Five Exceptional Exhibitions Worldwide this September
Five Exceptional Exhibitions Worldwide this September
n our monthly overview, we highlight five outstanding exhibitions occurring in galleries across five different cities around the globe.
"Enchanting Fusion: Hannah Lim's 'Bestiaries' Solo Exhibition at Wilder Gallery, London, Sept. 13–Oct. 7"
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- Hannah Lim – Jeweled Dewdrop Snuff Bottle, 2022 – Wilder Gallery
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- Hannah Lim – Phoenix With The Golden Egg, 2023 – Wilder Gallery
In “Bestiaries,” Hannah Lim presents a captivating collection of sculptures and paintings that reenvision chinoiserie while delving into her dual Chinese and British heritage. Drawing inspiration from Chinese and medieval bestiaries—ancient tomes that curated depictions and narratives of both real and fantastical creatures—Lim masterfully reimagines and melds these beings, traditions, and artistic styles. The outcome is a stunning array of luminous and intricate paintings complemented by a remarkable series of large, vibrant snuff bottle sculptures meticulously crafted from jesmonite and polymer clay.
Lim embarked on her sculptural journey in 2020, fueled by a long-standing fascination with snuff bottles, initially encountered during her teenage visits to the Victoria and Albert Museum in London. “It seemed every time I visited a museum in the U.K., there always seemed to be a vibrant collection of snuff bottles; they became, for me, a visual emblem of my Chinese and British heritage,” Lim reminisced in a statement. While snuff bottles of the past were cherished as personal, finely detailed, and functional artifacts that could fit in the palm of one’s hand, Lim’s snuff bottles carry a deeply personal touch. They stand larger in scale, adorned with whimsical eyes, limbs, and other graceful embellishments. Merging her own narrative with the historical significance of these objects, Lim’s sculptures possess an enchanting and intimate aura, inviting viewers into a world where art and heritage intertwine seamlessly.
—Casey Lesser
Heidi Hahn's 'Kink Odelisk' Exhibition at Kadel Willborn, Düsseldorf, Sept. 1–Oct. 14
In her latest exhibition hosted at Kadel Willborn, painter Heidi Hahn, based in both New York and Düsseldorf, continues her ongoing exploration of the female form. However, she approaches this subject with an equal dedication to another aspect: the very essence of painting itself. Hahn refers to her artistic approach as “narrative formalism,” a method that places an even emphasis on the content and the materiality of her work.
Within the gallery’s space, viewers encounter a collection of 14 works where Hahn’s depictions of women are portrayed through translucent layers of paint, transforming them into abstract, block-like geometric forms that prioritize contours and colors over immediate recognizability. Yet, these figures retain their essence and emotional resonance as they fold into themselves, their limbs intertwined, their gazes either averted or entirely absent from the frame. Some, like “Kink Odalisk #13” (2023), appear on the verge of dissolving into the canvas.
Paradoxically, these acts of withdrawal beckon viewers to draw closer and engage more deeply. Beyond the surface, Hahn’s work offers more than just a portrayal of flesh, marking a departure from the traditional depictions of odalisques by artists like Ingres and Manet. As Hahn articulated in an interview with BOMB, her subjects seek to evoke a sense of tactile connection rather than mere visual observation.
“Kink Odelisk” marks Hahn’s second solo exhibition with Kadel Willborn, a gallery that also represents her alongside Mitchell-Innes & Nash and Michael Kohn Gallery.
—Olivia Horn
Elfyn Lewis: 'Cân i Gymry' Exhibition at &Gallery, Edinburgh, Scotland, Sept. 2–30
In his second solo exhibition hosted at &Gallery, Elfyn Lewis, a Welsh painter, draws inspiration from his formative years in the 1980s when he would sift through LP records at his local music store. Specifically, his artwork pays homage to the iconic Welsh-language alternative rock band, Datblygu (in fact, one of his pieces is titled after the band), known for their satirical and incisive lyrical style, which provided a native musical commentary on the contemporary Welsh-speaking world.
Titled after one of the band’s songs, “Cân i Gymry” features a collection of small-scale works, often mirroring the dimensions of vinyl records and CD cases. These artworks are characterized by thick pools of paint that extend and surge across the canvas. Strips of pure, unblended paint cut through gradients, splashes, and dynamic brushstrokes. For instance, “Agoriad Llygad” (2022) positions flag-like horizontal bars of green, yellow, black, and blue amidst a backdrop of richly layered dark hues.
Elfyn Lewis, recognized as the Welsh Artist of the Year in 2010, noted that these pieces are dedicated to “musicians, friends, and family who have played a pivotal role in instilling belief in ourselves and what we, as a nation, Cymru (the Welsh name for Wales), can achieve.”
—Josie Thaddeus-Johns
Hiroshi Sato: 'Transvaluation' Exhibition at Marrow Gallery, San Francisco, Aug. 30–Sept. 30
In his latest series of paintings displayed at Marrow Gallery in San Francisco, Hiroshi Sato delves into the societal unease that has emerged in the post-pandemic era within the city he calls home.
Sato’s artistic vision draws inspiration from the aesthetic and socio-cultural narratives encapsulated by Edward Hopper. His paintings serve as a poignant reflection of a city navigating the complexities of financial instability and urban ambiguity. Within these artworks, one can discern an overpowering sense of isolation and detachment that has, in many ways, come to define certain facets of San Francisco.
Sato’s subjects exude palpable tension, occupying diverse settings ranging from law offices to ice cream parlors. In a manner reminiscent of Hopper’s portrayal of New York during the Great Depression, this exhibition encapsulates the artist’s conviction that “contemporary artists must engage with the present moment.”
—Arun Kakar
Exhibition: 'The Speed of Grace' at Simões de Assis, Sao Paulo, Sept. 2–Oct. 21
Simões de Assis has recently unveiled its new headquarters in São Paulo with the extraordinary exhibition titled “The Speed of Grace,” thoughtfully curated by the influential tastemaker, Larry Ossei-Mensah.
This exhibition seamlessly weaves together a captivating array of artwork, featuring both emerging talents and established artists. Notable highlights encompass the latest creations from highly anticipated painters like Bony Ramirez and Tunji Adeniyi-Jones, striking collages by Deborah Roberts, a visually striking durag canvas by Anthony Akinbola, exclusive editions by Derrick Adams and Hank Willis Thomas, and a poetic sculpture crafted from palm, leather, shells, and beads by the late Brazilian artist Mestre Didi.
While it may seem challenging to find a unifying theme that connects these diverse artists and their works, Ossei-Mensah’s curation shines a fresh, expansive light on artists of color who fearlessly employ their art to confront deep-seated power dynamics and elevate Black and Brown communities.
—Casey Lesser
