The group exhibition Interior Resonances brings together a selection of works from the current Fridman Gallery roster as well as from many of the seminal shows and performances that took place during the gallery’s early days on Spring street and its current location on the Bowery. Curated by Regine Basha, an early advisor of the gallery, the works in the group exhibition will reflect a plutonian mood, meaning the tendency to dwell in an interior realm, while processing distant memories, wrestling with inner demons, and transmuting these into material forms. The practice of inner work, otherwise known as ‘spirit work’ or ‘shadow work’, foregrounds looking inward to reflect fearlessly into the depths of subconscious activity and to reckon with often existential questions about what we are really made of beneath the surface of the skin. Beyond gazing inward, this work also calls for the actual task of carving out space for, listening deeply to, and manifesting specific forms or talismans of these inner forces, as did the early forebears of this, the Surrealists.

The legendary Milford Graves created a universal vocabulary of visual and musical forms as well as physical movements to regulate these inner forces. Tamar Ettun conjures into her paintings, performances and ceramic vessels an empathic Babylonian demon called Lilit; Dindga McCannon‘s early print depicts a communion with spirit-ancestors; Heather Dewey-Hagborg gives uncanny human-like form to DNA data found in discarded cigarettes and found objects; Aura Satz images the vibratory forces of tuning forks in her delicate watercolors; Kazumi Tanaka’s carefully made sculptures invite viewers to enter intimate spaces and cross thresholds; using abstract means, Remy Jungerman figures connective tissue in his meticulous abstract paintings; Dana Kavelina creates diagrammatic points of inner connections between bodies in conflict; Nate Lewis sculpts, carves and pinpricks paper to reveal interiority and trauma held in the Black bodies he represents; Summer Wheat’s tactile paint tapestries protrude through a mesh screen creating a subconscious entropy from beneath the paint; Pascale Marthine Tayou’s glass ritual object holds a mystifying charge in its transparent body. Darkness and light-play form abstract spaces and zones of contemplation in the works by Jan Tichy and Jacob Kierkegaard; while Alina Grasmann‘s hushed painting of an interior bedroom haunts with a quiet presence.

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