GROUP EXHIBITION

Rather than operating as a thematic group exhibition, Breach is structured around collaboration as a curatorial condition. The project reflects SETAREH’s ongoing interest in cross-scale exchange and in examining how different organisational models within the contemporary art ecosystem intersect and co-depend under shared pressures of production, visibility, and sustainability.

The exhibition presents works across painting, photography, sculpture, installation, and video, foregrounding methodological difference over stylistic cohesion. Artists associated with Market Gallery’s domestic, artist-run exhibition model in New York are shown alongside London-based practitioners connected to SETAREH’s programme. Their practices articulate distinct relationships to scale, circulation, and audience, informed by the contexts in which they are developed and exhibited.

Participating artists include Zuzanna Bartoszek, Isabella Benshimol, Robin Hunter Blake, Cato, Jim Joe, Andrew Kass, Dylan Solomon Kraus, Frank Lebon, Harry Little, Anna Pollack, Ilê Sartuzi, Sage Schachter, Georgia Semple, Edward Skeletrix, Pol Taburet, Alix Vernet, Atticus Wakefield, Tucker Van der Wyden, Leon Xu, and Adam Zhu. Taken together, the artists reflect a new generation of practitioners shaping the contemporary art scene through practices responsive to how images, objects, and gestures move between private, public, and institutional contexts.

The title Breach refers to a deliberate opening rather than a rupture. It names the moment at which boundaries between exhibition models become permeable, allowing both artistic practices and organisational structures to move between contexts without being neutralised or assimilated. In this sense, the exhibition holds differences in proximity, foregrounding negotiation, exposure, and recalibration as productive conditions.

By situating these practices within SETAREH’s exhibition framework, Breach reflects on how contemporary artists and the institutions that support them increasingly operate across multiple contexts, and how meaning is generated through movement between them. The exhibition proposes porosity not as an abstract concept, but as a lived condition shaping how work is made, shown, and received today.