ONLINE: Paper

artists Shiraz Bayjoo</a>, <a target="_blank" href=https://www.mutualart.com/Exhibition/ONLINE--Paper/"/Artist/Carolina-Caycedo/4CB09559D1962295">Carolina Caycedo</a>, <a target="_blank" href=https://www.mutualart.com/Exhibition/ONLINE--Paper/"/Artist/Juan-William-Chavez/F09D990D8020519F">Juan William Chávez</a>, <a target="_blank" href=https://www.mutualart.com/Exhibition/ONLINE--Paper/"/Artist/Beatriz-Cortez/E2782964F1154677">Beatriz Cortez</a>, <a target="_blank" href=https://www.mutualart.com/Exhibition/ONLINE--Paper/"/Artist/Ellie-Irons/C11587001954BC4A">Ellie Irons</a>, <a target="_blank" href=https://www.mutualart.com/Exhibition/ONLINE--Paper/"/Artist/Kapwani-Kiwanga/C0679212FB59BCA6">Kapwani Kiwanga</a>, <a target="_blank" href=https://www.mutualart.com/Exhibition/ONLINE--Paper/"/Artist/Jumana-Manna/A6C8FA1D17FEBABF">Jumana Manna</a>, <a target="_blank" href=https://www.mutualart.com/Exhibition/ONLINE--Paper/"/Artist/Anne-Percoco/ADA0DAB003660972">Anne Percoco</a>, <a target="_blank" href=https://www.mutualart.com/Exhibition/ONLINE--Paper/"/Artist/Cecilia-Vicuna/9F128DD8B2432239">Cecilia Vicuña</a>, and <a target="_blank" href=https://www.mutualart.com/Exhibition/ONLINE--Paper/"/Artist/Emmi-Whitehorse/5686B936ADF7D38D">Emmi Whitehorse</a>, the seed is the kernel, literally and metaphorically, of their investigations into issues of fragility, preservation, and possibility in the face of the global climate crisis.</p><p>Working with and from a diversity of geographical and cultural contexts—Africa, the Americas, the Middle East, and Western Europe—the artists in the exhibition create captivating sculptures, films, installations, and paintings that range from abstract to speculative to documentary. They share an anticolonial perspective critical of extractive capitalism. Jumana Manna’s poetic film Wild Relatives (2018), for example, follows the 2017 journey of seeds across different geographies, exploring the relationships among the war in Syria, the geopolitics of seed banking, and the loss of biodiversity due to industrial agriculture. Kapwani Kiwanga’s biomorphic, inflatable sculptures from the Vivarium series reimagine the nineteenth-century Wardian case, a type of portable greenhouse that enabled the transport of live plants across the globe, impacting ecosystems worldwide and underscoring our controlling relationship with nature. Beatriz Cortez’s hand-crafted steel sculpture Chultún El Semillero (2021) exudes a futuristic sensibility—an imagined space capsule, a living garden of plants indigenous to the Americas, and a seed bank preserving seeds for the future.</p><p>Together the artworks in the exhibition suggest the seed as a timely means to address existential matters. Seeds are the first link in the food chain, the embodiment of biological and cultural diversity, and the repository of life’s future evolution. Cultivated by humans for millennia, seed varieties carry with them local histories as well as histories of migration and survival, bridging cultures, territories, and time periods. As Cecilia Vicuña puts it, “Every seed is a spaceship, a nomad planet waiting to sprout.” The exhibition aims to spark active and imaginative responses through encounters with visually arresting artworks that reflect on and reframe our understanding of current environmental challenges and our connection to the natural world.</p><p><br></p>" />

Bruno David Gallery</a> is pleased to present Femme In the End Times, an exhibition of new paintings by Cleveland-based artist Danielle Mužina. This is <a target="_blank" href=https://www.mutualart.com/Exhibition/ONLINE--Paper/"/Artist/Danielle-Muzina/FACF8726538DDF1A">Mužina’s first solo exhibition</a> with the gallery.</p><p>The work in “Femme In the End Times” exhibition continues to ask questions about gender-based oppression through envisioning fractured, pink-drenched parallel worlds where characters confront personal and collective agency. In these new additions to her Pink Apocalypse series, she delves further into the rituals, relationships, and acts of care that emerge as survival strategies when structures crumble. These paintings juxtapose moments of vigilance, intimacy, and transformation to question how we navigate our tenuous present. In conjunction with the exhibition, Bruno David Gallery will publish a catalogue of the artist’s work with an in-depth exhibition history and bibliography.</p><p>In Lookout (oil on panel, 24 x 30 in, 2024), two figures occupy unstable ground amidst freshly felled logs and diamonds of ominous pink light. One gazes outward through binoculars, embodying a watchful and anxious readiness, while the other lingers near a house that feels both like refuge and rupture. Their postures reflect divergent approaches to survival: one adamantly searching for safety or threats, the other enduring with knowing resolve in an uneasy stillness.</p><p>This work emerged from the heightened urge to nurture community and build sanctuary—a "safe house"— as a queer person, woman, and survivor amidst looming societal and political instability going into 2025 in the United States. Throughout the series, acts of care, rebellion, and change emerge as vital survival strategies - even as motives and outcomes remain ambiguous. Rituals of connection—healing gestures, exchanges of knowledge, and moments of trust—become sources of empowerment and solidarity when external systems fail and environments collapse. Vivid color reinforces the emotional intensity of these imaginings. The dense patterns and shifting planes in my compositions echo the cyclical nature of fear, resilience, and preparation, evoking the emotional and physical precarity felt by marginalized individuals facing layered and ongoing adversity.</p><p>These paintings visualize the blurred lines between safety and danger as we take on the work that lies ahead. By foregrounding the tension between vigilance and rest, isolation and solidarity, and vulnerability and strength, she invites viewers to reflect on how we care for ourselves and one another in the face of upheaval.</p><p>The characters in her figurative paintings interface with ambiguous social, physical, and environmental happenings as a metaphor for the ways we navigate our tenuous contemporary moment. Dr. Blasey-Ford's courageous testimony and the #MeToo movement fueled her bravery in making paintings about her survivorship. She questions the impact of gender performance and trauma on relationships, selfhood, and experiences of space. Her works move through and react to the world around her as a survivor and a femme lesbian. She feels herself responding and resisting pressures for gender performance.</p><p><br></p>" />