Jeanine Brito
June Canedo de Souza
when you can hardly see the leaves on trees while looking out of the window after waking up at 5am just to make sure you've risen before the sun and that your child is still asleep, 2025
oil on canvas
76 x 152 in
193 x 386 cm
Rae Klein
Silver Dog II, 2026
oil on linen
45 x 60 in
114 x 152 cm
Ciprian Mureșan
All Images from Balthus Catalogue Raisonne, 2017-2018
graphite on paper
30 x 37 in
76 x 95 cm
Ciprian Mureșan
All Images from a Book on Raphael 2, 2018
pencil on paper
42 x 59 in
105 x 150 cm
Teresa Murta
Entertaining the fog, 2026
acrylic on linen
63 x 55 in
160 x 140 cm
Teresa Murta
Taste of stubbornness, 2026
acrylic on linen
73 x 94 in
185 x 240 cm
Moffat Takadiwa
Propaganda Devices, 2025
computer and laptop keys, nail clips and buttons
45 x 134 in
115 x 340 cm
Ecaterina Vrana
Omul Negru LA, 2016
oil on canvas
91 x 79 in
230 x 200 cm
Ecaterina Vrana
Wine, 2015
oil on canvas
43 x 55 in
110 x 140 cm
Jeanine Brito (b. 1993, Germany) lives and works in Montréal, Canada. Layered in theatrical and fairy tale imagery, she uses her likeness to play with ideas of gender and desire. Her paintings have permeated the cultural consciousness, appearing in Harris Reed’s debut runway collection for Nina Ricci, on an album cover by Clara Luciani, on the cover of the highly reviewed debut novel by Sophie Kemp, and many other crossover collaborations. Exhibitions include Summer Séance, Nicodim, Los Angeles (2026); All the Better to Eat You With, Nicodim, Los Angeles (2025, solo); The Amber of this Moment, Galeria Nicodim, Bucharest (2025); The Grumpy Girls, Nicodim, New York (2024, solo); The Invitation: A Fairytale by Jeanine Brito, Nicodim Upstairs, Los Angeles (2023, solo); DISEMBODIED, curated by Ben Lee Ritchie Handler, Nicodim, New York (2023); So Softly and Sweetly, La Causa Galeria, Madrid (2022, solo); You Me Me You, curated by Rachel Keller, Nicodim, Los Angeles (2022); and New Mythologies II, Huxley Parlour, London (2022).
June Canedo de Souza (b. 1989, Newark) lives and works in New York. Canedo de Souza is interested in the translation of gestural language and its regional nuances, considering how movement, surface, and color shape meaning. Her work often, though not always, explores how migration is mediated by memory. She is currently a 2025-27 Core Fellow, Texas, a 2025 MacDowell Fellow, New Hampshire, a 2024-25 session artist at Recess, New York, a 2025 Kahn Mason SIP Fellow at the EFA Robert Blackburn Printmaking Workshop, New York, and a 2024-26 Hamiltonian Fellow, Washington D.C. Exhibitions include Summer Séance, Nicodim, Los Angeles (2026); All top teeth knocked out at once, Nicodim, Los Angeles (2026, solo); Ángeles Agrela / June Canedo de Souza / Æmen Ededéen / Samantha Joy Groff / Teresa Murta / Daniel Pitín, Nicodim, New York (2026); THE BODY DOES NOT EXPLAIN ITSELF, Nicodim, Los Angeles (2026); Fragments of Presence, Praxis Gallery, New York (2025); Roots Unseen, curated by Yan Yu, Nicodim Annex, Los Angeles (2025); Witness, LaForce x Speciwoman, New York (2025); New.Now, Hamiltonian, Washington D.C. (2025); A River Seeks it’s Source, MIMO, New York (2024); Memory-Material, The Geffen at the Museum of Contemporary Art, Los Angeles (2022), among others.
Rae Klein (b. 1995) lives and works in Michigan. She graduated from Eastern Michigan University in 2017 with a BFA in Painting. Her visual vocabulary isolates references to mankind’s attempts to assert its mastery over the feral world through fear, power, spirituality, or some combination of the three. Exhibitions include Summer Séance, Nicodim, Los Angeles (2026); Second Face, Nicodim, New York (2026, solo); Dolce Far Niente, The Foundry, Seoul (2026); The Amber of this Moment, Galeria Nicodim, Bucharest (2025); DOUBLECROSS, Nicodim, Los Angeles (2025, solo); Echoes of Eden: A Return to Bosch's Garden, curated by Gaïa Jacquet-Matisse and Peter Brant Jr., Private residence, New York (2024); Niklas Asker, Rae Klein, Jorge Peris, Nicodim, New York (2024); The Ballad of the Children of the Czar, Galeria Nicodim, Bucharest (2024); DISEMBODIED curated by Ben Lee Ritchie Handler, Nicodim, Los Angeles (2024); POWERPLAY, Nicodim, New York (2023, solo); Galeria Nicodim, Bucharest: 10 Years, Galeria Nicodim, Bucharest (2023); Last Night I Dreamt I Was Running, Galeria Nicodim, Bucharest (2023, solo); DISEMBODIED curated by Ben Lee Ritchie Handler, Nicodim, New York (2023); LOW VOICE OUT LOUD, Nicodim, Los Angeles (2022, solo); The Comfort in Calamity, Jessica Silverman, San Francisco (2022, solo); BODYLAND, curated by Lauren Taschen, Galerie Max Hetzler, Berlin (2022); End of Eden, Galerie Wolfsen, Aalborg (2022); Todo es de Color, The Curator’s Room, Amsterdam (2022); Paper., BEERS London (2022); Waiting in the Field, The Valley, Taos, New Mexico (2021, solo); I Have My Eye On You, Everyday Gallery, Antwerp (2021); and When Shit Hits The Fan Again, Guts Gallery, London (2021).
Ciprian Mureşan (b. Dej, 1977) lives and works in Cluj-Napoca, Romania. Mureşan exhibited in the Romanian Pavilion at the 53rd Venice Biennale and took part in the 17th Biennale of Sydney. His work is collected by the Centre Pompidou, Deutsche Bank Collection, Los Angeles County Museum of Art (LACMA), ARKEN Museum of Modern Art in Copenhagen and many others. Exhibitions include Summer Séance, Nicodim, Los Angeles (2026); Doppia ombra, Instituto centrale per la grafica, Rome (2024, solo); None of it is real, but it’s based on events that took place, Aluvia, Cluj (2023, solo); Galeria Nicodim, 10 Years, Galeria Nicodim, Bucharest (2023); Where the Spirit Meets the Bone, Lateral ArtSpace, Cluj (2021); Perpectives, BOZAR Centre for Fine Arts, Brussels (2019); Our Lady of the Flowers, Galeria Nicodim, Bucharest (2019); The Influencing Machine, Galeria Nicodim, Bucharest (2019); Ciprian Mureșan, S.M.A.K. Museum, Ghent (2019, solo); Geta Brătescu, Adrian Ghenie, Ciprian Mureşan, Șerban Savu, La Fondazione, Rome (2019); Ciprian Muresan et Serban Savu: L’atelier sans fin, Centre Pompidou, Paris (2019); An Opera for Animals, Para Site, Hong Kong (2019); Grande Révolution Domestique, Le Familistère de Guise, Guise (2019); The Brick, La Brique, Caramida, La Kunsthalle, Mulhouse (2019); Debandadă istorică, Galeria Nicodim, Bucharest (2019, solo); Ciprian Mureșan, Nicodim, Los Angeles (2018, solo); Incorrigible Believers, Galeria Plan B, Berlin (2018, solo); Art Club 22: Ciprian Mureșan, Accademia di Francia a Roma — Villa Medici, Rome (2018, solo); Ciprian Mureșan: All Images from a Book..., David Nolan Gallery, New York (2017, solo); The Struggle Between Academic Abstractionism and Globalized Formalism, Lateral Art Space, Cluj (2017, solo); and #1.3 WAYS TO TIE YOUR SHOES: CIPRIAN MUREȘAN, Convent Art Space, Ghent (2017, solo).
Teresa Murta (b. 1993, Portugal) lives and works in Berlin, Germany. Her work delves into the realms of the fantastic, the absurd and the poetic metamorphosis of the real. Intuitively, Murta weaves together elements from both the artificial and natural worlds, offering a gateway into alternate and uncanny realities that beckon to be explored. Exhibitions include Teresa Murta, Nicodim, New York (2026, solo, forthcoming); Summer Séance, Nicodim, Los Angeles (2026); Ángeles Agrela / June Canedo de Souza / Æmen Ededéen / Samantha Joy Groff / Teresa Murta / Daniel Pitín, Nicodim, New York (2026); THE BODY DOES NOT EXPLAIN ITSELF, Nicodim, Los Angeles (2026); Lucid Daydream - Panorama of Contemporary Portuguese Art, Porto Municipal Gallery, Porto (2025); The Amber of this Moment, Galeria Nicodim, Bucharest (2025); That's Not All, Folks, Pond Society, Shanghai (2025); To Meet on the River Bend, Nicodim Annex, Los Angeles (2025, solo); The Ballad of the Children of the Czar, Galeria Nicodim, Bucharest (2024); One Second Plan, Bruno Múrias Gallery, Lisboa (2024, solo); Purple Haze, But Better Together, Tabula Rasa Gallery, London (2023, solo); Aftermath, Mazzoli Gallery, Berlin (2023); Fishnet, Instituto Camões, Berlin (2022, solo); (0/1) O Zero e o Um, Natural History and Science Museum, Lisbon (2022); Que te seja leve o peso das estrelas, Centro de Arte Contemporânea de Coimbra, Coimbra (2022); Airbag, Galeria Aldama Fabre, Bilbao (2021, solo); Whistle, Whistle, Galeria Nave, Lisbon (2021, solo), among others.
Moffat Takadiwa (b. 1983, Hurungwe) lives and works in Harare, Zimbabwe. Takadiwa transforms post-consumer waste – such as computer keyboards, bottle tops, toothbrushes and toothbrush tubes, – into lush, densely layered sculptures and tapestry-like wall works and sculptures. A prominent voice from the post-independence artist generation in Zimbabwe, Takadiwa’s work centerstages his Korekore heritage while engaging with themes such as consumerism, inequality, post-colonialism and the environment. Takadiwa is also a founder of Mbare Art Space in Harare where he plays a major role in mentoring the growing artist community, establishing the world's first artistic center dedicated to repurposing reclaimed materials.
Exhibitions include Summer Séance, Nicodim, Los Angeles (2026); Ripples of Gesture, Almeida & Dale, São Paulo (2026, solo); Rémanence, Galerie Farah Fakhri, Ivory Coast (2026, solo); The Crown!, Semiose, Paris (2026, solo); Recoded Memories, Watson Galleries, Washington & Lee University, Lexington (2025, solo); Second Life, Nicodim, New York (2025, solo); 36th Bienal de São Paulo, São Paulo, Brazil (2025); Tukku Magi: Rhythm’s, Latvian Museum of Art, Riga (2025); Possible New Dawn, Nicodim Annex, Los Angeles (2024, solo); Vestiges of Colonialism, Galeria Nicodim, Bucharest (2024, solo); Avantgarde & Liberation, Mumok, Vienna (2024); Stranieri Ovunque – Foreigners Everywhere, the 60th edition of the Venice Biennale exhibition, curated by Adriano Pedrosa, Venice (2024); Tales of the Big River, Galerie Edouard Manet, Centre d’art contemporain, Gennevilliers (2024, solo); Color is the First Revelation of the World, Orange County Museum of Art, Costa Mesa (2024); signifying the impossible song, Southern Guild, Los Angeles (2024); Feeling Without Touching, Nicodim, New York (2023); Zero Zero, Semiose, Paris (2023, solo); Vestiges of Colonialism, National Gallery of Zimbabwe, Harare (2023, solo); A Love Letter to LA, curated by Storm Ascher, Superposition Gallery, Phillips Auction House, Los Angeles (2023); Africa Supernova, Kunsthal KAdE, Amersfoort (2023); Nous sommes tous des lichens, Musée d’art contemporain de la Haute-Vienne – château de Rochechouart (2022); The Bull, Semiose, Paris (2022, solo); Brutalized Language, Nicodim, New York (2022, solo); Witch Craft: Rethinking Power, Craft Contemporary, Los Angeles (2021, solo); This is Not Africa: Unlearn What You Have Learned, ARoS Museum, Denmark (2021); Mr. Foreman you have destroyed the farm, Semiose, Paris, France (2021, solo); INXS: Never Before Seen Major Works by Simphiwe Ndzube, Moffat Takadiwa, Zhou Yilun, Nicodim, Los Angeles, CA (2020); Son of the Soil, Nicodim, Los Angeles, CA (2019, solo); Thread., Long Beach Museum of Art, Long Beach (2019); Stormy Weather, Museum Arnhem, Arnhem, The Netherlands (2019); Second Hand: Selected Works from the Jameel Art Collection, Jameel Arts Centre, Dubai (2019); Material Insanity, Museum of African Contemporary Art Al Maaden, Marrakech (2019); The Eye Sees Not Itself, Nicodim, Los Angeles (2018); and Chinafrika. under construction, Museum for Contemporary Art Leipzig (2017).
Collections include: Roc Nation Collection, Los Angeles; CC Foundation, Shanghai; Centre National d’Art Plastique, Paris; Collection of Art of European Parliament, Brussels, Belgium; National Gallery of Zimbabwe, Harare and more.
Ecaterina Vrana (1969–2019) was born in Constanta and studied painting at the Academy of Arts in Bucharest. Exhibitions include Summer Séance, Nicodim, Los Angeles (2026); Ecaterina Vrana: A Woman Without Secrets, Galeria Nicodim, Bucharest, Romania (2017, solo); The Scythe was a Chick, Museum of Art, Constanța, Romania (2015); Funeraria, The National Museum of Contemporary Art, Bucharest, Romania (2011); Bladly Happy: Pain, Pleasure and Panic in Recent Romanian Art, The Performance Art Institute, San Francisco (2011); and The Bear’s Dance, The National Museum of Contemporary Art, Bucharest, Romania (2010). Vrana's works have been exhibited in public and private collections in Romania, Hungary, the Netherlands, Germany, Switzerland and the US.
