OLIVIA JIA – FAUN

Posted on 2026-09-14

The show takes its title from the flora and fauna that recur within the show: decorative vases and ceramics embellished with motifs from nature, lattice windows from Chinese Gardens, alongside ornaments in the form of animals or flowers.

Jia’s own identity as the child of Chinese immigrants to the United States deeply informs the work, blending images of traditional East Asian ephemera with historical artefacts sourced from Pennsylvania, the American state in which Jia was raised. She draws from museum archives, images found online, family photographs, combined with invented imagery based on memories and family stories to construct a personal history told through objects. Subject matter includes, among others: a painting by Raphaelle Peale (an important Philadelphia painter from the 1800s); Siebold’s magnolia (a flower native to East Asia); an 18th Century Chinese figure of a swallow; an 18th century Pennsylvanian-German tin lantern, a carved lacquer dish, and a silver snuff box shaped as a book, etched with flower motifs. Exhibited together, these images form a constellation where different paintings speak to one another and reflect how identity can be formed through objects and belongings that might otherwise seem at odds.

Opposite – Page unfolded (glazed porcelain bottle with motif of a deer, 16th century), 2026

Exhibition runs through till October 31st, 2026

The Approach
1st Floor, 47 Approach Road
Bethnal Green
E2 9LY
London

www.theapproach.co.uk

  

JUTTA KOETHER – SONGS OF NEW YORK

Posted on 2026-09-14

Jutta Koether’s move from Cologne to New York at the beginning of the 1990s marked a decisive transformation in her practice. Looking back, she described the relocation as a process of “selfdisplacement”- a conscious distancing from the encumbering Cologne art scene that allowed her to reposition herself. More than a rupture, however, this displacement became the starting point for a transatlantic practice intertwining earlier influences with new contexts.

While the previous exhibition with Jutta Koether at Galerie Buchholz New York focused on her paintings and her experimental writing for Cologne’s music magazine SPEX in the early 1980s, our new exhibition begins with works from 1995. These include a large-format copy of a painting Koether acquired with Tom Verlaine at the Chelsea Flea Market, depicting massive colorful spotlights illuminating an otherwise dark Madison Square Garden, and a smaller work made for the exhibition Warmer Stern at Galerie Buchholz Cologne in the following year, featuring a central field of abstract gestural marks, a floating record, face, and amplifier that burst out of a grid-like structure.

Opposite – Soulpack, 2000

Exhibition runs through till October 31st, 2026

Galerie Buchholz
31 West 54th Street
NY 10019
New York

www.galeriebuchholz.de

  

BRICE MARDEN – I AM PLANE IMAGE

Posted on 2026-09-14

Spanning six decades, the presentation includes major institutional loans from the Art Institute of Chicago, Whitney Museum of American Art, and others, as well as significant works from the Estate and notable private collections. It offers a historic opportunity to view works that have rarely, if ever, been exhibited before. In tandem, Gagosian, again in collaboration with the Estate, will publish Brice Marden: Catalogue Raisonné of Paintings, 1961–2023, edited by scholar Tiffany Bell. Documenting nearly five hundred works, the book represents the most comprehensive study of his paintings to date.

Opposite – 4 (Bone), 1987–88

Exhibition runs through till December 12th, 2026

Gagosian
522 West 21st Street
NY 10011
New York

gagosian.com

  

EMMA PREMPEH – THE DOMAIN OF THE STRANGER

Posted on 2026-09-07

For her debut solo exhibition at Perrotin in Paris, Emma Prempeh presents a new body of work under the title The Domain of the Stranger, drawn from a line in Saidiya Hartman’s Lose Your Mother (2007).
Prempeh’s practice has long turned on questions of belonging, time, and inherited history, held across her Vincentian and Ghanaian lineages in different measures from one body of work to the next. This exhibition marks the first time these geographies sit alongside a third: the British landscape of her own upbringing in London, entering her painting for the first time. Within this triangulation, the artist also returns to her relationship with her father, a subject she had approached before and set aside due to emotional difficulty. What results is not a settling of these inheritances into any single account of home, but a widening: an exploration of diasporic subjecthood held in a metaphysical register, one that resists explanation and dwells instead in what cannot be fully named, or resolved.

Opposite – Is this legacy?, 2026

Exhibition runs through till September 26th, 2026

Perrotin
76 rue de Turenne
75003 Paris
France

www.perrotin.com

  

PAUL DRISSEN – AMA

Posted on 2026-09-07

These new works grew out of a long-standing fascination with Henri Matisse’s early oeuvre—specifically the paintings he created between 1904 and 1918. During this period, Matisse sought greater freedom regarding color and space, while his motifs—a studio, a window, a garden, flowers, or a model—remained present. What appeals to Drissen in these works is the tension between holding on and letting go. Matisse seems to break his motifs open further and further: walls become transparent, figures dissolve into their surroundings, and space loses its fixed order. This attitude forms the starting point for Ama.

Opposite – Untitled (Morme), 2025

Exhibition runs through till October 10th, 2026

Slewe Gallery
Kerkstraat 105-A
1017 GD Amsterdam
The Netherlands

slewe.nl

  

JENNIFER GUIDI – WATERFALL

Posted on 2026-09-07

Guidi conveys the dynamism of landscape through saturated colors and gradients. Bright pinks, violets, oranges, and yellows coalesce into passages of land and shore, juxtaposed with the blues and greens of oceans and lakes and the white of moving water. Like the sand that comprises their grounds, the paintings are developed as accumulations of discrete brushstrokes brought together into a greater whole. This approach adapts the formal innovations of Pointillism introduced by Georges Seurat and Paul Signac, dispersing a multitude of colorful dots across the canvas to create tremendous chromatic intensity.

Opposite – Held Between Ocean, Stone and Sky, 2026

Exhibition runs through till October 10th, 2026

Gagosian
4 rue de Ponthieu
75008 Paris
France

gagosian.com