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regenprojects
Regen Projects
Rachel Harrison, Liz Larner, Rebecca Morris
“planchette”
April 25–May 23, 2026
Artwork by Abraham Cruzvillegas is on view at @LACMA in “Grounded” through June 21, 2026.
Grounded invites visitors to see land not just as terrain, but as a foundation for exploring ecology, sovereignty, memory, and home. Featuring 35 artists based in the Americas and the Pacific, the exhibition showcases 40 works, spanning the 1970s to today, with many on view for the first time.
With his sculpture “Autoconcanción V” (2016), Cruzvillegas upcycles everyday materials—including a plant and portable radio—to document consumption and to suggest possibilities for renewal.
Learn more at the link in bio.
#AbrahamCruzvillegas
@autoconstruido
Images: Installation views, “Grounded,” at the Los Angeles County Museum of Art, Sep 14, 2025–Jun 21, 2026, photo © Museum Associates/LACMA, by Jonathan Urban
Artwork by Abraham Cruzvillegas is on view at @LACMA in “Grounded” through June 21, 2026.
Grounded invites visitors to see land not just as terrain, but as a foundation for exploring ecology, sovereignty, memory, and home. Featuring 35 artists based in the Americas and the Pacific, the exhibition showcases 40 works, spanning the 1970s to today, with many on view for the first time.
With his sculpture “Autoconcanción V” (2016), Cruzvillegas upcycles everyday materials—including a plant and portable radio—to document consumption and to suggest possibilities for renewal.
Learn more at the link in bio.
#AbrahamCruzvillegas
@autoconstruido
Images: Installation views, “Grounded,” at the Los Angeles County Museum of Art, Sep 14, 2025–Jun 21, 2026, photo © Museum Associates/LACMA, by Jonathan Urban
Artwork by Abraham Cruzvillegas is on view at @LACMA in “Grounded” through June 21, 2026.
Grounded invites visitors to see land not just as terrain, but as a foundation for exploring ecology, sovereignty, memory, and home. Featuring 35 artists based in the Americas and the Pacific, the exhibition showcases 40 works, spanning the 1970s to today, with many on view for the first time.
With his sculpture “Autoconcanción V” (2016), Cruzvillegas upcycles everyday materials—including a plant and portable radio—to document consumption and to suggest possibilities for renewal.
Learn more at the link in bio.
#AbrahamCruzvillegas
@autoconstruido
Images: Installation views, “Grounded,” at the Los Angeles County Museum of Art, Sep 14, 2025–Jun 21, 2026, photo © Museum Associates/LACMA, by Jonathan Urban
Kader Attia’s “Whisper of Traces” (2026) is on view at La Biennale di Venezia (@labiennale) in “In Minor Keys” through November 22, 2026.
Mohamed Amer Meziane (@mohddamermeziane) describes Attia’s installation:
“Entering through a labyrinthine corridor, surrounded by objects intertwining African ritual statues and modern art, we are confronted by mesh containers of dried herbs – mnemonic traces connecting us to our own memories and those of ancestors. Ropes covered with fragments of mirror create a forest through which we move. It is as if the spirits that inhabit the Amazon have infiltrated the audio-visual technology that creates this environment. Technology believes it controls the space because it produces the space. But what if it is the spirits that control technology instead?
Attia’s installation invites us to see the ongoing deification of AI not as a mere fetishist outcome created by capital, but rather as an ancient Greek daímon: a genius that can be demonic without necessarily being evil.”
Learn more at the link in bio.
#KaderAttia
@TheKaderAttia
Images: Kader Attia. “Whisper of Traces,” 2026. Installation: ropes, polished mirror fragments, dried flowers and herbs, sieves, paper weavings, projections, sound. Dimensions variable. 61st International Art Exhibition – La Biennale di Venezia, In Minor Keys, 2026.
📷 : Marco Zorzanello
Kader Attia’s “Whisper of Traces” (2026) is on view at La Biennale di Venezia (@labiennale) in “In Minor Keys” through November 22, 2026.
Mohamed Amer Meziane (@mohddamermeziane) describes Attia’s installation:
“Entering through a labyrinthine corridor, surrounded by objects intertwining African ritual statues and modern art, we are confronted by mesh containers of dried herbs – mnemonic traces connecting us to our own memories and those of ancestors. Ropes covered with fragments of mirror create a forest through which we move. It is as if the spirits that inhabit the Amazon have infiltrated the audio-visual technology that creates this environment. Technology believes it controls the space because it produces the space. But what if it is the spirits that control technology instead?
Attia’s installation invites us to see the ongoing deification of AI not as a mere fetishist outcome created by capital, but rather as an ancient Greek daímon: a genius that can be demonic without necessarily being evil.”
Learn more at the link in bio.
#KaderAttia
@TheKaderAttia
Images: Kader Attia. “Whisper of Traces,” 2026. Installation: ropes, polished mirror fragments, dried flowers and herbs, sieves, paper weavings, projections, sound. Dimensions variable. 61st International Art Exhibition – La Biennale di Venezia, In Minor Keys, 2026.
📷 : Marco Zorzanello
Kader Attia’s “Whisper of Traces” (2026) is on view at La Biennale di Venezia (@labiennale) in “In Minor Keys” through November 22, 2026.
Mohamed Amer Meziane (@mohddamermeziane) describes Attia’s installation:
“Entering through a labyrinthine corridor, surrounded by objects intertwining African ritual statues and modern art, we are confronted by mesh containers of dried herbs – mnemonic traces connecting us to our own memories and those of ancestors. Ropes covered with fragments of mirror create a forest through which we move. It is as if the spirits that inhabit the Amazon have infiltrated the audio-visual technology that creates this environment. Technology believes it controls the space because it produces the space. But what if it is the spirits that control technology instead?
Attia’s installation invites us to see the ongoing deification of AI not as a mere fetishist outcome created by capital, but rather as an ancient Greek daímon: a genius that can be demonic without necessarily being evil.”
Learn more at the link in bio.
#KaderAttia
@TheKaderAttia
Images: Kader Attia. “Whisper of Traces,” 2026. Installation: ropes, polished mirror fragments, dried flowers and herbs, sieves, paper weavings, projections, sound. Dimensions variable. 61st International Art Exhibition – La Biennale di Venezia, In Minor Keys, 2026.
📷 : Marco Zorzanello
Kader Attia’s “Whisper of Traces” (2026) is on view at La Biennale di Venezia (@labiennale) in “In Minor Keys” through November 22, 2026.
Mohamed Amer Meziane (@mohddamermeziane) describes Attia’s installation:
“Entering through a labyrinthine corridor, surrounded by objects intertwining African ritual statues and modern art, we are confronted by mesh containers of dried herbs – mnemonic traces connecting us to our own memories and those of ancestors. Ropes covered with fragments of mirror create a forest through which we move. It is as if the spirits that inhabit the Amazon have infiltrated the audio-visual technology that creates this environment. Technology believes it controls the space because it produces the space. But what if it is the spirits that control technology instead?
Attia’s installation invites us to see the ongoing deification of AI not as a mere fetishist outcome created by capital, but rather as an ancient Greek daímon: a genius that can be demonic without necessarily being evil.”
Learn more at the link in bio.
#KaderAttia
@TheKaderAttia
Images: Kader Attia. “Whisper of Traces,” 2026. Installation: ropes, polished mirror fragments, dried flowers and herbs, sieves, paper weavings, projections, sound. Dimensions variable. 61st International Art Exhibition – La Biennale di Venezia, In Minor Keys, 2026.
📷 : Marco Zorzanello
Ever stop and wonder how many lives are unfolding parallel to your own?
“Doug Aitken: Lightscape” explores life in motion through a visual poem of interconnected stories, fleeting encounters, and landscapes charged with energy.
Get tickets today! On view starting June 25!
#theshedny #dougaitken #dougaitkenlightscape #nyc
Catherine Opie’s twelfth solo exhibition with the gallery, “Holding Blue,” opens on Thursday, May 28, 2026.
In January and February of 2024, the artist embarked on a road trip to capture Norwegian mountains enveloped in the deep azure light of the Arctic Circle in polar winter. Opie felt drawn to this “blue hour” since her first trip to Norway in 2011, reminiscent of her childhood in Ohio gazing across the expanse of Lake Erie.
Described by Opie as portraits she developed over spending days with each mountain, the photographs invoke the sublime grandeur of the Norwegian landscape through their immersive scale. For Opie, the unfiltered ultramarine hue is both a record of experiential truth and an evocation of elegiac mourning for the increasingly threatened natural environment.
Please join us for the opening reception on Thursday, May 28, 6–8 pm.
Learn more at the link in bio.
#CatherineOpie
@csopie
Image: Catherine Opie. “Untitled #11 (Norway Mountain),” 2024. Pigment print. Framed Dimensions: 78 1/2 x 59 1/2 x 2 inches (199.4 x 151.1 x 5.1 cm). Artwork Dimensions: 77 x 58 inches (195.6 x 147.3 cm).
A selection of Liz Larner’s ceramic “smiles” are currently on view at Regen Projects in “planchette.”
Jenelle Porter wrote of these sculptures for the exhibition catalogue accompanying the solo exhibition “Liz Larner: X” at the Aspen Art Museum (2015–2016):
“The smiles were the first series of several the artist made in ceramic, more specifically, in porcelain. Why smiles? Have you really ever looked at them—studied their fronts and backs, sides, edges, planes, and volumes? Given Larner’s investment in concretising the ephemeral, immortalising the atmospheric, and chronicling the unseen, the smile seems a fitting subject.
The layers in which Larner’s smiles encapsulate their materiality and concept are manifold. As Larner worked through the series, she was inspired by various literary descriptions of smiles, especially in John Gregory Dunne’s 1987 novel ‘The Red White and Blue.’ The title of each smile in the series includes a modifier in parentheses: smile (abiding), smile (declining), smile (fangs), and so on.”
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#LizLarner
Image:
(Left) Liz Larner. “smile (fangs),” 1996-2010. Cast porcelain, epoxy, dry-process fiber board, rubber, steel, lead shot. Smile Dimensions: 19 7/8 x 31 x 8 1/4 inches (50.5 x 78.7 x 21 cm). Base Dimensions: 30 x 28 1/8 x 12 3/4 inches (76.2 x 71.4 x 32.4 cm).
(Right) Liz Larner. “smile (abiding),” 1996-2005. Cast porcelain, dry-process fiber board, rubber, steel, lead shot, Smile Dimensions: 21 x 31 x 12 1/2 inches (53.3 x 78.7 x 31.8 cm). Base Dimensions: 33 1/4 x 18 3/8 x 28 1/4 inches (84.5 x 46.7 x 71.8 cm)
Our current exhibition, “planchette,” with Rachel Harrison, Liz Larner, and Rebecca Morris is on view through May 23, 2026.
Negative spaces, imprints, absences, voids, inversions: the work in the exhibition is full of things no longer present, or things present but invisible or concealed. The absent or hidden parts of works in this exhibition might be understood as intimations of the subconscious.
Learn more about “planchette” at the link in bio.
#RachelHarrison #LizLarner #RebeccaMorris
Images: Installation views of “planchette” at Regen Projects, Los Angeles, 2026.
📷 : @emb
Our current exhibition, “planchette,” with Rachel Harrison, Liz Larner, and Rebecca Morris is on view through May 23, 2026.
Negative spaces, imprints, absences, voids, inversions: the work in the exhibition is full of things no longer present, or things present but invisible or concealed. The absent or hidden parts of works in this exhibition might be understood as intimations of the subconscious.
Learn more about “planchette” at the link in bio.
#RachelHarrison #LizLarner #RebeccaMorris
Images: Installation views of “planchette” at Regen Projects, Los Angeles, 2026.
📷 : @emb
Our current exhibition, “planchette,” with Rachel Harrison, Liz Larner, and Rebecca Morris is on view through May 23, 2026.
Negative spaces, imprints, absences, voids, inversions: the work in the exhibition is full of things no longer present, or things present but invisible or concealed. The absent or hidden parts of works in this exhibition might be understood as intimations of the subconscious.
Learn more about “planchette” at the link in bio.
#RachelHarrison #LizLarner #RebeccaMorris
Images: Installation views of “planchette” at Regen Projects, Los Angeles, 2026.
📷 : @emb
Visit Regen Projects at Printed Matter’s LA Art Book Fair at ArtCenter College of Design in Pasadena, CA, through Sunday, May 10, 2026 at Booth E10.
Today, Friday, May 8 at 1 pm, we are pleased to host a very special signing of new publications and exclusive merch with Catherine Opie at our booth. ✍️
Tap the link in bio to learn more.
@printedmatterinc
#PrintedMatterLA
Artwork by Matthew Barney is on view in “Don’t have hope, be hope!,” presented by the Sandretto Re Rebaudengo Foundation on the Isola di San Giacomo, Venice.
On view beginning May 7, 2026, the exhibition—featuring a selection of works from the Sandretto Re Rebaudengo Collection—celebrates the foundation’s inauguration of its third permanent venue on San Giacomo Island in the northern Venetian Lagoon: a center dedicated to contemporary art, research, and ecology.
Learn more at the link in bio.
#MatthewBarney
@pacecarforthehubrispill
Image: Matthew Barney. CREMASTER 3: Five Points of Fellowship, 2002. C-print in acrylic frame. 54 x 44 in (137.2 x 111.8 cm).
Regen Projects congratulates Kader Attia on his inclusion in the 61st International Art Exhibition of La Biennale di Venezia, opening May 9, 2026.
Titled “In Minor Keys” the exhibition carries out the project as conceived by the late Koyo Kouoh and will be on view through November 22, 2026. The 111 artists invited to participate hail from many geographies and regions selected by Kouoh with particular attention to the resonances, affinity, and possible convergences between practices that transcend distance. In this spirit, the presentation expands upon Kouoh’s relational geography of encounters with artists over her lifetime.
Learn more at the link in bio.
#KaderAttia
@thekaderattia
@labiennale
📷 : Camille Millerand
Regen Projects is pleased to host a book signing with Catherine Opie at Printed Matter's 2026 LA Art Book Fair, Booth E10 on Friday, May 8, 1–2 pm, located at ArtCenter College of Design, Pasadena, CA.
Featuring new publications and exclusive merch, the signing celebrates a landmark year of solo exhibitions for Opie at the Fridericianum, Kassel; National Portrait Gallery, London; PoMo, Trondheim; and the Royal Scottish Academy at National Galleries Scotland, Edinburgh, and prefigures Opie's upcoming solo show at Regen Projects, “Holding Blue,” on view May 28–July 4, 2026.
Learn more about Printed Matter’s LA Art Book Fair at the link in bio.
#CatherineOpie
@csopie
@printedmatterinc
Opening Wednesday, May 6, 2026, Anish Kapoor presents an ambitious solo exhibition at Palazzo Manfrin in Venice, Italy.
Bringing together around 100 architectural models documenting projects both realized and unrealized from the past 50 years of the artist’s practice, the exhibition presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.
“For a long time I'd been thinking of my work as potential architecture. I've always been convinced by the idea that to create new art you have to create new space.” — Anish Kapoor
The exhibition will be on view through August 8, 2026. Learn more at the link in bio.
#AnishKapoor
@dirty_corner
@anish.kapoor
Image: Anish Kapoor. “At the Edge of the World,” 1998.
📷 : David Stjernholm
A selection of Rachel Harrison’s “Infanta” collages are currently on view at Regen Projects in “planchette.”
An intermittent series begun in 2021, the collages are based on various paintings by Diego Velázquez of the titular Spanish princess. The works currently on view in “planchette” use Velázquez’s “Portrait of the Infanta Margarita Thérèse” (1651–1673), which Harrison underlays with an FBI evidence image of a crossbow confiscated during the insurrection of January 6, 2021. Harrison further digitally manipulates and modifies the collages with Flashe and wax crayon abstractions—inspired by a conspiratorial joke that the Infanta, rather than Antifa, was present at the Capitol on January 6.
Harrison’s “Infanta” collages move between digital and material transformation, collapsing distinctions between painting, photography, and digital image-making in the age of AI.
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#RachelHarrison
Images:
1. Installation view of “planchette” at Regen Projects, Los Angeles, 2026.
2. Rachel Harrison. “Sparkle Infanta,” 2026. Acrylic, flashe, wax crayon, glitter on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
3. Rachel Harrison. “H25 Infanta,” 2026. Acrylic, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
4. Rachel Harrison. “Infanta Collage One,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
5. Rachel Harrison. “Infanta Collage Three,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
6. Rachel Harrison. “Infanta Collage Two,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
A selection of Rachel Harrison’s “Infanta” collages are currently on view at Regen Projects in “planchette.”
An intermittent series begun in 2021, the collages are based on various paintings by Diego Velázquez of the titular Spanish princess. The works currently on view in “planchette” use Velázquez’s “Portrait of the Infanta Margarita Thérèse” (1651–1673), which Harrison underlays with an FBI evidence image of a crossbow confiscated during the insurrection of January 6, 2021. Harrison further digitally manipulates and modifies the collages with Flashe and wax crayon abstractions—inspired by a conspiratorial joke that the Infanta, rather than Antifa, was present at the Capitol on January 6.
Harrison’s “Infanta” collages move between digital and material transformation, collapsing distinctions between painting, photography, and digital image-making in the age of AI.
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#RachelHarrison
Images:
1. Installation view of “planchette” at Regen Projects, Los Angeles, 2026.
2. Rachel Harrison. “Sparkle Infanta,” 2026. Acrylic, flashe, wax crayon, glitter on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
3. Rachel Harrison. “H25 Infanta,” 2026. Acrylic, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
4. Rachel Harrison. “Infanta Collage One,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
5. Rachel Harrison. “Infanta Collage Three,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
6. Rachel Harrison. “Infanta Collage Two,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
A selection of Rachel Harrison’s “Infanta” collages are currently on view at Regen Projects in “planchette.”
An intermittent series begun in 2021, the collages are based on various paintings by Diego Velázquez of the titular Spanish princess. The works currently on view in “planchette” use Velázquez’s “Portrait of the Infanta Margarita Thérèse” (1651–1673), which Harrison underlays with an FBI evidence image of a crossbow confiscated during the insurrection of January 6, 2021. Harrison further digitally manipulates and modifies the collages with Flashe and wax crayon abstractions—inspired by a conspiratorial joke that the Infanta, rather than Antifa, was present at the Capitol on January 6.
Harrison’s “Infanta” collages move between digital and material transformation, collapsing distinctions between painting, photography, and digital image-making in the age of AI.
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#RachelHarrison
Images:
1. Installation view of “planchette” at Regen Projects, Los Angeles, 2026.
2. Rachel Harrison. “Sparkle Infanta,” 2026. Acrylic, flashe, wax crayon, glitter on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
3. Rachel Harrison. “H25 Infanta,” 2026. Acrylic, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
4. Rachel Harrison. “Infanta Collage One,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
5. Rachel Harrison. “Infanta Collage Three,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
6. Rachel Harrison. “Infanta Collage Two,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
A selection of Rachel Harrison’s “Infanta” collages are currently on view at Regen Projects in “planchette.”
An intermittent series begun in 2021, the collages are based on various paintings by Diego Velázquez of the titular Spanish princess. The works currently on view in “planchette” use Velázquez’s “Portrait of the Infanta Margarita Thérèse” (1651–1673), which Harrison underlays with an FBI evidence image of a crossbow confiscated during the insurrection of January 6, 2021. Harrison further digitally manipulates and modifies the collages with Flashe and wax crayon abstractions—inspired by a conspiratorial joke that the Infanta, rather than Antifa, was present at the Capitol on January 6.
Harrison’s “Infanta” collages move between digital and material transformation, collapsing distinctions between painting, photography, and digital image-making in the age of AI.
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#RachelHarrison
Images:
1. Installation view of “planchette” at Regen Projects, Los Angeles, 2026.
2. Rachel Harrison. “Sparkle Infanta,” 2026. Acrylic, flashe, wax crayon, glitter on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
3. Rachel Harrison. “H25 Infanta,” 2026. Acrylic, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
4. Rachel Harrison. “Infanta Collage One,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
5. Rachel Harrison. “Infanta Collage Three,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
6. Rachel Harrison. “Infanta Collage Two,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
A selection of Rachel Harrison’s “Infanta” collages are currently on view at Regen Projects in “planchette.”
An intermittent series begun in 2021, the collages are based on various paintings by Diego Velázquez of the titular Spanish princess. The works currently on view in “planchette” use Velázquez’s “Portrait of the Infanta Margarita Thérèse” (1651–1673), which Harrison underlays with an FBI evidence image of a crossbow confiscated during the insurrection of January 6, 2021. Harrison further digitally manipulates and modifies the collages with Flashe and wax crayon abstractions—inspired by a conspiratorial joke that the Infanta, rather than Antifa, was present at the Capitol on January 6.
Harrison’s “Infanta” collages move between digital and material transformation, collapsing distinctions between painting, photography, and digital image-making in the age of AI.
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#RachelHarrison
Images:
1. Installation view of “planchette” at Regen Projects, Los Angeles, 2026.
2. Rachel Harrison. “Sparkle Infanta,” 2026. Acrylic, flashe, wax crayon, glitter on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
3. Rachel Harrison. “H25 Infanta,” 2026. Acrylic, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
4. Rachel Harrison. “Infanta Collage One,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
5. Rachel Harrison. “Infanta Collage Three,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
6. Rachel Harrison. “Infanta Collage Two,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
A selection of Rachel Harrison’s “Infanta” collages are currently on view at Regen Projects in “planchette.”
An intermittent series begun in 2021, the collages are based on various paintings by Diego Velázquez of the titular Spanish princess. The works currently on view in “planchette” use Velázquez’s “Portrait of the Infanta Margarita Thérèse” (1651–1673), which Harrison underlays with an FBI evidence image of a crossbow confiscated during the insurrection of January 6, 2021. Harrison further digitally manipulates and modifies the collages with Flashe and wax crayon abstractions—inspired by a conspiratorial joke that the Infanta, rather than Antifa, was present at the Capitol on January 6.
Harrison’s “Infanta” collages move between digital and material transformation, collapsing distinctions between painting, photography, and digital image-making in the age of AI.
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#RachelHarrison
Images:
1. Installation view of “planchette” at Regen Projects, Los Angeles, 2026.
2. Rachel Harrison. “Sparkle Infanta,” 2026. Acrylic, flashe, wax crayon, glitter on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
3. Rachel Harrison. “H25 Infanta,” 2026. Acrylic, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
4. Rachel Harrison. “Infanta Collage One,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
5. Rachel Harrison. “Infanta Collage Three,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
6. Rachel Harrison. “Infanta Collage Two,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
비밀리에 인스타그램 스토리 보기
인스타그램 스토리 뷰어는 인스타그램 스토리, 비디오, 사진 또는 IGTV를 비밀리에 보고 저장할 수 있는 간단한 도구입니다. 이 서비스를 통해 콘텐츠를 다운로드하고 언제든지 오프라인으로 즐길 수 있습니다. 인스타그램에서 나중에 확인하고 싶은 흥미로운 콘텐츠를 찾거나 익명으로 스토리를 보고 싶다면, 우리 뷰어가 적합합니다. Anonstories는 신원을 숨길 수 있는 훌륭한 솔루션을 제공합니다. 인스타그램은 2023년 8월에 스토리 기능을 출시했으며, 이 기능은 흥미롭고 시간에 민감한 형식으로 빠르게 다른 플랫폼에 채택되었습니다. 스토리는 사용자가 텍스트, 이모지 또는 필터로 보강된 사진, 비디오 또는 셀카를 공유할 수 있게 해주며, 24시간 동안만 표시됩니다. 이 제한된 시간 동안 높은 참여를 유도하며 일반 게시물보다 더 많은 반응을 얻을 수 있습니다. 오늘날 스토리는 소셜 미디어에서 연결하고 소통하는 가장 인기 있는 방법 중 하나입니다. 그러나 스토리를 볼 때, 제작자는 자신의 뷰어 목록에서 당신의 이름을 볼 수 있으며, 이는 개인 정보 보호에 대한 우려를 일으킬 수 있습니다. 만약 스토리를 아무도 모르게 탐색하고 싶다면? 그때 Anonstories가 유용해집니다. 이 도구는 신원을 드러내지 않고 공개된 인스타그램 콘텐츠를 볼 수 있게 해줍니다. 관심 있는 프로필의 사용자명을 입력하면 해당 프로필의 최신 스토리를 확인할 수 있습니다. Anonstories 뷰어의 특징: - 익명 브라우징: 뷰어 목록에 나타나지 않고 스토리를 볼 수 있습니다. - 계정 필요 없음: 인스타그램 계정에 가입하지 않고 공개 콘텐츠를 볼 수 있습니다. - 콘텐츠 다운로드: 스토리 콘텐츠를 직접 다운로드하여 오프라인에서 사용할 수 있습니다. - 하이라이트 보기: 24시간 제한을 넘어서 인스타그램 하이라이트를 볼 수 있습니다. - 리포스트 모니터링: 개인 프로필의 스토리 리포스트나 참여도를 추적할 수 있습니다. 제한 사항: - 이 도구는 공개 계정에서만 작동하며, 개인 계정은 접근할 수 없습니다. 장점: - 개인 정보 보호 친화적: 인스타그램 콘텐츠를 보면서도 눈에 띄지 않습니다. - 간단하고 쉬움: 앱 설치나 등록이 필요 없습니다. - 독점 도구: 인스타그램에서 제공하지 않는 방식으로 콘텐츠를 다운로드하고 관리할 수 있습니다.
Anonstories의 장점
인스타그램 스토리 비공개로 탐색
인스타그램 업데이트를 비밀리에 추적하고 개인 정보를 보호하며 익명으로 남을 수 있습니다.
개인 인스타그램 뷰어
개인 프로필 뷰어를 사용하여 쉽게 프로필과 사진을 익명으로 볼 수 있습니다.
무료 스토리 뷰어
이 무료 도구는 인스타그램 스토리를 익명으로 볼 수 있게 해주며, 스토리 업로더에게 활동을 숨길 수 있습니다.
자주 묻는 질문
익명성
Anonstories는 사용자가 인스타그램 스토리를 볼 때 제작자에게 알림을 보내지 않도록 합니다.
디바이스 호환성
iOS, Android, Windows, macOS, Chrome, Safari와 같은 최신 브라우저에서 원활하게 작동합니다.
안전성 및 개인 정보 보호
로그인 정보 없이 안전하고 익명으로 브라우징할 수 있습니다.
등록 필요 없음
사용자는 간단히 사용자명을 입력하여 공개된 스토리를 볼 수 있습니다. 계정이 필요하지 않습니다.
지원 형식
사진(JPEG)과 비디오(MP4)를 쉽게 다운로드합니다.
비용
이 서비스는 무료로 제공됩니다.
비공개 계정
비공개 계정의 콘텐츠는 팔로워만 접근할 수 있습니다.
파일 사용
파일은 개인적 또는 교육적 용도로만 사용 가능하며 저작권 규정을 준수해야 합니다.
작동 방식
공개된 사용자명을 입력하여 스토리를 보거나 다운로드할 수 있습니다. 서비스는 콘텐츠를 로컬에 저장할 수 있는 직접 링크를 생성합니다.