FERNBERGER

On the spot where you are standing, a major set from the classic sci-fi film A Shirt Made of Asters (1968) was constructed. It was created from polyurethane foam that was fired at high pressure through a special gun onto a skeletal building frame made from iron rods. The foam rose quickly like bread dough and within ten minutes, it was cold and solid. Fox studio technicians then shaped the foam with a sander to make the buildings look like stone. But like most Hollywood sets, it was made to look good on camera but not built to last. Over the span of six years, the hot California sun deteriorated the foam buildings.

Curated by Phil Davis.

Cameron Jamie lives and works in Paris, France. He has presented solo exhibitions internationally, including at JUBG, Cologne (2024); Bernier/Eliades, Athens (2023, 2017, 2014); Museum der Moderne Salzburg, Austria (2022); The Journal Gallery, New York (2021); Gladstone Gallery, New York and Brussels (2020, 2015, 2010); Galerie Mennour, Paris and London (2018); Kölnischer Kunstverein, Cologne (2017); and Kunsthalle Zurich, Switzerland (2013). Earlier solo exhibitions include presentations at the Walker Art Center, Minneapolis (2006), the Berlin Biennale (2008, 2010), La Biennale di Venezia (2005, 2019), and Centre Pompidou, Paris (2003). Jamie’s work has also been featured in major group exhibitions such as May You Live in Interesting Times, Venice Biennale (2019); The Infinite Mix, Hayward Gallery, London (2016); The Whitney Biennial, Whitney Museum of American Art, New York (2006); and The Artist’s Museum, Museum of Contemporary Art, Los Angeles (2010). Recent group shows include The Ringier Collection 1995–2025 at the Langen Foundation, Neuss (2025); Get in the Game: Sports, Art, Culture, SFMOMA, San Francisco (2024); and The Flames: The Age of Ceramics, Musée d’Art Moderne de Paris (2021). His films and artworks have been the subject of retrospectives and screenings at institutions such as the Cineteca Nacional Mexico, Mexico City (2011), Nottingham Contemporary (2010), and the Centre Pompidou, Paris (2003).

Drew Heitzler lives and works in Inglewood, CA. His artwork has been exhibited internationally at galleries and institutions including The Project, Orchard Gallery, The Swiss Institute, Sculpture Center, Anthology Film Archives, Moma/PS1 Contemporary Art Center, LA><ART, MoCA Los Angeles, The Suburban, Locust Projects, Zacheta National Gallery of Art, Kunstmuseum St. Gallen, Magasin Centre National d’Art Contemporain, Kunsthalle, Zurich, Ballroom Marfa, and Centre Georges Pompidou. Heitzler’s film TSOYW, made in collaboration with Amy Granat and Olivier Mosset, was included in the 2008 Whitney Biennial, his installation There’s Always Money in the Banana Stand was included in the 2010 California Biennial at the Orange County Museum of Art. Solo exhibitions of Heitzler’s work have been presented at Redling Fine Art, Renwick Gallery, Blum & Poe, and Marlborough Contemporary and his work has been favorably reviewed in publications including The New York Times, Los Angeles Times, Art Forum, Art in America, Frieze, The Brooklyn Rail, LA Weekly, The New Yorker, The Art Newspaper, V Magazine, Flash Art, W Magazine, Art Review, Flaunt, and Vogue.

Karen Kilimnik (Philadelphia, PA). Major solo exhibitions include Art Chosun, Seoul (2024), Kunsthaus Glarus (2023), Le Consortium, Dijon (2013, 2007), the Museum of Contemporary Art, Denver (2013), The Brant Foundation, Greenwich (2012), the Belvedere Museum, Vienna (2010), the Museum of Contemporary Art in Chicago (2008), the Serpentine Gallery, London (2007), the Museum of Contemporary Art, Miami (2007), the Musée d'Art Moderne de la Ville de Paris (2006), the Fondazione Bevilacqua La Masa, Venice (2005), Irish Museum of Modern Art, Dublin (2002) and the Institute of Contemporary Art in Philadelphia (1992). Major group exhibitions include the Fondation Vincent van Gogh Arles, Arles (2024), Fondazione Prada, Milano (2021), Haus Mödrath, Kerpen (2020), the Carnegie International, 57th Edition in Pittsburgh (2018), the Whitney Museum of American Art, New York (2016, 2008, 1993), the Rubell Family Collection, Miami (2015, 2010), Le Grand Palais, Paris (2013), the Tate Modern, London (2012), the Metropolitan Museum of Art, New York (2012), the Van Abbemuseum, Eindhoven and the MOMA PS1, New York (both 2006), the Museum of Modern Art, New York (2005, 2001, 1999), the Institute of Contemporary Art, London (1997), and the Secession, Vienna (1994). In 2011, Kilimnik created a stage scenery for Alexei Ratmansky's ballet “Psyché” at the Opéra National de Paris.

Tomoo Gokita lives and works in Tokyo. Gokita’s drawings made with pencil, charcoal and ink on paper first began to receive attention in the late 1990s. His popularity expanded domestically and internationally after the publication of Lingerie Wrestling, a collection of his works to date, in 2000. His style and technique continue to evolve as he perennially pushes his practice in new directions. Although he is best known for his black and white works, he has in fact employed a rich array of visual vocabulary to produce a variety of pieces including series of blue paintings, stenciled works, collages, and sculptures. From the start of 2020, Gokita returned to color paintings; his solo exhibition held in Italy in March and Taka Ishii Gallery in August consisted exclusively of color works. In 2012, his work was featured in “The Unseen Relationship: Form and Abstraction” at the Kawamura Memorial DIC Museum of Art. In 2014, “THE GREAT CIRCUS,” a solo exhibition, was held at the same museum. In April 2018, “PEEKABOO” was held at Tokyo Opera City Art Gallery followed by “Get Down” held at Dallas Contemporary, Texas in June 2021. His first solo exhibition with Taka Ishii Gallery was held in 2008, followed by “Variety Show” (2012), “Holy Cow” (2017), “MOO” (2020), and “Diary” (2022).