A Circus to Cheer Us: Stanley Edmondson at Nicodim Art & Cake | June 4, 2021
The most arresting thing about Edmondson’s installation is the unapologetic whimsy of his ceramic sculptures. Some artists have touched on this territory, (Niki de Saint-Phalle immediately comes to mind), but Edmondson’s circus retains the earthy brutalism that characterizes his previous work, and that makes for an interesting mix. In a sense he has weaponized fun, taking simple toy-like shapes and figures and making them monumental and immobile. Edmondson’s larger-than-life sculptures are more totem than toys, oversized reminders of childhood that are both playful and iconic.
Simphiwe Ndzube and Zakes Mda David Zwirner Podcast | June 2, 2021
A conversation about the art of telling stories with the South African artist Simphiwe Ndzube, who works between Cape Town and Los Angeles and whose first solo US museum exhibition opens this month at the Denver Art Museum, and the renowned writer Zakes Mda, whose novels are widely read throughout South Africa and beyond. The two dissect their magical realist stories of post-apartheid South Africa and their experiences of America on the page and on canvas—and try to locate the source of their own magic.
This episode is guest-hosted by Kyla McMillan, a director at David Zwirner.
A Conversation with Mosie Romney Cerebral Women | May 27, 2021
Episode 67 features Mosie Romney (b. 1994, New York) They live and work in Ridgewood, Queens, New York. A Jamaican-American artist, they received their education from SUNY Purchase, obtaining a Bachelor of Science in Visual Arts in 2016. They have been an artist in residence at the Home School, Hudson in 2018. Exhibitions include Mosie Romney, Nicodim Gallery, Los Angeles (3/25-May 1st 2021, solo); Evening Lark, Y2K Group, New York (2020, solo); PAPA RAGAZZE!, Nicodim Gallery, Los Angeles (2020); Mosie Romney and Juan Guiterrez, Meredith Rosen Gallery, New York (2020); and Materia Prima, Gern en Regalia, New York (2019).
Dominique Fung Live Walkthrough on IG Live The Here and There Co | May 26, 2021
Dominique Fung talks about what spurred her to dive into sculpture making, the inspirations for her newest paintings, and answers questions about her solo exhibition It's Not Polite to Stare at Jeffrey Deitch, New York.
Dominique Fung in '16 Rising Artists of the Asian Diaspora' Artsy | May 19, 2021
Through Fung’s exhibitions, the artist has shared a multitude of narratives surrounding her objects. In her current presentation at Jeffrey Deitch, they’re captured, contained, and displayed devoid of context—paralleling the canonical showcase of Chinese cultural and historical objects of unknown provenance in both art institutions and homes.
Dominique Fung Critiques Art History’s Oriental Fantasy Document | May 14, 2021
Fung’s bathing women are depicted as lifeless objects—more material than even the foo dogs beside the pool, more material than the rugs and the vases. They are depicted under a dehumanizing gaze. Fung’s new exhibition is another attempt—perhaps a more direct attempt—at flipping the orientalist script. Maybe this time, we’ll listen.
Isabelle Albuquerque: Touch Hunger AUTRE Magazine | Issue 12
In this interview with Nika Chewich and Sara Frier, Los Angeles-based artist Isabelle Albuquerque mines the vast pyschosexual resources of her subconscious ancient mythos and art history for her deeply intimate sculptural odyssey: Orgy for 10 People in One Body.
Le Marteau sans maître: Stefania Batoeva at Galeria Nicodim Special Ops | April 20, 2021
Le Marteau sans maître, or The Masterless Hammer, Batoeva’s third exhibition with Nicodim, is a series of drawings and paintings which, like the Pierre Boulez composition and René Char poems that inspired them, celebrate the journey of a once-emancipated psychic dissonance occasionally reined into harmony. Recycled, Brobdingnagian frames from the 80s reincarnate to house a series of small-scale, improvisationally arranged drawings that evoke Matisse on a bender and provide blueprints for the paintings.
Las pinturas de Larry Madrigal construyen un relato atemporal de la experiencia humana JOIA Magazine | March 14, 2021
Larry Madrigal (Los Angeles, Estados Unidos, 1986) descubrió su gusto por la pintura de forma insconsciente, mirando un cuadro de un río mientras visitaba a su abuela en Colima, México, cuando era pequeño. Después de un breve paso por el graffiti, estudió bellas artes y se enamoró, definitivamente, de la pintura.
Interview: Devendra Banhart Chats About His Current LA Exhibit BlackBook | March 12, 2021
Banhart’s first solo exhibition in Los Angeles, The Grief I Have Caused You, a startling Cubist-meets-Surrealist amalgamation of works, features Banhart’s signature eclecticism, natural wit, and ambitious talent. We visited the gallery – ah, how we have missed in-person events – and had the chance to catch up with the artist himself, who took some time out to talk to us about NFTs, his love of staying home, and a possible obsession with the Loch Ness Monster.
Isabelle Albuquerque Cover and Feature Purple Magazine | March 9, 2021
I wanted to create something that was not in response to the male gaze. These works are from a matriarchal, mythological, and internal lineage. They’re coming from the gaze that emanates from inside the body and are less concerned with the gaze that looks onto the body.
Review: Ndzube's 'Like the Snake that Fed the Chameleon' RiotMaterial | March 8, 2021
A master storyteller, Nzdube creates an existential, otherworldly space where the ordinary becomes extraordinary. The work defies easy explanations, as mystery is piled on top of enigma. Each painting or sculpture shares a homemade, do-it-yourself aesthetic, with all seams made visible, as though haphazardly sewn, stitched, stapled, glued and pinned together in a hurry.
'Like the Snake that Fed the Chameleon' – Reimagining Black Characters as Mythological Ones ArtNowLA | March 8, 2021
The multifaceted Ndzube melds together a mixture of media with this exhibit, from collage, sculpture, sound pieces, paintings and more. While the title sounds dark and menacing, the works contain bright pops of color, unlike others that have highlighted drought and desolation.
Review: Devendra Banhart Artillery Magazine | March 4, 2021
Many of Devendra’s works in this show liken bodies and figures to empty vessels that fill with emotion and can be let in or out. The use of a torso here gives the viewer a guttural feeling of the guilt of grief felt and perpetuated. In a separate interview, Devendra says of the work, “I thought a lot about how much grief I’ve caused others through my carelessness, selfishness, and unconsciousness—how awful it is to know I’ve caused someone grief, and how awful it is to feel grief that others have caused me.”
Isabelle Albuquerque Sculture Magazine | March 4, 2021
All fantasy, all good theater, requires some suspension of disbelief, a surrender to the moment. Total acceptance of what lies before us is what gives works of art their undeniable power. Isabelle Albuquerque’s work induces that suspension of disbelief, conjuring meaning from metaphor, innuendo, and metamorphosis. All of these phenomena come to the fore in a series of figures that manipulate and reconfigure reality.
Sense the Multifaceted Layers of New York City in the Work of Devin B. Johnson ArtofChoice | February 26, 2021
Viewers come face-to-face with the depth of each of the multimedia paintings that are as layered as the artist’s meticulous intent. Deeply influenced by music, the tumultuous streets of New York, and a universe of self exploration and intention, the effect is a spellbinding composition. The Pratt Institute graduate, and New York-based artist is quickly gaining international praise through his representation at Nicodim Gallery, LA & Bucharest, and we are eager to see what he will uncover in future creations.
Devendra Banhart Exchanges Breath and Rhythm for Pencil and Ink Hyperallergic | February 26, 2021
The exhibition is rooted in the artist’s study of Chöd Buddhism and the practice of offering up one’s entire body. The painting “The Kiss” (2021) implies a fragmented affinity with the self, a fleshy, double-orificed face folded inwards. Banhart plays with repulsion, figures turning themselves inside out until the body is defamiliarized.
Devendra Banhart: Painting at the Edges of Mythology LA Weekly | February 25, 2021
Devendra Banhart’s strange and wonderful exhibition of recent paintings and drawings at Nicodim Gallery in downtown Los Angeles is a rogue’s gallery of surrealist avatars, a pageant of intimately scaled works awash in playful, mischievous mystery.
Barbarous Nomenclature: Devendra Banhart Shows Off His Paintings at Nicodim FLOOD Magazine | February 19, 2021
“Just like making a record, my paintings and drawings—half of them are characters, half of it is made up and just trying to be self-referential while not exactly being me. Some of it has nothing to do with me or baring my soul, and some of it is extremely intimate. Most of the paintings are just me trying to crack myself up. I’m so horrified and depressed. I have to paint disco bears over the ocean just to cheer myself up.” – Devendra Banhart
Devendra Banhart Interviewed by Curator Curator | February 17, 2021
Devendra Banhart is an internationally renowned musician and visual artist, considered a pioneer of the “freak folk” and “New Weird America” movements. Curator connected with Banhart on the occasion of The Grief I Have Caused You, his first solo exhibition in Los Angeles at Nicodim Gallery.
Isabelle Albuquerque Interviewed by Wallace Ludel Foundwork Dialogues | February 17, 2021
"I think a lot of times throughout art history, especially with women’s bodies, the desire is projected onto the object or body, but I’m really interested in the kind of desire that projects outwards from inside the body. I think this is related to what some medieval saints and mystics referred to as the inner eye. I love all gazes, I’m not against the male gaze, but this particular emanation of desire is not about that, it’s a different kind of gaze that comes from within. It’s a gaze that’s mythological, matriarchal, and personal. It’s a gaze that reaches from inside and directs itself outward."
Devendra Banhart’s First Solo Exhibition Opens in Los Angeles Observer | February 17, 2021
The result of this highly self-reflective and personal healing work takes shape as abstracted forms and shapes that are completely at peace in their absurdism. Eyes float in a non-hierarchical structure and objects like shoes and balls are woven within curved shapes and deep blues and purples. For an exhibition exploring grief during a time of despair, the work is joyously balanced, embracing grotesque figurations of comedy and tragedy.
Devendra Banhart and Simphiwe Ndzube: Kindred Spirits Connect Los Angeles Magazine | February 15, 2021
The Venezuelan-American musician-painter and the South African multimedia artist talk about their upbringings, inspirations, and making art with a sense of humor in this interview with Michael Slenske.
Simphiwe Ndzube on the CARLA Podcast Contemporary Art Review Los Angeles | February 5, 2021
Simphiwe Ndzube talks about his childhood growing up in South Africa and how as an artist he uses his Magical Realist style to blend past experiences with fantasy. Ndzube talks about following his inner child as an intuitive guide to his art making which blends sculpture, painting, and assemblage. Ndzube discusses art-making as a tool for unpacking traumas, and how he uses his own practice to process past experiences.
South African artist Simphiwe Ndzube blends found objects, sculptures and paintings in magical realist pieces KCRW | February 4, 2021
Ndzube reimagines Black bodies as mythical beings capable of inhabiting multiple dimensions. His pieces tend to blend found objects, paintings, sculptures, and textiles in vibrant colors.
Simphiwe Ndzube in Hyperallergic's Concise Art Guide for Los Angeles in February 2021 Hyperallergic | February 3, 2021
South African-born artist Simphiwe Ndzube has garnered attention with his hybrid works that fuse painting, sculpture, and found objects, depicting a surreal world of fantastical Black bodies. The artist has crafted a field of corn stalks branching out from the hanging installation into the gallery space filled with his signature figurative works.
Snap Review: PAPA RAGAZZE! CARLA | January 21, 2021
Mosie Romney’s oil and spray paint self-portrait Multiple Selves (2020) offers a challenge to the bio-determinist narrative present in the show’s framing and in our culture at large. In it, Romney is depicted with four faces—three on their head, and one held in their hand. Each face is androgynous and ageless, the self-portrait morphic and decisively obfuscating.
A Race of Peeping Toms Review Art A Part of Culture | January 20, 2021
If the expressive analogies may seem similar, the underground elements in Pitín are perhaps more complex than they are in the reality we live today. Information and meanings come together, overlap, hiding and then returning to the light. Impulses that emerge from all sides, to disappear and reappear more insistent and finally populate architectural scenes that are now more real and known.
Larry Madrigal Interviewed Coeval Magazine | January 19, 2021
The paintings of Larry Madrigal reflect our daily obligations, struggles and pleasures in a nearly absurde and comedic way. We’ve seen a lot of pictures of life like moments. His paintings however present a different point of view and a intricate care for detail that instantly rises ones attention.
ARTnews in Brief: Nicodim Now Represents Mosie Romney ARTnews | January 8, 2021
Los Angeles gallery Nicodim now represents Brooklyn-based painter Mosie Romney, who will have a show at the gallery later this year. Romney’s canvases play at the intersection of figuration, abstraction, and collage, often depicting a lone figure amid a surreal background. Previous exhibitions to include their work are “Mosie Romney and Juan Guiterrez” at Meredith Rosen Gallery in New York and “Evening Lark” at Y2K Group in New York, both in 2020.
Andrew Berardini on Isabelle Albuquerque ArtForum | January/February 2021
Headless and naked, standing up or lying down, on all fours or spread-eagled, all of these works were incarnations of an orgiastic multitude... Albuquerque’s avatars, though humorous, are nonetheless tinged by a real violence that seems to be perpetually lurking in the shadows. After careers as a dancer, musician, and designer, the artist—in her solo debut as a visual artist—offers up a compelling meditation on the nature of being, the possibilities of pleasure, and the difficult process of trying to understand the throngs, lost and found, who inhabit every single one of us.
Michiel Ceulers and Jorge Peris at Nicodim ArtViewer | December 10, 2020
Toward the end of the Anthropocene, a perfect virus forced humans to physically isolate themselves from one another. While fires scorched the earth and hurricanes and rising temperatures flattened and flooded it, the dominant species instead focused inward.
30 Under 35: Devin B. Johnson Wrestles with Abstraction Cultured | December 7, 2020
Johnson’s sculptures and textural paintings carry spirits and energies through space. The abstract figures are fragmented and intertwining with the environment. There are brushstrokes revealing a variety of speeds. Bricks, drips and splatters meet hints of floral pattern. “I’m a daydreamer. I’m a Pisces. I’m emotional, sensitive and intuitive.”
30 Under 35: Simphiwe Ndzube Embraces Mystery as a Key Ingredient Cultured | December 7, 2020
Ndzube’s work is like a kaleidoscope in which harsh reality enmeshes with hallucination and worlds weave in and out of each other, fantastic color exploding at their intersections. At once flamboyant and mystical, his practice is populated by evanescent figures that sprawl out in his paintings and strut through his exhibitions as sculptures.
'Endangered Species' at Nicodim Mousse Magazine | December 3, 2020
Ceulers’ sculptural, Rube Goldberg-ian mousetraps would be comically cruel if they were functional in the least; they become relics of extinct belief structures in their immediate obsolescence.
They Seem Cool: Devin B. Johnson The Cut | November 26, 2020
The Cut spoke with Devin B. Johnson about being in Senegal during the pandemic, making music, and his studio snow pants.
Georgina Gratrix in Art Insider KCRW | November 17, 2020
Georgina Gratrix’s figures and still-lifes have a gloopy impasto paint application. The faces of her figures ride a line between comical and slightly disturbing. Swabs of thick paint fold into disfigured personhood: melting noses, multiple sets of eyes, large textural gashes across cheeks. Some even have googly eyes embedded in the thick paint. Many of the paintings are intimate self-portraits or paintings of loved ones, but unlikely celebrities, politicians, and athletes including Scottie Pippen — appear in the mix.
Studio Visit: Dominique Fung BOMB Magazine | November 12, 2020
In her new studio, one work-in-progress which Fung is finishing for ART021 in Shanghai, depicts a life-size, Qianlong-period, floral double-gourd vase transforming into a lounging figure. An entanglement of limbs holds out a knife and slashes a sliver from its own midsection. While uncanny and violent, the view appears almost sensual in its revelation of flesh within a porcelain vessel.
Simphiwe Ndzube Continues to Explore the Fantasy of Mine Moon in New Works on Paper Juxtapoz | November 11, 2020
Based on fantasy but also including local African legends, national history, its cast of flamboyant characters helps Ndzube explore themes of power, conflict, exploitation, and occupation, by placing them in both violent and humorous scenarios.
Review: Isabelle Albuquerque at Nicodim Artillery | November 10, 2020
Each piece in the show is exciting, gorgeous and worthy of the unhurried, spiritual attention one would pay at an altar. Albuquerque presents headless totems of feelings, not imprisoned in memory, or choked by the ego’s self-consciousness, but poised, reclining, spread on all fours, ready for the full experience.
Seeing Ourselves Through Their Art: Georgina Gratrix ArtMatters with Edward Goldman | November 10, 2020
Going to Nicodim Gallery to see the solo exhibition of South African artist Georgina Gratrix (b. 1982), I didn’t expect to admire and giggle at her heavy impasto paintings, that grabbed my attention with its bursting energy. None of the people the artist chose to portray look attractive or smart, instead they’re caricatures of themselves. They come across as cheeky, playful and surprisingly charming portraits of possibly Georgina Gratrix’s friends and family?!
Examining moments of embodied emotion & sexuality with the hyperreal cast sculptures of Isabelle Albuquerque AQNB | November 2, 2020
With hyperreal sculptures made from headless casts of the artist, the show explored the fleeting and embodied natures of emotion, sexuality and social experience.
Larry Madrigal: Sacred Reflection in the Middle of Ordinary Routines On Art and Aesthetics | October 28, 2020
There’s something very fresh about the way Phoenix, Arizona-based Mexican-American artist Larry Madrigal elevates that which is commonplace. He freezes onto the canvas not mere objects but little narratives, a style that renders his work particularly delightful.
In Conversation with Rising Star Katherina Olschbaur LVH | October 21, 2020
"As a woman, you are always multiple personalities; you learn how to live in the world: to adapt, to define, to give, to take, and to demand." - Katherina Olschbaur
Isabelle Albuquerque's 'Sextet' at Nicodim Purple | September 22, 2020
Purple presents images by Dana Boulos of Sextet, Isabelle Albuquerque’s first solo exhibition with Nicodim Gallery, Los Angeles.
Hugo Wilson on Creating from Chaos LUX Magazine | September 22, 2020
London-based artist Hugo Wilson works with drawing, painting and sculpture, combining images and techniques from Old Masters with contemporary references to create dynamic, layered artworks. LUX contributing editor Maryam Eisler visits his studio to photograph him and discuss refining his practice, creativity in lockdown and finding artistic freedom.
Isabelle Albuquerque Sculpts an Orgy of One LA Magazine | September 14, 2020
Seated across from me in her lofted MacArthur Park studio on a swampy summer Sunday in late August, Isabelle Albuquerque wears a black ball cap emblazoned with the slogan: “When Attitude Becomes Form.” It might as well be the mantra for her rocket-fueled sculpture practice, which only began in earnest a year ago, but will be the subject of a solo debut, Sextet, now open at downtown’s ascendant Nicodim Gallery.
Gallery Tour: Razvan Boar's DEMOFLASH II Romanian Cultural Institute New York | September 11, 2020
The Romanian Cultural Institute New York's current online arts series brings you the hotspots of Romania’s contemporary visual arts scene and some of the most talked-about artists' shows through 7 virtual gallery tours introduced by well establish curators and artists.
Artist Visit: Simphiwe Ndzube GalleryPlatformLA | August 21, 2020
Simphiwe Ndzube’s vivid scenes — painting, sculpture, assemblage, and installation—realize figurative forms as protrusions from colorfully uncanny landscapes. Bright and immediately involving, the commanding playfulness of his compositions serve an intensity that renders history’s hallucination of the human as a creaturely deformation of territory and affective possibility. In this studio visit, Ndzube reflects on the decolonial imperative of the South African art scene that nurtured and educated him, his relation to houseless residents of LA, and his recent fascination with tongues and umbrellas.
Fall Season Art Preview: Isabelle Albuquerque's 'Sextet' LA Weekly | August 20, 2020
They say a dancer’s instrument is their body. But when a movement artist moves into the world of sculpture, that can become truer than ever. Isabelle Albuquerque is on that journey now, transmogrifying her background in performance, music, and artificial intelligence/tech into dimensional objects that in a sense, continue to perform.
'Dream of a Young Poet' by Katherina Olschbaur LALA Magazine | Summer 2020
"There is often a dark underlying tone in my work, but I seek to transform this darkness into pleasure. I am interested in concepts of devotion, submission, adoration and worship in a broader sense, but also in human relationships. How can ecstasy, desire, piousness and sadistic or submissive impulses be translated into a visual experience?" – Katherina Olschbaur
The Edge is Bleeding: Isabelle Albuquerque and Arthur Jafa in Conversation AUTRE Magazine | Issue 10
In the Spring/Summer 2020 Issue of AUTRE, Arthur Jafa and Isabelle Albuquerque discuss Black culture, bad whiteness, and why the edge is bleeding. Other topics of conversation include Jafa's "Love is the Message, the Message is Death" (2016), scored by Kanye West, and Jafa's follow-up project The White Album (2018), as well as Isabelle Albuquerque's matriachal upbringing and sculptural developments.
"The Mine Moon": Simphiwe Ndzube's Imaginative Universe Influenced by Post-Apartheid Experience On Art and Aesthetics | August 6, 2020
Simphiwe Ndzube calls his fictitious world—that he uses as a vehicle of truth—the “Mine Moon”. It isn’t escapist, rather it is supposed to facilitate a deeper immersion in reality. The Mine Moon is fantasy, local African legends and national history all in one. It explores themes of power, conflict, exploitation and occupation through instances of violence and humour. The storytelling oscillates between joy and hopelessness.
Essential Arts: 'When You Waked Up The Buffalo' & 'Tortured Ecstasies' Los Angeles Times | Aug 1, 2020
"I really enjoyed a trio of small works on paper by L.A. painter Devin B. Johnson, featuring a moody trio of Black figures with inscrutable gazes, made up of deftly applied swathes and splatters of paint."
Dominique Fung Upends the Objectification of Asian Women in Surreal Paintings CNN | July 19, 2020
In her exhibition at Nicodim Gallery, Fung explored the limits of museums as disseminators of knowledge. "Through the Looking Glass" (2020) takes its name from the Met's 2015 exhibition "China: Through the Looking Glass," curated by Andrew Bolton. While it achieved record-breaking attendance at the time, the exhibition was highly controversial for what critics say celebrated Western designers' appropriation of Chinese culture -- to produce chinoiserie fashions.
Dominique Fung's Tongue-in-Cheek Rejections of the Orientalist Gaze Hyperallergic | July 8, 2020
In Relics and Remains, Fung’s portraits reframe East Asiatic femininity, prompting the viewer to interrogate the tropes of Orientalism. Her work provides respite from the exhausting emptiness of the cult of authenticity.
Dominique Fung Upends Persisting Fantasies of Asian Womanhood in Surreal Paintings Artsy | July 3, 2020
Created in New York during the height of the COVID-19 pandemic, Fung’s most recent works grapple with themes of Orientalism and Asiatic femininity in somber tones, enticing her audience with ominous surrealism, rather than playful fantasies.
Masks & Appointments: Dominique Fung at Nicodim Gallery LA Weekly | June 30, 2020
Dominique Fung: Relics and Remains at Nicodim Gallery is an impressive series of oil paintings in which the artist addresses not only her personal Chinese heritage as a first-generation Canadian, but the way in which tradition, immigration, feminism, and art history play into that self-exploration.
Mo Romney Is Archiving “Uncharted Areas of Black Art History” Hyperallergic | June 24, 2020
In this interview with Dessane Lopez Cassell, Mosie discusses their time as an archivist at the Studio Museum in Harlem, queerness, community, and celebrating 2020's LBGTQ Pride Month in quarantine.
Dominique Fung Unpacks Her Understanding of Cultural Identity KCRW | June 23, 2020
Dominique Fung’s exhibition at Nicodim was a particular joy after long weeks of viewing art digitally. Her paintings are an uncanny blend of figuration, abstraction, and surrealist objects that merge together in harmonious locomotion across the canvas.
Teodor Graur on the Pandemic, Art, and the Paradox of the Future Scena 9 | June 9, 2020
"I believe that things cannot remain unchanged, it is not possible that this true earthquake of proportions will not remain without consequences, in all the planes of our life. So art will also change." – Teodor Graur
Relics and Remains: Dominique Fung's Grand Journey Juxtapoz | June 9, 2020
Dominique Fung's newest solo show, Relics & Remains, with Nicodim Gallery in Los Angeles, is a dense and beautiful showcase that fully realizes Fung's vision as a painter.
INXS: Simphiwe Ndzube, Moffat Takadiwa, and Zhou Yilun Artviewer | June 6, 2020
Artists Simphiwe Ndzube, Moffat Takadiwa, and Zhou Yilun have each released major, never before seen works that are so moving, so autoerotic, that—for the safety of the public—they are installed, locked away from the citizenry, sealed within the gallery, disinfected, and only viewable online.
Moffat Takadiwa: The Art of Small Things Garland Magazine | June 4, 2020
The tapestries, part of an exhibition, Son of the Soil by Zimbabwean artist, Moffat Takadiwa, include pieces such as Land of Coca Cola and Colgate, The Green-Gold andOccupation of Land. They are so mesmerising that the hefty topics they examine—land ownership and consumer culture—almost come as a shock. Looking at the draperies is like gazing back at Earth from the uppermost atmosphere. But go closer, much closer, and you soon realise all is not as it seems.
Art In Uncertain Times: Simphiwe Ndzube Makes a New Connection with the Body in LA Juxtapoz | June 03, 2020
"I’m learning to walk on my hands and feet, so to speak. I think that we all are." Mirroring the vibrant imagination that springs from his work, Ndzube expresses a poetic view of the situation. "I’m feeling a new connection with the body; I’m learning to actually feel it—the body, the heart, breathing, stillness."
Transition, Trauma and the Cluj Connection CORD Magazine | June 2, 2020
Born in 1978, and educated in Cluj-Napoca from 1996-2001, Serban Savu is one of the better-known representatives of recent Romanian art, as well as arguably among the most talented. Savu’s impressive figuration blinds us to various manipulations. His technique of isolating figures within wide expanses of land or cityscape creates dramatic compositions powerfully at odds with the mundanity of his subject matter. In a continual elision of past and present, he transforms all manifestations of the utilitarian and ordinary into moments that surpass the sum of their parts.
Razvan Boar's Exhibition is One to See in Bucharest Urban | May 29, 2020
Noua expozitie creata de Razvan Boar in timpul pandemiei exista ca un intreg scindat in doua camere care reprezinta doua taramuri de constiinta.
Join Curate LA's Virtual 'INXS' Gallery Walkthrough with Simphiwe Ndzube Curate LA | May 23, 2020
Simphiwe Ndzube’s work stitches together a subjective account of the black experience in post-apartheid South Africa from a mythological perspective - Join as Shelley Holcumb from Curate LA and Simphiwe go live to discuss his works in 'INXS: NEVER BEFORE SEEN MAJOR WORKS BY SIMPHIWE NDZUBE, MOFFAT TAKADIWA, ZHOU YILUN.'
Gallerist Visit: Mihai Nicodim Gallery Platform LA | May 21, 2020
Gallerist Mihai Nicodim of Nicodim Gallery walks Gallery Platform LA through his property while sharing stories of risk-taking, bringing Eastern European art to Los Angeles, and the beginnings of Nicodim in Chinatown.
Katherina Olschbaur in 'Phantom Body: Weightless bodies, Avatars, and the end of skin' Whitehot Magazine | April 2020
Within this resurgent Surrealism is work that explores body-object confusion, found within the works of Katherina Olschbaur and Robin Williams. This is a skin of replacement, that reflects its material surroundings back towards the space it inhabits, confusing the delineation of subject and object and the space it occupies.
Los Angeles Dealers Create Their Own Virtual Gallery New York Times | April 23, 2020
In Los Angeles, several galleries have independently organized and created their own marketing website, galleryplatform.la. They have also formed a group, Gallery Association Los Angeles (GALA for short), with plans to continue long-term as the only citywide art dealers’ association.
Exploring Adoration, Worship, Heightened Awareness and Erotic Sensuality through the Body-Inhabited Objects of Desire with Katherina Olschbaur ArtMazeMag | April 16, 2020
Katherina Olschbaur’s painted figures exist in a state of constant flux. Refusing to settle in a singular, fixed body, they flit between sexes, gender presentations, human, animal and pre-human forms. In her recent exhibitions, ‘The Divine Hermaphrodite’ and ‘Horses’, the haunches of bulls and horses become human feet fitted into too-small, cloven heels; voluptuous, horned beasts pose in thigh-high fetish boots; muscular thighs and calves bend and stretch, attached to broad-shouldered, breasted torsos and equine heads. Human dominates animal and animal dominates human in an erotic performance of evolutionary metamorphosis.
Dominique Fung in The Essential Artists You Need To Know Right Now Elephant Magazine | April 8, 2020
With newfound time on our hands, there's no better moment to discover a new artist. Second generation Chinese-Canadian artist Dominique Fung takes the often problematic depictions of the East in Western art—think Henri Rousseau and Jéan Léon Gérôme and their exoticized paintings of far away lands—and reconfigures them through her own lens. Drawing on Orientalist ideologies and artefacts, she dismantles and reframes them within warm, luscious and surreal landscapes.
Devin B. Johnson a 'Rising Star' to Watch at the 2020 Armory Show Artnet News | March 2, 2020
What to Know: Johnson’s work at the fair is a continuation of the series he began with “Melody of a Memory,” his first exhibition with Nicodim, on view in Los Angeles through March 21. His works are made from a pulsing mix of spray paint, acrylic, and oil sticks.
Spotlight: Hugo Wilson Artists' Collecting Society | March 3, 2020
In the latest instalment of the ACS 'Artist Spotlight' series, they talk to multidisciplinary London-based artist Hugo Wilson about his practice. Wilson works across a range of media including painting, drawing, sculpture and printmaking, exploring issues of faith and belief and the associated structures of power. The artist's interests are wide-ranging, encompassing science, religion and culture, systems of classification, history and memory.
A Studio Visit with Simphiwe Ndzube The Contemporary Art Digest | March 1, 2020
In November of 2019, The CAD spent the day with Simphiwe Ndzube in his LA studio. In this video Simphiwe talks about his creative process and inspiration while he continues to work on some of his new paintings.
Pleasure Dome: Andrew Berardini around Frieze LA ArtForum | February 25, 2020
Smashed between adult star Sasha Grey, filmmaker-artist Miranda July, and underground legend Ian Svenonius in the space of Wolfgang Pucks’ original Spago on the Sunset Strip, a weird claustrophobia set in. So I skipped outside to watch magickian-artist Brian Butler, sword in hand, hollering Luciferean incantations in a bloodred glow as the moon rose above him. I half-expected a demon to leap from the Hollywood sign and eat us all in a single, wet gulp.
Frieze, Felix, ALAC... and A PLEASURE DOME LA Weekly | February 13, 2020
Not a Fair, but… Hollywood Babylon: A Re-Inauguration of the Pleasure Dome is the grooviest of the satellite projects in town this week. A joint production of Jeffrey Deitch Gallery, Nicodim Gallery, and Autre Magazine, the project is a group exhibition dedicated to the legacy of avant-garde occultism in Los Angeles in all its sexy, stylish glory.
In LA for Frieze Week? 'Melody of a Memory' an Inspiring Exhibition to See Artnet News | February 10, 2020
Featuring a dramatic play of light and shadow, Devin B. Johnson’s surreal portraits are based on digital collages that blend historical and personal images. The artist, who is one of the inaugural residents at Kehinde Wiley’s Black Rock Senegal residency, created the show almost as if it were a concept album, imagining each painting as its own love song.
The Hollywood of Kenneth Anger’s Imagination Is Coming to Life in the Old Spago Space Los Angeles Magazine | February 10, 2020
With some help from Nicodim and Jeffrey Deitch Gallery, Ritchie Handler and Co. have transformed BADD House into a veritable house of ill repute for Hollywood Babylon: A Re-Inauguration of the Pleasure Dome, a multimedia group exhibition, which will be open to the public for the duration of Frieze Week following tonight’s private opening party.
Kenneth Anger Inspires Pop-Up Art Exhibit on the Sunset Strip The Hollywood Reporter | February 6, 2020
Jeffrey Deitch and Nicodim galleries will co-curate “Hollywood Babylon: A Re-Inauguration of the Pleasure Dome,” an art show inspired by the experimental filmmaker and author Kenneth Anger in the former Spago restaurant space in West Hollywood.
Katherina Olschbaur Subverts the Patriarchy with Sensual Delight LA Weekly | February 4, 2020
Olschbaur and Unzicker, the latter, associate director and curator at UC Irvine, soon began working on the exhibition Dirty Elements, which would draw on themes from classical artworks, while transforming these pieces into what she calls “sensual spaces of erotic delight.” The exhibition, featuring eight large oils by the artist, opened in January at UC Irvine’s University Art Gallery, with several paintings deriving inspiration from mythology, religious and historical artworks.
Moffat Takadiwa's Work Featured at Jay-Z's Roc Nation Offices in the New York Times New York Times | February 1, 2020
Jay-Z in front of “The Tengwe Farms” (2019), by Moffat Takadiwa, at the Roc Nation offices in Los Angeles in January. Photo credit: Renell Medrano for The New York Times
Dominique Fung: The Weight of Water Juxtapoz Magazine | January 27, 2020
Second generation Chinese-Canadian painter Dominique Fung collects these problematic notions and recasts them through her own lens, refiguring art history to give her subjects real agency. Her work is luscious, refined and inviting. Warmly lit, melodically composed and exuding sensual energy, Fung’s paintings don’t appear critical at first glance, but upon closer inspection, her subjects protest, laugh and make absurd gestures, posturing themselves politically in Fung’s world.
Simphiwe Ndzube's Metaphorical Universe Mutual Art | January 14, 2020
Simphiwe Ndzube's art leads the spectator on a powerful journey of creativity and imagination, where he's invited to explore themes and tradition of Ndzube’s culture. Historical, social and political events of South Africa emerge with strong and energetic language, defining his entire practice, from painting to sculpture and installation. In his works, the artist draws from different aspects of African history and infuses them with magical elements and legends.
With Lovers reviewed by Eve Wood in Riot Material Riot Material | December 27, 2019
Imagine a faceless orgy, a concupiscence of bodies – colliding, embracing, penetrating, wherein the entirety of the surrounding picture plane is reduced to a senseless expanse of writhing and roiling flesh. In Philipp Kremer’s work, the notion of desire is determined by an exploration into genderless ideation.
Dominique Fung's Paintings Modernize Tradition Art of Choice | December 19, 2019
Dominique Fung‘s paintings are a splendor for the senses. Drawing influence from her Chinese background, Fung turns centuries old tropes on their head to make statements about modern day life as a woman. Full of rich color and a visual exuberance, Fung’s works evoke a classical essence while making their own original mark.
Zhou Yilun Interviewed by Megan Chen Franchise Magazine | Issue 06, 2019
Franchise editor Kirsten Chen meets artist Zhou Yilun in his studio outside of Hangzhou, China to get the story behind his unique works.
Journey Through LA with Simphiwe Ndzube Vanity Fair | December 2, 2019
Produced by Vanity Fair with Genesis. South African artist Simphiwe Ndzube takes Vanity Fair and Genesis through his day in Los Angeles, sharing his unique creative process and the inspiration behind some of his most distinctive work.
The Surreal Art of Simphiwe Ndzube Omenka | November 7, 2019
South African artist Simphiwe Ndzube’s exciting portraits often depict figures in motion against a backdrop of theatrical landscapes. While Ndzube’s characters may analyse the new worlds in which they find themselves, identifying conventions and discerning what is acceptable, they also openly disregard the usual rules of power, class, and arrival.
Simphiwe Ndzube featured in Edward Goldman's Art Matters Art Matters | October 30, 2019
Goldman discusses the dramatic experience of visiting the CMATO's exhibition Empathy: Beneath the Surface, which was inspired by the twin tragedies that hit Thousand Oaks last year in early November – the mass shooting at Borderline Bar & Grill, followed by the massive Woolsey Fire the next day. “At the heart of this exhibition is empathy and the universal truths we share as humans, as only art can reveal to us.”
Da Harare a Los Angeles, per scoprire l’arte di Moffat Takadiwa, figlio della Terra Exibart | October 10, 2019
Caps, lids, toothpaste tubes, toothbrushes, rings and everyday objects with a more than ephemeral life - from a disposable perspective - become part of elaborate compositions that recall the artisan tradition. Every piece, every infinitesimal waste, recovered from immense mountains in landfills, is the bearer of a story, of a responsibility, often told by a printed name, by a brand, from a source. The theme of reuse and recovery, present in the production of numerous artists, in these works takes on particular value precisely because of the multiplicity of readings they offer and the extraordinary link with the origins, in a complex path that manages to bring out a profound dimension cultural.
Moffat Takadiwa in Frieze's Best Shows in Los Angeles Right Now Frieze | October 10, 2019
Moffat Takadiwa considers the intricate wall-hangings that he stitches together from old computer keys or used toothbrush heads ‘post-colonial African Dada’; these abstract tapestries of waste confront Western viewers with the ugly fallout from their late-capitalist lifestyles, giving them the opportunity to buy it back, now redeemed through beauty.
Review: Moffat Takadiwa's Son of the Soil Artillery Magazine | October 2, 2019
Takadiwa rarely anthropomorphizes his clusters of shapes, rather the human presence is evoked through the materials and the volume of waste generated, as if to say, I am making a collective portrait without defining an individual. The impact of Takadiwa’s forms is undeniable. The pieces resonate visually as well as conceptually as they are rooted in Zimbabwean history and hardship, but they also celebrate the possibilities of making something lasting and positive out of the ever-growing mass of global waste.
Vielmetter and Nicodim: 1700 South Santa Fe – Art Gains a Foothold Art & Cake | September 23, 2019
Making an auspicious start, Nicodim features Moffat Takadiwa for their first show in the new building. From afar, Takadiwa’s wall hangings might be confused for textiles, as glamorous and over the top as any Bob Mackie beaded gown. They are woven and drape under the weight of their components but instead of luxurious fabrics, they are like colorful chain mail for our modern times.
Tapestries of Plastic Waste in Downtown LA on KCRW's 'Greater LA' KCRW's Greater LA | September 18, 2019
Greater LA host Steve Chiotakis speaks with CARLA Editor-in-Chief Lindsay Preston-Zappas about Moffat Takadiwa's Los Angeles solo show. "A lot of America's trash and plastic recyclables end up in landfills of poorer nations, like Malaysia, India, and South Africa. Harare houses one of the largest landfills in Zimbabwe. Artist Moffat Takadiwa lives there. Takadiwa mines landfills for plastic trash. Much of it contains labels and logos of American brands. He then meticulously sorts and weaves together the found bottle caps, toothpaste tubes, toothbrushes, and keyboard keys into elaborate tapestries."
Moffat Takadiwa: Son of the Soil featured in KCRW Art Insider as a Top Show to See KCRW Art Insider | September 10, 2019
Artist Moffat Takadiwa, who lives in Harare, Zimbabwe—a city that houses one of the largest landfills in the country—mines landfills for plastic trash, much of which contains labels and logos of American brands. He then meticulously sorts and weaves together the found bottle caps, toothpaste tubes, toothbrushes, and keyboard keys into elaborate tapestries. Not only will you leave this show delighting in the stunning compositions and arrangements of these labor-intensive sculptural works, but you will also reconsider your own relationship to consumerism and plastic waste.
Moffat Takadiwa: Son of the Soil featured in this weekend's Art Guide LA Weekly | September 4, 2019
Downtown itself has more than one ecosystem, and tonight they’re all activated. Amidst a plethora of art openings this first week of September, exuberant found-material assemblage tapestries by Moffat Takadiwa activate Nicodim Gallery’s inaugural show in their brand new space on Santa Fe Avenue.
Georgina Gratrix's 'Visión Propia' Harper's Bazaar Art Mexico | September, 2019
Through her work, South African-based Mexican-born artist Georgina Gratrix brings an ironic perspective and criticism of everyday life issues.
Hortensia Mi Kafchin & Adriana Blidaru in Conversation Living Content | August 27, 2019
In this intimate conversation with LC, Hortensia Mi Kafchin (b. 1986, Galati, Romania) explains how most of her paintings can be read like a journal. The information she absorbs from art history, philosophy, science fiction, conspiracy theories, and popular culture, mixes with childhood memories from Romania, as well as with her dreams and fears. She talks about how a near-death experience shifted her entire worldview, and how her recent transition from male to female inspires her to explore internalized issues related to her gender, and her relationships to God, time, and death. She describes these experiences among others, to elucidate some of the meanings behind the reoccurring elements in her paintings.
Katherina Olschbaur named an Up & Coming Artist to Watch PARNASS Kunstmagazin | August 8, 2019
Katherina Olschbaur, in an interview by PARNASS Kunstmagazin, discusses the inspiration for her recent series of paintings, her feelings about living in Los Angeles, and the influence of the political in her works. "I move around the edges. I create a narrative, and then I destroy it again," explains Olschbaur. She is currently for nominated for this year's Cardinal King Art Prize.
Nicodim Gallery Moves to Downtown Los Angeles ArtNews | August 6, 2019
Nicodim Gallery in Los Angeles, which has been located in Boyle Heights since 2009, is moving to a new location downtown at 1700 South Santa Fe Avenue. The new space measures 10,000 square feet on the building’s ground floor, and its located just next to Susanne Vielmetter’s newly expanded home. The new location will open September 7 with Zimbabwe-based artist Moffat Takadiwa’s first U.S. solo exhibition. The gallery’s roster also includes Adrian Ghenie, John Duncan, Cristian Raduta, and others.
Radical empathy is the ideology you don’t know you need in your life - A Pajama Party featuring Tarot and Film at Nicodim FLAUNT | July 22, 2019
While mercury is currently in retrograde and our world seems to be quite literally falling apart, Trans World offers the beacon of hope we are so desperately yearning for. Curated by Ben Lee Ritchie Handler and Jorge Luis Cruzata, Trans World uses the multiverse theory as its platform to implore visitors to become critically conscious of themselves. A metaphysical exploration of self identity, Trans World will change the way you examine yourself and your surroundings. Be able to experience the magic that resides within Trans World and simultaneously go to your favorite type of party. Break out your PJ salvage matching set because Trans World is hosting a Pajama party with Tarot Readings by Lisa Anne Auerbach and a screening of Marie Losier’s The Ballad of Genesis and Lady Jaye (2011).
“The Soros Center was a Perfect Machine” - An Exchange between Aaron Moulton and Geert Lovink ArtMargins | July 15, 2019
Dutch media theorist and Internet critic Geert Lovink and curator Aaron Moulton explore ideas of influence, revolution, colonialism, and cultural exorcism in Eastern Europe's cultural field on the occasion of the exhibition The Influencing Machine at Galeria Nicodim in Bucharest. The show, curated by Moulton, was an anthropological investigation into the macroview of the Soros Center for Contemporary Art (SCCA), an unprecedented network of art centers that existed across twenty Eastern European capitals throughout the 1990s.
Dominique Fung Flips the Script on Orientalism Garage | July 9, 2019
Dominique Fung’s series of vase paintings exemplifies this seamless alchemy of ornamentalism: her vessels wear Chinese dresses and bows, their curved forms transforming them into hybrids—Asiatic women-objects. “It’s my way of reclaiming space that feels like it’s been taken away from me,” Fung says.
BLOK: ‘Historical Hurry-Scurry’ by Ciprian Mureșan at Nicodim Gallery BLOK | May 28, 2019
Cutting the book’s spine and disemboweling its contents, Mureșan takes us within a disorder of the book’s individual page spreads. The disintegration of the entire publication into this constellation of sixty floating compositions. It creates a spatial experience of objects disjointed from their context as props in a linear historical narrative.
Chemtrails reviewed by Valentina Iancu Revista Arte | May 25, 2019
Pollution has clogged all of our pores. Radiations of all kinds traumatize our tissues. Chemtrails. Will nature survive this new culture? Will any bit of humanity survive these transformations? What will the humanoids of the future look like?
Nicodim Gallery featured in the 'Underground Gallery Guide' to Downtown Los Angeles Garrett Leight | May 2019
"The LA art scene is dead; love live the LA art scene!"
Simphiwe Ndzube interviewed for the Africa Raw Talent Radio Podcast Africa Raw Talent Radio | May 1, 2019
ART Radio interviews Simphiwe Ndzube on his life and practice. "Ndzube is a reminder that Africa is not merely a landfill for a wasted imagination, defunct ideals or ruined fantasies, but a thriving and talismanic force field for a further circulation and recycling of a now further-transmogrified waste."
Mi Kafchin's Chernobyl Springtime LA Weekly | April 30, 2019
In Mi Kafchin’s canvases, compositional tension is built between the push and pull of brutalist architectural splendor and feral, radioactive nature; while narrative dimensions unfold with the inscrutable mythology of post-Soviet displacement, disinformation and conspiracy, randomness and rebellion.
Conspiracy and Otherworldliness: Mi Kafchin at Nicodim Gallery Artillery | April 25, 2019
In “Chemtrails,” Kafchin visually represents her incessant internal escapades, which attempt to process how radioactive toxins from Chernobyl and other infiltrating forces altered her body and mind. Kafchin boldly evokes surreal and not popularly acknowledged concepts. Her work illuminates the frightening realization that in the grand scheme of things, we have little agency in controlling that which we don’t fully know—and as Kafchin illustrates, it’s quite a lot.
Conversations: “The Influencing Machine” at Galeria Nicodim, Bucharest in Mousse Magazine Mousse Magazine | April 20, 2019
The conversation [transcribed] is from a panel discussion between Aaron Moulton (director of Nicodim Gallery, Bucharest), Luchezar Boyadjiev (visual artist), Călin Dan (director of the National Museum of Contemporary Art, Bucharest, and an artist belonging to the group subREAL), and Geert Lovink (media theorist, critic, and founding director of the Institute of Network Cultures). The panel focused on the program developed by the Soros Centers for Contemporary Art (SCCA) network and its major role in the modernization of artistic discourse in the former socialist countries and the republics of the former USSR.
'The Diamond Hunters' is Artillery Magazine's Pick of the Week Artillery Magazine | April 3, 2019
"Despite their playful affectation, Răduță’s bestial bricolages are more humanly bizarre than garden-variety toys, often bearing blatantly anthropomorphic or monstrous features. A sinking feeling develops as you realize that your surrounding rascals are not innocuous creatures, but chimerical freaks." – Annabel Osberg
Simphiwe Ndzube featured in 9 Emerging Los Angeles Artists to Watch in 2019 in ArtNet ArtNet News | February 13, 2019
Los Angeles is a multi-verse. There are countless routes to take, places to go, and artists to watch, which can make the entire experience of visiting or living in the city a little overwhelming. Born in Cape Town in 1990, Ndzube often addresses life in the country after Apartheid, but with a surreal narrative structure. His pieces are large-scale, mixed-media collages, featuring grotesque, headless figures in banal clothes sprouting arms, light bulbs, and traffic cones out of their necks while slumping around colorfully abstract dreamscapes. Often, the figures become three-dimensional and the cones and clothes are made from found objects.
Explore L.A.'s Dynamic Art World as It Takes Center Stage Architectural Digest | February 11, 2019
“There’s a lot of energy now in downtown,” according to Culver City gallerist Susanne Vielmetter. Part of that energy has been the Arts District's rapid real estate development, which includes the 2016 arrival of Swiss behemoth Hauser & Wirth, plus a number of expensive new coffee shops and concept stores. Galleries have come (and gone) to the area’s former warehouse spaces for the relatively affordable real estate, but not without fierce resistance from longtime residents. For better or worse, this region of the city is undergoing dramatic changes that reach beyond the art world. At larger galleries like Night, Ghebaly, and Nicodim, openings spill out into the driveway, likely alongside a taco truck and coolers full of beer cans.
Review: Tear Apart, Assemble, Repeat. Peeling the layers of Zhou Yilun's 'Ornament and Crime' LA Times | January 30, 2019
Raw and brutish, paintings by Zhou Yilun are assembled from scraps. For his second show at Nicodim Gallery, some bits are physical, as in collage; others are imagistic, as in layered pictures. He’s a bricoleur, puttering about with whatever comes to hand....
Robert Yarber: Suspended Within Transcendental Aspic Artillery Magazine | Nov/Dev 2018
Influenced by cinema, especially the denaturalized space and lighting that one finds in film noir, Yarber is forever pushing up against what is impossible versus plausible. Blind in one eye since birth, he knows he’s seeing it “wrong” but that just means that in these soft-core phantasmagorias he’s only painting what he sees. The flatness, the compression and expansion of pictorial space, and the dream-logic phenomenology of internal cohesion despite intense weirdness all contribute to creating a masterful externalization of a set of internal realities. Freud would be proud....
Explore the Aesthetic of Influences at Nicodim Gallery High Times | October 2018
"Cannabis helped me release any tensions that would block the visualization process,” Yarber said. “It permitted me to enter the plane of the image, and to permeate myself within the scene. The mind-body split would be reduced or diminished, so suddenly the body was in the mind and there was a permission to explore there. There was somatic integration with the visuals as well. The colors would be enhanced. The spatial relationship would be enhanced. I’d be unburdened.”
Yarber notes he may have come to those creative heights anyhow, but remains grateful to the “great gift the plant has given me.”
Robert Yarber and Ben Lee Ritchie Handler in Conversation Autre Magazine | Issue #6, 2018
'I just gravitated towards the drama of gravity being overthrown. That’s just part of the drama, the fact that we’re all stuck here. And also, it had to do with the history of dream lore, my own personal experience of dreaming of levitation and flying. Later, during many openings where I would show this kind of work, people would come up and discuss their own flying dreams, and it worked into about a 50/50 break between people that flew like Superman: extending their arms and propelling themselves by their will, and people who flapped and used their locomotive motion. I happened to be one that flapped...'
Nicodim Gallery Interviewed at Art Berlin Associated Press | October 2018
Ben Lee Ritchie Handler and Aaron Moulton interviewed for "Modern art fair draws collectors to Berlin art scene," a breaking story from AP covering the 2018 iteration of Art Berlin!
Moffat Takadiwa featured in "De man die activistische kunst maakt van kapotgeslagen toetsenborden" Vice Magazine | September 2018
The work of Takadiwa can now be seen in Language is the only homeland, an exhibition in The Nest, NL, about language, and the role language plays in forming a national or cultural identity. In the exhibition space we talked to him about colonial relics, and how it is to work with broken keyboards.
Nicodim Gallery featured in '10 Art Spaces Not to be Missed in Los Angeles' Florence Cocozza | July 2018
Mihai Nicodim opened his first gallery in Chinatown, Los Angeles in 2006 and later moved to Boyle Heights. In recent years, the gallery has offered a strong program of talented artists from Romania and Eastern Europe, becoming one of the first supporters of the Cluj School, the collective of artists including Adrian Ghenie, Razvan Boar, Ciprian Muresan, and Serban Savu...
Andrew Berardini on the inaugural edition of the Acid-Free Art Book Market ArtForum | May 2018
A few tables down, a white jumpsuited Ben Lee Ritchie Handler manned the Nicodim Gallery booth, where they sold occult catalogues for a trilogy of exhibitions Aaron Moulton curated at Nicodim’s LA and Bucharest locations. Each copy bore a cryptic symbol and sat behind a matching semitranslucent pyramid....
‘Formal Encounters’ at Galeria Nicodim: A Conversation with Ben Lee Ritchie Handler Berlin Art Link | April 2018
‘Formal Encounters’ is a group exhibition of policy challenging juxtapositions that speculate calculated instances of commodity in its most forbidden forum. Berlin Art Link spoke to curator Ben Lee Ritchie Handler about the current show at Bucharest’s Galeria Nicodim...
Simphiwe Ndzube featured alongside Amy Sherald, Mark Bradford, Chris Ofili, Sam Gilliam, and Kerry James Marshall in Bloomberg Bloomberg | April 2018
Emerging black artists starred last month at the Armory Show, New York’s biggest contemporary art fair, where Nicodim Gallery sold out of paintings and sculptures by South Africa’s Simphiwe Ndzube on the first day, with prices ranging from $20,000 to $40,000.
BioPerversity at Nicodim Art and Cake | April 2018
We tend to use anthropomorphized animals as proxies in metaphors and morality plays, fairy tales and Freudian projections, tattoos and illuminated manuscripts. Old myths are full of half human, half animal creatures, often gods or at least demigods.
Formal Encounters Revista Arta | April 2018
Written in red, the phrase “Formal Encounters is an exhibition of the artist at their most private public moment” closes with a bang the curatorial pseudo-fiction that accompanies the most recent exhibition at Nicodim Gallery in Bucharest, Formal Encounters.
BioPerversity Group Show Opens @ Nicodim Gallery in Los Angeles Autre | March 2018
Nicodim Gallery is pleased to present BioPerversity, an exploration of humanity’s darker and lighter perversions as told through the personification of the rest of the animal kingdom, creatures who exist a few rungs beneath us on the evolutionary ladder.
BioPerversity's Opening Reception featured in Artillery Artillery | March 2018
BioPerversity's opening reception featured in "From Sea to Shining Sea" on Artillery's Roll Call. The group show, curated by the ever-charming John Knuth and recent newly appointed director of Nicodim Benjamin Lee Richard Handler, was placed was packed with many familiar faces including Andy Moses, Keith Boadwee, The Box’s Mara McCarthy...
'Formal Encounters' at Nicodim Gallery in Bucharest Blouin ArtInfo | March 2018
Nicodim Gallery is hosting a group exhibition titled “Formal Encounters” at its Bucharest venue. The exhibition is a take on life affected by hi-tech apps. Every facet of personal interaction is preordained by community guidelines, chatroom moderators, and pirate, national, and corporate Peeping Toms. The casual, the discrete, and the kinky are increasingly formal.
Homeward Bound Group Show at Nicodim Gallery in Los Angeles Autre | November 2017
Homeward Bound is a domestic setting where all the skeletons are let out of the closet and allowed to play on the furniture, to stomp each other’s grapes. With the eye of noted designer Oliver M. Furth, the gallery space has been transformed into a literal home, complete with a living room, dining room, bedroom, bathroom, beyond.
The Surreal Sculptures and Paintings of Simphiwe Ndzube Hi-Fructose | October 2017
“Bhabharosi” at Nicodim Gallery in Los Angeles is the first solo show from Simphiwe Ndzube outside Cape Town, South Africa, the artist’s hometown. The strange, headless and limbless figures that travel throughout the paintings and sculptures of Ndzube have their own mythology.
New Season, New Art: Fall Begins with 45 Notable Exhibitions Featuring Works by Black Artists Culture Type | September 2017
With this exhibition, Simphiwe Ndzube has officially gone international. Ndzube is based in Los Angeles and South Africa, and this presentation is his first solo show outside of his native Cape Town.
Desolation, Dystopia And Joyous Dance: Simphiwe Ndzube Riot Material | September 2017
Simphiwe Ndzube, in his bold debut at the Nicodim Gallery, has produced a personal and political tragicomedy that is an insightful commentary on the human condition. Set against the backdrop of South Africa where Ndzube was born, Bhabharosi tells the timely story of the hero’s journey that is steeped in the colors and customs of his birthplace but speaks to universal themes.
Simphiwe Ndzube at Nicodim Gallery carla | September 2017
Certain artists—Kerry James Marshall and Nicole Eisenman come to mind—have mastered the ability to combine life as it is lived with life as it is portrayed; representation and abstraction work in tandem to produce portraits or scenes that reveal more about their subjects than literal depictions.
Nicodim Gallery: Simphiwe Ndzube Artillery | September 2017
“Bhabharosi,” the title of Simphiwe Ndzube’s show and several works therein, is a neologism the artist coined from the words “barbarous” and “rose” in isiXhosa, his native language, to refer to his protagonists. As insinuated, a mood of bittersweetness transfuses the exhibition. Variegated mixed-media works portray distorted figures whose ragtag garb and uneasily posed theatricality evoke dystopian fashion mannequins.
Studio Visit: Simphiwe Ndzube, A Journey Through the Theater of the Absurd Art and Cake | August 2017
Through metaphor and myth we seek to express themes that speak not to the particulars of a time and place but assert the conditions of life in universal terms; it is a need to depict the everyman and woman as players in this tragicomedy of life. From the Tarot deck, the fool steps off of a cliff......
"The Basilisk" ArtForum | June 2017
Alexander Reben’s mesmerizing five-minute film Deeply Artificial Trees, 2017, is basically Bob Ross on acid: The beloved late painter’s brushstrokes lay down rapidly morphing images of happy little pines, scorpions, puppies, and sinister birds of prey as Bob talks backward, or possibly in tongues.
Aliens, abstraction and Thomas Kinkade: An L.A. exhibition summons the spiritual and the fantastical LA Times | May 2017
Pass through the doors of Nicodim Gallery in Los Angeles and you may think you have entered the astral plane. In one room are feathered costumes and alien paintings produced by the Unarius Academy of Science, the 6-decade-old El Cajon spiritual group that believes in reincarnation and the channeling of knowledge from alien beings.
Five Art Shows to See in LA This Week LA Weekly | May 2017
The show, curated by Aaron Moulton (who also curated the sprawling show next door at Venus over Los Angeles), grapples with the afterlife and the otherworldly and includes so much more: Mungo Thomson’s cosmic wallpaper, a romantic storm-scape by "Painter of Light" Thomas Kinkade, an icily meditative video by Guido van der Werve.
Body, Politics, and Human Journey: Art According to Simphiwe Ndzube Zoo Magazine no. 54 | March 2017
“What artists make is, to a certain extend, an extension of themselves. It somehow shows what is happening in the backs of our minds, how we analyze the world and how we project the world back to ourselves.” - Simphiwe Ndzube
Rememberment of Things Past: Adrian Ghenie Parkett no. 99 | 2017
Ghenie might be saying that nothing is ever really lost, and that ends and beginnings, “inaugurations” and “epochal shifts,” repurpose the same scabrous, oily fragments…
Power Play: Ciprian Muresan's Take on Art and Indoctrination Art & Cake | January 2017
At the Nicodim Gallery through January 21st is a particularly potent exhibition given the upcoming presidential inauguration. Ciprian Muresan’s installation, sculptures, and drawings are a defiant inspiration to freedom, both artistic and otherwise. The Romanian artist’s work is symbolic and allegorical, serving up reflections about artistic freedom, creation, and life itself following the ouster of a Soviet regime.
Nicodim Gallery: Daniel Pitín Artillery | March 17, 2017
Daniel Pitín’s paintings allegorize the uneasy tension between our mortal individuality and the cold cardboard abyss of the computerized world. Most works in his current show depict inchoate figures merging into geometric multi-planar forms. These unclassifiable, cubistic shapes alternate between obtrusively imposing upon the protagonists and intrusively annexing their bodies.
Galeria Nicodim The Art of Living | January 2017
Nicodim Gallery opened in 2006, in Los Angeles and, in 2012, in Bucharest. Since September 2016, Nicodim Gallery has moved into 1000 sqm fabulous place at Combinatul Fondului Plastic. The space belongs to the Romanian Artists Union who, 26 years after the fall of communism, managed to provide an appropriate function to it.
The LA Times recommends Tong Kunnaoi, "Why Don't You Eat Stinky Tofu" at Nicodim Gallery LA Times | September 2016
The Chinese-born artist features messy assemblages and kinetic sculptures crafted from detritus that includes Barbie dolls and religious souvenirs.
LA, the New Art Frontier RanDian | May 2016
Los Angeles, the sunshine city on the West coast of the US, is having its moment now. There is much debate about whether it can rival New York to be the next global art capital. But it is a mistake to compare Los Angeles with New York, Beijing or London, because Los Angeles is what they are not. It is their idiosyncratic counterpoint.
The Good, the Bad, and the Ugly YiShu Journal of Contemporary Chinese Art | 2016
I accompanied Zhou Yilun on his trips to Los Angeles in the summer of 2015 and Bucharest in the spring of 2016, during which he created two bodies of paintings, installations, and sculptures for Nicodim Gallery’s two locations. This essay is the result of my close observation of how he implements the strategies of chance, assemblage, contradiction, and contingency to overtly put under scrutiny the global postmodern discourse of dissolving what Jean-François Lyotard calls master narratives or metanarratives to embrace incongruity and expose the linear narrative of art history
Boogeyman Revista Arta | August 2016
For centuries, folkloric tales were intended as a cultural instrument to teach one how to protect oneself in a precarious environment. The boogeyman is one of its central characters and embodies who or what is the danger. As a communication network for transmitting information, storytelling has become technologically obsolete. It has been replaced by waterfalls of updates, favoring the evolution of a disorienting information-jungle.
‘Omul Negru’ at Nicodim, Los Angeles ARTNews | August 2016August 12, 2016
Today’s show: “Omul Negru” is on view at Nicodim in Los Angeles through Saturday, August 20. The group exhibition, which is curated by Aaron Moulton, presents work by 39 artists, including Adrian Ghenie, John Houck, Jamian Juliano-Villani, Sterling Ruby, and Richard Serra.
Ecaterina Vrana reviewed by Annabel Osberg Artillery Magazine | July 2016
The air in Ecaterina Vrana’s exhibition partakes heavily of oil odors. Like many other contemporary painters, she applies copious quantities of paint in various ways, slathering it like Spackle, squeezing it out in toothpaste-like ropes, engraving it, and stippling it into bas-relief blobs. Unlike some who ice canvases with the goal of creating paintings as brightly hued and tantalizing as cupcakes, Vrana channels paint’s corporeality into somber scenes whose caliginous atmospheres seem to recede far into space.
Review: Myth and mystery in Ecaterina Vrana's paintings at Nicodim Gallery LA Times | June 24, 2016
Ecaterina Vrana’s paintings at Nicodim Gallery are striking in their idiosyncrasy. The Romanian artist handles paint like frosting, depicting dream-like scenarios dominated by women and snowmen, birds and fish, and lots of blood-red tears. The world they inhabit is by turns humorous and dark but wonderfully mysterious.
Zhou Yilun's "The Monkey on Horseback" Revisita Arta | June 2016
The gallery owner Mihai Nicodim doesn’t deny himself of ambitious projects: after launching the painter Adrian Ghenie on the international market at an astounding level, he returned from Los Angeles to his hometown, Bucharest, where he opened the gallery that bears his name. Now situated in the sumptuous space in the Enescu Museum building, this gallery not only presents well known or upcoming Romanian artists, but also international artists for which an exhibition in Bucharest can be more picturesque and interesting than the trodden paths of the West.
Sociopolitical History and Art History as Feedback Loops Whitehot Magazine | June 2016
Romanian artist Șerban Savu was born in 1978, but he’s clearly what one might call an old soul, demonstrating both a precocious confidence in his eccentrically mature vision and a taste for meta-narrative and boundary-blurring in both style and content in an intellectually rigorous mashup that reflects his generation’s brand of slacker surrealism and an embrace of hybridity for its own sake. Recombinance is a hallmark of today’s visual culture.
Adrian Ghenie: My Method is Managing Failure Scena9 | May 14, 2016
"There is distinct figuration in my painting. The reasons why I'm a figurative artist and I'm not really abstract are more emotional and are to do with how I relate myself to traditional figurative painting."
In Conversation: Daniel Pitín Flash Art | April 25, 2016
Daniel Pitín joins Gerald Matt, director at Kusthalle Wien, Vienna, and Katarzyna Uszynska, an independent curator based in Vienna, to discuss film, memory, and the Kafkaesque nature of Pitín's paintings.
Mihai Nicodim on the Wild West, Los Angeles, and the New Cultural Milieu Artsy | January 2014
“Once you’re faced with the breadth of art’s potential for the first time it sticks with you,” says Mihai Nicodim. For the L.A.-based dealer, who moved to the United States from Romania just before the collapse of the Eastern Bloc, his own art awakening took place during a visit to early-’80s Berlin, on the heels of a creative education under Communist dictatorship—which was academic, regulated, and far-flung from the perspectives he’d later develop on contemporary art.
Critic's Pick: Hugo Wilson's Ideal Hauntology at Nicodim Gallery ArtForum | May 2012
Hugo Wilson’s sumptuous oil paintings and delicate drawings, rendered in a dramatic-realist style reminiscent of Dutch masters, depict endearingly quirky subjects—a proboscis monkey elegantly perched in a wooden frame; a collection of claws, feathers, creatures, and a highly detailed human heart—that charm and seduce viewers into the more implicit topic of his work: the amorphous space in which meaning is made.