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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211012
DTEND;VALUE=DATE:20320101
DTSTAMP:20220115T174220Z
CREATED:20220115T173025Z
LAST-MODIFIED:20220115T174220Z
UID:13154-1633996800-1956527999@kaufmannrepetto.com
SUMMARY:The Garden
DESCRIPTION:the work is permanent commission \nthe garden \npublic entrance to Studio Voltaire. \nAnthea Hamilton is a long–term resident of our local area and was inspired by vernacular gardens of South London. Designed to be used by visitors\, local residents and onsite artists\, the planting scheme combines ornamental flowers and shrubs with edible plants. Organic surfaces with formal structures and tactile finishes complement the garden’s raised beds\, pergola\, seating areas\, fountain and tiled walkway. \nArtist Nicholas Byrne has been invited by Hamilton to design a gate for the garden\, forming a second entrance from the south\, which further opens up the garden to our immediate neighbourhood. Subject to the varying growing cycles and life–spans of plants\, the garden is a long–term and ongoing commitment that has been made with care and attention. \nAnthea Hamilton (b. 1978\, London) is a previous studio holder at Studio Voltaire. She was nominated for the Turner Prize in 2016. Large–scale solo exhibitions have included The Squash at Tate Britain (2018)\, Anthea Hamilton Reimagines Kettle’s Yard at The Hepworth Wakefield (2016) and Lichen! Libido! Chastity! at the SculptureCenter in New York (2015). \nSupported by Outset Contemporary Art Fund
URL:https://kaufmannrepetto.com/exhibition/the-garden/
LOCATION:Studio Voltaire\, London
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250925
DTEND;VALUE=DATE:20270926
DTSTAMP:20260206T110730Z
CREATED:20260205T174915Z
LAST-MODIFIED:20260206T110730Z
UID:27479-1758758400-1821916799@kaufmannrepetto.com
SUMMARY:Schattige babyvoetjes (Cute Baby Feet)
DESCRIPTION:Schattige babyvoetjes (Cute baby feet) will be on display at the NDSM-wharf from September 26\, 2025 and will remain visible at the head of the industrial Y-helling for two years. Artist’s new text work Lily van der Stokker\, specially developed for NDSM\, provides a gentle and critical counterbalance to the raw character of the former shipyard\, dominated by male makers. \nThe light green text statement Cute baby feet connects this historic heritage location — once a place of heavy work and mostly male work — with themes around the private domain\, parenting and gender. “I put the domestic on a pedestal\,” says Van der Stokker. The chosen words\, derived from parenting jargon\, act as a subtle cultural provocation in an environment where graffiti and monumental marine heritage set the tone. The work invites visitors to look at public space with new eyes. \nThe NDSM-wharf — a former shipbuilding site that now serves as a creative incubator in the middle of a rapidly changing urban area — stands Cute baby feet symbol for the encounter between the personal and the public. The work contrasts provocatively with both the industrial environment and the graffiti in the field\, making a powerful statement about the visibility of domestic and feminine themes in public space.
URL:https://kaufmannrepetto.com/exhibition/schattige-babyvoetjes-cute-baby-feet/
LOCATION:NDSM-werf\, Amsterdam
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260319
DTEND;VALUE=DATE:20270320
DTSTAMP:20260327T155906Z
CREATED:20260327T154749Z
LAST-MODIFIED:20260327T155906Z
UID:28162-1773878400-1805500799@kaufmannrepetto.com
SUMMARY:Andrea Bowers: Andrea Bowers
DESCRIPTION:andrea bowers: andrea bowers \nAn exhibition of work by Andrea Bowers is currently on view in Room 2 of the Pavilions. \nThe exhibition\, which includes more than 40 works\, including a broad selection from Glenstone’s collection alongside important loans from the artist\, peer institutions\, and private collectors\, is one of the largest presentations of Bowers’ work to date. Tracing a history of activism that interweaves ecological concerns with the fight for bodily autonomy\, the exhibition includes works that reference several generations of intersectional activists. \nBowers’ multidisciplinary practice bridges fine art with direct action. Over nearly three decades she has produced work including video\, sculpture\, neon\, and drawings on paper and cardboard that amplify and archive the work of activists. Bowers embeds herself in allyship with front-line activists\, earning trust through collaboration and long-running engagement.
URL:https://kaufmannrepetto.com/exhibition/andrea-bowers-andrea-bowers/
LOCATION:Glenstone Museum\, Potomac
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260517
DTEND;VALUE=DATE:20270412
DTSTAMP:20260724T144803Z
CREATED:20260724T144722Z
LAST-MODIFIED:20260724T144803Z
UID:30136-1778976000-1807487999@kaufmannrepetto.com
SUMMARY:Judith Hopf: Pennys
DESCRIPTION:Walls\, tires\, spheres\, suitcases—many of Judith Hopf’s motifs originate from a constructed world. Objects that promise stability or mobility behave differently than expected. They escape their intended function and become unreliable artifacts. A suitcase made of bricks; walls that open; tires that lose their balance and threaten to overturn. The wheel\, as a symbol of movement\, inventiveness\, and progress\, points to the promise of ceaseless circulation. In Hopf’s work\, this movement appears suspended; it is a cycle that no longer repeats itself. In the exhibition\, this tension condenses into a weather phenomenon: a yellow lightning bolt hangs from the ceiling\, rain showers sweep across the walls. They do not form a landscape\, but rather a condition that is gathering yet remains in a state of limbo. \nWorks by Alf Lechner are exhibited in dialogue with Hopf. These are forged and rolled steel forms that have been subjected to pressure\, divided\, and rearranged. Some of them appear compressed\, almost coin-like\, as if they had lost their original shape and\, under pressure\, had become a new form of value. Alongside these are works made of sheet steel as well as large-format collages. They seem to suggest a direction\, a movement forward; but perhaps also a reversal. \nThe exhibition captures moments when something starts to roll or comes to a standstill. Much seems to be in motion\, yet remains stationary. The title Pennys follows this logic: small coins in constant circulation\, changing locations yet often left behind. They pass through hands\, pockets\, and circulation as the smallest form of value that remains once the big money has left the pockets. At the same time\, they are flat objects with weight\, surface\, and face value—suspended between circulation and stillness\, stability and movement\, order and displacement\, possibility and impossibility. As if the whole thing depended on the small.
URL:https://kaufmannrepetto.com/exhibition/judith-hopf-pennys/
LOCATION:Lechner Museum\, Lechner Museum Esplanade 9 85049 Ingolstadt\, Ingolstadt\, Germany
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260909
DTEND;VALUE=DATE:20261101
DTSTAMP:20260916T125045Z
CREATED:20260909T130254Z
LAST-MODIFIED:20260916T125045Z
UID:30288-1788912000-1793491199@kaufmannrepetto.com
SUMMARY:Gökhun Baltacı: A Moonless Plateau
DESCRIPTION:kaufmann repetto is pleased to present A Moonless Plateau\, Gökhun Baltacı’s first solo exhibition in the United States\, at the gallery’s New York space. \nWorking exclusively with oil pastel on paper\, Baltacı returns to the enclosed rooms and isolated objects that have long occupied his practice\, stripping them of almost everything that might explain them. Walls\, windows\, loose threads\, screens\, and fragments of furniture remain; human presence appears only intermittently\, in the form of a seated self-portrait or an indistinct face reflected against a dusty surface. \nA plateau is a level\, elevated expanse whose scale is difficult to grasp – without moonlight\, it offers no clear measure of distance or direction. The exhibition title evokes a landscape that is never directly depicted. Instead\, Baltacı displaces its spatial uncertainty into a succession of interiors without a visible source of light\, treating the room itself as a kind of landscape. Floors and walls appear to dissolve into the same muted atmosphere; perspective is established\, then gradually loses its hold. A loose thread of fabric extends across the floor and reappears\, visually tying one work to the next. A dark circle may resemble an opening or an eye\, or the surreal presence of an almost monolithic object. \nA deep gray seems to lie beneath Baltacı’s blues\, violets\, and greens\, binding each image to the same atmosphere. Oil pastel gives the surfaces their dense\, velvety quality\, while repeated rubbing\, layering\, and reworking leave the paper worn\, as though it had been handled over time. Figures and objects rarely detach completely from their surroundings: a body takes on the color of the room that contains it\, while translucent partitions and reflective surfaces make it difficult to determine what is near or distant\, solid or reflected. Against this subdued palette\, small flashes of cobalt blue or fire red remain restrained in scale yet startlingly luminous. \nThe artist has long been interested in the ability of childhood imagination to release objects from their ordinary functions and place them in unfamiliar relation to one another. In A Moonless Plateau\, this associative impulse operates quietly. A glass of water or milk\, an anonymous audio cassette\, an unbranded pack of cigarettes\, and a translucent folding screen remain recognizable\, yet none explains its presence. The loose thread running through the exhibition seems to gather these disparate images along a single line\, giving them the persistence of memories connected by an event that remains inaccessible. They suggest relations without resolving into a code or a single interpretation. \nNothing overtly occurs\, yet the stillness of these works does not feel neutral. Each image seems to retain the pressure of an action that has already passed\, or of a presence that has just withdrawn. The uncanny is not introduced as a rupture of ordinary life\, but located within its most familiar surfaces: the moment when a room\, an object\, or a face remains entirely recognizable and nevertheless becomes strange. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nGökhun Baltacı was born in 1989 in Ankara\, Turkey. Since 2017\, he took part in several institutional group shows\, including The Sky Was Candy\, Arter\, Istanbul (2026); Shaken Image\, Pera Museum\, Istanbul (2018); and The Same Garden\, Evliyagil Museum\, Ankara (2018) among others. kaufmann repetto presented Gökhun Baltacı for the first time in Milan in January 2025. He also works with Galeri Nev in Ankara and Istanbul\, and was exhibited several times in Turkey (2022\, 2019\, 2017)\, in addition to a solo presentation at Paris Internationale (2022). Gökhun Baltacı was selected for the prestigious Cité Internationale des Arts residency program in Paris during 2024.
URL:https://kaufmannrepetto.com/exhibition/gokhun-baltaci-a-moonless-plateau/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260915
DTEND;VALUE=DATE:20261108
DTSTAMP:20260917T083351Z
CREATED:20260916T140258Z
LAST-MODIFIED:20260917T083351Z
UID:30390-1789430400-1794095999@kaufmannrepetto.com
SUMMARY:Tenki Hiramatsu: Smell of the Lawn
DESCRIPTION:The title of this exhibition – Smell of the Lawn – already suggests something that arrives before an image: a scent\, a memory\, the invisible trace of a place. In Hiramatsu’s paintings\, too\, recognition comes slowly. Figures\, animals\, and fragments of landscapes seem to settle onto the surface after the fact\, as though they had been waiting inside the paint. A figure observes the hint of a poppy in Red Flower; a bird almost sinks into the dim ground of Life’s Stumbles; in At That Moment\, a witch-like figure hovers at the edge of a swampy landscape. These images remain suspended just before they become fully legible\, in the moment when a story seems possible but has not yet begun. \nHiramatsu’s paintings develop through a patient\, layered process. He begins without a fixed image\, turning first to the surface and how oil moves across it. Patches of color are added\, covered\, corrected\, and reopened\, until a motif begins to emerge from the accumulated sediment of the painting. In this sense\, the image is not imposed on the surface but found through it: a figure or animal appears as the result of a negotiation between intention\, accident\, and what the paint itself allows. \nThere is no firm boundary between Hiramatsu’s subjects and their surroundings. His figures often seem to be made of the same atmosphere that contains them\, as if they were projections of the space around them\, or as if the space itself had briefly taken on a face. In the work that gives the title to the show\, Smell of the Lawn\, a small figure folds into a muted field of brown and green\, as if gathering breath before a story can begin. Something mossy\, pungent\, and damp seems buried underneath the surface\, rising less as an image than as a sensation. The paintings do not unfold into narrative so much as hold the conditions for one: a pause\, a posture\, a glance\, an atmosphere. Their melancholy remains quiet and almost understated\, tempered by moments of humor and awkwardness that keep the images from becoming theatrical. \nEven so\, Hiramatsu’s work remains close to abstraction. The subject is both a presence and the residue of a search\, never fully separable from the painting that produced it. His works ask to be looked at not only as images\, but as surfaces that have answered back\, resisting\, redirecting\, and slowly giving form to what was not there at the beginning. Their strength lies in this condition: every figure is at once a subject and the visible trace of the painting’s becoming. \nkaufmann repetto presents Smell of the Lawn\, a solo exhibition by Tenki Hiramatsu\, at the Milan gallery space.
URL:https://kaufmannrepetto.com/exhibition/tenki-hiramatsu-smell-of-the-lawn/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260915
DTEND;VALUE=DATE:20261108
DTSTAMP:20260918T135934Z
CREATED:20260916T164516Z
LAST-MODIFIED:20260918T135934Z
UID:30383-1789430400-1794095999@kaufmannrepetto.com
SUMMARY:Clarissa Tossin: Piante Vagabonde
DESCRIPTION:kaufmann repetto is pleased to present Piante Vagabonde (Wandering Plants)\, the first solo exhibition with the gallery by Brazilian artist Clarissa Tossin\, bringing together a new body of recent works. Through painting\, sculpture\, installation\, and video\, Tossin develops a practice that intertwines ecology\, colonial history\, and the exploitation of natural resources\, examining the relationship between the body\, the landscape\, and socioeconomic infrastructures. Her work is grounded in the idea that nature is not a realm separate from human experience\, but rather a network of relationships of which we are an integral part — one shaped by material and political histories that continue to inform the present. In recent years\, her work has been presented at major international institutions\, including the recent survey exhibition Point of No Return at the Museu de Arte de São Paulo (MASP)\, which closed in February 2026\, further consolidating a practice that addresses the legacies of extractivism and contemporary ecological transformations. \nAt the heart of the exhibition is the series Piante Vagabonde\, first conceived during the artist’s residency at the American Academy in Rome in 2025. The works emerge from the direct encounter between the artist’s body and spontaneous plant species — so-called “wandering plants” — collected from urban margins\, roadsides\, and disturbed landscapes\, and imprinted onto the surface of the canvas. The plants that lend the series its title are resilient organisms capable of growing in degraded soils and thriving under extreme conditions\, actively contributing to the regeneration of damaged environments. Rather than functioning simply as botanical subjects\, they become witnesses to forms of ecological adaptation that resonate with histories of migration\, environmental transformation\, and resistance. These works evoke the contact between body and vegetation as a space of mutual belonging\, connecting the vulnerability of ecosystems with that of human bodies\, while opening a reflection on the possibility of imagining new forms of coexistence in a time marked by the devastating consequences of climate change. \nThese same concerns run through a group of works made from recycled Amazon shipping boxes and envelopes. For years\, Tossin has employed these materials — symbols of global logistics and the disposable economy — transforming them through a slow process of dismantling\, weaving\, and reassembling. Upon these surfaces emerge historical maps\, satellite imagery\, and representations of Brazil’s great rivers\, bringing cartography into dialogue with contemporary technologies of territorial observation and control. The waterways of the Amazon basin\, once routes of colonial expansion and the transport of resources to Europe\, overlap with the infrastructures of global commerce and the new geographies of space exploration\, suggesting how extractive logics continue to reshape territories that appear geographically distant. The manual gesture of weaving introduces an alternative temporality\, countering the speed of global circulation with a practice rooted in care\, repair\, and the transformation of matter. \nIn Rising Temperature Casualty (Prunus persica var. nucipersica\, home garden\, Los Angeles) (2021)\, Tossin shifts the focus to the intimate scale of her own domestic garden. Cast in translucent silicone\, the sculpture incorporates fragments of the original bark of a peach tree that died as a result of prolonged drought and rising temperatures in Los Angeles. The cast preserves the tree’s physical memory\, transforming it into a fragile\, almost epidermal presence in which organic and synthetic materials coexist. The work records the effects of the climate crisis not as an abstract phenomenon\, but through the tangible loss of a single living organism.
URL:https://kaufmannrepetto.com/exhibition/clarissa-tossin-piante-vagabonde/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20270125
DTSTAMP:20261002T152956Z
CREATED:20261002T140012Z
LAST-MODIFIED:20261002T152956Z
UID:30621-1789689600-1800835199@kaufmannrepetto.com
SUMMARY:Simone Fattal: Des villes au fond d’un lac
DESCRIPTION:simone fattal: des villes au fond d’un lac \nIn the fall of 2026\, the Musée d’Art Moderne de Paris will dedicate a major exhibition to Simone Fattal\, a Lebanese-American artist born in 1942 in Damascus\, Syria\, and living in Paris for many years. \nBringing together around one hundred works\, the exhibition traces more than fifty years of his artistic journey\, from his early landscape paintings to his ceramics and collages. Organized as a series of groups and outside of any chronological order\, the exhibition invites visitors to explore the driving forces of a body of work that is diverse and constantly evolving. \nPassionate about literature and archaeology\, Simone Fattal first studied philosophy at the School of Letters in Beirut\, then at the Sorbonne\, completing her training with courses at the École du Louvre. \nIn the late 1960s\, she began painting in Beirut\, tirelessly depicting trees\, the seafront\, and mountains\, pushing the boundaries of figurative art. In 1972\, she met Etel Adnan (1925-2021)\, a Lebanese poet and painter\, with whom she shared nearly fifty years of life and creative collaboration. In 1980\, forced to leave Lebanon due to the civil war\, Simone Fattal settled in Sausalito\, California\, north of San Francisco Bay. She temporarily abandoned painting to dedicate herself fully to founding The Post-Apollo Press (1982-2017)\, whose name was inspired by the Apollo space program\, in which she saw the beginning of a new era in human history. \nFrom 1988\, she engaged in a ceramics practice after taking courses at the College of Marin and the San Francisco Art Institute. From the clay emerged archaic figures with anthropomorphic or animal lines that drew their inspiration from the mythological epics of the Mediterranean basin\, mainly from Mesopotamia or ancient Greece\, from the Epic of Gilgamesh to the Iliad and the Odyssey. \nThe 2010s marked the end of The Post-Apollo Press’s publishing venture and a definitive return to Paris. Alongside sculpture and the production of collages with intimate and collective narratives\, landscape painting reappeared. Executed with bold strokes\, colorful watercolors and black ink drawings with plant motifs conveyed his vision of nature animated by a boundless life force. \nThis first exhibition in a Parisian museum pays tribute to a major artist who is internationally recognized but has been little shown in France. \nA catalogue developed in close collaboration with Simone Fattal accompanies the exhibition. Minimalist in its design\, the monograph reproduces a wide selection of the works on display. Alongside the extensive iconography\, it offers new texts\, including a contribution by Penelope Curtis\, former director of Tate Britain\, as well as a text by the artist herself\, and a biography. Blending critical rigor with an intimate perspective\, this book illuminates the multifaceted creativity of Simone Fattal\, visual artist\, author\, and editor.
URL:https://kaufmannrepetto.com/exhibition/simone-fattal-des-villes-au-fond-dun-lac/
LOCATION:Musée d’Art Moderne de Paris
CATEGORIES:Museum Exhibitions
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