Invisible presences tug us this way and that, luring us one way and regularly deflecting us onto different paths, but seldom are they described. Minh Lan Tran works to give form to such presences in order to lay them to rest. The artist crafts her own egg tempera in a process borrowed from traditional techniques used for early Byzantine icon paintings—an era in which theories of the image and the ethics of representing the divine began to be negotiated. She breaks the methods apart as she shreds, burns, and battles her surfaces that look like the slits of a veil. Tran’s titles suggest innards and fault lines on the body, the matter that arises after cataclysmic disruptions fissure the mind. Engaging in a politics of utterance, the artist aims to restore a power to signify, and give birth to an expression of experience by experience. She listens for the divine utterance that she seeks to make manifest, flirting with the bond between the flesh and the idea, between the image and the spirit that experiences of the visible world disclose. If consciousness is a shield against the wound that constitutes desire and being, this lack is beyond anything which can represent it; it is only ever represented as a reflection on a veil.

- Hiji Nam



Minh-Lan Tran (b. 1997, Hong Kong) lives and works in Paris. Selected solo exhibitions have been held at Parliament, Paris (2024); Jan Kaps, Cologne (2023); Harlesdon High Street, London (2023); and a performance at Sadie Coles, Lon- don (2023). Selected group exhibitions have been held at Balice Hertling, Paris (2024); High Art, Seoul (2024); François Ghebaly, Los Angeles (2024); Francis Irv, New York (2024); Museum of the Home, London (2023); Jan Kaps, Cologne (2023); House, Berlin (2023); and Roman Road, London (2023). Tran graduated from Courtauld Institute (MA Byzantine Studies) in 2020 and Royal College of Art (MA Painting) in 2023.

Minh-Lan Tran
Blood in the sun
2024
Egg, pigment, paper, fabric and oil on linen
47¼ x 29½ in.
120.00 x 75.00 cm

Brunette Coleman, London and Francis Irv, New York are pleased to present a duo exhibition of new works by Rachel Fäth and Zazou Roddam on the occasion of Condo London, 2025. Rachel Fäth debuts a new series of work entitled Lockers. Composed of discarded steel scraps, their sculptural form is determined by the size constraints of the storage lockers at a community workspace, each work a negative impression of a locker’s interior. Zazou Roddam sources her material through various public auctions and salvage yards, using unconventional modes of preservation to retain evidence of the objects’ previous owners. Through a playful manipulation of form, Roddam questions how and what we attribute significance to.


Rachel Fäth (b. 1991, Berlin) lives and works in New York. Selected solo and two-person exhibitions include le vite, Milan (2024); Francis Irv, New York (2023); diez, Amsterdam (2023); Shahin Zarinbal, Berlin (2022); Loggia Loggia, Munich (2022); Mauer, Cologne (2022). Selected group exhibitions have been held at Francis Irv, (2024); le vite, Milan (2024); Kai Matsumyia, New York (2023); New Jörg, Vienna (2023); Shahin Zarinbal, Berlin (2022); Kunstverein Munich, Munich (2022); Lomex, New York (2022); Haus Wien, Vienna (2021).

Zazou Roddam (b. 2000, London) lives and works in London. Recent exhibitions include: Hans Goodrich, Chicago (2024), Brunette Coleman, London (2023), 126 Eldridge Street, New York (2023).

Francis Irv is pleased to present an exhibition by Benjmain Echeverria for the 2024 edition of Paris Internationale.

Echeverria’s process is one rooted in the revisiting of his archive – both an archive of physical, half-formed paintings and also a record of motifs and gestures, subject to the same distortion and recycling across his oeuvre. Paintings are finished and finished again, cutting and recomposing one ending into another beginning, a process through which the effacement and subsequent rehabilitation of the canvas becomes a recursive exercise. Within each successive re-articulation of the painting, the previous compositions exist within the present as traces of themselves. Through this process, Echeverria’s paintings evoke the process by which time is perceived, as both an accumulation of each past moment and a wholly singular moment at once.

Benjamin Echeverria (b. 1980, Waterloo, IA) lives and works in Los Angeles. Selected solo exhibitions include Galerie Parisa Kind, Frankfurt am Main (2024, 2021); Francis Irv, New York (2023); Michael Benevento, Los Angeles (2022); Pose Falls, Bad Reputation, Los Angeles, CA (2020); Cups, Parapet Real Humans, St. Louis (2020); C.A.R., Green Drawing, Willie Mays, The Terror of Evidence, 3939, No Smoke, Bubbler, Corners Brought to Middle, Galerie Parisa Kind, Frankfurt am Main (2019). Selected group exhibitions include A String of Tongueless Bells, Francis Irv, New York (2024); Models, Bel Ami, Los Angeles (2024); Warm Invitations, Gattopardo, Los Angeles (2024); The Bower, Overduin & Co., Los Angeles (2023); Piano sale going on somewhere, Michael Benevento, Los Angeles (2023).

Everywhere glass, steel.
Everywhere pigeon, rat, roach.
What is the same here,
same everywhere.
Friend. Recognize.
Coca cola same.
Wristwatch same.
Street corner same.
Delivery!
French words, English words.
Equal, OK. I say, OK.
Café American.

He goes....
He goes hahaha, you can’t go like that.
No. Don’t be no, OK.
Don’t be lovely, OK.
Be not OK, be not one more window,
one more door.
Up, outside, everything up.
They say, he says,
all rise must fall. All born must die.
All this flatten to an inch, made of screws anyway,
made of pieces.
Everywhere then, return to pieces.
Sorry!
Walk, you see,
walk know the way,
rent don’t pay, haha, OK.
Landlord dead, someday. We pray.
Uptown, the Yankees play,
Bronx River Parkway.
Angry, angry, every day.
Where I come to, they arrive,
they know.
War away, here OK.
For now we, they,
we know the weather.
We know the wind blows;
we know ocean air not too far away.
We know, OK,
freedom reign for those who pay.

Here!
Outside!
Downstairs!
Buzzer?
They go. Door Slammed!
Angry now, don’t you be grateful,
Kingdom Come, they say,
all is done.

Don’t say everywhere steel.
Everywhere glass.
You are here, around.
Everyone.
First breath, last breath.
Everywhere.
Dark, then light, then dark.
Same second, same pulsing second. Same hour.
Everyone idiot. Beautiful, beaming idiot.
Stand. Sit.
Always return
Always rent free from then.
Always, occurring. Until never.
Never was. Never once. Not at all.

Win McCarthy
Dynamism of a Yellow Van
2024
Epson 770 Ultrachrome ink, adhesive silver foil, foamboard, dibond mount
33¼ x 77 in.
84.45 x 195.58 cm