The Approach present Portraits\/Hybrids by Lisa Oppenheim in The Annexe. Over the last two decades, Lisa Oppenheim has developed a body of work that is rooted in the photography while expanding the medium in order to examine its other material, media and their corresponding histories. For her most recent body of work, Oppenheim transforms and embodies the practice of one of the twentieth century\u2019s most well-known yet enigmatic artists whose multifaceted career spanned nearly eighty years: Edward Steichen (1879-1973).<\/p>\n Steichen, a photographer, designer, curator, and flower hybridiser, viewed his flower cultivation on the same level as his photographic practice, on par with his work producing and designing exhibitions, books, watches, textiles and in 1928, a piano.<\/p>\n In a new series of photographic prints, Oppenheim revives a now- extinct variety of iris named Monsieur Steichen, which was created in 1910 by an amateur botanist as a tribute to Steichen. There are no known photographs of Mons. Steichen, nor extant examples of the flower. Oppenheim\u2019s works bring this flower back to life using photographic techniques from two very different eras: dye transfer, which Steichen himself used in the 1930s and 40s, and artificial intelligence. Through AI technology, Oppenheim created images of hypothetical hybrids by merging images of the two varieties of iris that were originally used to create Mons. Steichen, creating possible offspring from each parent variety. She then produced analogue prints of the AI generated images using the labour\u2013intensive and almost entirely extinct process of dye transfer printing. Using her own \u2018incorrect\u2019 colour combinations, Oppenheim creates a vast range of possible Mons. Steichen that explores the concepts of both genetic and photographic verisimilitude. @furryteacup<\/a> @approachgallery<\/a><\/p>\n Thursday 5th March<\/p>\n Bobinska Brownlee New River 6PM-8PM<\/strong><\/p>\n Bobinska Brownlee gallery\u00a0to present\u00a0Fuzzy Logic<\/strong>, a group exhibition curated by\u00a0Alexander Cob Gallery 6PM-8PM<\/strong><\/p>\n Portrait photography has always been at the core of\u00a0Jack Davison\u2019s practice, the subject he returns to most instinctively amid his many photographic experiments.\u00a0Portraits: 14 \u2013 16 November,\u00a0represents a deliberate effort to reclaim space for his enduring fascination with the human face, approached with renewed restraint and intensity.<\/p>\n Cob Gallery will present the work in its entirety: all ninety portraits from the series, shown in the\u00a0gallery\u00a0and in the city where the project was first conceived. This body of work unites Davison\u2019s lifelong commitment to portraiture with his recent exploration of photopolymer gravure printing, a process that brings tactile depth to the photographic object.<\/p>\n Conceived as the first chapter in an ongoing series, the project began in London, where Davison, in collaboration with casting director Coco Wu, street-cast individuals from across the city and photographed them over three days. What emerges is not a portrait of London, but a more intimate, personal register of encounter and presence. The presentation coincides with the launch of a new publication, self-published by Davison\u2019s print press Helions and designed by Matt Willey. The book captures the full scope of the project and marks the first volume in an evolving series, produced annually in different cities. @jackdavisonphoto<\/a> @cobgallery<\/a><\/p>\n GRIMM 6PM -8PM<\/strong><\/p>\n GRIMM present\u00a0placebo drive, an exhibition of new work by Michael Raedecker. This will be\u00a0his second exhibition with the gallery in London, and his largest show in the city in over ten years.<\/p>\n Michael Raedecker\u2019s work seeks to make sense of the symbiotic and often parasitic relationship between nature and humanity. Staged at the nexus between the natural world and the urban environment, Raedecker sustains and interrogates this unresolved relationship, using the medium of painting as the means of understanding how this aspect of the human experience can be communicated and questioned.The title of the exhibition\u00a0placebo drive\u00a0sits at the intersection of expectation, belief and desire. In medicine, a placebo works not because of its material properties but because of the trust in a system and the desire for an effect. In the context of painting, the\u00a0placebo drive\u00a0could therefore be taken as the drive to experience meaning or affect, a performed belief that something is happening. @michaelraedecker<\/a> @grimmgallery<\/a><\/p>\n Tuesday 10th March<\/p>\n One for next week<\/strong>, White Cube Mason\u2019s Yard 6PM \u2013 8PM <\/strong><\/p>\n White Cube Mason\u2019s Yard opens a solo exhibition of works by Sarah Morris, celebrating 30 years of collaboration with the gallery.<\/p>\n The exhibition features a series of new paintings that examine global corporations alongside two films set in New York: her latest,\u00a0Chris Rock\u00a0(2025), focusing on the American comedian, and her first film,\u00a0Midtown\u00a0(1998).<\/p>\n Titled \u2018Snow Leopards and Skyscrapers\u2019, the exhibition takes inspiration from the 1978 book by the American writer Peter Matthiessen, \u2018The Snow Leopard\u2019. Documenting his two-month search for the infamous creature, Matthiessen references an invisible quest through travel to find an elusive force.<\/p>\n An exploration of globalisation inspired by artists such as Andy Warhol \u2013 who blurred the boundary between the commodity form and art during a time of political, technological and social shifts \u2013 as well as the minimalism of Donald Judd, the exhibition premieres a new body of vibrant paintings executed in Morris\u2019s ready-made household gloss paint. Comprising diagrammatic architectural motifs, the works evoke the structures and language of international corporations, including Johnson & Johnson, Lilly, Cambridge Analytica, JPMorgan Chase and BlackRock. @sarahmorris<\/a> @whitecube<\/a><\/p>\n CategoriesTags![\"\"](\"https:\/\/fadmagazine.com\/wp-content\/uploads\/unnamed-2026-03-03T172855.110.jpg\")
<\/a>Lisa Oppenheim, Madamm Steichen Version VII, 2025, Dye transfer print Framed: 49.6 x 37.9 x 3.7 cm 19 1\/2 x 14 15\/16 x 1 7\/16 in.<\/p>\n<\/a>Josephine Baker, Prime Mover 01, 2024, Aluminium foil, aluminium sheet, aluminium tube, crocodile clips, electrical cabling, glass, grit, paints, pigments, plaster, plaster fragments, rivets, resin, sand, silicone, steel drillbits, 149 x 318 x 158 cm, Courtesy of the artist<\/p>\n
Harding, featuring\u00a0Josephine Baker,\u00a0Tobias Hauswirth,\u00a0Antonio Parker-Rees\u00a0and\u00a0Jack Roberts. The exhibition\u2019s title borrows from the mathematical concept of\u00a0fuzzy logic, a system that operates through degrees of truth rather than the conventional binaries of true or false. Originating in mid-20th-century mathematics, fuzzy logic has since been absorbed into fields such as machine control, image processing and\u00a0artificial intelligence, technologies that depend on interpreting signals which are never wholly clear or fixed. @bobinskabrownlee<\/a><\/p>\n<\/a>Jack Davison Portraits: 14-16 November (Callum), 2024 (printed 2026) Photopolymer intaglio
29.7 x 21 cm<\/p>\nMichael Raedecker, phantom lack, 2026<\/p>\n<\/a>Sarah Morris, Blackrock, 2025<\/p>\n