Condo 2026
Amanda Wilkinson
hosting Air De Paris, Paris and Take Ninagawa, Tokyo 17 January – 21 February 2026
Gaëlle Choisne | Ketty La Rocca | Gōzō Yoshimasu
This presentation features works by three artists from different generations and cultural backgrounds. What connects them is a shared notion that language – written, oral or visual – can be dissolved or displaced into a vibrant liminal space, a portal that facilitates the challenging of traditional systems and hierarchies.
The video work 'Creole Garden in Normandy ’ by Gaëlle Choisne documents the making
of a Creole garden in Normandy through which she reflects upon the colonial relationship between Haiti and France. She considers themes of genealogy, healing, and resistance to examine the intricacies of this shared history and offers glimpses of hope for a more inclusive and sustainable future. Her paintings from the series Safe Spaces for a passing History combine an idiosyncratic mix of media; ceramics, pastels, painting, photographs, archive images, talismanic writing and everyday objects. First devised in order to represent historical feminine figures from the black Haitian revolution, Choisne has referred to the series as an 'ode to the chaordic’ a harmonious and organic fusion of order and chaos, high-brow and low-brow, that creates ’safe spaces’ for reinvention.
Ketty La Rocca’s verbal-visual collages from the mid-1960s used texts in the style of advertising slogans and media propaganda, subverting their meaning through a play on words that draws out their ambiguities, and elaborates her ideas through the pairing of such texts with images drawn from popular magazines and newspapers. These works were calls to become politically aware and to resist the political and clerical manipulation played out in the media at the time. Ma non cerco abbastanza (But I don’t try hard enough) exemplifies this subversive approach as the words and images resist any direct translation or meaning. Other works in the exhibition which focus on La Rocca's works with hands illustrate her drive to disrupt traditional language, which she considered to be representative of the patriarchy. She proposed as an alternative a language of gestures, one that encompassed a more emotional and expressive form of communication
Launched in the wake of the Tohoku earthquake, tsunami, and nuclear disaster of 2011, Gozo Yoshimasu's Dear Monster project (2012–16) explores the possibilities for poetry in the face of such a catastrophe. These mixed-media works on paper feature Yoshimasu’s transcriptions of works by his mentor and friend Takaaki Yoshimoto (1924–2012), a leading poet and thinker of postwar Japan. Writing in his characteristic compact scrawl, Yoshimasu dismantles and reassembles texts ranging from language theory to poems touching on love, loss, and death. Embellished with colorful splashes of paint and collaged elements, each work becomes part manuscript, part painting, and part score awaiting activation by the viewer.
Gaëlle Choisne
Born in 1985 in Cherbourg, France. Lives and works in Paris.
Presented by Air De Paris, Paris
Gaëlle Choisne’s practice combines a documentary approach (photography and video) with the use of raw materials, addressing socio-political issues related to the overexploitation of natural resources and colonial history. Born of a Haitian mother and a Breton father, the artist blends oral traditions, Creole mythology and popular culture in works that refer to both Haiti’s history and her own personal narrative.
Gaëlle Choisne is the recipient of the 2024 Prix Marcel Duchamp. She is currently taking part in the 14th Taipei Biennial. Recent solo exhibitions include Temple of Love — Coeur, Scuola Piccola Zattere, Venice (2025); Temple of love — To Hide, KFW Villa 102, Frankfurt (2024); Reiffers Art Initiatives with Lorna Simpson, Acacia Art Center, Paris (2023); Temple of Love – Atopos, MAC VAL, Vitry-sur-Seine (2022); Mondes Subtiles, Air de Paris (2021); Défixion, curated by Nicolas Bourriaud, Musée Henri Prades, in collaboration with MO.CO., Montpellier (2020); Temple of Love, Nuit Blanche, Musée d’Art Moderne de la ville de Paris (2020); Temple of Love — Adorable, The Mistake Room, Los Angeles (2019), Temple of Love, Bétonsalon, Paris (2018).
Ketty La Rocca
1938 – 1976, Lived and worked in Florence, Italy
Presented by Amanda Wilkinson, London
Ketty La Rocca (1938-1976) is among the most important proponents of Conceptual and Body Art in Italy in the 1960s and 70s. Based on a visual poetry, she radically dealt with the socio-political limits of the meaning of language and images in her collages, performances and photographs. A central aspect is the examination of the bodily gesture as an original means of communication.
Recent exhibitions include a major solo exhibition Ketty La Rocca: You You the Estorick Collection of Modern Italian Art, London, UK. At present her work is included in Valie Export & Ketty La Rocca Body Sign,Thaddaeus Ropac, Milan and Channeling: body image viewer, Museum of Contemporary Photography Chicago. Other recent exhibitions include Pop Models - Women in European Pop Art, MORE, Museum, Gorssel, NL, Easy irony. Irony in Italian art between the 20th and 21st centuries, Museo d‘Arte Moderna di Bologna, Bologna, IT, Disruptions. Early Video Art in Europe, FMAC – Collection d‘art contemporain Ville de Genève, Geneva, CHE, Global Visual Poetry: transnational trajectories in Visual Poetry - Arte Povera - The New Chapter at EMMA Espoo Museum of Modern Art, FI (all 2025) and Video on Screen: The Early Years in Europe, Tate Gallery,London, UK (2024).
Gōzō Yoshimasu (b. 1939).
Presented by Take Ninagawa, Tokyo
Gōzō Yoshimasu emerged out of Tokyo’s interdisciplinary avant-garde scene in the 1960s and is now considered one of Japan’s greatest contemporary poets. His multimedia practice combines poetry with performance, audio recordings, photography, and moving image works. Highlighting the multiplicitous nature of language, his poems draw from diverse geographic and cultural sources, testing the limits of translation. His manuscripts often feature spontaneous applications of mark making, paint, collage elements, and fragments from other texts, blurring the lines between calligraphy and painting.
Yoshimasu’s work is currently on view in the 36th Bienal de São Paulo through January 2026 and at the 15th Shanghai Biennale through March 2026. Yoshimasu was the subject of a major retrospective at the National Museum of Modern Art, Tokyo, in 2016. In addition to solo shows at the Maebashi City Museum of Literature, Gunma (2023), and the Ashikaga Museum of Art, Tochigi (2017, toured to the Okinawa Prefectural Museum & Art Museum, Naha; the Shoto Museum of Art, Tokyo), he has participated in international group exhibitions including the Manchester International Festival, “Poet Slash Artist,” co-curated by Hans Ulrich Obrist and Lemin Sissay (2021); the Reborn Art Festival, Miyagi (2019); “Sharjapan: The Poetics of Space,” Sharjah, curated by Yuko Hasegawa (2018); and the 21st Bienal de São Paulo (1991).
