thicket of codes impenetrable. And yet the desire for a zero point is vital. Without this desire, art would be inconceivable”, explains Schreiber.

Ostrowski became known for his characteristic gestural paintings, this exhibition creates a fantastic opportunity to discover the artist’s exploration of the surface of the canvas, and his experimentation with the picture plane.

BEI MIR GEHT ES IN DEN KELLER HOCH is at The Blueproject Foundation in Barcelona, July, 14 through October, 01.

Friday, July 7th, 2017

FEEDBACK at Marlborough Contemporary, New York

We are delighted that not just one, but three of our represented artists are exhibiting at the Marlborough Contemporary summer group exhibition – titled FEEDBACK. The show, curated by Leo Fitzpatrick, asks us to consider what impact an artist’s connection to the wider world has on their creative output. Defying the long held idea that art is only made in the studio, FEEDBACK takes a fresh look at how the life of an artwork is shaped by the life of the artist. Fitzpatrick poses serious questions about art’s reoccurring motives, and the implications of an unspoken creative osmosis that challenges traditional notions of originality. FEEDBACK subverts expectations at every turn, while investigating the lifespan of artists collaborations, and suggesting that even the most short-lived collective create it’s own afterlife.

You can see work by Leo Gabin, Mark Flood, and Blair Thurman in FEEDBACK at Marlborough Contemporary, New York, until August 4, 2017

“What of those profound and puzzling interventions where an outside force permanently alters the way a work is seen, leaving the original artist faced with the choice of either accepting this intrusion on their authority, or denouncing it?” – quote from the press release of FEEDBACK at Marlborough Contemporary.

More information on the Marlborough Contemporary website here.



Mark Flood
Boat Ride, c. 1987 – Detail
Mixed media on found canvas

Friday, June 30th, 2017


This summer’s group show explores the wide ranging implications of an ever growing digital world. The fine tuned precision of computer aided technology lends us the power to create with uncanny accuracy. The future promises a world with no margin for error, an environment that verges on perfection.

“The Second Self” addresses a paradox at the heart of the digital age, probing to discover what can be left when we do away with human error. Works from Ad Minoliti, Austin Lee, Beth Letain, Ce Jian, and Donna Huanca address this topic in unique ways, creating a group show with a powerful diversity that stands as testament to humankind’s enduring individuality…

Peres Projects is pleased to present The Second Self, a group exhibition featuring a series of works by Donna HUANCA, Ce JIAN, Austin LEE, Beth LETAIN, and Ad MINOLITI exploring the similarity and slippage between the human and digital mind.

“The Second Self” takes its title from Sherry Turkle’s 1984 book which looks at the role of computers in our social and psychological lives. Computer technology has served as a great catalyst for society, impacting our awareness of ourselves, of each other and our relationship to the world. We endeavour to humanise technology, to create it in our own image, and a fresh aspect of this challenge is to create room for human error and emotion within technology. The works by the artists in this exhibition explore the notion of replicating individuality, with all of its flaws, in technology and provide different perspectives on the psychology of computation, allowing us to view our relationship with technology with fresh eyes.

Donna HUANCA (b.1980, US) studied at Städelschule, Frankfurt and was the recipient of the DAAD Artist Frankfurt and a Fulbright research grant. Recent exhibitions include the Zabludowicz Collection, London, Peres Projects, Berlin. In 2017, Huanca takes part in the group exhibition Jaguars and Electric Eels at the Julia Stoschek Collection, Berlin and currently has a solo exhibition at Travesia Cuatro, Madrid.

Ce JIAN (b.1984, CN) graduated from the Berlin University of the Arts in the master class of Georg Baselitz, Daniel Richter and Robert Lucander in 2008. She studied at Goldsmiths College, London and was a PhD candidate in Art and Visual History at the Humboldt-Universität, Berlin. Currently working and living in Berlin and Beijing, recent exhibitions include The Grand Illusion, White Space, Beijing (2016); I’m not a robot, Galerie Philine Cremer, Düsseldorf (2016); Our Painting, Yang Art Museum, Beijing, China (2016).

Austin LEE (b.1983, US) lives and works in New York. He received an MFA in Painting from Yale School of Art and a BFA from Tyler School of Art. His most recent solo exhibitions include shows at Postmasters Gallery in New York, Carl Kostyal in London and Stockholm, Kaleidoscope in Milan, New Gallery in Paris and BANK in Shanghai.

Beth LETAIN (b. 1976, CA) studied at the Nova Scotia College of Art and Design, and SUNY Purchase College, graduating with an MFA in 2008. She has exhibited recently in Montreal, Brooklyn, and Boston. She currently lives and works in Berlin, Germany.

Ad MINOLITI (b. 1980, AR) obtained a BFA from the National Academy of Fine Arts Pueyrredon, Argentina in 2003. Recent solo and duo exhibitions include Disjecta Art Center, Portland; Agustina Ferreyra, Puerto Rico; Recoleta Art Center, Buenos Aires; Nuevo Museo Energía de Arte Contemporáneo, Buenos Aires; Galerie Crèvecoeur, Paris, and Eden Assanti, London. Minoliti has recently taken part in numerous group exhibitions including Aichi Triennale, Nagoya; Brooklyn Museum, New York; Museum of Contemporary Art, Montreal;  Bienal do Mercosul, Porto Alegre; and FRAC Des Pays De La Loire, Nantes.

Peres Projects’s opening hours are Monday through Friday, 11am – 6pm. For further information and sales inquiries, please contact Javier Peres (, Nick Koenigsknecht ( or call at +49 (0) 30 275 950 770. For press and media inquiries, please contact or +49 (0) 30 275 950 770.

Austin Lee Tenderfoot, 2017 Painting – Acrylic on canvas 213.4 x 152.4 cm (84 x 60 in)

Wednesday, May 31st, 2017

Peres Projects at Art Basel in Basel

Peres Projects is pleased to announce our participation at Art Basel in Basel 2017, in both the Feature and Unlimited sectors.

The gallery will present new and historic works by Mark Flood in the Feature sector, and a new site specific installation from Donna Hunaca for the Unlimited sector.

Mark Flood’s Feature presentation includes a brand new ‘Lace Painting’, and an exciting installation that exists on the border of his painting and sculptural practice.

Donna Hunaca’s BLISS (REALITY CHECK) is a site specific installation that sees sculpture become part of a six day long durational performance, specially created for the Art Basel Unlimited sector.


Mark Flood

5000 Likes, 2015 – 16
Installation – spray paint on canvas in 5000 parts
each part
30.5 x 40.6 cm (12 x 16 in)
Overall dimensions variable

Thursday, May 11th, 2017

Dan Attoe in group exhibition ‘Horses’

Peres Projects is pleased to share that Dan ATTOE will show a new artwork in a group exhibition, titled Horses. A collaboration between Eighteen Gallery and V1 Gallery in Copenhagen, the exhibition focuses upon the relationship mankind has with all things equine.

Horses bring together artworks from a variety of eclectic mediums, from ceramic, through performance, and including neon. Dan Attoe has produced numerous works constructed with neon fluorescent lamps, and his most recent contribution will feature in Horses.

Dan  ATTOE (b. 1975, USA) lives and works in Portland, Oregon. Attoe creates jewel-like oil paintings informed by his rural surroundings in the Pacific Northwest of the United States. Recent solo and group shows include the Astrup Fearnley Museet, Oslo, MoMA PS1, New York, Witte De With, Rotterdam, and Peres Projects, Berlin.


Monday, May 8th, 2017

Donna Huanca in group exhibition ‘Dialogues’

Peres Projects is please to share that Donna HUANCA will exhibit works alongside nine other Berlin based artists from Germany and the US in a new group exhibition, curated by Dr. Jeni Fulton and Dr. Barbara Jenner. The exhibition, titled Dialogues, is a collaborative project between Sleek and Verband der AutomobilindustrieDialogues aims to bring together different artistic positions while initiating an examination of the frameworks, structures and reoccurring concepts present in the exhibition. The curators intend this dialogue to form the basis of a conversation “between material and medium, between art and the economy”.

Donna HUANCA studied at Städelschule, Frankfurt and was the recipient of the DAAD Artist Frankfurt and a Fulbright research grant. For Huanca, the body and skin are an ongoing focus and she employs them as both pure surface and material. The performers’ presence both activates her studio works and relate to dissimulation, fusion, and camouflage, furnishing the beginnings of a poetic narrative on the fragmentation of identity. Recent exhibitions include the Zabludowicz Collection, London, Peres Projects, Berlin. In 2017, Huanca takes part in the group exhibition Jaguars and Electric Eels at the Julia Stoschek Collection, Berlin and has had a solo exhibition at Travesia Cuatro, Madrid.

Dialogues opens May 19, and runs through June 16, 2017 at VDA, Behrenstr. 35, 10117 Berlin.

Donna Huanca
PRIESTESS BOW, 2017 – Detail
Sculpture – Oil, acrylic and pigment on plastic, latex, metal, horse hair, lead
on a steel frame with aluminum fastenings
168 x 73 x 45 cm (66.14 x 28.74 x 17.72 in)

Friday, May 5th, 2017

Brent Wadden’s ‘zerodayolds’ at Peres Projects, Berlin

Peres Projects invites you to view zerodayolds, our current exhibition from Brent Wadden. Having opened for Gallery Weekend Berlin 2017, zerodayolds marks a shift in Wadden’s working practice, and presents larger and more intimately wrought woven paintings than previously possible. 

We are delighted to share with you some of the press coverage that has been extended to Brent Wadden’s zerodayolds:

(click to read)

Jesse McKee for Kaleidoscope
Brent Wadden-Kaleidoscope-April 27-2017

Claudia Grigg Edo for Berlin Art Link
Brent Wadden-Berlin Art Link-April-21-2017

Karim Crippa for Cura
Brent Waddeb-Cura-May 5, 2017

Brent WADDEN (b.1979, Nova Scotia, CA, lives and works in Berlin and Vancouver), has worked from Berlin since 2005. His paintings and weavings range from colourful displays of symmetry to subtle monochrome motifs of repeating forms. There’s the visual rhythm of a machine, but the disruptive trace of the handmade.  Recent shows include Peres Projects, Berlin, Almine Rech Gallery, Brussels Mitchell-Innes and Nash, New York and PACE London. Wadden is currently exhibited at the Rubell Family Collection and the Vancouver Art Gallery.

Brent Wadden
Installation view
April 28 – June 9, 2017
Peres Projects, Berlin

Monday, May 1st, 2017

Mark Flood’s ‘Google Murder-Suicide’ at Maccarone

Peres Projects is pleased to share Mark Flood’s exhibition GOOGLE MURDER-SUICIDE at Maccarone Gallery, New York. GOOGLE MURDER-SUICIDE runs from May 2 through July 28, 2017. The exhibition offers the chance to view Flood’s more recent output in his first solo show of 2017. A variety of new work formats is on displaywhile the exhibition also includes a selection from Mark Flood ‘s renowned ‘Lace Paintings’ series. 

The work exhibited in GOOGLE MURDER-SUICIDE sees Flood turn his attention to current political, social and cultural issues. Mark Flood addresses the current condition of digital existence with a critical eye, and Flood’s work belies his skepticism toward digital media.

Mark FLOOD (1957, USA) has been working from Houston, Texas since the 1970’s. Flood has produced a range of work subverting one-way, omnipresent forms of corporate communication. Recent solo shows include Peres Projects, Berlin, Stuart Shave Modern Art, London, St. Louis Museum of Contemporary Art and Rubell Family Collection, Miami, and the Contemporary Arts Museum, Houston.


Mark Flood
Installation View
May 2 – July 28, 2017
Maccarone Gallery
Courtesy of Maccarone Gallery, New York

Sunday, April 30th, 2017

Peres Projects at Frieze New York

Peres Projects is pleased to announce our participation at Frieze New York 2017, where we will present new works by Brent Wadden, Blair Thurman, Dean Sameshima, Donna Huanca, Mark Flood, and Melike Kara.

Frieze has been a prominent art fair since its inception in the early 2000s, and has regularly welcomed Peres Projects as an exhibitor. Frieze art fair is staged by Amanda Sharp and Matthew Slotover, the publishers of Frieze Magazine.

In the past six years Frieze has expanded from its birthplace in London, where we will present later this year, and has jumped across the pond, to set up shop on Randall Island, New York.

We look forward to seeing you there!

Blair THURMAN’s (b.1961, US) practice connects diverse cultural and symbolic facets of Americana with Pop Art and abstract geometric art of the 50s and 60s. Drawing on influences such as his passionate collecting of model cars and other personal imagery, Thurman’s shaped canvases exist on the periphery of both painting and sculpture simultaneously. Recent solo exhibitions include Peres Projects, Berlin, Gagosian Gallery, New York and Geneva, The Centre National d’Art Contemporain, Grenoble as well as the Oklahoma City Museum of Art.

Brent WADDEN (b.1979, Nova Scotia, CA, lives and works in Berlin and Vancouver), has worked from Berlin since 2005. His paintings and weavings range from colourful displays of symmetry to subtle monochrome motifs of repeating forms. There’s the visual rhythm of a machine, but the disruptive trace of the handmade. Recent shows include Peres Projects, Berlin, Almine Rech Gallery, Brussels Mitchell-Innes and Nash, New York and PACE London. Wadden is currently exhibited at the Rubell Family Collection and the Vancouver Art Gallery.

Donna HUANCA studied at Städelschule, Frankfurt and was the recipient of the DAAD Artist Frankfurt and a Fulbright research grant. For Huanca, the body and skin are an ongoing focus and she employs them as both pure surface and material. The performers’ presence both activates her studio works and relate to dissimulation, fusion, and camouflage, furnishing the beginnings of a poetic narrative on the fragmentation of identity. Recent exhibitions include the Zabludowicz Collection, London, Peres Projects, Berlin. In 2017, Huanca takes part in the group exhibition Jaguars and Electric Eels at the Julia Stoschek Collection, Berlin and has had a solo exhibition at Travesia Cuatro, Madrid.

Dean SAMESHIMA’s (b. 1971, Torrance, California, US) subject matter deals in the currency of nostalgia, vindication and accumulation, yet his works speak the language of seriality and the subversion of power structures. Sameshima starts with the object, with the capacity of obsession it embodies and its imperative to be possessed. His works represent an existential reflection on the evolution of gay sexuality in the social sphere. Recent exhibitions include the Tacoma Art Museum, New York; Jacob Lewis Gallery, New York; and Peres Projects, Berlin.

Mark FLOOD has been mining the cult of celebrity since the early 1980s, physically and literally distorting publicity images in every imaginable way through collage, reprinting and over-painting celebrity portraits and advertising. In 2016, Flood had a solo exhibition at the Contemporary Arts Museum, Houston. Recent museum exhibitions include the Staatliche Kunsthalle Baden-Baden, Contemporary Art Museum, St Louis, and a solo exhibition at the Rubell Family Collection.

Melike KARA’s work explores a highly unique and personal approach to figuration that’s informed by diverse interests ranging from 20th century German figurative traditions and a deep interest in social hierarchies, as well as both her familial history of migration and the realities of straddling two cultures. Tapping historically Ottoman mystical traditions and self-indulgent decadence, we often see her characters in dream like trances, unaware of each other, consumed by their own existence, their dreams and hopes. In 2016, Kara had a solo exhibition at Peres Projects, Berlin as well as a solo presentation in the feature sector at Art basel Miami Beach. Recent solo exhibitions include Open Forum, Berlin, and Salon Kennedy, Frankfurt a.M.


Melike Kara
How we lay down, 2017 – Detail
Painting – Aquarelle, pastel sticks and oil sticks on canvas
70 x 80 cm (27.56 x 31.5 in)

Tuesday, April 25th, 2017

Melike Kara and Mark Flood at ‘MIDTOWN’, Lever House

Peres Projects is please to share that two of our represented artists will take part in MIDTOWN, a group show at the historic Lever House, organised jointly by Maccarone Gallery and Salon 94.

Mark FLOOD and Melike KARA offer thought provoking contributions to MIDTOWN. Works from Flood’s Lace Paintings series blend intricate painting and collage with handicraft, while Kara’s monumental paintings describe scenes of complex group interaction.

MIDTOWN delves into the areas in which art, design and commerce share common ground, while investigating the relationships between value, function, high brown and low brow culture. The venue is special, a restored mid century commercial building, constructed in the International Style of architecture, New York’s Lever House is a testament to the enduring legacy of Mies van der Rohe, and has been a designated landmark of New York city since the early 80’s. Lever House holds an impressive collection of early twenty first century art. 

The exhibition takes a special look at craft and the place of handmade artworks in the world, while treating all works on display as the foremost output of our creative culture.
For more information and to download the press release, please visit the websites of Maccarone Gallery and Salon 94. (links below)


Mark FLOOD (1957, USA) has been working from Houston, Texas since the 1970’s. Flood has produced a range of work subverting one-way, omnipresent forms of corporate communication. Recent solo shows include Peres Projects, Berlin, Stuart Shave Modern Art, London, St. Louis Museum of Contemporary Art and Rubell Family Collection, Miami, and the Contemporary Arts Museum, Houston.

Melike KARA’s work explores a highly unique and personal approach to figuration that’s informed by diverse interests ranging from 20th century German figurative traditions and a deep interest in social hierarchies, as well as both her familial history of migration and the realities of straddling two cultures. Tapping historically Ottoman mystical traditions and self-indulgent decadence, we often see her characters in dream like trances, unaware of each other, consumed by their own existence, their dreams and hopes. In 2016, Kara had a solo exhibition at Peres Projects, Berlin as well as a solo presentation in the feature sector at Art basel Miami Beach. Recent solo exhibitions include Open Forum, Berlin, and Salon Kennedy, Frankfurt a.M.


Lever House courtyard, 2004
Courtesy Ken Smith and


Monday, April 17th, 2017

Peres Projects at Independent Brussels

Peres Projects is pleased to announce our participation at Independent Brussels 2017, where we will present works by Austin Lee, Donna Huanca, as well as Classic African sculptures from Javier Peres’ private collection.

The theme of the Peres Project booth at Independent Brussels this year is one that resonates strongly with our owner and director, Javier Peres. Our presentation places the focus on the meaningful juxtaposition of contemporary artworks with Classic African art. This idea is well established with a longstanding history, with roots winding back well into the early twentieth century to the dawn of Modernism.

Peres Projects offers a presentation that draws intellectual links to our recent group exhibitions, Wild Style (2016) and Group Spirit (2014). The decision to display these works of art side by side is intended to parallel the early Modernist exhibitions with a similar experimental composition.

You can buy our publication detailing these group exhibitions here.

Austin LEE merges abstraction and figuration, humour and pathos, in his expressive paintings and sculptures. Working from small- to large-scale, he covers every inch of his canvases with colour, utilizing acrylic and vinyl paint. The latter is known for its matte finish and brilliant hues, which make elements of Lee’s compositions appear to pop and glow.

Donna HUANCA studied at Städelschule, Frankfurt and was the recipient of the DAAD Artist Frankfurt and a Fulbright research grant. For Huanca, the body and skin are an ongoing focus and she employs them as both pure surface and material. The performers’ presence both activates her studio works and relate to dissimulation, fusion, and camouflage, furnishing the beginnings of a poetic narrative on the fragmentation of identity. Recent exhibitions include the Zabludowicz Collection, London, Peres Projects, Berlin. In 2017, Huanca takes part in the group exhibition Jaguars and Electric Eels at the Julia Stoschek Collection, Berlin and will have a solo exhibition at Travesia Cuatro, Madrid.

The Reliquary Guardian Figure has a marvellous velvety dark patina, almost resembling a lacquer, and is an outstanding examples of Classical African sculpture. Particular attention must be paid to the figure’s expertly curved head, complete with haircrests, which has been hollowed out in the shape of a heart.

The Helmet Horned Mask is thought to be just one of just three existent examples of this style of mask. The ‘lyre’ composition of the mask’s horns, curving gently upward and inward marks this sculpture as quite unique among the corpus. It’s proportions and sculptural qualities are an indication towards the mastery of the mask’s maker.


Austin Lee
Horse, 2017 – Detail
Painting – Acrylic on linen
152.4 x 213.4 cm (60 x 84 in)

Monday, March 20th, 2017

Peres Projects at Art Basel Hong Kong

Peres Projects is pleased to announce our participation in Art Basel Hong Kong, where we will present new works by Brent WaddenBlair ThurmanDan AttoeDonna Huanca, and Melike Kara.

Since Art Basel bought the Hong Kong Art Fair in 2011, it has risen to become the most prestigious art fair in the Eastern hemisphere. As such, Peres Projects is delighted to share a platform with the most respected galleries in the world.

Peres Project’s participation consists of recent painting and sculpture from our repressed artists, all dated 2016 / 2017. Our presentation in main the Galleries section of Art Basel Hong Kong reflects the cutting edge of the contemporary art market.

Brent WADDEN (b.1979, Nova Scotia, CA, lives and works in Berlin and Vancouver), has worked from Berlin since 2005. His paintings and weavings range from colourful displays of symmetry to subtle monochrome motifs of repeating forms. There’s the visual rhythm of a machine, but the disruptive trace of the handmade. Recent shows include Peres Projects, Berlin, Almine Rech Gallery, Brussels Mitchell-Innes and Nash, New York and PACE London. Wadden is currently exhibited at the Rubell Family Collection and the Vancouver Art Gallery.

Blair THURMAN’s (b.1961, US) practice connects diverse cultural and symbolic facets of Americana with Pop Art and abstract geometric art of the 50s and 60s. Drawing on influences such as his passionate collecting of model cars and other personal imagery, Thurman’s shaped canvases exist on the periphery of both painting and sculpture simultaneously. Recent solo exhibitions include Peres Projects, Berlin, Gagosian Gallery, New York and Geneva, The Centre National d’Art Contemporain, Grenoble as well as the Oklahoma City Museum of Art.

Dan ATTOE (b. 1975, USA) lives and works in Portland, Oregon. Attoe creates jewel-like oil paintings informed by his rural surroundings in the Pacific Northwest of the United States. Recent solo and group shows include the Astrup Fearnley Museet, Oslo, MoMA PS1, New York, Witte De With, Rotterdam, and Peres Projects, Berlin.

Donna HUANCA studied at Städelschule, Frankfurt and was the recipient of the DAAD Artist Frankfurt and a Fulbright research grant. For Huanca, the body and skin are an ongoing focus and she employs them as both pure surface and material. The performers’ presence both activates her studio works and relate to dissimulation, fusion, and camouflage, furnishing the beginnings of a poetic narrative on the fragmentation of identity. Recent exhibitions include the Zabludowicz Collection, London, Peres Projects, Berlin. Currently Huanca takes part in the group exhibition Jaguars and Electric Eels at the Julia Stoschek Collection, Berlin and has a solo exhibition at Travesia Cuatro, Madrid.

Melike KARA’s work explores a highly unique and personal approach to figuration that’s informed by diverse interests ranging from 20th century German figurative traditions and a deep interest in social hierarchies, as well as both her familial history of migration and the realities of straddling two cultures. Tapping historically Ottoman mystical traditions and self-indulgent decadence, we often see her characters in dream like trances, unaware of each other, consumed by their own existence, their dreams and hopes. In 2016, Kara had a solo exhibition at Peres Projects, Berlin as well as a solo presentation in the feature sector at Art basel Miami Beach. Recent solo exhibitions include Open Forum, Berlin, and Salon Kennedy, Frankfurt a.M.

Melike Kara
Registration, 2017
Painting – Acrylic and oil sticks on canvas
200 x 280 cm (78.74 x 110.24 in)

Sunday, February 5th, 2017

Donna Huanca in ‘Jaguars and Electric Eels’ at the Julia Stoschek Collection, Berlin

Opening February 5, 2017

On view until November 26, 2017

The largely media-based works in the collection of the same name on show at the JULIA STOSCHEK COLLECTION in Berlin describe a reality that no longer distinguishes between naturalness and artificiality but sees things as a whole and as equals. As the various artists’ contributions to the exhibition illustrate, our modern life science questions both the line between naturalness and artificiality and the ontology of objects of all kinds.

More information available here.

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Friday, January 27th, 2017

Leo Gabin solo exhibition ‘HURT SO GOOD’ at VNH Gallery, Paris

On view January 27 – February 25, 2017

Thursday, January 19th, 2017

Leo Gabin ‘ONE AND OTHER’ at Zabludowicz Collection, London

One & Other explores the duality that emerges from the daily performing of a persona other than ourselves. The show constitutes a spatial experiment in which the concept of the stage is used as a metaphor to investigate this duality. Featuring Leo Gabin, Ed Atkins, David Blandy, Cécile B. Evans, Isa Genzken, Rashid Johnson, Tim Noble & Sue Webster, Ferhat Özgür, Jon Rafman, Ugo Rondinone, Amalia Ulman, Ulla von Brandenburg, Gillian Wearing.

19 January–26 February, 2017

More information available here.


Saturday, December 3rd, 2016

Dorothy Iannone: ‘Lineage of Love’ at KIOSK, Belgium

KIOSK presents Lineage of Love, the first Belgian solo exhibition by Dorothy Iannone (°1933, Boston, USA). A self-taught artist focusing on issues of emancipation, sexuality, politics and spiritual awakening, Iannone has been developing a singular body of work for over half a century. From 1967 she lived with Swiss-German artist Dieter Roth for a number of years, starting a thorough intertwining of her personal (and amorous) life with her artistic work. This emphatic autobiographical and narrative aspect of her work is expressed in paintings, drawings, graphic novels, sculptures, artist’s books, text-based works, collages and photographic works.

More information available here.


Saturday, December 3rd, 2016


Ambivalent Pleasures is a survey of the current art scene in Vancouver, featuring works by important Canadian artists produced within the last five years—Vancouver’s post-Olympic period.

Opening December 3, 2016 – April 17, 2017

More information available here.



Wednesday, November 30th, 2016


High Anxiety: New Acquisitions presents selections of artworks from 32 artists acquired since 2014, many of whom explore polarizing social and political concerns through a broad spectrum of contemporary artistic practices. In gauging the output and energies of these artists we find creative currents that speak to our shared state of uncertainty, nervousness and pessimism. “Artists help us comprehend and grapple with the critical issues in our lives,” says Mera Rubell. ​


More information available here.


Friday, November 4th, 2016


For this edition of the ongoing series Using Walls, Floors, and Ceilings, artist Alex Israel presents a new painting in his Self-Portrait series.

Using Walls, Floors, and Ceilings is a series of artist commissions at the Jewish Museum. Initiated in 2013, artists from around the globe have been invited to create new art or adapt a work for placement in the entrance lobby. The project builds upon Using Walls, a 1970 exhibition of commissioned artworks installed both within and beyond the gallery space of the Museum’s Warburg Mansion.

Using Walls, Floors, and Ceilings: Alex Israel is organized by Kelly Taxter, Associate Curator and Jens Hoffmann, Director of Special Exhibitions and Public Programs.


Thursday, October 27th, 2016

Dorothy Iannone in ‘That Time // CYCLE ‘ at Gerðarsafn Art Museum, Iceland

Cycle Music and Art Festival takes place in Kópavogur for the second time 27 – 30 October at Gerðarsafn Art Museum. The Cycle exhibition will open in Gerðarsafn as part of the festival presenting works by Icelandic and international artists. The exhibition revolves around the musical structure of time, loops, rehearsals and refrains, and an insistence on the potentiality of other worlds.


Thursday, September 29th, 2016

Donna Huanca ‘Scar Cymbals’ at the Zabludowicz Collection

29 September–18 December 2016

The first UK solo exhibition by Donna Huanca at the Zabludowicz Collection is also the first performance-led commission in the space, with daily performances from painted models activating a series of new site-responsive architectural and sculptural installations in the 19th century former Methodist chapel. The exhibition is accompanied by a series of talks as well as a monographic publication examining Huanca’s performative works to date.

Curated by Maitreyi Maheshwari, Programme Director, Zabludowicz Collection.

More information available here


Wednesday, September 14th, 2016

Mark Flood and David Ostrowski in ‘My Abstract World’ at me Collectors Room Berlin

Moved by an enthusiasm for intense colour and bold expressive gestures, Thomas Olbricht has spent the last 30 years collecting abstract art in a wide variety of styles. At me Collectors Room, he will present a selection of his current favourites, drawn from his collection of 350 abstract works by ninety different artists.

On view September 14, 2016 – April 2, 2017

More information available here.


Wednesday, September 7th, 2016


Mike Bouchet’s exhibition at Galerie Parisa Kind, “Push”, is composed of various works related to the conception and realisation of his sculpture for Manifesta 11, “The Zurich Load”, currently on view in Zurich, Switzerland. The sculpture, made of 80 tons of human sludge, is a monumental indoor work composed of 252 large blocks that have been arranged in a grid format measuring 30 meters long and 8 meters wide. Each 320 kg block was hand pressed, and the 80 tons is the amount of waste the inhabitants of the city of Zurich produce everyday. For more information, please visit the Galerie Parisa website here.


Friday, July 29th, 2016

assume vivid astro focus at OiR public art exhibition

02 LOW

assume vivid astro focus will be part of the third edition of the OiR public art exhibition. This exhibition explores the city as it undergoes, a period of profound structural and urban change. In this occasion assume vivid astro focus will create Perimetrava + Rio Ramp Design, which will be installed in Praça Marechal Âncora. This installation relates to the demolition of the Elevado da Perimetral (Perimeter Overpass) and the vast area for pedestrian circulation that has opened up there. For more information please visit the OiR website here.

Tuesday, June 28th, 2016

assume vivid astro focus at Manifesta 11


For this year’s Manifesta in Zurich, Brazilian-French artist duo avaf will have a performance on July 29. For more information, please visit the Manifesta 11 website here.

Wednesday, June 8th, 2016

Mark Flood & Leo Gabin at Berezdivin Collection, Puerto Rico


Peres Projects is pleased to announce the exhibition Paintingat Espacio 1414. The focus of this exhibition is painting, and how it has evolved in the 21st century. Artists are using technology to transform the act of painting into what we like to think of as Painting2.  Some artists are using printing or film as their method of painting while others are using new venues such as the internet and social media as material for their paintings, for imagery and/or conceptually. Meanwhile there are artists who are focused on pushing the limits of what can be created through traditional painting. In Painting2, we display a group of works that bring into question: what is painting? For more information, please visit the Espacio 1414 website here.

Friday, May 27th, 2016

Mike Bouchet – The Zurich Load at Manifesta 11


As part of Manifesta 11, Mike Bouchet will present The Zurich Load at the Migros Museum of Contemporary Art, Zurich, curated by Christian Jankowski. As part of the exhibition, Bouchet will present an eighty-ton sculptural installation made of human sludge collected from the city of Zurich’s municipal water treatment plant Werdhoelzli. For more information, please visit the Manifesta 11 website here.

Friday, May 27th, 2016

Donna Huanca at Manifesta 11


In conjunction with Manifesta 11, Donna Huanca will participate in Cabaret der Künstler – Zunfthaus Voltaire. The entire Cabaret Voltaire at Spiegelgasse 1 in the Zurich district of Niederdorf will be converted into a guild house from June 2016. On the outside, a plastic bay window will represent the transformation of the historic building from which the Dada art movement emerged 100 years ago. The building’s interior, in keeping with the motto of the biennial, will be turned into a working world along the lines of an office building. As in all guilds, there will also be a Guild Master in the Cabaret der Künstler – Zunfthaus Voltaire. Jankowski has appointed the artist Manuel Scheiwiller for this position. For more information, please visit the Manifesta 11 website here.

Friday, May 27th, 2016

Brent Wadden at the Camden Arts Centre

BW13638-To be titled-2016-EMAIL

Opening June 19, Making & Unmaking, curated by celebrated fashion designer and curator Duro Olowu, brings together over sixty international artists working in diverse media. The exhibition places antique West African textiles and Bauhaus tapestries amongst contemporary works and new commissions. Individually, the works address themes that include portraiture as well as representations of beauty, gender, sexuality, innocence and the body. Collectively, their coming together reveals a common thread that Olowu describes as a ‘process of personal ritual experienced by artists in creating their work’. For more information, please visit the Camden Arts Centre website here.


Wednesday, May 25th, 2016

Dorothy Iannone at the Centre Culturel Suisse, Paris


Since the early 1960s, Dorothy Iannone has stood out for her feminist, politically incorrect body of work. A multiform corpus that includes paintings, drawings, collages, sculptures, videos and artist’s books, her art mixes literature, mythology, and autobiography in a colorful style whose influences range from popular art to Byzantine mosaic to erotic miniatures. CCS is pleased to present all 70 drawings making up The Story Of Bern (1970), an illustrated narrative on the censorship the artist was subjected to during the Freunde group show held at Bern’s Kunsthalle; and a facsimile of The (Ta)Rot Pack (1968-69 / 2016), the deck of tarot cards that allude to her relationship with Dieter Roth. For more information, please visit the Centre Culturel Suisse website here.

Friday, May 20th, 2016

Marinella Senatore: The School of Narrative Dance and Other Surprising Things


Peres Projects is pleased to announce Marinella Senatore’s first solo exhibition in a British institution The School of Narrative Dance and Other Surprising Things at MOSTYN, Wales. The exhibition presents a selection of the artist’s work from 2009 to today, in a renewed form of installation which will enable visitor participation and active engagement. A special focus is dedicated to The School of Narrative Dance, an ongoing, touring project founded by the artist in 2013 which has received wide acclaim from the public in over ten countries around the world. For more information, please visit the MOSTYN website here

Wednesday, April 27th, 2016

Alex Israel at Astrup Fearnley Museum


Alex Israel – #AlexIsrael
June 10 – September 11, 2016
Astrup Fearnley Museum
Oslo, NO

In recent years the American contemporary artist Alex Israel (b. 1982, Los Angeles, USA) has attracted considerable attention in the international art scene, both for his paintings and sculptures and, not least, for his infamous interview show As It Lays.

In many ways Israel’s art can be understood as emerging from his Los Angeles-based life, and it is often referred to as a portrait of LA. This Californian city, with its vibrant film and pop culture, serves as source material, subject matter and muse for his art, in which he appropriates, transforms and comments on elements of the city’s aesthetic and spirit.

Israel draws inspiration from the American media and film industry, and creates paintings, sculptures and installations that also include elements from talk shows and performance art. In his iconic interview show As It Lays the artist, always wearing his trademark sunglasses, interviews B-listed or passé Hollywood celebrities, from Melanie Griffith to Paul Anka. In a profoundly monotonous manner he asks them questions ranging from the banal to the existential, generating situations that are both ambiguous and revealing, alternating between authenticity and parody. As a contemporary successor of pop art and Andy Warhol’s all-encompassing and revolutionary interpretation of the concept of art, Israel has a studio at Warner Brothers, where he takes advantage of the grandiose production potential of the film industry to create his works, from paintings and sculptures to his talk show and commercial sunglass collections. As a spillover effect between commercial products and artworks, his activities in the sunglass industry are also transformed into sculptural works that appear as hybrids of eyeglass lenses and the aesthetic and surface fetishism of Californian West-Coast minimalism.

Israel’s painterly production includes both his characteristic self-portraits and series of paintings based on stage panels and backdrops from the film industry, as in the Flats and Skyline Backdrop paintings. Self-portraits in fibreglass are cut in the shape of the artist’s recognisable, sunglass-clad profile, and are repeated in endless colour variations like a logo – as a parallel to the artist’s obsessive focus on branding and the persona, which is also reflected in the contemporary construction of identity in the profile pictures of social media. TheSkyline Backdrop paintings consist of attractive colour-graded surfaces that imitate pastel-hued Californian sunsets. The result is an aesthetic that hovers at the borderline between neo-abstraction and a theatrical representation of reality. Like the city of their origin, they are experienced as an interface of attractive surfaces and underlying hollowness and simulation. In their circling around such themes as the film industry, celebrity culture and the American dream, their mechanisms are both embraced and, at the same time, exposed in all their ambiguity. For more information, please visit the Astrup Fearnley Museum website here.


Thursday, March 31st, 2016


Blair Thurman ‘Mature Blonde’
March 31 — May 14, 2016
London, Savile Row



Saturday, March 5th, 2016

Mark Flood at the Staatliche Kunsthalle Baden-Baden


Opening today, Mark Flood will take part in the group exhibition Gutes böses Geld. Eine Bildgeschichte der Ökonomie at the Staatliche Kunsthalle Baden-Baden. For more information, please visit the museum’s website here.

Friday, February 26th, 2016

David Ostrowski at Leopold-Hoesch-Museum


Opening March 5th. For more information, please visit the Leopold-Hoesch-Museum website here.

Tuesday, February 9th, 2016

Marinella Senatore at Les Laboratoires de Aubervilliers


Opening February 10th, L’école de Marinella Senatore is a free school open to all and offers the opportunity to come and share knowledge and know-how and take part in creating an operetta with other participants. A public showing is scheduled on Saturday 26 March 2016. For more information, please visit the Laboratoires de Aubervilliers website here.

Tuesday, January 5th, 2016

Mark Flood in Group Show “The Future is Now” at Marlborough Chelsea

For more information, please visit the Marlborough Chelsea website here.

Wednesday, December 16th, 2015

Mark Flood: Gratest Hits at the Contemporary Arts Museum of Houston



On View: April 23 – July 17, 2016

Opening Reception: Friday, April 22, 2016 | 6:30-9PM

Gratest Hits is a survey of 30 years of Flood’s work from the 1980s to 2015.  Never has an exhibition enjoyed so many moments of extreme visual beauty, cheek my jowl with crude humor and aggressive, roughly rendered texts to create a visual roller coaster ride.  For most of his artistic career, Flood has created collages, paintings and sculptures, and altered found ephemera that serve to critique and highlight consumer culture and the perversity of the art world.Gratest Hits presents the deep wisdom and humor of three decades of work while ultimately revealing the true achievement of an artist who has produced many highly praised works and had an active career despite remaining barely visible at the museum level. For more information, please visit to CAMH website here.

Tuesday, December 15th, 2015

David Ostrowski and Leo Gabin at M Woods Beijing, CN

David Ostrowski F (Yes or Let's Say No), 2013 Painting - Acrylic, lacquer and paper on burlap, wood 241 x 191 cm (94.88 x 75.2 inches)

Works by David Ostrowski and Leo Gabin on view at M Woods, Beijing for the exhibition “Full of Peril and Weirdness”: Painting as a Universalism.



Tuesday, December 15th, 2015

Alex Israel at the Historic Huntington Art Gallery

The Huntington Library, Art Collections, and Botanical Gardens will stage an intervention in its historic Huntington Art Gallery of works by Alex Israel, one of the most recognizable emerging artists on the contemporary art stage. “Alex Israel at The Huntington,” on view Dec. 12, 2015, through July 11, 2016, will integrate a significant group of Israel’s works—including paintings (freestanding and mural) and sculpture in sizes ranging from five inches to 16 feet—throughout the Beaux Arts building that once served as the residence of Gilded Age collectors Henry E. and Arabella Huntington and, for the past eight and a half decades, as the gallery for a priceless European art collection.

“Alex Israel at The Huntington” on view Dec. 12, 2015 – July 11, 2016


Alex Israel Huntington Art Gallery

Tuesday, December 8th, 2015

Mike Bouchet in Group Show <em>Prototypology</em> at Gagosian Gallery, Rome


Opening January 14, 2016, Prototypology explores research and development in the work of thirty contemporary artists, tracing the evolution from idea to finished artwork through drawings, archives, maquettes, and bricolage. In doing so the exhibition establishes a typology of diverse drafts.

The studio is a liminal zone for sourcing, modifying, and testing. Derived from the Italian word schizzare (splash), a “sketch” represents the initial impulse from mind to hand, the developmental process whereby form begins to emerge. In the laboratory of the studio, bricolage is often used as an instinctual method in the construction of prototypes.

Artists: Vladimir Arkhipov, Richard Artschwager, Nina Beier, Will Boone, Mike Bouchet, Chris Burden, Jason Dodge, Aleksandra Domanović, Dan Graham, Loris Gréaud, Michael Heizer, Carsten Höller, Thomas Houseago, Allan McCollum, Takashi Murakami, Albert Oehlen, Claes Oldenburg, Steven Parrino, Giuseppe Penone, Kirsten Pieroth, Ry Rocklen, Nancy Rubins, Arcangelo Sassolino, David Smith, Rudolf Stingel, Robert Therrien, Mungo Thomson, Tatiana Trouvé, Cy Twombly, Rachel Whiteread

For more information, please visit the Gagosian Gallery website.


Saturday, November 14th, 2015

The Great Mother<br> at Palazzo Reale, Milan<br> including artist Dorothy Iannone


The Great Mother

Curated by Massimiliano Gioni

Palazzo Reale, Milan, IT

August 26 – November 15, 2015

Including Dorothy Iannone

Thursday, November 12th, 2015

Helen Venero Artist Lecture Series: Eli Sudbrack of Assume Vivid Astro Focus at the Frost Museum

Date: November 12, 2015

Location: Frost Art Museum at 7pm

Helen Venero Artist Lecture Series: Eli Sudbrack of Assume Vivid Astro Focus

Eli Sudbrack of Assume Vivid Astro Focus will discuss his most significant work in a self-described “Book Tour Lecture,” in which the artist walks the audience through key moments in the development of his immersive installations through the AVAF monograph.

Grateful thanks to Agustin F. Venero and the Venero Family.

eli-artwork1 eli-artwork2

Thursday, November 5th, 2015



Featuring works by Mark Flood and Alex Israel

On view November 7, 2015–April 10, 2016

The Museum of the Moving Image

36-01 35 Avenue Astoria, NY 11106


Saturday, October 31st, 2015

Marinella Senatore: Creative Time Summit: The Curriculum NYC

Creative Time Summit: The Curriculum NYC kicks off with an opening event, Visible on The High Line, NYC.

This event will include site-specific performances by Marinella Senatore, curated by Matteo Lucchetti and Judith Wielander of the Visible Project.

Friday, November 13 6–8PM in NYC

Screen Shot 2015-10-31 at 11.32.40 Screen Shot 2015-10-31 at 11.32.52

Saturday, October 24th, 2015

Sightings: Alex Israel at the Nasher Sculpture Center


Peres Projects is pleased to announce Sightings, a solo show by Alex Israel at the Nasher Sculpture Center.

The work of Alex Israel deals in the images and cultural eccentricities of his native Los Angeles. From his sunglasses company Freeway Eyewear to his YouTube talk show called As It Lays, wherein he interviews famous and not-so-famous Hollywood personalities, Israel is always plumbing the surface of the iconic pop culture of L.A. to better understand its global influence.

For his Sightings exhibition at the Nasher, Israel will combine new sculptural objects made in the vernacular vocabulary of Hollywood movies to make a quasi-narrative installation related to a film that Israel is soon to release.

For more information, please visit the Nasher Sculpture Center website here.

Friday, October 16th, 2015

Mark Flood at Stuart Shave/Modern Art

Mark Flood
‘American Buffet Upgrade’
Exhibition view, Stuart Shave/Modern Art, 4-8 Helmet Row, London
12 October – 14 November 2015


Wednesday, October 14th, 2015

Leo Gabin Nominated for NEW:VISION Award at the CPH:DOX Film Festival

A Crackup at the Race Riots film still

Congratulations to Leo Gabin on their nomination for the NEW:VISION Award at the CPH:DOX Film Festival for their film A Crackup at the Race Riots, a feature length adaptation of Harmony Korine’s 1998 novel. For more information, please visit the CPH:DOX website.

Wednesday, September 23rd, 2015

Brent Wadden – <em>How Long Is Now</em> Solo Exhibition at PACE Gallery

Screen Shot 2015-09-23 at 13.21.36

Opening tomorrow, How Long Is Now is Wadden’s first solo exhibition in the United Kingdom. Presented on the first floor gallery of 6 Burlington Gardens, the exhibition will be on view from 25 September to 31 October 2015.

Tuesday, September 8th, 2015

Marinella Senatore in the 13th Lyon Biennale

Screen Shot 2015-09-08 at 11.40.39

Opening today, Senatore will be working off the Veduta platform at the 2015 Biennale de Lyon, curated by Ralph Rugoff. For more information please visit the Lyon Biennale website.


Tuesday, July 28th, 2015

Mark Flood in Theories of Forgetting at Gagosian Gallery, Los Angeles

Screen Shot 2015-07-28 at 17.59.41 copy

“Theories on Forgetting” maps evolutions of cultural symbolism through the work of 18 contemporary artists. Questioning how popular images originate, gain importance, obsolesce, and renew, the exhibition surveys a broad range of artworks with source amnesia: strange relics and personal figments reveal the emergence of new languages fertilized by previous ones. These diverse cultural apparitions engage individual and collective memory as subject, action, and material.

Artists: Mark Flood, Piero Golia, Douglas Gordon, Mark Hagen, John Houck, Christian Jankowski, Oliver Laric, Ana Mendieta, Cady Noland, Richard Phillips, Sterling Ruby, Thomas Ruff, Ed Ruscha, Analia Saban, Max Hooper Schneider, Taryn Simon, Mungo Thomson, Jonas Wood

JULY 9 – AUGUST 21, 2015

456 North Camden Drive
Beverly Hills, CA 90210


Thursday, June 11th, 2015

Alex Israel and David Ostrowski in Sprayed at Gagosian Gallery


Organised by Jona Lueddeckens and Greg Bergner, Sprayed opens today and runs until August 1, 2015. For more information, please visit the Gagosian Gallery website.

Monday, June 8th, 2015

Leo Gabin at Museum Dhondt-Dhaenens


Leo Gabin at Museum Dhondt-Dhaenens
18/10/2015 – 10/01/2016
The Museum Dhondt-Dhaenens presents Leo Gabin’s film A Crackup at the Race Riots.

Saturday, May 9th, 2015



Opening today, #RAWHIDE will show works by Mark Flood as well as by Richard Avedon, Will Boone, Edward Curtis, Tom of Finland, Dennis Hopper, and others. For more information, please visit the Venus Over Manhattan website.

Saturday, May 9th, 2015



A new solo show by Mike Bouchet, entitled Y ASK Y, opens today at Stockholm’s Carl Kostyál. For more information, please visit the Carl Kostyál website.

Saturday, April 11th, 2015



Opening today, the Kunstraum Innsbruck presents the first institutional solo exhibition by the German painter David Ostrowski in the German-speaking world. For more information, please visit the Kunstraum Innsbruck website.

Friday, March 6th, 2015



Enigmas, an exhibition of works by Martin Barré, David Ostrowski, Julian Schnabel, and Reena Spaulings opens today at Andrea Rosen Gallery in New York. Curated in collaboration with writer and art historian Alison Gingeras, the exhibition engages the notion of imprimatur.

For more information, please visit the Andrea Rosen Gallery website.

Saturday, February 28th, 2015



Beauty lays in mistakes. The young German artist David Ostrowski hurls himself headlong into an exploration of the boundaries of painting and the potential of cultivating emptiness, chance and any mistakes that may arise in the painting process. In a solo exhibition at ARKEN Ostrowski shows how even a work about nothing is always about something – including beauty.

For more information, please visit the Arken website.

Friday, February 27th, 2015



A place in movement: musicians, choirs, bands, marching bands, dancers, associations and individuals of all ages – all Ebenseerinnen and Ebenseer are invited to participate in a Stadtchoreografie and share their creative potential, which in its entirety a vital Portrait of Ebensee results. The individual ideas are directed by Marinella Senatore and her team in the form of a grand parade through the town.

Saturday, January 10th, 2015


DO12125-F (The day we became women)-2014-EMAIL

Inspired by Peter Schjeldahl’s quote that “Modern art history has ceased to represent a road traveled, and has come to seem an encircling panorama,” this exhibition gathers paintings (landscapes, portraits, shapes) by nearly twenty international artists from different generations, from Bridget Riley to Christian Rosa. Their artistic commitment harks back to some various eras when choosing a discipline –visual arts – didn’t carry the same promises or contingencies.

For more information, please visit the Almine Rech Gallery website.

Saturday, November 22nd, 2014



Galerie Eva Presenhuber will present works by David Ostrowski alongside international artists Justin Matherly, Oscar Murillo, and Tobias Pils in a group exhibition. The exhibition features new works that provide glimpses of the artists’ current artistic production. For more information, please visit the Galerie Eva Presenhuber website.

Wednesday, November 19th, 2014



Works by Mike Bouchet and Leo Gabin will be shown at Naples’ Museo di Capodimonte in an exhibition entitled The Go Between. Curated by Eugenio Viola, the show will run from December 14, 2014 – January 12, 2015. Please visit the museum’s website for more information.

Thursday, November 13th, 2014



New York’s Reena Spaulings Fine Art will host a one-day only show this Sunday, November 16th.

The gallery’s Klara Liden show, which runs until December 7, will remain on view, but Israel and Smith will be taking over the old Wing Shoon restaurant space beneath gallery (where Liden has also installed a video of her own.)

“Mirage” by Alex Israel and Josh Smith

Sunday, November 16
12 pm to 6 pm
Opening reception 4 pm to 6 pm


Thursday, July 17th, 2014



insitu, Berlin
July 17th, 2014 – July 27th, 2014

ESTMAN RADIO is an ongoing free podcast radio by Italian artist Marinella Senatore, which gives everyone the possibility of sharing sounds and opinions. It was launched at Kunst Halle Sankt Gallen and continues in July 2014 at insitu, Berlin. You are invited to contribute to ESTMAN RADIO by submitting your radio dramas, lectures, music, speeches, debates, interviews, sound art works, stories, ideas etc.

For her contribution to insitu’s framework 2 (17 – 27 July 2014), Marinella Senatore will transform the exhibition space into a “self-service” radio station inviting all people to record their own projects. So come to insitu for your recording! Or directly send your contribution with your name, a title and a synopsis to


Friday, July 11th, 2014



Contemporary Art Museum St. Louis
September 5, 2014 – January 3, 2015

The first solo museum exhibition of Houston-based artist Mark Flood, Another Painting features key examples of the artist’s recent text, lace, and corporate logo paintings. With a deadpan and confrontational tone, Flood’s work interrogates the verbal, visual, and written language of institutions—such as government, Wall Street, and the art market—that influence everyday life. Appropriating the vernacular of these establishments, Flood seeks to reveal what he believes to be their inherent absurdity and desire to control.

For more information, please visit the Contemporary Art Museum St. Louis website.

Thursday, May 29th, 2014



10 June–21 September

Castello di Rivoli Museum of Contemporary Art

Piazza Mafalda di Savoia 
10098 Rivoli (Turin)


For more information, visit the Castello di Rivoli Museum of Contemporary Art website.

Tuesday, May 27th, 2014



6 JUNE – 12 JULY 2014
Inside the White Cube, Mason’s Yard

25 – 26 Mason’s Yard

For more information, visit the White Cube website.

Thursday, May 1st, 2014


nasdaq insider master list with pics

Zach Feuer Gallery at Center 548
548 West 22nd Street, Second Floor
New York, NY 10011

Wednesday, May 14 – Saturday, May 17, 11 AM-7 PM

For more information, visit the Zach Feuer website.

Wednesday, April 23rd, 2014



Abstract America Today

28 May – 28 September 2014

Saatchi Gallery, London, EN

For more information, visit the Saatchi Gallery website.

Monday, April 21st, 2014



The Decline

April 23 – May 25, 2014

Almine Rech Gallery, Brussels, BE

Brent Wadden takes “The Decline of Western Civilization” as inspiration for “The Decline,” his first exhibition in Brussels’s Almine Rech Gallery. The Canadian-born and Berlin-based artist’s new paintings from his ongoing “Alignment” series embody the counterculture rejectionist spirit documented by Penelope Spheeris for her 1981 chronicle of Los Angeles’s punk scene in the late 1970s and early 1980s.  Spheeris, however, recorded a subculture dedicated to destruction.  By contrast, Wadden’s resistance takes shape through renewal, revision and attention to sustainability.

For more information, please visit the Almine Rech Gallery website.

Saturday, April 19th, 2014



Set in Motion


May 22 – September 06, 2014

Petach Tikva Mueseum of Art, Tel Aviv, IL

This current exhibition features the operatic trilogy Rosas, which presents Senatore’s modi operandi in film, video, and drawing. For its execution she was joined by more than 16,000 people from Berlin, Derby, and Madrid, who took an active part in the production and participated in a wide range of workshops, conversations, and meetings combining hands-on work, writing, singing, dance, and movement.

For more information, please visit the Petach Tikva Museum of Art website.

Friday, March 21st, 2014



The SS Potlicker And Friends

March 21 2014 – May 31 2014

Galerie Eva Presenhuber, Zurich, CH

 Galerie Eva Presenhuber presents its second solo show of Joe Bradley entitled “The SS Potlicker and Friends”.

 For more information,please visit the Galerie Eva Presenhuber website.

Friday, March 7th, 2014



07 March – 05 April, 2014

Pace Gallery NYC

Group Exhibition including new work Brent Wadden.

Originally on view at Pace London, Mingei: Are You Here? travels to New York in March 2014. The exhibition explores the legacy of Mingei, a Japanese folk craft movement led by philosopher and critic Sōetsu Yanagi, and features paintings, sculptures, ceramics, and textile works. Curated by Nicolas Trembley, the exhibition juxtaposes historical works from Japanese Mingei artists with modern and contemporary artists inspired by Mingei.

For more information, please visit the Pace Gallery NYC website.

Monday, March 3rd, 2014





March 7, 2014 – April 26th 2014

OKO Gallery, New York, US

For more information, please visit the OKO website.

Thursday, February 20th, 2014



20 February – 2 June 2014

Berlinische Gallery

Berlinische Gallery presents a retrospective of Dorothy Iannone. The aim of this retrospective is to illustrate the intermediality and radical subjectivity of this unique artistic opus, where image, text, film and sound constantly enter new relationships. A central concern of the exhibition will be to explore this innovative energy in the art of Dorothy Iannone.

For more information, please visit the Berlinische Gallery website.

Saturday, February 1st, 2014



Public Secrets

1st February – 13th April 2014

Kunst Halle Sankt Gallen, Sant Gallen, CH

For more information, please visit the Kunst Halle Sankt Gallen website.

Friday, January 24th, 2014



24 January – 27 April 2014

Witte de With Center for Contemporary Art, Rotterdam, NL

Curated by Cristina Ricupero

Witte de With Center for Contemporary Art presents The Crime Was Almost Perfect—an exhibition that brings together over forty artists who cross the bridges linking art and the aesthetics of crime.

For more information, please visit the Witte de With Contemporary Art.