For this exhibition, French-German artist Edouard Baribeaud explores the transformative and elusive qualities of light in relation to identity and narrative. The diptych entitled George and Theodora, for example, is inspired by the vivid memory of a striking couple the artist once encountered at a party as well as Paolo Uccello's painting of the legend of Saint George and the Dragon. In his work, Baribeaud recasts the couple into a modern-day version of the myth, but the roles are reversed so that the princess appears as the protagonist (the knight). The painting Sebastian similarly brings together the contemporary and the classical, taking its departing point from another transient moment witnessed by the artist. In this case, Baribeaud was struck by an illuminated entrance hall of a building at night. “The reflections of the streetlights on the glass doors and the mirrors inside the building created an almost psychedelic effect,” he says. “I thought it would be a perfect stage for a painting.” In the image, an elegant man is waiting in the hall, as if caught in the threshold between two worlds: the interior and the exterior in both a literal and metaphorical sense. Alongside these paintings, Baribeaud presents three drawings, created in collaboration with his partner Sophia Andreotti, which take the format of tarot cards and illustrate imagined characters that represent visions of the present and the future.

Seoul-based artist Tae Kim’s delicate paintings form part of an ongoing series entitled The Faceless Gamer, which explores the heightened emotional experiences of the gaming world and the complex notion of identity within this realm. Each work depicts a hybrid being, a deity-like figure, in a distinct psychological state. While these are Kim’s imaginings of players that she has met in online battle games, the portraits meditate on how the distinction between the digital and the real is becoming increasingly blurred, and how that might impact not only our perceptions, but also the ways in which we connect and socialise. Significantly, the artist employs techniques used in ancient Joseon dynasty portrait paintings, which were mainly commissioned by aristocrats and royalty to illustrate their status, wealth and intelligence. By drawing on this tradition, Kim elevates alternative characters and hybrid digital experiences as part of a historically important cultural shift that offers a fluid, artistic space for people from different backgrounds to come together and shape their own narratives.

Zimbabwean artist Tendai Mupita’s practice is deeply rooted in the rich heritage, and stories of Shona culture. Working on paper, large portions of his compositions are composed of tiny brushstrokes that create intricate, repetitive patterns that imply a sense of texture and movement and invite the viewer to more closely examine the surface. For this exhibition, the artist presents a captivating new series of works that explore specific cultural ideas and rituals around death and grieving. For example, many traditional Zimbabwean kitchens feature a stoop-like structure which serves a functional purpose as a shelf for cooking pots and water storage, but it also becomes a kind of alter where coffins are laid, and people go to communicate with their ancestors. In one painting, Mupita depicts a figure kneeling at the stoop while a god-like form appears rising amidst the patterning. While this intimate connection between life and death may seem morbid from a Western perspective, Mupita’s use of gentle, uplifting hues suggests a sense of harmony and connectedness. Similarly, in another artwork, a hybrid human figure appears draped over a coffin or grave; although there is undoubtedly something unsettling or even monstrous about the scene, the regularity and expansiveness of the blue and white patterning in the background has a calming effect, while the organic, circular forms nod to the natural life cycle.

Presented together, these works initiate an intriguing dialogue between colour, form and texture that emphasises art’s ability to both communicate complex non-verbal experiences and break down the boundaries between different cultures and histories.

Solo exhibitions include Image Fantomes, Yishu 8, Maison des Arts, Beijing (2019);  An Old Story for Our Modern Times, Galerie Judin, Berlin (2018); The Nocturnal Vault, Isa Galerie, Mumbai (2016); The Hour of the Gods, Galerie Judin, Berlin (2015); Sao Jorge, Reh Kunst, Berlin (2012); Hic Sunt Leones, Nolan Judin, Berlin (2012); Der Flug der Eule, Galerie Tat, Berlin (2011); Brume d’espace, Galerie du Crous, Paris (2011).

Group exhibitions include Legends, Kristin Hjellegjerde Gallery, London, UK (2021); Edouard Baribeaud - Louise Despont - Marcel Dzama - Chris Ofili, Isa galerie, Mumbai (2020); Auf dem Weg zum Motiv. Zeitgenössische Kunstler treffen auf Willi ̈ Baumeister, Galerie Klaus Gerrit Friese, Berlin (2019); Hermès Carré Club, Hermès, Los Angeles (2018); Hermès Carré Club, Hermès, New York (2018); Between The Worlds, XXII. Rohkunstbau, Berlin (2016); Vexillology#2, Kunstverein Amrum, Germany (2016); DEVOUR! Sozialer Kannibalismus, politische Neudefinierung und Architektur, Freies Museum/ SAVVY Contemporary, Berlin (2015); Mauvaises Graines, Topographie de l'art, Paris (2014); Le bruit du dessin, Villa du Parc – Centre d’art contemporain, Annemasse, France (2012); Edouard Baribeaud & Chris Johnson, Pavillon Blanc – Centre d’art de Colomiers/ Printemps de Septembre, Toulouse, France (2011); Artist Books, PR1 Gallery, Preston, United Kingdom (2010).

Solo exhibitions include Black Cow, Mythtake Museum, Gapyeong (2021); Player Like You, The Cheong-ju Art Studio, Cheong-ju (2021); Moist Touch of Ping, Gallery DOS, Seoul (2020); Compulsive Hyperlink, Art Space ‘Plasque’, Seoul (2019); Perpetual Interchange, Inyoung Gallery, Seoul (2019); Indecipherable skin, Just365projectspace, Seoul (2017);Living Templates, Gallery DOS, Seoul (2014); The Revived 12 Gods, Year 2013, Topohaus, Seoul (2013); Division/Divinity, Insa Art Center, Seoul (2011)

Group exhibitions include Legends, Kristin Hjellegjerde Gallery, London, UK (2021); On Tact, Tae Kim Jin-Hee Park Duo show, K.O.N.G. Gallery, Seoul, Korea (2021); B-side, onewwall, Seoul, Korea (2020); Pig, Woljeon Museum of Art, Icheon, Korea (2019); Forgotten self-portrait/ 잊혀진자화상, La Pomme Museum, Cheongju, Korea (2018); Non Plus Ultra, Dongduk Art Gallery, Seoul, Korea (2017); Ethereal Sighting, Duo Exhibition With Serin Park, Alternative Space Noon, Suwon, Korea (2017); New Drawing project, Chang Ucchin Museum of Art, Yangju, Korea (2017); FBA Futures 2017, Mall Galleries, London, UK (2017); Rising Stars 2016, New Ashgate Gallery, Farnham, UK (2016).

Highlights and collections

Tae Kim was the Winner of Ha Dong Chul Memorial Foundation Awards in 2009 and was selected for Jerwood Drawing Prize in 2016 as well as for SOMA Drawing museum artist list in 2018. 

Solo exhibitions include Kuedza Mudzimu nesengere -Testing the waters, T293, Rome (2020); Fractalities,  First Floor Gallery, Harare, Zimbabwe (2017); Unspoken Language,  First Floor gallery, Harare, Zimbabwe (2014).

Group exhibitions include Legends, Kristin Hjellegjerde Gallery, London, UK (2021); Entropy, Salon91, Capetown, South Africa (2019); Collectors Show David Altman, LA, USA (2018); Paper tigers, First Floor gallery, Harare, Zimbabwe (2018); Harare Contemporary, Circle art agency, Nairobi, Kenya (2018); Initiation, Room Gallery, Johannesburg, South Africa (2017); Solstice, ODA gallery, Franshoek, Capetown (2017); Featuring Artist, David Krut Gallery, Johannesburg, South Africa (2017); Surface Drawing, Unhu Village, Harare, Zimbabwe (2016); Shift, Assemblage Studios, Johannesburg, South Africa (2016); Young Artist, Gallery Delta, Harare, Zimbabwe (2015).

Highlights and Collections

Tendai Mupita  participated in multiple artist in resdidence programs such as Skowhegan School of Painting and Sculpture, Maine, USA (2019);  Bag Factory, Johannesburg, South Africa (2017); Thupelo workshop, Capetown, South Africa (2017).