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Tuesday 12pm - 6pm Wednesday 12pm - 6pm Thursday 12pm - 6pm Friday 12pm - 6pm Saturday 12pm - 6pm

Château Shatto

Contemporary art gallery in Los Angeles.

02/19/2023

HELEN JOHNSON⁠
"Painting-making" ⁠
2022⁠
Synthetic polymer paint on canvas⁠
114.2 x 83.8 in / 290 x 213 cm⁠
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On view at Frieze Los Angeles, Booth D5.⁠
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02/17/2023

ARIA DEAN⁠
"Untitled, man"⁠
2022⁠
Painted wood, silicon rubber⁠
35 x 50 x 3 in / 89 x 127 x 7.6 cm⁠
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On view at Frieze Los Angeles, Booth D5.⁠
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02/16/2023

ZEINAB SALEH
“Midnight swim”
2023
Acrylic, charcoal, chalk and acrylic fixative on canvas
59.1 x 66.9 in / 150 x 170 cm

On view at Frieze Los Angeles, Booth D5.
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02/15/2023

ARIA DEAN⁠
"Bad Infinity: Selected Writings"⁠
Pub. Sternberg Press.⁠
Available August 2023 ⁠
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"Compiled here for the first time, the selected writings of Aria Dean (b. 1993, Los Angeles) mount a trenchant critique of representational systems. A visual artist and filmmaker, Dean has also emerged as one of the leading critical voices of her generation through a body of writing that maps the forces of aesthetic theory, image regimes, and visibility onto questions of race and power. Dean's work across media has long been defined by what she calls a “fixation on the subject and its borders,” and the texts collected here filter that inquiry through digital networks, art history, and Black radical thought. Equally at home discussing artists who embrace difficulty—from Robert Morris to David Hammons, Lorna Simpson, and Ulysses Jenkins—and conceptual frameworks such as Afropessimism, Dean often contends with how theoretical positions brush against the grain of lived reality: how the Structuralism handed down from the academy, for instance, can be commingled with critiques of structural racism, or how Georges Bataille's notion of base matter transforms through an encounter with Blackness."⁠
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02/11/2023

Please join us tonight from 6–8pm for the opening of Emma McIntyre's solo exhibition "Pearl Diver".
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"Brush lines connect with the edges of pooled paint, then bounce back into their own dimension in a back-and-forth that intensifies both. Iron oxide manifests its edge as linework as rust settles into a formation that will never truly settle. The seductive potential in McIntyre’s work is often skewered by moments of jagged impulse and affrontive annotation; a wrist provoked to tie lascivious knots across the surface or silhouettes of camellia sewn out of veins of blue paint.⁠
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Sensuousness is mediated by intentionality, per Hegel, yet intentionality also yields to alchemical surprise. In earlier moments of McIntyre’s painting practice, there was a clear occupation with the grid and a deliberate calling on of the warp and the weft. In more recent works, McIntyre doesn’t lay the grid down so formally, yet it appears from the properties of the paint itself, as pigment is separated from binder and the striations begin to intersect like mesh.⁠”
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EMMA MCINTYRE⁠
"Pearl Diver"⁠
Installation view ⁠
Château Shatto, Los Angeles⁠
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⁠_._mcintyre

02/09/2023

FRIEZE LOS ANGELES⁠
Booth D5⁠
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JEAN BAUDRILLARD • ARIA DEAN • JACQUELINE DE JONG ⁠• HELEN JOHNSON • JONNY NEGRON • ZEINAB SALEH⁠
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February 16–19⁠
Santa Monica Airport⁠
3233 Donald Douglas Loop S⁠
Santa Monica, CA 90405⁠
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ARIA DEAN⁠
"Untitled, man"⁠
2022⁠
Painted wood, silicon rubber⁠
35 x 50 x 3 in / 89 x 127 x 7.6 cm
•

02/09/2023

FRIEZE LOS ANGELES⁠
Booth D5⁠
⁠
JEAN BAUDRILLARD • ARIA DEAN • JACQUELINE DE JONG ⁠• HELEN JOHNSON • JONNY NEGRON • ZEINAB SALEH⁠
⁠
February 16–19⁠
Santa Monica Airport⁠
3233 Donald Douglas Loop S⁠
Santa Monica, CA 90405⁠
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JEAN BAUDRILLARD⁠
"Saint Clément"⁠
1983⁠
Chromogenic color print⁠
Framed: 12.5 x 17.125 x 1.5 in / 31.75 x 43.5 x 3.81 cm
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02/09/2023

FRIEZE LOS ANGELES⁠
Booth D5⁠
⁠
JEAN BAUDRILLARD • ARIA DEAN • JACQUELINE DE JONG ⁠• HELEN JOHNSON • JONNY NEGRON • ZEINAB SALEH⁠
⁠
February 16–19⁠
Santa Monica Airport⁠
3233 Donald Douglas Loop S⁠
Santa Monica, CA 90405⁠
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HELEN JOHNSON⁠
"Painting-making"⁠
2022⁠
Detail
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02/04/2023

Fiona Connor's exhibition "Rooms I Have Keys For" at The Finley closes tomorrow, Sunday, February 5.

A closing reception will be held from 2–4pm, at 4627 Finley Ave, Los Angeles, CA 90027.⁠
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"When Fiona Connor stays at a friend's house, she's navigating material economic conditions and prioritizing relationships and community as she travels from place to place. Written in graphite on the walls of the gallery (in an apartment building) are three notes for the artist staying at someone's home while they are away and three sets of keys given for her use with a photo of the keys inside the space they open.⁠
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She is attuned to hand-offs. She preserves signs of generosity, kindness, and nomadism. She collects and archives handmade or specific objects. By sharing and representing highly personal ephemera, she tells us about the pace, flexibility, and tonality of her life, the lightness of her being and the value of warmth."⁠
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FIONA CONNOR⁠
"Rooms I Have Keys For"⁠
2023⁠
Installation view⁠
The Finley, Los Angeles⁠
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02/03/2023

EMMA MCINTYRE⁠
"Pearl Diver"⁠
February 11–March 18, 2023⁠
Opening reception: Saturday, February 11, 6–8pm⁠
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Château Shatto is delighted to announce Emma McIntyre’s exhibition, "Pearl Diver". This exhibition of new paintings will be the artist’s first in the gallery space. ⁠
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Emma McIntyre’s paintings form aesthetically exploratory mental views through gestural compilation, wherein the desirous occupations of the mind and residues of memory causally interact with physical states. Unfastened from representation yet still of-the-world, McIntyre’s paintings solicit the restlessness of the eye, get stuck in the stickiness of phenomena, and tug at the paradox of stillness in painting. ⁠
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Procedurally, McIntyre’s paintings can be split in two: paint materials poured on a horizontal surface and marks made on the substrate once tipped upright. What happens at each orientation is connected through a shared expression of spillage: chemical spill, affective overflow, an abundance of phenomenal substance that spills onto the surface, excess arising from relating the mind to the world, capsized interiority finding its match in medium.⁠
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“Like a pearl diver who descends to the bottom of the sea, not to excavate the bottom and bring it to light but to pry loose the rich and the strange, the pearls and the coral in the depths, and carry them to the surface.” —Hannah Arendt, The Pearl Diver, 1968⁠
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Hannah Arendt offered the metaphor of pearl diving as a way of relaying Walter Benjamin’s approach to accessing history. Pearls are the product of a defensive secretion and the diver brings their polished forms into a new and displaced present. Arendt’s metaphor sees history transmitted not as authority or tradition, but as fragmentary, discontinuous, transformed. This corresponds to McIntyre’s process, as the appearances of art-historical references present as though drawn from obscuring depths and brought to a new altitude.⁠
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EMMA MCINTYRE⁠
"The right to remain obscure"⁠
Detail ⁠
2023⁠
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⁠_._mcintyre

01/20/2023

Tomorrow, January 21, is the final day of Van Hanos’ exhibition "Twin" at Lisson Gallery, London. ⁠
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"In this new series, we see Hanos thinking about painting in a different way, liberating his and our own understanding of allegory and image, considering what makes portraiture a portrait, rather than just an illustration of a figure. Some paintings are intentionally conceived as portraits – formed through a deep and deliberate affection to capture the likeness of the person – whereas others are painted as symbols or vehicles for narratives"⁠
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VAN HANOS⁠
“David”
2022⁠
Oil on linen ⁠
60 x 75 in / 152.5 x 190.5 cm ⁠
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“Erin Erin Echo”
2022⁠
Oil on linen⁠
104.3 x 80.3 in / 265 x 204 cm⁠
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“Chupacabra, I am the goat head”
2022 ⁠
Oil on Linen⁠
12.25 x 10.25 in / 31 x 25 cm⁠
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01/19/2023

FIONA CONNOR
“Untitled # 33 (Hill Street Slipway)”
2019
Cast resin, cream paint
Two elements: 88 x 96 in / 223.52 x 243.84 cm (overall)

Currently on view in ‘Oceans of Time’, open through February 4.
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Through an ongoing series of wall-mounted, monochromatic sculptures, Fiona Connor continues to reproduce notice boards that serve communities, but rather than convincingly translating paper flyers to the more archival aluminum in her effort to produce convincing doubles, Connor scrubs the notice boards of the notices themselves and casts the board in resin, finally unifying the object with a single color.

The graphic information has been largely stripped and what remains is a softer, more suggestive kind of information: the patina of human use. Included are scratches, staples and pins, cavities where staples and pins once were, torn remnants of paper, and so on. What these works capture is less concerned with a kind of informational commons and more attuned to behavioral information that is subtly registered by wear, decay and absence.
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Address

1206 S Maple Avenue, Suite 1030
Los Angeles, CA
90015

Opening Hours

Tuesday	12pm - 6pm
Wednesday	12pm - 6pm
Thursday	12pm - 6pm
Friday	12pm - 6pm
Saturday	12pm - 6pm

Telephone

+12139735327

Website

http://www.chateaushatto.com/

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Château Shatto

02/19/2023

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