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Our solo presentation for Frieze New York with new work from Joanne Burke opens next week in the Focus section, Stand F02.

In her metallic sculptures and wall-based works, Burke is primarily concerned with hydrofeminism, a posthuman feminist phenomenology that understands the body as essentially linked to the natural world. Burke interprets water as an infinite, nonphysical essence that resists representation or definition.

Joanne Burke
Divers Arms, 2026
Bronze
13 × 6 × 4 cm

To request more information or a preview, contact info@softopening.london

Our solo presentation for Frieze New York with new work from Joanne Burke opens next week in the Focus section, Stand F02.

In her metallic sculptures and wall-based works, Burke is primarily concerned with hydrofeminism, a posthuman feminist phenomenology that understands the body as essentially linked to the natural world. Burke interprets water as an infinite, nonphysical essence that resists representation or definition.

Joanne Burke
Divers Arms, 2026
Bronze
13 × 6 × 4 cm

To request more information or a preview, contact info@softopening.london

Our solo presentation for Frieze New York with new work from Joanne Burke opens next week in the Focus section, Stand F02.

In her metallic sculptures and wall-based works, Burke is primarily concerned with hydrofeminism, a posthuman feminist phenomenology that understands the body as essentially linked to the natural world. Burke interprets water as an infinite, nonphysical essence that resists representation or definition.

Joanne Burke
Divers Arms, 2026
Bronze
13 × 6 × 4 cm

To request more information or a preview, contact info@softopening.london

Rhea Dillon is currently included in Weather Stress Index, a group exhibition curated by Truth Murray-Cole at the Hessel Museum of Art, Center for Curatorial Studies, Bard College, until 24 May.

A new commission by Dillon brings an artwork coated in anti-climb paint—a non-drying substance often used on architecture to deter movement—into a museum context.

Rhea Dillon
IV: Severance From The Spliced Womb
2026
Anti-climb paint on metal
46 × 4 × 61 cm (18 × 1.5 × 24 inches)
Courtesy of the artist
Commissioned for Weather Stress Index, April 4 – May 24, 2026, Graduate thesis project curated by Truth Murray-Cole, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
Photo: Alon Koppel 2026

Rhea Dillon is currently included in Weather Stress Index, a group exhibition curated by Truth Murray-Cole at the Hessel Museum of Art, Center for Curatorial Studies, Bard College, until 24 May.

A new commission by Dillon brings an artwork coated in anti-climb paint—a non-drying substance often used on architecture to deter movement—into a museum context.

Rhea Dillon
IV: Severance From The Spliced Womb
2026
Anti-climb paint on metal
46 × 4 × 61 cm (18 × 1.5 × 24 inches)
Courtesy of the artist
Commissioned for Weather Stress Index, April 4 – May 24, 2026, Graduate thesis project curated by Truth Murray-Cole, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
Photo: Alon Koppel 2026

Rhea Dillon is currently included in Weather Stress Index, a group exhibition curated by Truth Murray-Cole at the Hessel Museum of Art, Center for Curatorial Studies, Bard College, until 24 May.

A new commission by Dillon brings an artwork coated in anti-climb paint—a non-drying substance often used on architecture to deter movement—into a museum context.

Rhea Dillon
IV: Severance From The Spliced Womb
2026
Anti-climb paint on metal
46 × 4 × 61 cm (18 × 1.5 × 24 inches)
Courtesy of the artist
Commissioned for Weather Stress Index, April 4 – May 24, 2026, Graduate thesis project curated by Truth Murray-Cole, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
Photo: Alon Koppel 2026

Rhea Dillon is currently included in Weather Stress Index, a group exhibition curated by Truth Murray-Cole at the Hessel Museum of Art, Center for Curatorial Studies, Bard College, until 24 May.

A new commission by Dillon brings an artwork coated in anti-climb paint—a non-drying substance often used on architecture to deter movement—into a museum context.

Rhea Dillon
IV: Severance From The Spliced Womb
2026
Anti-climb paint on metal
46 × 4 × 61 cm (18 × 1.5 × 24 inches)
Courtesy of the artist
Commissioned for Weather Stress Index, April 4 – May 24, 2026, Graduate thesis project curated by Truth Murray-Cole, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
Photo: Alon Koppel 2026

Rhea Dillon is currently included in Weather Stress Index, a group exhibition curated by Truth Murray-Cole at the Hessel Museum of Art, Center for Curatorial Studies, Bard College, until 24 May.

A new commission by Dillon brings an artwork coated in anti-climb paint—a non-drying substance often used on architecture to deter movement—into a museum context.

Rhea Dillon
IV: Severance From The Spliced Womb
2026
Anti-climb paint on metal
46 × 4 × 61 cm (18 × 1.5 × 24 inches)
Courtesy of the artist
Commissioned for Weather Stress Index, April 4 – May 24, 2026, Graduate thesis project curated by Truth Murray-Cole, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
Photo: Alon Koppel 2026

Thank you to everyone who came by our presentation of works from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo at Miart, Milan.

Olivia Erlanger
eros (0° S, or naught), 2026
Bronze
56 × 3 × 3 cm

Joanne Burke
Hung as a Globe, 2025
Aluminium
42.5 x 41.5 x3.5 cm

Thank you to everyone who came by our presentation of works from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo at Miart, Milan.

Olivia Erlanger
eros (0° S, or naught), 2026
Bronze
56 × 3 × 3 cm

Joanne Burke
Hung as a Globe, 2025
Aluminium
42.5 x 41.5 x3.5 cm

Thank you to everyone who came by our presentation of works from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo at Miart, Milan.

Olivia Erlanger
eros (0° S, or naught), 2026
Bronze
56 × 3 × 3 cm

Joanne Burke
Hung as a Globe, 2025
Aluminium
42.5 x 41.5 x3.5 cm

Nevine Mahmoud’s solo exhibition Second Nature is now open at Asia Society Texas. The exhibition runs until 4 October, 2026.

Mahmoud unearths uncanny worlds from stone: jumbo-sized fruits drip with glass, a contorted marble faun arcs like an acrobat, and children’s toys are immortalized in white alabaster. Though her subjects range from the luscious to the surreal to the playful, Mahmoud’s sculptures manipulate our understanding of nature. For Second Nature, Mahmoud’s works, including a new commission, are placed throughout Asia Society Texas’ public spaces.

Nevine Mahmoud
My Adolescent Pony, 2026 
White Italian alabaster
61 × 40.6 × 39.4 cm

Our group presentation with works from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo continues today for the final day of Miart. Find us in the Established section at booth D03.

Ebun Sodipo
Self Portrait / I am my ancestors’ tongue, 2026
Mylar, digital prints, resin
240 × 120 cm

Sam Lipp
Flood, 2025
Oil on steel, spray paint, screws
33 × 43 cm

Our group presentation with works from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo continues today for the final day of Miart. Find us in the Established section at booth D03.

Ebun Sodipo
Self Portrait / I am my ancestors’ tongue, 2026
Mylar, digital prints, resin
240 × 120 cm

Sam Lipp
Flood, 2025
Oil on steel, spray paint, screws
33 × 43 cm

Our group presentation of work from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo opens today at Miart, Milan. Find us in the Established Section at Stand D03.

Our group presentation of work from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo opens today at Miart, Milan. Find us in the Established Section at Stand D03.

Our group presentation of work from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo opens today at Miart, Milan. Find us in the Established Section at Stand D03.

Dean Sameshima’s Anonymous Portraits will be included in our group presentation next week at Miart in Milan. Find us at Stand D03 in the Established section of the fair. The artist’s current solo exhibition at the gallery in London continues until Saturday 23 May.

Anonymous After Dark, 2026
Silkscreen and acrylic on canvas
30 × 40 cm

To request more information or a preview, contact info@softopening.london

Dean Sameshima’s Anonymous Portraits will be included in our group presentation next week at Miart in Milan. Find us at Stand D03 in the Established section of the fair. The artist’s current solo exhibition at the gallery in London continues until Saturday 23 May.

Anonymous After Dark, 2026
Silkscreen and acrylic on canvas
30 × 40 cm

To request more information or a preview, contact info@softopening.london

The gallery will be closed for the Easter bank holiday weekend, from Friday 4 April until we reopen on Wednesday 8 April.

Gina Fischli
Under Conservation Series (Bunny Triplets), 2020
Ink on paper in polyurethane-sprayed frame with lacquered metallic finish
48.8 × 36.5 × 3 cm

Dean Sameshima’s second solo exhibition with the gallery, Wonderland, is now open.

The body of work that Sameshima titles Wonderland (1995–97) includes four series of images that the artist photographed and exhibited during his time studying under Allan Sekula at CalArts. One group commemoratively documents the exteriors of queer sex clubs and bathhouses at the time, mostly located in Silverlake, Los Angeles, which was home to a considerable LGBTQIA+ community prior to its devastation by the HIV/AIDS pandemic. In this exhibition, titled after the series, Sameshima brings together all seven of these images alongside a selection of photographs of specific sites in nearby Griffith Park in Los Angeles and Harbor City Recreational Park in Lomita, which were both notorious cruising areas. Wonderland marks the first time a substantial group of these works has been shown together since the early 2000s.

Now representative of lost time and place, Sameshima prefigured a kind of grief in these images, photographing these sites during the day, unpopulated and virtually unrecognisable. Although likely more immediately identifiable to Sameshima and his contemporaries at the time, these building exteriors or urban spaces were left deliberately unmarked to prioritise the safety of their patrons or visitors. The absence of figure or noteworthy detail in these images, was therefore essential to their subjects’ existence. Sameshima discovered many of these spaces through research in local papers like Frontiers – a free, weekly, gay publication – and gay phone lines, as well as via the men he hooked up with, who would often share their reviews and tips on where else to go, which areas were safe, recent police busts or locations where undercover officers were often stationed. Despite their palpable stillness, there is much activity implied in the photographs, but the artist chose – and continues to choose – to catalogue the spaces themselves rather than what happens within them.

Dean Sameshima’s second solo exhibition with the gallery, Wonderland, is now open.

The body of work that Sameshima titles Wonderland (1995–97) includes four series of images that the artist photographed and exhibited during his time studying under Allan Sekula at CalArts. One group commemoratively documents the exteriors of queer sex clubs and bathhouses at the time, mostly located in Silverlake, Los Angeles, which was home to a considerable LGBTQIA+ community prior to its devastation by the HIV/AIDS pandemic. In this exhibition, titled after the series, Sameshima brings together all seven of these images alongside a selection of photographs of specific sites in nearby Griffith Park in Los Angeles and Harbor City Recreational Park in Lomita, which were both notorious cruising areas. Wonderland marks the first time a substantial group of these works has been shown together since the early 2000s.

Now representative of lost time and place, Sameshima prefigured a kind of grief in these images, photographing these sites during the day, unpopulated and virtually unrecognisable. Although likely more immediately identifiable to Sameshima and his contemporaries at the time, these building exteriors or urban spaces were left deliberately unmarked to prioritise the safety of their patrons or visitors. The absence of figure or noteworthy detail in these images, was therefore essential to their subjects’ existence. Sameshima discovered many of these spaces through research in local papers like Frontiers – a free, weekly, gay publication – and gay phone lines, as well as via the men he hooked up with, who would often share their reviews and tips on where else to go, which areas were safe, recent police busts or locations where undercover officers were often stationed. Despite their palpable stillness, there is much activity implied in the photographs, but the artist chose – and continues to choose – to catalogue the spaces themselves rather than what happens within them.

Dean Sameshima’s second solo exhibition with the gallery, Wonderland, is now open.

The body of work that Sameshima titles Wonderland (1995–97) includes four series of images that the artist photographed and exhibited during his time studying under Allan Sekula at CalArts. One group commemoratively documents the exteriors of queer sex clubs and bathhouses at the time, mostly located in Silverlake, Los Angeles, which was home to a considerable LGBTQIA+ community prior to its devastation by the HIV/AIDS pandemic. In this exhibition, titled after the series, Sameshima brings together all seven of these images alongside a selection of photographs of specific sites in nearby Griffith Park in Los Angeles and Harbor City Recreational Park in Lomita, which were both notorious cruising areas. Wonderland marks the first time a substantial group of these works has been shown together since the early 2000s.

Now representative of lost time and place, Sameshima prefigured a kind of grief in these images, photographing these sites during the day, unpopulated and virtually unrecognisable. Although likely more immediately identifiable to Sameshima and his contemporaries at the time, these building exteriors or urban spaces were left deliberately unmarked to prioritise the safety of their patrons or visitors. The absence of figure or noteworthy detail in these images, was therefore essential to their subjects’ existence. Sameshima discovered many of these spaces through research in local papers like Frontiers – a free, weekly, gay publication – and gay phone lines, as well as via the men he hooked up with, who would often share their reviews and tips on where else to go, which areas were safe, recent police busts or locations where undercover officers were often stationed. Despite their palpable stillness, there is much activity implied in the photographs, but the artist chose – and continues to choose – to catalogue the spaces themselves rather than what happens within them.

Dean Sameshima’s second solo exhibition with the gallery, Wonderland, is now open.

The body of work that Sameshima titles Wonderland (1995–97) includes four series of images that the artist photographed and exhibited during his time studying under Allan Sekula at CalArts. One group commemoratively documents the exteriors of queer sex clubs and bathhouses at the time, mostly located in Silverlake, Los Angeles, which was home to a considerable LGBTQIA+ community prior to its devastation by the HIV/AIDS pandemic. In this exhibition, titled after the series, Sameshima brings together all seven of these images alongside a selection of photographs of specific sites in nearby Griffith Park in Los Angeles and Harbor City Recreational Park in Lomita, which were both notorious cruising areas. Wonderland marks the first time a substantial group of these works has been shown together since the early 2000s.

Now representative of lost time and place, Sameshima prefigured a kind of grief in these images, photographing these sites during the day, unpopulated and virtually unrecognisable. Although likely more immediately identifiable to Sameshima and his contemporaries at the time, these building exteriors or urban spaces were left deliberately unmarked to prioritise the safety of their patrons or visitors. The absence of figure or noteworthy detail in these images, was therefore essential to their subjects’ existence. Sameshima discovered many of these spaces through research in local papers like Frontiers – a free, weekly, gay publication – and gay phone lines, as well as via the men he hooked up with, who would often share their reviews and tips on where else to go, which areas were safe, recent police busts or locations where undercover officers were often stationed. Despite their palpable stillness, there is much activity implied in the photographs, but the artist chose – and continues to choose – to catalogue the spaces themselves rather than what happens within them.

Dean Sameshima’s second solo exhibition with the gallery, Wonderland, is now open.

The body of work that Sameshima titles Wonderland (1995–97) includes four series of images that the artist photographed and exhibited during his time studying under Allan Sekula at CalArts. One group commemoratively documents the exteriors of queer sex clubs and bathhouses at the time, mostly located in Silverlake, Los Angeles, which was home to a considerable LGBTQIA+ community prior to its devastation by the HIV/AIDS pandemic. In this exhibition, titled after the series, Sameshima brings together all seven of these images alongside a selection of photographs of specific sites in nearby Griffith Park in Los Angeles and Harbor City Recreational Park in Lomita, which were both notorious cruising areas. Wonderland marks the first time a substantial group of these works has been shown together since the early 2000s.

Now representative of lost time and place, Sameshima prefigured a kind of grief in these images, photographing these sites during the day, unpopulated and virtually unrecognisable. Although likely more immediately identifiable to Sameshima and his contemporaries at the time, these building exteriors or urban spaces were left deliberately unmarked to prioritise the safety of their patrons or visitors. The absence of figure or noteworthy detail in these images, was therefore essential to their subjects’ existence. Sameshima discovered many of these spaces through research in local papers like Frontiers – a free, weekly, gay publication – and gay phone lines, as well as via the men he hooked up with, who would often share their reviews and tips on where else to go, which areas were safe, recent police busts or locations where undercover officers were often stationed. Despite their palpable stillness, there is much activity implied in the photographs, but the artist chose – and continues to choose – to catalogue the spaces themselves rather than what happens within them.

Dean Sameshima’s second solo exhibition with the gallery, Wonderland, is now open.

The body of work that Sameshima titles Wonderland (1995–97) includes four series of images that the artist photographed and exhibited during his time studying under Allan Sekula at CalArts. One group commemoratively documents the exteriors of queer sex clubs and bathhouses at the time, mostly located in Silverlake, Los Angeles, which was home to a considerable LGBTQIA+ community prior to its devastation by the HIV/AIDS pandemic. In this exhibition, titled after the series, Sameshima brings together all seven of these images alongside a selection of photographs of specific sites in nearby Griffith Park in Los Angeles and Harbor City Recreational Park in Lomita, which were both notorious cruising areas. Wonderland marks the first time a substantial group of these works has been shown together since the early 2000s.

Now representative of lost time and place, Sameshima prefigured a kind of grief in these images, photographing these sites during the day, unpopulated and virtually unrecognisable. Although likely more immediately identifiable to Sameshima and his contemporaries at the time, these building exteriors or urban spaces were left deliberately unmarked to prioritise the safety of their patrons or visitors. The absence of figure or noteworthy detail in these images, was therefore essential to their subjects’ existence. Sameshima discovered many of these spaces through research in local papers like Frontiers – a free, weekly, gay publication – and gay phone lines, as well as via the men he hooked up with, who would often share their reviews and tips on where else to go, which areas were safe, recent police busts or locations where undercover officers were often stationed. Despite their palpable stillness, there is much activity implied in the photographs, but the artist chose – and continues to choose – to catalogue the spaces themselves rather than what happens within them.

Join us tonight from 6—9pm for the opening of Dean Sameshima’s solo exhibition, Wonderland.

The body of work that Dean Sameshima titles Wonderland (1995-7) includes four series of images that the artist photographed and exhibited during his time studying under Allan Sekula at CalArts. One group commemoratively documents the exteriors of queer sex clubs and bathhouses at the time, mostly located in Silverlake, Los Angeles, which was home to a considerable LGBTQIA+ community prior to its devastation by the HIV/AIDS pandemic. In this exhibition, titled after the series, Sameshima brings together all seven of these images alongside a selection of photographs of specific sites in nearby Griffith Park in Los Angeles and Harbour City Recreational Park in Lomita, which were both notorious cruising areas. Wonderland marks the first time a substantial group of these works has been shown together since the early 2000s.

Dean Sameshima
Untitled (Older Men 1995), 1995-97
Archival C-print
58.5 × 78 cm (23 × 31 in)

Join us tonight from 6—9pm for the opening of Dean Sameshima’s solo exhibition, Wonderland.

The body of work that Dean Sameshima titles Wonderland (1995-7) includes four series of images that the artist photographed and exhibited during his time studying under Allan Sekula at CalArts. One group commemoratively documents the exteriors of queer sex clubs and bathhouses at the time, mostly located in Silverlake, Los Angeles, which was home to a considerable LGBTQIA+ community prior to its devastation by the HIV/AIDS pandemic. In this exhibition, titled after the series, Sameshima brings together all seven of these images alongside a selection of photographs of specific sites in nearby Griffith Park in Los Angeles and Harbour City Recreational Park in Lomita, which were both notorious cruising areas. Wonderland marks the first time a substantial group of these works has been shown together since the early 2000s.

Dean Sameshima
Untitled (Older Men 1995), 1995-97
Archival C-print
58.5 × 78 cm (23 × 31 in)

Nevine Mahmoud is currently included in Dolce Far Niente, a group exhibition curated by Irina Stark at Foundry Seoul until 9 May.

“Nevine Mahmoud’s sculpture Swing Set hovers between memory and desire, transforming a familiar playground structure into a sensuous hybrid form. Smooth marble and glass surfaces introduce bodily associations into otherwise clinical geometries, subtly blurring innocence and eroticism. On one hand, viewers are reminded of carefree childhood days filled with laughter; on the other, Mahmoud subverts these forms and meanings, bringing forward the pleasures of adult relationships while inviting us to continue cherishing our inner child.” —Irina Stark

Nevine Mahmoud
Swing Set, 2021
Steel, paint, Portuguese pink marble, plastic, glass, resin and stainless steel hardware
177.8 × 152.4 × 101.6 cm

Nevine Mahmoud is currently included in Dolce Far Niente, a group exhibition curated by Irina Stark at Foundry Seoul until 9 May.

“Nevine Mahmoud’s sculpture Swing Set hovers between memory and desire, transforming a familiar playground structure into a sensuous hybrid form. Smooth marble and glass surfaces introduce bodily associations into otherwise clinical geometries, subtly blurring innocence and eroticism. On one hand, viewers are reminded of carefree childhood days filled with laughter; on the other, Mahmoud subverts these forms and meanings, bringing forward the pleasures of adult relationships while inviting us to continue cherishing our inner child.” —Irina Stark

Nevine Mahmoud
Swing Set, 2021
Steel, paint, Portuguese pink marble, plastic, glass, resin and stainless steel hardware
177.8 × 152.4 × 101.6 cm

Nevine Mahmoud is currently included in Dolce Far Niente, a group exhibition curated by Irina Stark at Foundry Seoul until 9 May.

“Nevine Mahmoud’s sculpture Swing Set hovers between memory and desire, transforming a familiar playground structure into a sensuous hybrid form. Smooth marble and glass surfaces introduce bodily associations into otherwise clinical geometries, subtly blurring innocence and eroticism. On one hand, viewers are reminded of carefree childhood days filled with laughter; on the other, Mahmoud subverts these forms and meanings, bringing forward the pleasures of adult relationships while inviting us to continue cherishing our inner child.” —Irina Stark

Nevine Mahmoud
Swing Set, 2021
Steel, paint, Portuguese pink marble, plastic, glass, resin and stainless steel hardware
177.8 × 152.4 × 101.6 cm

Nevine Mahmoud is currently included in Dolce Far Niente, a group exhibition curated by Irina Stark at Foundry Seoul until 9 May.

“Nevine Mahmoud’s sculpture Swing Set hovers between memory and desire, transforming a familiar playground structure into a sensuous hybrid form. Smooth marble and glass surfaces introduce bodily associations into otherwise clinical geometries, subtly blurring innocence and eroticism. On one hand, viewers are reminded of carefree childhood days filled with laughter; on the other, Mahmoud subverts these forms and meanings, bringing forward the pleasures of adult relationships while inviting us to continue cherishing our inner child.” —Irina Stark

Nevine Mahmoud
Swing Set, 2021
Steel, paint, Portuguese pink marble, plastic, glass, resin and stainless steel hardware
177.8 × 152.4 × 101.6 cm

Nevine Mahmoud is currently included in Dolce Far Niente, a group exhibition curated by Irina Stark at Foundry Seoul until 9 May.

“Nevine Mahmoud’s sculpture Swing Set hovers between memory and desire, transforming a familiar playground structure into a sensuous hybrid form. Smooth marble and glass surfaces introduce bodily associations into otherwise clinical geometries, subtly blurring innocence and eroticism. On one hand, viewers are reminded of carefree childhood days filled with laughter; on the other, Mahmoud subverts these forms and meanings, bringing forward the pleasures of adult relationships while inviting us to continue cherishing our inner child.” —Irina Stark

Nevine Mahmoud
Swing Set, 2021
Steel, paint, Portuguese pink marble, plastic, glass, resin and stainless steel hardware
177.8 × 152.4 × 101.6 cm

Nevine Mahmoud is currently included in Dolce Far Niente, a group exhibition curated by Irina Stark at Foundry Seoul until 9 May.

“Nevine Mahmoud’s sculpture Swing Set hovers between memory and desire, transforming a familiar playground structure into a sensuous hybrid form. Smooth marble and glass surfaces introduce bodily associations into otherwise clinical geometries, subtly blurring innocence and eroticism. On one hand, viewers are reminded of carefree childhood days filled with laughter; on the other, Mahmoud subverts these forms and meanings, bringing forward the pleasures of adult relationships while inviting us to continue cherishing our inner child.” —Irina Stark

Nevine Mahmoud
Swing Set, 2021
Steel, paint, Portuguese pink marble, plastic, glass, resin and stainless steel hardware
177.8 × 152.4 × 101.6 cm

Nevine Mahmoud is currently included in Dolce Far Niente, a group exhibition curated by Irina Stark at Foundry Seoul until 9 May.

“Nevine Mahmoud’s sculpture Swing Set hovers between memory and desire, transforming a familiar playground structure into a sensuous hybrid form. Smooth marble and glass surfaces introduce bodily associations into otherwise clinical geometries, subtly blurring innocence and eroticism. On one hand, viewers are reminded of carefree childhood days filled with laughter; on the other, Mahmoud subverts these forms and meanings, bringing forward the pleasures of adult relationships while inviting us to continue cherishing our inner child.” —Irina Stark

Nevine Mahmoud
Swing Set, 2021
Steel, paint, Portuguese pink marble, plastic, glass, resin and stainless steel hardware
177.8 × 152.4 × 101.6 cm

Sam Lipp was recently included in two group exhibitions: There was a monster under my bed, held at Good or Trash in Paris and Empire held at anonymous gallery in New York.

Sam Lipp
Cruelty, 2014
Acrylic and photo-transfer on linen
58 × 79 cm

Sam Lipp
A Cobblestone, 2016
Acrylic and inkjet on foamcore
45.7 × 27.9 cm

Sam Lipp
A Cobblestone, 2016
Acrylic and inkjet on foamcore
45.7 × 27.9 cm

Sam Lipp was recently included in two group exhibitions: There was a monster under my bed, held at Good or Trash in Paris and Empire held at anonymous gallery in New York.

Sam Lipp
Cruelty, 2014
Acrylic and photo-transfer on linen
58 × 79 cm

Sam Lipp
A Cobblestone, 2016
Acrylic and inkjet on foamcore
45.7 × 27.9 cm

Sam Lipp
A Cobblestone, 2016
Acrylic and inkjet on foamcore
45.7 × 27.9 cm

Sam Lipp was recently included in two group exhibitions: There was a monster under my bed, held at Good or Trash in Paris and Empire held at anonymous gallery in New York.

Sam Lipp
Cruelty, 2014
Acrylic and photo-transfer on linen
58 × 79 cm

Sam Lipp
A Cobblestone, 2016
Acrylic and inkjet on foamcore
45.7 × 27.9 cm

Sam Lipp
A Cobblestone, 2016
Acrylic and inkjet on foamcore
45.7 × 27.9 cm

Sam Lipp was recently included in two group exhibitions: There was a monster under my bed, held at Good or Trash in Paris and Empire held at anonymous gallery in New York.

Sam Lipp
Cruelty, 2014
Acrylic and photo-transfer on linen
58 × 79 cm

Sam Lipp
A Cobblestone, 2016
Acrylic and inkjet on foamcore
45.7 × 27.9 cm

Sam Lipp
A Cobblestone, 2016
Acrylic and inkjet on foamcore
45.7 × 27.9 cm

Sam Lipp was recently included in two group exhibitions: There was a monster under my bed, held at Good or Trash in Paris and Empire held at anonymous gallery in New York.

Sam Lipp
Cruelty, 2014
Acrylic and photo-transfer on linen
58 × 79 cm

Sam Lipp
A Cobblestone, 2016
Acrylic and inkjet on foamcore
45.7 × 27.9 cm

Sam Lipp
A Cobblestone, 2016
Acrylic and inkjet on foamcore
45.7 × 27.9 cm