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We’re happy to share recent press coverage of Cooper Jacoby’s participation in the 2026 Whitney Biennal.

« But amid the flurry of activity, don’t lose track of Cooper Jacoby, one of the biennial’s standouts. His sculptures tease out the ever-multiplying ways in which AI behemoths and other corporations turn our data into financial assets. The works have proven to be unforgettable two months after they went on show. »
— The Art Newspaper, Tim Schneider, May 2026

« Cooper’s oddball talking sculptures use A.I. to generate disjointed voice fragments, synthesized from the social media trail left by dead artists. Even though you have no idea whose life you are hearing about and whether or not the little biographical narratives connect to anything real, these ghostly voices provoke sparks of real emotion. And that makes you feel the question of what the technology means for art as self-expression in a much more insidious way. »
— Artnet, Ben Davis, March 2026

« These works are totally fucked up. I approve. »
— ARTnews, Alex Greenberger, March 2026

@creepjacuzzi
@whitneymuseum

We’re happy to share recent press coverage of Cooper Jacoby’s participation in the 2026 Whitney Biennal.

« But amid the flurry of activity, don’t lose track of Cooper Jacoby, one of the biennial’s standouts. His sculptures tease out the ever-multiplying ways in which AI behemoths and other corporations turn our data into financial assets. The works have proven to be unforgettable two months after they went on show. »
— The Art Newspaper, Tim Schneider, May 2026

« Cooper’s oddball talking sculptures use A.I. to generate disjointed voice fragments, synthesized from the social media trail left by dead artists. Even though you have no idea whose life you are hearing about and whether or not the little biographical narratives connect to anything real, these ghostly voices provoke sparks of real emotion. And that makes you feel the question of what the technology means for art as self-expression in a much more insidious way. »
— Artnet, Ben Davis, March 2026

« These works are totally fucked up. I approve. »
— ARTnews, Alex Greenberger, March 2026

@creepjacuzzi
@whitneymuseum

We’re happy to share recent press coverage of Cooper Jacoby’s participation in the 2026 Whitney Biennal.

« But amid the flurry of activity, don’t lose track of Cooper Jacoby, one of the biennial’s standouts. His sculptures tease out the ever-multiplying ways in which AI behemoths and other corporations turn our data into financial assets. The works have proven to be unforgettable two months after they went on show. »
— The Art Newspaper, Tim Schneider, May 2026

« Cooper’s oddball talking sculptures use A.I. to generate disjointed voice fragments, synthesized from the social media trail left by dead artists. Even though you have no idea whose life you are hearing about and whether or not the little biographical narratives connect to anything real, these ghostly voices provoke sparks of real emotion. And that makes you feel the question of what the technology means for art as self-expression in a much more insidious way. »
— Artnet, Ben Davis, March 2026

« These works are totally fucked up. I approve. »
— ARTnews, Alex Greenberger, March 2026

@creepjacuzzi
@whitneymuseum

We’re happy to share recent press coverage of Cooper Jacoby’s participation in the 2026 Whitney Biennal.

« But amid the flurry of activity, don’t lose track of Cooper Jacoby, one of the biennial’s standouts. His sculptures tease out the ever-multiplying ways in which AI behemoths and other corporations turn our data into financial assets. The works have proven to be unforgettable two months after they went on show. »
— The Art Newspaper, Tim Schneider, May 2026

« Cooper’s oddball talking sculptures use A.I. to generate disjointed voice fragments, synthesized from the social media trail left by dead artists. Even though you have no idea whose life you are hearing about and whether or not the little biographical narratives connect to anything real, these ghostly voices provoke sparks of real emotion. And that makes you feel the question of what the technology means for art as self-expression in a much more insidious way. »
— Artnet, Ben Davis, March 2026

« These works are totally fucked up. I approve. »
— ARTnews, Alex Greenberger, March 2026

@creepjacuzzi
@whitneymuseum

We’re happy to share recent press coverage of Cooper Jacoby’s participation in the 2026 Whitney Biennal.

« But amid the flurry of activity, don’t lose track of Cooper Jacoby, one of the biennial’s standouts. His sculptures tease out the ever-multiplying ways in which AI behemoths and other corporations turn our data into financial assets. The works have proven to be unforgettable two months after they went on show. »
— The Art Newspaper, Tim Schneider, May 2026

« Cooper’s oddball talking sculptures use A.I. to generate disjointed voice fragments, synthesized from the social media trail left by dead artists. Even though you have no idea whose life you are hearing about and whether or not the little biographical narratives connect to anything real, these ghostly voices provoke sparks of real emotion. And that makes you feel the question of what the technology means for art as self-expression in a much more insidious way. »
— Artnet, Ben Davis, March 2026

« These works are totally fucked up. I approve. »
— ARTnews, Alex Greenberger, March 2026

@creepjacuzzi
@whitneymuseum

We’re happy to share recent press coverage of Cooper Jacoby’s participation in the 2026 Whitney Biennal.

« But amid the flurry of activity, don’t lose track of Cooper Jacoby, one of the biennial’s standouts. His sculptures tease out the ever-multiplying ways in which AI behemoths and other corporations turn our data into financial assets. The works have proven to be unforgettable two months after they went on show. »
— The Art Newspaper, Tim Schneider, May 2026

« Cooper’s oddball talking sculptures use A.I. to generate disjointed voice fragments, synthesized from the social media trail left by dead artists. Even though you have no idea whose life you are hearing about and whether or not the little biographical narratives connect to anything real, these ghostly voices provoke sparks of real emotion. And that makes you feel the question of what the technology means for art as self-expression in a much more insidious way. »
— Artnet, Ben Davis, March 2026

« These works are totally fucked up. I approve. »
— ARTnews, Alex Greenberger, March 2026

@creepjacuzzi
@whitneymuseum

We’re happy to share recent press coverage of Cooper Jacoby’s participation in the 2026 Whitney Biennal.

« But amid the flurry of activity, don’t lose track of Cooper Jacoby, one of the biennial’s standouts. His sculptures tease out the ever-multiplying ways in which AI behemoths and other corporations turn our data into financial assets. The works have proven to be unforgettable two months after they went on show. »
— The Art Newspaper, Tim Schneider, May 2026

« Cooper’s oddball talking sculptures use A.I. to generate disjointed voice fragments, synthesized from the social media trail left by dead artists. Even though you have no idea whose life you are hearing about and whether or not the little biographical narratives connect to anything real, these ghostly voices provoke sparks of real emotion. And that makes you feel the question of what the technology means for art as self-expression in a much more insidious way. »
— Artnet, Ben Davis, March 2026

« These works are totally fucked up. I approve. »
— ARTnews, Alex Greenberger, March 2026

@creepjacuzzi
@whitneymuseum

We’re happy to share recent press coverage of Cooper Jacoby’s participation in the 2026 Whitney Biennal.

« But amid the flurry of activity, don’t lose track of Cooper Jacoby, one of the biennial’s standouts. His sculptures tease out the ever-multiplying ways in which AI behemoths and other corporations turn our data into financial assets. The works have proven to be unforgettable two months after they went on show. »
— The Art Newspaper, Tim Schneider, May 2026

« Cooper’s oddball talking sculptures use A.I. to generate disjointed voice fragments, synthesized from the social media trail left by dead artists. Even though you have no idea whose life you are hearing about and whether or not the little biographical narratives connect to anything real, these ghostly voices provoke sparks of real emotion. And that makes you feel the question of what the technology means for art as self-expression in a much more insidious way. »
— Artnet, Ben Davis, March 2026

« These works are totally fucked up. I approve. »
— ARTnews, Alex Greenberger, March 2026

@creepjacuzzi
@whitneymuseum

We’re happy to share recent press coverage of Cooper Jacoby’s participation in the 2026 Whitney Biennal.

« But amid the flurry of activity, don’t lose track of Cooper Jacoby, one of the biennial’s standouts. His sculptures tease out the ever-multiplying ways in which AI behemoths and other corporations turn our data into financial assets. The works have proven to be unforgettable two months after they went on show. »
— The Art Newspaper, Tim Schneider, May 2026

« Cooper’s oddball talking sculptures use A.I. to generate disjointed voice fragments, synthesized from the social media trail left by dead artists. Even though you have no idea whose life you are hearing about and whether or not the little biographical narratives connect to anything real, these ghostly voices provoke sparks of real emotion. And that makes you feel the question of what the technology means for art as self-expression in a much more insidious way. »
— Artnet, Ben Davis, March 2026

« These works are totally fucked up. I approve. »
— ARTnews, Alex Greenberger, March 2026

@creepjacuzzi
@whitneymuseum

Fitzpatrick Gallery is pleased to congratulate Cooper Jacoby on the opening of his installation at the Whitney Biennial, open through August 28th at The Whitney Museum of American Art in New York.

Excerpt from Cooper Jacoby interviewed by Jordan Carter
Whitney Biennale Catalogue, March 2026

JC: I want to think about the ideas of portraiture and biography, as you and your friends show up in your work by way of proxies. You described the series of works in which you mobilize your friends’ voices to recreate the way these dead creatives speak as portraits, as well as the work in which you’ve used your own baby teeth.

CJ: I thought, if I’m instrumentalizing the digital remains of anonymous people in these intercom works, I should instrumentalize myself in a way, which led to me using my baby teeth in the clockworks [Mutual Life]. It also came out of an exhaustion with biography, of being asked, “Where are you in the work?” My frustration with that led me to think, “Okay, I’ll give you something that’s the most valued or cherished material part of myself.” Baby teeth were also my first real encounter with the type of money exchange where something comes out of your body and you’re paid for it somehow, and that’s supposed to be even.

Cooper Jacoby
Mutual Life (76.4 years), 2026
Polished stainless steel, alligator teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
13 3/4 x 13 3/4 x 5 1/2 in

Cooper Jacoby
Estate (July 10, 2022), 2026
Thermoplastic, polarized polycarbonate, camera, screen, speaker, electronics, acrylic, clear coat, magnetic field viewing film, dead hard drive magnets, motors, leather, painted steel, acrylic, aluminum, and polystyrene board
200 x 204 x 90 cm
78 3/4 x 80 1/4 x 35 3/8 in

Cooper Jacoby
Estate (January 21, 2016), 2024
Thermoplastic, polarized polycarbonate, camera, screen, speaker, electronics, acrylic, clear coat, pan arm
40 x 20 x 25 cm
15 3/4 x 7 7/8 x 9 7/8 in

For more information please reach out to info@fitzpatrick.gallery

Courtesy of the artist and Fitzpatrick Gallery

Photo and Video Credit: Brad Farwell

Fitzpatrick Gallery is pleased to congratulate Cooper Jacoby on the opening of his installation at the Whitney Biennial, open through August 28th at The Whitney Museum of American Art in New York.

Excerpt from Cooper Jacoby interviewed by Jordan Carter
Whitney Biennale Catalogue, March 2026

JC: I want to think about the ideas of portraiture and biography, as you and your friends show up in your work by way of proxies. You described the series of works in which you mobilize your friends’ voices to recreate the way these dead creatives speak as portraits, as well as the work in which you’ve used your own baby teeth.

CJ: I thought, if I’m instrumentalizing the digital remains of anonymous people in these intercom works, I should instrumentalize myself in a way, which led to me using my baby teeth in the clockworks [Mutual Life]. It also came out of an exhaustion with biography, of being asked, “Where are you in the work?” My frustration with that led me to think, “Okay, I’ll give you something that’s the most valued or cherished material part of myself.” Baby teeth were also my first real encounter with the type of money exchange where something comes out of your body and you’re paid for it somehow, and that’s supposed to be even.

Cooper Jacoby
Mutual Life (76.4 years), 2026
Polished stainless steel, alligator teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
13 3/4 x 13 3/4 x 5 1/2 in

Cooper Jacoby
Estate (July 10, 2022), 2026
Thermoplastic, polarized polycarbonate, camera, screen, speaker, electronics, acrylic, clear coat, magnetic field viewing film, dead hard drive magnets, motors, leather, painted steel, acrylic, aluminum, and polystyrene board
200 x 204 x 90 cm
78 3/4 x 80 1/4 x 35 3/8 in

Cooper Jacoby
Estate (January 21, 2016), 2024
Thermoplastic, polarized polycarbonate, camera, screen, speaker, electronics, acrylic, clear coat, pan arm
40 x 20 x 25 cm
15 3/4 x 7 7/8 x 9 7/8 in

For more information please reach out to info@fitzpatrick.gallery

Courtesy of the artist and Fitzpatrick Gallery

Photo and Video Credit: Brad Farwell

Fitzpatrick Gallery is pleased to congratulate Cooper Jacoby on the opening of his installation at the Whitney Biennial, open through August 28th at The Whitney Museum of American Art in New York.

Excerpt from Cooper Jacoby interviewed by Jordan Carter
Whitney Biennale Catalogue, March 2026

JC: I want to think about the ideas of portraiture and biography, as you and your friends show up in your work by way of proxies. You described the series of works in which you mobilize your friends’ voices to recreate the way these dead creatives speak as portraits, as well as the work in which you’ve used your own baby teeth.

CJ: I thought, if I’m instrumentalizing the digital remains of anonymous people in these intercom works, I should instrumentalize myself in a way, which led to me using my baby teeth in the clockworks [Mutual Life]. It also came out of an exhaustion with biography, of being asked, “Where are you in the work?” My frustration with that led me to think, “Okay, I’ll give you something that’s the most valued or cherished material part of myself.” Baby teeth were also my first real encounter with the type of money exchange where something comes out of your body and you’re paid for it somehow, and that’s supposed to be even.

Cooper Jacoby
Mutual Life (76.4 years), 2026
Polished stainless steel, alligator teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
13 3/4 x 13 3/4 x 5 1/2 in

Cooper Jacoby
Estate (July 10, 2022), 2026
Thermoplastic, polarized polycarbonate, camera, screen, speaker, electronics, acrylic, clear coat, magnetic field viewing film, dead hard drive magnets, motors, leather, painted steel, acrylic, aluminum, and polystyrene board
200 x 204 x 90 cm
78 3/4 x 80 1/4 x 35 3/8 in

Cooper Jacoby
Estate (January 21, 2016), 2024
Thermoplastic, polarized polycarbonate, camera, screen, speaker, electronics, acrylic, clear coat, pan arm
40 x 20 x 25 cm
15 3/4 x 7 7/8 x 9 7/8 in

For more information please reach out to info@fitzpatrick.gallery

Courtesy of the artist and Fitzpatrick Gallery

Photo and Video Credit: Brad Farwell

Fitzpatrick Gallery is pleased to congratulate Cooper Jacoby on the opening of his installation at the Whitney Biennial, open through August 28th at The Whitney Museum of American Art in New York.

Excerpt from Cooper Jacoby interviewed by Jordan Carter
Whitney Biennale Catalogue, March 2026

JC: I want to think about the ideas of portraiture and biography, as you and your friends show up in your work by way of proxies. You described the series of works in which you mobilize your friends’ voices to recreate the way these dead creatives speak as portraits, as well as the work in which you’ve used your own baby teeth.

CJ: I thought, if I’m instrumentalizing the digital remains of anonymous people in these intercom works, I should instrumentalize myself in a way, which led to me using my baby teeth in the clockworks [Mutual Life]. It also came out of an exhaustion with biography, of being asked, “Where are you in the work?” My frustration with that led me to think, “Okay, I’ll give you something that’s the most valued or cherished material part of myself.” Baby teeth were also my first real encounter with the type of money exchange where something comes out of your body and you’re paid for it somehow, and that’s supposed to be even.

Cooper Jacoby
Mutual Life (76.4 years), 2026
Polished stainless steel, alligator teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
13 3/4 x 13 3/4 x 5 1/2 in

Cooper Jacoby
Estate (July 10, 2022), 2026
Thermoplastic, polarized polycarbonate, camera, screen, speaker, electronics, acrylic, clear coat, magnetic field viewing film, dead hard drive magnets, motors, leather, painted steel, acrylic, aluminum, and polystyrene board
200 x 204 x 90 cm
78 3/4 x 80 1/4 x 35 3/8 in

Cooper Jacoby
Estate (January 21, 2016), 2024
Thermoplastic, polarized polycarbonate, camera, screen, speaker, electronics, acrylic, clear coat, pan arm
40 x 20 x 25 cm
15 3/4 x 7 7/8 x 9 7/8 in

For more information please reach out to info@fitzpatrick.gallery

Courtesy of the artist and Fitzpatrick Gallery

Photo and Video Credit: Brad Farwell

Fitzpatrick Gallery is pleased to congratulate Cooper Jacoby on the opening of his installation at the Whitney Biennial, open through August 28th at The Whitney Museum of American Art in New York.

Excerpt from Cooper Jacoby interviewed by Jordan Carter
Whitney Biennale Catalogue, March 2026

JC: I want to think about the ideas of portraiture and biography, as you and your friends show up in your work by way of proxies. You described the series of works in which you mobilize your friends’ voices to recreate the way these dead creatives speak as portraits, as well as the work in which you’ve used your own baby teeth.

CJ: I thought, if I’m instrumentalizing the digital remains of anonymous people in these intercom works, I should instrumentalize myself in a way, which led to me using my baby teeth in the clockworks [Mutual Life]. It also came out of an exhaustion with biography, of being asked, “Where are you in the work?” My frustration with that led me to think, “Okay, I’ll give you something that’s the most valued or cherished material part of myself.” Baby teeth were also my first real encounter with the type of money exchange where something comes out of your body and you’re paid for it somehow, and that’s supposed to be even.

Cooper Jacoby
Mutual Life (76.4 years), 2026
Polished stainless steel, alligator teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
13 3/4 x 13 3/4 x 5 1/2 in

Cooper Jacoby
Estate (July 10, 2022), 2026
Thermoplastic, polarized polycarbonate, camera, screen, speaker, electronics, acrylic, clear coat, magnetic field viewing film, dead hard drive magnets, motors, leather, painted steel, acrylic, aluminum, and polystyrene board
200 x 204 x 90 cm
78 3/4 x 80 1/4 x 35 3/8 in

Cooper Jacoby
Estate (January 21, 2016), 2024
Thermoplastic, polarized polycarbonate, camera, screen, speaker, electronics, acrylic, clear coat, pan arm
40 x 20 x 25 cm
15 3/4 x 7 7/8 x 9 7/8 in

For more information please reach out to info@fitzpatrick.gallery

Courtesy of the artist and Fitzpatrick Gallery

Photo and Video Credit: Brad Farwell

We are honored to announce that Cooper Jacoby will be included in the 2026 Whitney Biennial, opening March 8, 2026 at the Whitney Museum of American Art in New York.

Whitney Biennial 2026 is co-organized by Whitney curators Marcela Guerrero and Drew Sawyer @drewmsawyer.

@creepjacuzzi

#CooperJacoby
#WhitneyBiennial

Photography by Holly Fogg @holly.fogg

We are honored to announce that Cooper Jacoby will be included in the 2026 Whitney Biennial, opening March 8, 2026 at the Whitney Museum of American Art in New York.

Whitney Biennial 2026 is co-organized by Whitney curators Marcela Guerrero and Drew Sawyer @drewmsawyer.

@creepjacuzzi

#CooperJacoby
#WhitneyBiennial

Photography by Holly Fogg @holly.fogg

Fitzpatrick Gallery is pleased to share new works by Cooper Jacoby, presented in his ongoing solo exhibition “Chain-of-Thought” at N/A gallery in Seoul, South Korea.
 
 
“Cooper Jacoby draws eerie parallels between different systems: failed business models which are compressed down into AI training data; AI models which collapse when repeatedly trained only on their own output; and cows as living models of how markets parcel out bodies into functional components. Each one collapses when it becomes closed in on itself. Mad Cow Disease infects the brain of cows when they ingest “beef” – aka themselves. Equally, large language models start failing when they’re only fed themselves – they begin to hallucinate, forget, and average out into slop.”
 
 
Cooper Jacoby
“Model Collapse”, 2025
Resin-stabalized wood, speakers, electronics, painted steel, aluminum, UV print on non-woven textile
200 x 450 x 38 cm
 
Cooper Jacoby
“Mutual Life (24.2 years)”, 2025
Polished stainless steel, raccoon teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
 
Cooper Jacoby
“Twisted Pair”, 2025
Resin-stabilized wood, chrome-plated resin, steel wire, speakers, electronics
Phone: 10 x 27 x 12 cm
Wire: 100 cm

Cooper Jacoby
“Mutual Life (38.9 years)”, 2025
Polished stainless steel, deer teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
 
Cooper Jacoby
“Twisted Pair”, 2025
Resin-stabilized wood, chrome-plated resin, steel wire, speakers, electronics
Phone: 10 x 27 x 12 cm
Wire: 39 cm
 
Cooper Jacoby
“Domesticator”, 2025
Silicone, resin, glass, acrylic, leather, magnets, stainless steel, LED array, motors, electronics
55.1 x 38.4 x 25 cm

Cooper Jacoby
“Domesticator”, 2025
Silicone, resin, glass, acrylic, leather, magnets, stainless steel, LED array, motors, electronics
65 x 36.5 x 25.5 cm

Cooper Jacoby
“Mutual Life (77.3 years)”, 2025
Polished stainless steel, fake human teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm

Photos courtesy of the artist, N/A Gallery and Fitzpatrick Gallery.
 
For more information, please reach out to info@fitzpatrick.gallery

Fitzpatrick Gallery is pleased to share new works by Cooper Jacoby, presented in his ongoing solo exhibition “Chain-of-Thought” at N/A gallery in Seoul, South Korea.
 
 
“Cooper Jacoby draws eerie parallels between different systems: failed business models which are compressed down into AI training data; AI models which collapse when repeatedly trained only on their own output; and cows as living models of how markets parcel out bodies into functional components. Each one collapses when it becomes closed in on itself. Mad Cow Disease infects the brain of cows when they ingest “beef” – aka themselves. Equally, large language models start failing when they’re only fed themselves – they begin to hallucinate, forget, and average out into slop.”
 
 
Cooper Jacoby
“Model Collapse”, 2025
Resin-stabalized wood, speakers, electronics, painted steel, aluminum, UV print on non-woven textile
200 x 450 x 38 cm
 
Cooper Jacoby
“Mutual Life (24.2 years)”, 2025
Polished stainless steel, raccoon teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
 
Cooper Jacoby
“Twisted Pair”, 2025
Resin-stabilized wood, chrome-plated resin, steel wire, speakers, electronics
Phone: 10 x 27 x 12 cm
Wire: 100 cm

Cooper Jacoby
“Mutual Life (38.9 years)”, 2025
Polished stainless steel, deer teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
 
Cooper Jacoby
“Twisted Pair”, 2025
Resin-stabilized wood, chrome-plated resin, steel wire, speakers, electronics
Phone: 10 x 27 x 12 cm
Wire: 39 cm
 
Cooper Jacoby
“Domesticator”, 2025
Silicone, resin, glass, acrylic, leather, magnets, stainless steel, LED array, motors, electronics
55.1 x 38.4 x 25 cm

Cooper Jacoby
“Domesticator”, 2025
Silicone, resin, glass, acrylic, leather, magnets, stainless steel, LED array, motors, electronics
65 x 36.5 x 25.5 cm

Cooper Jacoby
“Mutual Life (77.3 years)”, 2025
Polished stainless steel, fake human teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm

Photos courtesy of the artist, N/A Gallery and Fitzpatrick Gallery.
 
For more information, please reach out to info@fitzpatrick.gallery

Fitzpatrick Gallery is pleased to share new works by Cooper Jacoby, presented in his ongoing solo exhibition “Chain-of-Thought” at N/A gallery in Seoul, South Korea.
 
 
“Cooper Jacoby draws eerie parallels between different systems: failed business models which are compressed down into AI training data; AI models which collapse when repeatedly trained only on their own output; and cows as living models of how markets parcel out bodies into functional components. Each one collapses when it becomes closed in on itself. Mad Cow Disease infects the brain of cows when they ingest “beef” – aka themselves. Equally, large language models start failing when they’re only fed themselves – they begin to hallucinate, forget, and average out into slop.”
 
 
Cooper Jacoby
“Model Collapse”, 2025
Resin-stabalized wood, speakers, electronics, painted steel, aluminum, UV print on non-woven textile
200 x 450 x 38 cm
 
Cooper Jacoby
“Mutual Life (24.2 years)”, 2025
Polished stainless steel, raccoon teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
 
Cooper Jacoby
“Twisted Pair”, 2025
Resin-stabilized wood, chrome-plated resin, steel wire, speakers, electronics
Phone: 10 x 27 x 12 cm
Wire: 100 cm

Cooper Jacoby
“Mutual Life (38.9 years)”, 2025
Polished stainless steel, deer teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
 
Cooper Jacoby
“Twisted Pair”, 2025
Resin-stabilized wood, chrome-plated resin, steel wire, speakers, electronics
Phone: 10 x 27 x 12 cm
Wire: 39 cm
 
Cooper Jacoby
“Domesticator”, 2025
Silicone, resin, glass, acrylic, leather, magnets, stainless steel, LED array, motors, electronics
55.1 x 38.4 x 25 cm

Cooper Jacoby
“Domesticator”, 2025
Silicone, resin, glass, acrylic, leather, magnets, stainless steel, LED array, motors, electronics
65 x 36.5 x 25.5 cm

Cooper Jacoby
“Mutual Life (77.3 years)”, 2025
Polished stainless steel, fake human teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm

Photos courtesy of the artist, N/A Gallery and Fitzpatrick Gallery.
 
For more information, please reach out to info@fitzpatrick.gallery

Fitzpatrick Gallery is pleased to share new works by Cooper Jacoby, presented in his ongoing solo exhibition “Chain-of-Thought” at N/A gallery in Seoul, South Korea.
 
 
“Cooper Jacoby draws eerie parallels between different systems: failed business models which are compressed down into AI training data; AI models which collapse when repeatedly trained only on their own output; and cows as living models of how markets parcel out bodies into functional components. Each one collapses when it becomes closed in on itself. Mad Cow Disease infects the brain of cows when they ingest “beef” – aka themselves. Equally, large language models start failing when they’re only fed themselves – they begin to hallucinate, forget, and average out into slop.”
 
 
Cooper Jacoby
“Model Collapse”, 2025
Resin-stabalized wood, speakers, electronics, painted steel, aluminum, UV print on non-woven textile
200 x 450 x 38 cm
 
Cooper Jacoby
“Mutual Life (24.2 years)”, 2025
Polished stainless steel, raccoon teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
 
Cooper Jacoby
“Twisted Pair”, 2025
Resin-stabilized wood, chrome-plated resin, steel wire, speakers, electronics
Phone: 10 x 27 x 12 cm
Wire: 100 cm

Cooper Jacoby
“Mutual Life (38.9 years)”, 2025
Polished stainless steel, deer teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
 
Cooper Jacoby
“Twisted Pair”, 2025
Resin-stabilized wood, chrome-plated resin, steel wire, speakers, electronics
Phone: 10 x 27 x 12 cm
Wire: 39 cm
 
Cooper Jacoby
“Domesticator”, 2025
Silicone, resin, glass, acrylic, leather, magnets, stainless steel, LED array, motors, electronics
55.1 x 38.4 x 25 cm

Cooper Jacoby
“Domesticator”, 2025
Silicone, resin, glass, acrylic, leather, magnets, stainless steel, LED array, motors, electronics
65 x 36.5 x 25.5 cm

Cooper Jacoby
“Mutual Life (77.3 years)”, 2025
Polished stainless steel, fake human teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm

Photos courtesy of the artist, N/A Gallery and Fitzpatrick Gallery.
 
For more information, please reach out to info@fitzpatrick.gallery

Fitzpatrick Gallery is pleased to share new works by Cooper Jacoby, presented in his ongoing solo exhibition “Chain-of-Thought” at N/A gallery in Seoul, South Korea.
 
 
“Cooper Jacoby draws eerie parallels between different systems: failed business models which are compressed down into AI training data; AI models which collapse when repeatedly trained only on their own output; and cows as living models of how markets parcel out bodies into functional components. Each one collapses when it becomes closed in on itself. Mad Cow Disease infects the brain of cows when they ingest “beef” – aka themselves. Equally, large language models start failing when they’re only fed themselves – they begin to hallucinate, forget, and average out into slop.”
 
 
Cooper Jacoby
“Model Collapse”, 2025
Resin-stabalized wood, speakers, electronics, painted steel, aluminum, UV print on non-woven textile
200 x 450 x 38 cm
 
Cooper Jacoby
“Mutual Life (24.2 years)”, 2025
Polished stainless steel, raccoon teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
 
Cooper Jacoby
“Twisted Pair”, 2025
Resin-stabilized wood, chrome-plated resin, steel wire, speakers, electronics
Phone: 10 x 27 x 12 cm
Wire: 100 cm

Cooper Jacoby
“Mutual Life (38.9 years)”, 2025
Polished stainless steel, deer teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
 
Cooper Jacoby
“Twisted Pair”, 2025
Resin-stabilized wood, chrome-plated resin, steel wire, speakers, electronics
Phone: 10 x 27 x 12 cm
Wire: 39 cm
 
Cooper Jacoby
“Domesticator”, 2025
Silicone, resin, glass, acrylic, leather, magnets, stainless steel, LED array, motors, electronics
55.1 x 38.4 x 25 cm

Cooper Jacoby
“Domesticator”, 2025
Silicone, resin, glass, acrylic, leather, magnets, stainless steel, LED array, motors, electronics
65 x 36.5 x 25.5 cm

Cooper Jacoby
“Mutual Life (77.3 years)”, 2025
Polished stainless steel, fake human teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm

Photos courtesy of the artist, N/A Gallery and Fitzpatrick Gallery.
 
For more information, please reach out to info@fitzpatrick.gallery

Fitzpatrick Gallery is pleased to share new works by Cooper Jacoby, presented in his ongoing solo exhibition “Chain-of-Thought” at N/A gallery in Seoul, South Korea.
 
 
“Cooper Jacoby draws eerie parallels between different systems: failed business models which are compressed down into AI training data; AI models which collapse when repeatedly trained only on their own output; and cows as living models of how markets parcel out bodies into functional components. Each one collapses when it becomes closed in on itself. Mad Cow Disease infects the brain of cows when they ingest “beef” – aka themselves. Equally, large language models start failing when they’re only fed themselves – they begin to hallucinate, forget, and average out into slop.”
 
 
Cooper Jacoby
“Model Collapse”, 2025
Resin-stabalized wood, speakers, electronics, painted steel, aluminum, UV print on non-woven textile
200 x 450 x 38 cm
 
Cooper Jacoby
“Mutual Life (24.2 years)”, 2025
Polished stainless steel, raccoon teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
 
Cooper Jacoby
“Twisted Pair”, 2025
Resin-stabilized wood, chrome-plated resin, steel wire, speakers, electronics
Phone: 10 x 27 x 12 cm
Wire: 100 cm

Cooper Jacoby
“Mutual Life (38.9 years)”, 2025
Polished stainless steel, deer teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm
 
Cooper Jacoby
“Twisted Pair”, 2025
Resin-stabilized wood, chrome-plated resin, steel wire, speakers, electronics
Phone: 10 x 27 x 12 cm
Wire: 39 cm
 
Cooper Jacoby
“Domesticator”, 2025
Silicone, resin, glass, acrylic, leather, magnets, stainless steel, LED array, motors, electronics
55.1 x 38.4 x 25 cm

Cooper Jacoby
“Domesticator”, 2025
Silicone, resin, glass, acrylic, leather, magnets, stainless steel, LED array, motors, electronics
65 x 36.5 x 25.5 cm

Cooper Jacoby
“Mutual Life (77.3 years)”, 2025
Polished stainless steel, fake human teeth, electronics, wax, mdf, thermoplastic, acrylic, clear coat
35 x 35 x 14 cm

Photos courtesy of the artist, N/A Gallery and Fitzpatrick Gallery.
 
For more information, please reach out to info@fitzpatrick.gallery

Fitzpatrick Gallery is pleased to share works by Mathis Altmann in this year’s edition of Paris Internationale, previously included in the artist’s solo exhibition «INDIVIDUALITY» at Kunsthaus Pasquart

“Altmann focuses on the phenomenon of professional hyperactivity - exacerbated in our post-pandemic era. It affects a generation of active individuals - including art workers - converted to meritocracy and complicit in their alienation through a profession they have created. The artist connects this phenomenon to the «pharmakon,» an ambivalent symbol signifying both poison and remedy, at a time when the source of the problem also offers solutions, considering workplace «well-being» managerial operations.” (Extract from “Individuality” exhibition text by Julie Portier, Kunsthaus Pasquart, Biel 2023)

Mathis Altmann
«Divine Powerlifestyles» 2023
LED Pharmacy cross, aluminum, steel, rotary display
270 x 82 x 82 cm

Mathis Altmann
«Individuality» 2023
Aluminum, spray paint, piercings, silver chain, nails, photographic print, resin, acrylic
50 x 44 x 23 cm

Courtesy of the artist & Fitzpatrick Gallery

Photo Credits: Holly Fog

For more information, please reach out to info@fitzpatrick.gallery

Fitzpatrick Gallery is pleased to share works by Mathis Altmann in this year’s edition of Paris Internationale, previously included in the artist’s solo exhibition «INDIVIDUALITY» at Kunsthaus Pasquart

“Altmann focuses on the phenomenon of professional hyperactivity - exacerbated in our post-pandemic era. It affects a generation of active individuals - including art workers - converted to meritocracy and complicit in their alienation through a profession they have created. The artist connects this phenomenon to the «pharmakon,» an ambivalent symbol signifying both poison and remedy, at a time when the source of the problem also offers solutions, considering workplace «well-being» managerial operations.” (Extract from “Individuality” exhibition text by Julie Portier, Kunsthaus Pasquart, Biel 2023)

Mathis Altmann
«Divine Powerlifestyles» 2023
LED Pharmacy cross, aluminum, steel, rotary display
270 x 82 x 82 cm

Mathis Altmann
«Individuality» 2023
Aluminum, spray paint, piercings, silver chain, nails, photographic print, resin, acrylic
50 x 44 x 23 cm

Courtesy of the artist & Fitzpatrick Gallery

Photo Credits: Holly Fog

For more information, please reach out to info@fitzpatrick.gallery

Fitzpatrick Gallery is pleased to share works by Mathis Altmann in this year’s edition of Paris Internationale, previously included in the artist’s solo exhibition «INDIVIDUALITY» at Kunsthaus Pasquart

“Altmann focuses on the phenomenon of professional hyperactivity - exacerbated in our post-pandemic era. It affects a generation of active individuals - including art workers - converted to meritocracy and complicit in their alienation through a profession they have created. The artist connects this phenomenon to the «pharmakon,» an ambivalent symbol signifying both poison and remedy, at a time when the source of the problem also offers solutions, considering workplace «well-being» managerial operations.” (Extract from “Individuality” exhibition text by Julie Portier, Kunsthaus Pasquart, Biel 2023)

Mathis Altmann
«Divine Powerlifestyles» 2023
LED Pharmacy cross, aluminum, steel, rotary display
270 x 82 x 82 cm

Mathis Altmann
«Individuality» 2023
Aluminum, spray paint, piercings, silver chain, nails, photographic print, resin, acrylic
50 x 44 x 23 cm

Courtesy of the artist & Fitzpatrick Gallery

Photo Credits: Holly Fog

For more information, please reach out to info@fitzpatrick.gallery

Fitzpatrick Gallery is pleased to share works by Cédric Rivrain at this year’s edition of Paris Internationale, recently included in the solo exhibition “Crack a Smile.”

“These two paintings, which resemble scenes rather than portraits, depict solitary figures on public transport, specifically Parisian buses. Here, a boy, Fourat, with a bent body and penetrating gaze, and there, a girl, Nogoflani, with her palm flat against the window, seem to call out to the viewer, clinging to them in an exchange of glances. Cédric Rivrain depicts here the uncertainty we feel when we catch someone’s eye in an intimate exchange without really knowing them, wanting to engrave them in our memory as they inevitably drift away.” (Extract from Paris Internationale text by Rodrigue Fondeviolle)

Cédric Rivrain
“Fourat dans le bus” 2025
Oil on linen
160 x 240 cm

Cédric Rivrain
“Nogoflani Dans le bus” 2025
Oil on linen
160 x 240 cm

Courtesy of the artist & Fitzpatrick Gallery

Photo Credits: Holly Fog

For more information, please reach out to info@fitzpatrick.gallery

Fitzpatrick Gallery is pleased to share works by Cédric Rivrain at this year’s edition of Paris Internationale, recently included in the solo exhibition “Crack a Smile.”

“These two paintings, which resemble scenes rather than portraits, depict solitary figures on public transport, specifically Parisian buses. Here, a boy, Fourat, with a bent body and penetrating gaze, and there, a girl, Nogoflani, with her palm flat against the window, seem to call out to the viewer, clinging to them in an exchange of glances. Cédric Rivrain depicts here the uncertainty we feel when we catch someone’s eye in an intimate exchange without really knowing them, wanting to engrave them in our memory as they inevitably drift away.” (Extract from Paris Internationale text by Rodrigue Fondeviolle)

Cédric Rivrain
“Fourat dans le bus” 2025
Oil on linen
160 x 240 cm

Cédric Rivrain
“Nogoflani Dans le bus” 2025
Oil on linen
160 x 240 cm

Courtesy of the artist & Fitzpatrick Gallery

Photo Credits: Holly Fog

For more information, please reach out to info@fitzpatrick.gallery

Fitzpatrick Gallery is pleased to share works by Cédric Rivrain at this year’s edition of Paris Internationale, recently included in the solo exhibition “Crack a Smile.”

“These two paintings, which resemble scenes rather than portraits, depict solitary figures on public transport, specifically Parisian buses. Here, a boy, Fourat, with a bent body and penetrating gaze, and there, a girl, Nogoflani, with her palm flat against the window, seem to call out to the viewer, clinging to them in an exchange of glances. Cédric Rivrain depicts here the uncertainty we feel when we catch someone’s eye in an intimate exchange without really knowing them, wanting to engrave them in our memory as they inevitably drift away.” (Extract from Paris Internationale text by Rodrigue Fondeviolle)

Cédric Rivrain
“Fourat dans le bus” 2025
Oil on linen
160 x 240 cm

Cédric Rivrain
“Nogoflani Dans le bus” 2025
Oil on linen
160 x 240 cm

Courtesy of the artist & Fitzpatrick Gallery

Photo Credits: Holly Fog

For more information, please reach out to info@fitzpatrick.gallery

Raúl de Nieves
“In Light of Innocence”
Until Dec 14, 2025

Curated by Gabriel Florenz

Pioneer Works
159 Pioneer Street
Brooklyn, NY 11231

“In Light of Innocence” marks Raúl de Nieves’s first solo institutional show in New York City. The exhibition features a new body of work that transforms the entire Main Hall of Pioneer Works into an immersive, cathedral-like environment that conjures personal reflection and collective imagination.
Known for his use of modest, everyday materials, de Nieves explores aesthetic beauty while challenging its historical and religious underpinnings. His stained glass windows reference Western religious traditions—particularly, those of Catholicism—and ultimately reimagine places of worship as sites of transformation, in spite of their legacies of violence and exclusion. “In Light of Innocence” presents the site-specific installation of 50 faux stained glass panels, fitted throughout the windows that line the Main Hall as well as a monumental lightbox mural.

Photo credit:

Raúl de Nieves
“In Light of Innocence”
2025

Courtesy of the artist. Dan Bradica

@pioneerworks @norauls

Raúl de Nieves
“In Light of Innocence”
Until Dec 14, 2025

Curated by Gabriel Florenz

Pioneer Works
159 Pioneer Street
Brooklyn, NY 11231

“In Light of Innocence” marks Raúl de Nieves’s first solo institutional show in New York City. The exhibition features a new body of work that transforms the entire Main Hall of Pioneer Works into an immersive, cathedral-like environment that conjures personal reflection and collective imagination.
Known for his use of modest, everyday materials, de Nieves explores aesthetic beauty while challenging its historical and religious underpinnings. His stained glass windows reference Western religious traditions—particularly, those of Catholicism—and ultimately reimagine places of worship as sites of transformation, in spite of their legacies of violence and exclusion. “In Light of Innocence” presents the site-specific installation of 50 faux stained glass panels, fitted throughout the windows that line the Main Hall as well as a monumental lightbox mural.

Photo credit:

Raúl de Nieves
“In Light of Innocence”
2025

Courtesy of the artist. Dan Bradica

@pioneerworks @norauls

Raúl de Nieves
“In Light of Innocence”
Until Dec 14, 2025

Curated by Gabriel Florenz

Pioneer Works
159 Pioneer Street
Brooklyn, NY 11231

“In Light of Innocence” marks Raúl de Nieves’s first solo institutional show in New York City. The exhibition features a new body of work that transforms the entire Main Hall of Pioneer Works into an immersive, cathedral-like environment that conjures personal reflection and collective imagination.
Known for his use of modest, everyday materials, de Nieves explores aesthetic beauty while challenging its historical and religious underpinnings. His stained glass windows reference Western religious traditions—particularly, those of Catholicism—and ultimately reimagine places of worship as sites of transformation, in spite of their legacies of violence and exclusion. “In Light of Innocence” presents the site-specific installation of 50 faux stained glass panels, fitted throughout the windows that line the Main Hall as well as a monumental lightbox mural.

Photo credit:

Raúl de Nieves
“In Light of Innocence”
2025

Courtesy of the artist. Dan Bradica

@pioneerworks @norauls

Raúl de Nieves
“In Light of Innocence”
Until Dec 14, 2025

Curated by Gabriel Florenz

Pioneer Works
159 Pioneer Street
Brooklyn, NY 11231

“In Light of Innocence” marks Raúl de Nieves’s first solo institutional show in New York City. The exhibition features a new body of work that transforms the entire Main Hall of Pioneer Works into an immersive, cathedral-like environment that conjures personal reflection and collective imagination.
Known for his use of modest, everyday materials, de Nieves explores aesthetic beauty while challenging its historical and religious underpinnings. His stained glass windows reference Western religious traditions—particularly, those of Catholicism—and ultimately reimagine places of worship as sites of transformation, in spite of their legacies of violence and exclusion. “In Light of Innocence” presents the site-specific installation of 50 faux stained glass panels, fitted throughout the windows that line the Main Hall as well as a monumental lightbox mural.

Photo credit:

Raúl de Nieves
“In Light of Innocence”
2025

Courtesy of the artist. Dan Bradica

@pioneerworks @norauls

Raúl de Nieves
“In Light of Innocence”
Until Dec 14, 2025

Curated by Gabriel Florenz

Pioneer Works
159 Pioneer Street
Brooklyn, NY 11231

“In Light of Innocence” marks Raúl de Nieves’s first solo institutional show in New York City. The exhibition features a new body of work that transforms the entire Main Hall of Pioneer Works into an immersive, cathedral-like environment that conjures personal reflection and collective imagination.
Known for his use of modest, everyday materials, de Nieves explores aesthetic beauty while challenging its historical and religious underpinnings. His stained glass windows reference Western religious traditions—particularly, those of Catholicism—and ultimately reimagine places of worship as sites of transformation, in spite of their legacies of violence and exclusion. “In Light of Innocence” presents the site-specific installation of 50 faux stained glass panels, fitted throughout the windows that line the Main Hall as well as a monumental lightbox mural.

Photo credit:

Raúl de Nieves
“In Light of Innocence”
2025

Courtesy of the artist. Dan Bradica

@pioneerworks @norauls

Raúl de Nieves
“In Light of Innocence”
Until Dec 14, 2025

Curated by Gabriel Florenz

Pioneer Works
159 Pioneer Street
Brooklyn, NY 11231

“In Light of Innocence” marks Raúl de Nieves’s first solo institutional show in New York City. The exhibition features a new body of work that transforms the entire Main Hall of Pioneer Works into an immersive, cathedral-like environment that conjures personal reflection and collective imagination.
Known for his use of modest, everyday materials, de Nieves explores aesthetic beauty while challenging its historical and religious underpinnings. His stained glass windows reference Western religious traditions—particularly, those of Catholicism—and ultimately reimagine places of worship as sites of transformation, in spite of their legacies of violence and exclusion. “In Light of Innocence” presents the site-specific installation of 50 faux stained glass panels, fitted throughout the windows that line the Main Hall as well as a monumental lightbox mural.

Photo credit:

Raúl de Nieves
“In Light of Innocence”
2025

Courtesy of the artist. Dan Bradica

@pioneerworks @norauls

Raúl de Nieves
“In Light of Innocence”
Until Dec 14, 2025

Curated by Gabriel Florenz

Pioneer Works
159 Pioneer Street
Brooklyn, NY 11231

“In Light of Innocence” marks Raúl de Nieves’s first solo institutional show in New York City. The exhibition features a new body of work that transforms the entire Main Hall of Pioneer Works into an immersive, cathedral-like environment that conjures personal reflection and collective imagination.
Known for his use of modest, everyday materials, de Nieves explores aesthetic beauty while challenging its historical and religious underpinnings. His stained glass windows reference Western religious traditions—particularly, those of Catholicism—and ultimately reimagine places of worship as sites of transformation, in spite of their legacies of violence and exclusion. “In Light of Innocence” presents the site-specific installation of 50 faux stained glass panels, fitted throughout the windows that line the Main Hall as well as a monumental lightbox mural.

Photo credit:

Raúl de Nieves
“In Light of Innocence”
2025

Courtesy of the artist. Dan Bradica

@pioneerworks @norauls

Matthew Lutz-Kinoy
with Kazunori Hamana

“Heavenly Biches”
Curated by Kazunori Hamana

“TENGOKU” (Heaven)
Sogetsu Plaza, 1st Floor, Sogetsu Kaikan
7-2-21 Akasaka, Minato-ku
Tokyo, Japan

September 9 – 12, 2025
10am – 5pm

Free Admission

This exhibition takes as its theme the historic ballet Les Biches, first performed in 1924. Within Isamu Noguchi’s stone garden Heaven, Matthew Lutz-Kinoy’s paintings vividly animate the space, alongside a series of ceramic works jointly created by Lutz-Kinoy and curator Kazunori Hamana at an artist residency situated in Hamana’s project of restoring traditional rural houses.

Photo credit: Kosuke Hamada

Matthew Lutz-Kinoy
with Kazunori Hamana

“Heavenly Biches”
Curated by Kazunori Hamana

“TENGOKU” (Heaven)
Sogetsu Plaza, 1st Floor, Sogetsu Kaikan
7-2-21 Akasaka, Minato-ku
Tokyo, Japan

September 9 – 12, 2025
10am – 5pm

Free Admission

This exhibition takes as its theme the historic ballet Les Biches, first performed in 1924. Within Isamu Noguchi’s stone garden Heaven, Matthew Lutz-Kinoy’s paintings vividly animate the space, alongside a series of ceramic works jointly created by Lutz-Kinoy and curator Kazunori Hamana at an artist residency situated in Hamana’s project of restoring traditional rural houses.

Photo credit: Kosuke Hamada

Matthew Lutz-Kinoy
with Kazunori Hamana

“Heavenly Biches”
Curated by Kazunori Hamana

“TENGOKU” (Heaven)
Sogetsu Plaza, 1st Floor, Sogetsu Kaikan
7-2-21 Akasaka, Minato-ku
Tokyo, Japan

September 9 – 12, 2025
10am – 5pm

Free Admission

This exhibition takes as its theme the historic ballet Les Biches, first performed in 1924. Within Isamu Noguchi’s stone garden Heaven, Matthew Lutz-Kinoy’s paintings vividly animate the space, alongside a series of ceramic works jointly created by Lutz-Kinoy and curator Kazunori Hamana at an artist residency situated in Hamana’s project of restoring traditional rural houses.

Photo credit: Kosuke Hamada

Matthew Lutz-Kinoy
with Kazunori Hamana

“Heavenly Biches”
Curated by Kazunori Hamana

“TENGOKU” (Heaven)
Sogetsu Plaza, 1st Floor, Sogetsu Kaikan
7-2-21 Akasaka, Minato-ku
Tokyo, Japan

September 9 – 12, 2025
10am – 5pm

Free Admission

This exhibition takes as its theme the historic ballet Les Biches, first performed in 1924. Within Isamu Noguchi’s stone garden Heaven, Matthew Lutz-Kinoy’s paintings vividly animate the space, alongside a series of ceramic works jointly created by Lutz-Kinoy and curator Kazunori Hamana at an artist residency situated in Hamana’s project of restoring traditional rural houses.

Photo credit: Kosuke Hamada

Matthew Lutz-Kinoy
with Kazunori Hamana

“Heavenly Biches”
Curated by Kazunori Hamana

“TENGOKU” (Heaven)
Sogetsu Plaza, 1st Floor, Sogetsu Kaikan
7-2-21 Akasaka, Minato-ku
Tokyo, Japan

September 9 – 12, 2025
10am – 5pm

Free Admission

This exhibition takes as its theme the historic ballet Les Biches, first performed in 1924. Within Isamu Noguchi’s stone garden Heaven, Matthew Lutz-Kinoy’s paintings vividly animate the space, alongside a series of ceramic works jointly created by Lutz-Kinoy and curator Kazunori Hamana at an artist residency situated in Hamana’s project of restoring traditional rural houses.

Photo credit: Kosuke Hamada

Matthew Lutz-Kinoy
with Kazunori Hamana

“Heavenly Biches”
Curated by Kazunori Hamana

“TENGOKU” (Heaven)
Sogetsu Plaza, 1st Floor, Sogetsu Kaikan
7-2-21 Akasaka, Minato-ku
Tokyo, Japan

September 9 – 12, 2025
10am – 5pm

Free Admission

This exhibition takes as its theme the historic ballet Les Biches, first performed in 1924. Within Isamu Noguchi’s stone garden Heaven, Matthew Lutz-Kinoy’s paintings vividly animate the space, alongside a series of ceramic works jointly created by Lutz-Kinoy and curator Kazunori Hamana at an artist residency situated in Hamana’s project of restoring traditional rural houses.

Photo credit: Kosuke Hamada

Terre Intrecciate | Artist Spotlight
Alexandru Chira
“Monument for the Heroes of All Times”

Alexandru Chira’s “Monument for the Heroes of All Times” spreads over several hectares and blends harmoniously with the natural landscape, creating a path that guides visitors through an initiatory journey. The monument was conceived in the 1990s in response to a severe drought that struck the area.

Deeply connected to the traditions and rituals of his village, Chira envisioned the work as a “cosmic-energetic receiving and transmitting station,” meant to invoke rain and the return of the rainbow. The entire complex is designed as a place of memory, hope, and spiritual renewal, where art, ritual, and daily life merge.

The project actively involves the local community, both in its construction and in annual ceremonies, symbolically linking the village’s three pillars: the church, the school, and the cultural center.

For more information please contact: info@fitzpatrick.gallery

Images courtesy of the Estate

Terre Intrecciate | Artist Spotlight
Alexandru Chira
“Monument for the Heroes of All Times”

Alexandru Chira’s “Monument for the Heroes of All Times” spreads over several hectares and blends harmoniously with the natural landscape, creating a path that guides visitors through an initiatory journey. The monument was conceived in the 1990s in response to a severe drought that struck the area.

Deeply connected to the traditions and rituals of his village, Chira envisioned the work as a “cosmic-energetic receiving and transmitting station,” meant to invoke rain and the return of the rainbow. The entire complex is designed as a place of memory, hope, and spiritual renewal, where art, ritual, and daily life merge.

The project actively involves the local community, both in its construction and in annual ceremonies, symbolically linking the village’s three pillars: the church, the school, and the cultural center.

For more information please contact: info@fitzpatrick.gallery

Images courtesy of the Estate

Terre Intrecciate | Artist Spotlight
Alexandru Chira
“Monument for the Heroes of All Times”

Alexandru Chira’s “Monument for the Heroes of All Times” spreads over several hectares and blends harmoniously with the natural landscape, creating a path that guides visitors through an initiatory journey. The monument was conceived in the 1990s in response to a severe drought that struck the area.

Deeply connected to the traditions and rituals of his village, Chira envisioned the work as a “cosmic-energetic receiving and transmitting station,” meant to invoke rain and the return of the rainbow. The entire complex is designed as a place of memory, hope, and spiritual renewal, where art, ritual, and daily life merge.

The project actively involves the local community, both in its construction and in annual ceremonies, symbolically linking the village’s three pillars: the church, the school, and the cultural center.

For more information please contact: info@fitzpatrick.gallery

Images courtesy of the Estate

Terre Intrecciate | Artist Spotlight
Alexandru Chira
“Monument for the Heroes of All Times”

Alexandru Chira’s “Monument for the Heroes of All Times” spreads over several hectares and blends harmoniously with the natural landscape, creating a path that guides visitors through an initiatory journey. The monument was conceived in the 1990s in response to a severe drought that struck the area.

Deeply connected to the traditions and rituals of his village, Chira envisioned the work as a “cosmic-energetic receiving and transmitting station,” meant to invoke rain and the return of the rainbow. The entire complex is designed as a place of memory, hope, and spiritual renewal, where art, ritual, and daily life merge.

The project actively involves the local community, both in its construction and in annual ceremonies, symbolically linking the village’s three pillars: the church, the school, and the cultural center.

For more information please contact: info@fitzpatrick.gallery

Images courtesy of the Estate

Terre Intrecciate | Artist Spotlight
Alexandru Chira
“Monument for the Heroes of All Times”

Alexandru Chira’s “Monument for the Heroes of All Times” spreads over several hectares and blends harmoniously with the natural landscape, creating a path that guides visitors through an initiatory journey. The monument was conceived in the 1990s in response to a severe drought that struck the area.

Deeply connected to the traditions and rituals of his village, Chira envisioned the work as a “cosmic-energetic receiving and transmitting station,” meant to invoke rain and the return of the rainbow. The entire complex is designed as a place of memory, hope, and spiritual renewal, where art, ritual, and daily life merge.

The project actively involves the local community, both in its construction and in annual ceremonies, symbolically linking the village’s three pillars: the church, the school, and the cultural center.

For more information please contact: info@fitzpatrick.gallery

Images courtesy of the Estate

Terre Intrecciate | Artist Spotlight
Alexandru Chira
“Monument for the Heroes of All Times”

Alexandru Chira’s “Monument for the Heroes of All Times” spreads over several hectares and blends harmoniously with the natural landscape, creating a path that guides visitors through an initiatory journey. The monument was conceived in the 1990s in response to a severe drought that struck the area.

Deeply connected to the traditions and rituals of his village, Chira envisioned the work as a “cosmic-energetic receiving and transmitting station,” meant to invoke rain and the return of the rainbow. The entire complex is designed as a place of memory, hope, and spiritual renewal, where art, ritual, and daily life merge.

The project actively involves the local community, both in its construction and in annual ceremonies, symbolically linking the village’s three pillars: the church, the school, and the cultural center.

For more information please contact: info@fitzpatrick.gallery

Images courtesy of the Estate

Terre Intrecciate | Artist Spotlight
Alexandru Chira
“Monument for the Heroes of All Times”

Alexandru Chira’s “Monument for the Heroes of All Times” spreads over several hectares and blends harmoniously with the natural landscape, creating a path that guides visitors through an initiatory journey. The monument was conceived in the 1990s in response to a severe drought that struck the area.

Deeply connected to the traditions and rituals of his village, Chira envisioned the work as a “cosmic-energetic receiving and transmitting station,” meant to invoke rain and the return of the rainbow. The entire complex is designed as a place of memory, hope, and spiritual renewal, where art, ritual, and daily life merge.

The project actively involves the local community, both in its construction and in annual ceremonies, symbolically linking the village’s three pillars: the church, the school, and the cultural center.

For more information please contact: info@fitzpatrick.gallery

Images courtesy of the Estate

“Terre Intrecciate“ until August 30, 2025; curated in collaboration with Jacopo Mazzetti, at Palazzo Carrozzini (Soleto, Puglia).

Palazzo Carrozzini
Via Dante Alighieri, 4,
73010 Soleto, Puglia

Open by appointment:
July 12 — August 30, 2025
To arrange an appointment please contact: info@fitzpatrick.gallery

Unknown Artist
(Attr. Pierre Puget / Attr. Lorenzo Bernini)
“Sleeping faun” 17th c.
White marble, red marble plaque
34 x 40 x 10 cm

Courtesy of artist & Fitzpatrick Gallery

Image credits:
Installation views by Alice Caracciolo
Additional documentation by Pietro Sfameni

“Terre Intrecciate“ until August 30, 2025; curated in collaboration with Jacopo Mazzetti, at Palazzo Carrozzini (Soleto, Puglia).

Palazzo Carrozzini
Via Dante Alighieri, 4,
73010 Soleto, Puglia

Open by appointment:
July 12 — August 30, 2025
To arrange an appointment please contact: info@fitzpatrick.gallery

Unknown Artist
(Attr. Pierre Puget / Attr. Lorenzo Bernini)
“Sleeping faun” 17th c.
White marble, red marble plaque
34 x 40 x 10 cm

Courtesy of artist & Fitzpatrick Gallery

Image credits:
Installation views by Alice Caracciolo
Additional documentation by Pietro Sfameni

“Terre Intrecciate“ until August 30, 2025; curated in collaboration with Jacopo Mazzetti, at Palazzo Carrozzini (Soleto, Puglia).

Palazzo Carrozzini
Via Dante Alighieri, 4,
73010 Soleto, Puglia

Open by appointment:
July 12 — August 30, 2025
To arrange an appointment please contact: info@fitzpatrick.gallery

Unknown Artist
“Seated Guanyin”
Ming Dynasty
Lacquered wood
83 x 55 x 37 cm

Courtesy of artist & Fitzpatrick Gallery

Image credits:
Installation views by Alice Caracciolo
Additional documentation by Pietro Sfameni

“Terre Intrecciate“ until August 30, 2025; curated in collaboration with Jacopo Mazzetti, at Palazzo Carrozzini (Soleto, Puglia).

Palazzo Carrozzini
Via Dante Alighieri, 4,
73010 Soleto, Puglia

Open by appointment:
July 12 — August 30, 2025
To arrange an appointment please contact: info@fitzpatrick.gallery

Unknown Artist
“Seated Guanyin”
Ming Dynasty
Lacquered wood
83 x 55 x 37 cm

Courtesy of artist & Fitzpatrick Gallery

Image credits:
Installation views by Alice Caracciolo
Additional documentation by Pietro Sfameni

“Terre Intrecciate“ until August 30, 2025; curated in collaboration with Jacopo Mazzetti, at Palazzo Carrozzini (Soleto, Puglia).

Palazzo Carrozzini
Via Dante Alighieri, 4,
73010 Soleto, Puglia

Open by appointment:
July 12 — August 30, 2025
To arrange an appointment please contact: info@fitzpatrick.gallery

Unknown Artist
“Headless Sculpture”
Late 15th / early 16th century
Marble
75 x 30 x 20 cm

Courtesy of artist & Fitzpatrick Gallery

Image credits:
Installation views by Alice Caracciolo
Additional documentation by Pietro Sfameni

“Terre Intrecciate“ until August 30, 2025; curated in collaboration with Jacopo Mazzetti, at Palazzo Carrozzini (Soleto, Puglia).

Palazzo Carrozzini
Via Dante Alighieri, 4,
73010 Soleto, Puglia

Open by appointment:
July 12 — August 30, 2025
To arrange an appointment please contact: info@fitzpatrick.gallery

Unknown Artist
“Headless Sculpture”
Late 15th / early 16th century
Marble
75 x 30 x 20 cm

Courtesy of artist & Fitzpatrick Gallery

Image credits:
Installation views by Alice Caracciolo
Additional documentation by Pietro Sfameni