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

Osama Al Rayyan (b. 1995, Damascus) lives and works in Basel. Selected solo exhibitions include Mendes Wood DM, Brussels (2024); Galleria Federico Vavassori, Milan (2022, 2021); Magic Stop, Lausanne (2022). Selected group exhibitions have been held at Ex-Cinema Eldorado, Lausanne (2023); Kunsthalle Zürich, Zürich (2023); Mendes Wood DM at d’Ouwe Kerke, Retranchement (2023); suns.works, Zurich (2022); Galleria Federico Vavassori, Milan (2022); Sonnenstube, Lugano (2022); Kunsthaus Baselland, Basel (2021 & 2019); Riverside, Basel (2021).

Benjamin Echeverria (b. 1980, Waterloo) lives and works in Los Angeles. Selected solo exhibitions include Galerie Parisa Kind, Frankfurt am Main (2024, 2021, 2019); Francis Irv, New York (2023); Michael Benevento, Los Angeles (2022); Bad Reputation, Los Angeles (2020); Parapet Real Humans, St. Louis (2019, 2017). Selected group exhibitions have been held at Bel Ami, Los Angeles (2024); Gattopardo, Los Angeles (2024); Overduin & Co., Los Angeles (2023); Michael Benevento, Los Angeles (2023).

Rachel Fäth (b. 1991, Berlin) lives and works in New York. Selected solo and two-person exhibitions include 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 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).

Win McCarthy (b. 1986, New York) lives and works in New York. Selected solo and two-person exhibitions include KW Institute for Contemporary Art, Berlin (2023); Galerie Fons Welters, Amsterdam (2022, 2018); Galerie Neu, Berlin (2021); Atlantis, Marseille (2019); Svetlana, New York (2019); Silberkuppe, Berlin (2017); Off Vendome, New York (2015). Selected group exhibitions have been held at Fondazione Morra Greco, Naples (2023); Emalin, London (2023); Meredith Rosen Gallery, New York (2022); Overduin & Co., Los Angeles (2022); Swiss Institute, New York (2022); Drawing Center, New York (2020) Kunsthal, Rotterdam, NL (2019); Whitney Museum of American Art, New York (2016); Sculpture Center, New York (2014); White Flag Projects, St. Louis (2013).

Phung-Tien Phan (b. 1983, Essen) lives and works in Essen. Selected solo and two person exhibitions include Kunsthalle Basel, Basel (2023); Édouard Montassut, Paris (2023); CAPC Musée d’Art Contemporain de Bordeaux, Bordeaux (2022); Goethe-Institut Cyprus, Cyprus (2022); Schiefe Zähne, Berlin (2021); Kunstverein Harburger Bahnhof, Hamburg (2020); Drei, Cologne (2019); Aedt, Düsseldorf (2018); Bonner Kunstverein, Bonn (2016). Selected group exhibitions have been held at Times Museum, Guangzhou (2024); Sentiment, Zurich (2024); Schiefe Zähne, Berlin (2023); Kunstverein Bielefeld, Bielefeld (2023); Espai d’Art Contemporani de Castelló, Castelló (2023); The Wig, Curated by the Wig, Makroscope, Mülheim an der Ruhr (2023); Galerie Fons Welters, Amsterdam (2022).

Paul Sietsema (b. 1968, Los Angeles) lives and works in Los Angeles. Selected solo exhibitions include Matthew Marks Gallery, New York and Los Angeles (2023, 2020, 2018, 2016, 2014, 2011); Marian Goodman, Paris (2022); Museum of Contemporary Art, Chicago (2013); Kunsthalle Basel (2012); Schinkel Pavilion, Berlin (2010); Midway Contemporary Art, Minneapolis (2010); Museo Nacional Centro de Arte Reina Sofía, Madrid (2009); The Museum of Modern Art, New York (2009); San Francisco Museum of Modern Art (2008); Whitney Museum of American Art, New York (2003). Selected group exhibitions have been held at Casey Kaplan, New York (2024); Trautwein Herleth, Berlin (2023); Akademie der bildenden Künste, Vienna (2022); Matthew Marks Gallery, New York and Los Angeles (2021, 2019, 2016, 2012); Whitney Museum of American Art, New York (2016); S.M.A.K. Museum of Contemporary Art, Ghent, Belgium (2015); Hammer Museum, Los Angeles (2011); Museum of Contemporary Art, Los Angeles (2010).

Paul Sietsema
Arrangement
2024
Enamel on linen
18 x 18 in.
45.72 x 45.72 cm

Rachel Fäth
Two things are possible II
2024
Cold rolled steel, hot rolled steel, magnets
17 x 17 x 15 in.
43.18 x 43.18 x 38.10 cm

Francis Irv is pleased to present Original Room, an exhibition by Asta Lynge. This marks the artist’s first solo exhibition with the gallery, and her first in the United States.

A blind frame refers to the skeleton that maintains the structural integrity of upholstered furniture. The central work of the show, Audience, uses this form as a point of departure, extending a blind-frame of the Chesterfield sofa along the gallery.

Since its creation in the 1700s, the Chesterfield’s deep-button tufted upholstery, careworn leather, and rolled arms have remained a resilient shorthand for power and sophistication. Originally designed as a high-back sofa to prevent the creasing of suiting, its form anticipates a straight-backed professionalized body at rest. Lynge has stripped the sofa of its finish, thereby exposing the typically unseen mid-production state. Emblems of sophistication seen as most enduring are subject to systems of serialized distribution, thereby effecting a transition from singular and scarce to ubiquitous, modular and anonymous. Lynge reduces the Chesterfield to raw material—a mere vector to be bent, extruded, and manipulated at will.


Set within the eyeline of the window is Lynge’s Day residue, a text in which the artist recounts a previous night’s dream.



Asta Lynge (b. 1988, Copenhagen) lives and works in Copenhagen. Selected exhibitions include 22, O-Overgaden, Copenhagen (forthcoming), MARSEILLES, ILLINOIS, with Elise Corpataux and Rico Weber, Braunsfelder, Cologne (forthcoming), DORA BUDOR SCREENS SIDALI ZHANG, LYNGE, VETTUKATTIL, STRAUB, AND BARKER & LEVACK, Giorno Poetry Systems, New York (2023); Full of Days, Kunsthal Charlottenborg, Copenhagen (2023); Where are my molecules, with Jakob Ohrt, Cherry Hill, Cologne (2023); The Strait Trilogy, with Matilda Tjäder, 3236RLS/Le Bourgeois, London (2022); Made of sunshine, Cittipunkt, Berlin (2022); I()I, Cucina, Copenhagen (2021); The Strait, with Matilda Tjäder, BIZARRO, Copenhagen (2021); Volunteer, with Camilla Wills, dépendance, Brussels (2021).

This exhibition has been supported in part by the Danish Arts Council.

Asta Lynge
Audience
2024
Plywood, upholstery foam, adhesive spray
150 x 125 x 40 in.
381.00 x 317.50 x 101.60 cm