Ivan Navarro at Templon Gallery

It’s easy to name a few stars, at least of the human variety.  But start thinking beyond our solar system and it gets tougher to come up with household names for more distant celestial bodies.  The stars – Almaz, Menkalinen, Hoedus I and others noted on this lightbox by Ivan Navarro at Templon Gallery’s recently opened New York space – are officially named by a working group of the International Astronomical Union in Paris.  Navarro, known for neon sculptures that comment on political power and social issues questions who has the right to mark territory with names or by other means.  Swirls of painted color evoke distant nebula along with the stars, emphasizing the unknown nature of distant phenomenon.  (On view in Chelsea through Dec 23rd).

Ivan Navarro, Nebula X (Auriga), LED, aluminum, wooden box, paint, regular mirror, one way mirror, and electric energy, 2022.

Anya Kielar in ‘Somatic Markings’ at Kasmin Gallery

How do individuals, particularly women, live up to the roles society offers them and how do they shape those identities? Fluidity between these two positions is at the heart of Kasmin Gallery’s new group show Somatic Markings, a selection of work by seven artists whose unconventional depictions of the human body invite rejection of binaries.  Here, Anya Kielar’s shadow box sculpture ‘The Actress’ features a figure soliloquizing before a disembodied eye.  Inspired by Greek and Roman relief painting and shallow medieval carving among other sources, the title figure is cramped by her surroundings and depicted in such willowy forms that she appears infinitely capable of adaptation and change. (On view in Chelsea through Dec 23rd).

Anya Kielar, The Actress, paint, linen fabric, foam, aqua resin, wood and plexiglass, 40 ¼ x 30 ½ x 8 inches, 2020.

Richard Ibghy & Marilou Lemmens at Jane Lombard Gallery

From toddler fight clubs to flat earth theories, colorful sculptures by Richard Ibghy & Marilou Lemmens at Jane Lombard Gallery symbolize rumors and conspiracies of the 21st century with seriousness tempered by humor.  The purple head in the foreground of this installation view represents the notion that climate activist Greta Thunberg is actually an actor in thrall to nefarious powers.  Other pieces suggest that the US government can control the weather or that patterns of holes in ripped jeans have been used to communicate secret messages. Lighthearted in appearance but representing harmful misunderstandings, the installation emphasizes the absurdity and ubiquity of widespread falsehoods.  (On view in Tribeca through Dec 17th).

Richard Ibghy & Marilou Lemmens, installation view of ‘Alternative Facts of the 21st Century,’ at Jane Lombard Gallery, Nov 2022.

Pamela Jorden at Klaus von Nichtssagend Gallery

Two strikingly different semi-spherical paintings appear to join together to provocative effect at the center of ‘Noisetone,’ one of Pamela Jorden’s new abstractions at Klaus von Nichtssagend Gallery in Tribeca.  Both created from washes of paint and featuring a curving arch at the top like a dip in a wave or a celestial sphere, the palettes of each half create divergent moods that suggest different light conditions and landscapes.  Purple and pink washes of color on the left uplift an otherwise bleak scene and off-set an overpoweringly rich combination of blue, green, red and yellow to the right.  (On view through Dec 10th).

Pamela Jorden, Noisetone, oil and acrylic and linen, 80 inch diameter, 2022.

Tunji Adeniyi-Jones at Nicelle Beauchene Gallery

At just smaller than 30 x 23 inches, Tunji Adeniyi-Jones’ new lithographs in the entry space of Nicelle Beauchene Gallery are smaller than the artist’s vibrant, pattern-driven paintings in the main space, but more intense and rewarding.  Powered by the motion of the curving, androgynous bodies that contort to fit into the picture’s confined space, each print conveys the energy and rhythms of dance.  (On view in Tribeca through Nov 23rd).

Tunji Adeniyi-Jones, Midnight Voices #2, two-color lithograph on paper, 29 7/8 x 22 3/8 inches, 2022.