JOHS

Thank you @archdigest @admiddleeast 🩵 livin’ gallery continues.. 🛋️ @_jo_hs grateful for this journey 🌊 #architecturaldigest @gubiofficial @louispoulsen

We are honored and excited to have been featured in @nytimes this week in the article ‘The Upside of a lockdown’ by @pilarviladas . Thank you for the write up on @_jo_hs and founder @elisabethjohs #nytimes #lockdown #cdmxart #cdmxartist #johs

Thank you @admexico and @archdigest 🖤 for coming for a tour of @_jo_hs during art week in February. I hate the sound of my voice 🫣 but here you go! More to come soon 📽️🎞️ Featured artists: Rodrigo Red Sandoval @rodrigoreds Gordon Winarick @gordonwinarick Neil Hamamoto @bigappleboy #admexico #architecturaldigest #johsgallery #artgallery #mexicocityart #adhome #johsmexico #johsny #contemporaryartgallery #contemporarygallery #interiordesign

Time keepers and their strawberries table cloth 🪡 currently at @newartdealers with @johsgallery booth B25 archival family photographs on textile, hand embellished with quartz crystals, quartz clock mechanism, polymer clay, watercolour pencils

BOOTH B25 at @newartdealers NYC . . With a selection of works by @polinatammi @madsbryld . . Polina Osipova is a multidisciplinary artist whose practice explores Indigenous Chuvash legends and myths at the junction of craft and digital technologies. She refers to, reflects on and learns from the expertise of her female ancestors, using textiles and archival family photos to explore the threads between past and future - temporal and timeless, creating portals from the digital to analogue. The recurring symbols of photographs in her work creates the illusion of an untold story hidden in her family archives. She mostly creates wearable sculptures, textile sculptures, engages with performance and photography – a set of works she considers intrinsically bound together and functioning as an organic whole. The wearable sculptures and objects she creates function as both regular sculptures as well as garments that are performed in, and which subsequently become a part of a digital mythology, captured in photos and videos. . . Mads Bryld, born in 1991, lives and works in Copenhagen, Denmark. He is an architect by education and worked as a landscape architect for five years at leading studios in Copenhagen (2020–2025). He now focuses on his artistic practice, where his oil paintings exist in a state of constan transition, moving fluidly between figuration and abstraction. Light appears to drift across volatile, liquid surfaces, causing images to emerge, dissolve, and reappear through subtl shifts in perception. The works evoke landscapes and sceneries that feel familiar yet cannot be placed geographically, recognized intuitively rather than consciously. Distortions of scale and cropping create an uncanny sense of presence, where past, present, and future seem to coexist. . . ✉️ More information at [email protected]

OPENING TODAY MADS BRYLD “I Dwelled into a Thousand Sunsets” 📍38 Crosby St, Floor 6. NYC 10013 | 6-8 pm ✉️RSVP at [email protected] . . Light stretches, hesitates, and returns. Bryld captures what often escapes notice: the almost imperceptible change in temperature from one day to the next, the way sunlight gathers strength, and the quiet insistence of growth. In this way, Bryld’s work, grounded in sustained, almost hyperlocal observation, translates into compositions where structure remains in flux. His surfaces are constructed through layering and fragmentation, allowing figure and ground to continuously shift. Color operates relationally, accumulating and dispersing across the surface. Nature does not present itself as a spectacle, but as something close, surrounding, and continuous with us. . . Mads Bryld Shimmer, 2026 Oil, rabbit skin glue on linen in floating stained oak frame 15 3/4 x 11 3/4 in 40 x 30 cm . . ✉️ More information at [email protected]

NADA NY | BOOTH B25 POLINA OSIPOVA : Wings for flying to ancestor stars 🪽 Polina Osipova (1998) is a multidisciplinary artist whose practice explores Indigenous Chuvash legends and myths at the intersection of craft and the archaeology of collective memory. Drawing on the knowledge and expertise of her female ancestors, she reflects on inherited traditions through textiles and archival family photographs. These materials become a means to trace connections between past and future—both temporal and timeless—creating portals that bridge the digital age with the analogue. Recurring photographic motifs in her work evoke the presence of untold narratives embedded within her family archives. Working across textile, sculpture, wearable forms, performance, and photography, Osipova conceives these mediums as intrinsically interconnected, forming an organic and unified body of work. The wearable sculptures and objects she creates function simultaneously as autonomous artworks and as garments activated through performance, ultimately becoming part of an evolving personal mythology. . . POLINA OSIPOVA A device for flying to the ancestral stars II (Kolyma) , 2026 Archival family photographs on textile, watercolour, metal studs, canvas, graphite pencil, oak wood 78 3/4 x 59 1/2 in 200 x 151 cm ✉️ Request more information at [email protected]

JOHS is thrilled to announce Polina Osipova’s solo presentation at this year’s edition of NADA New York 2026 “Wings for flying to the ancestor stars” 🪽 BOOTH B25 May 13–17, 2026 The body of work in the solo presentation called “Wings for flying to the ancestor stars” is drawing on the Chuvash belief that ancestors inhabit the night sky, forming a constellation of memory and guidance,“Wings for flying to the ancestor stars” contrasts this worldview with the narratives imposed during the Soviet era, when Chuvash identity was reframed through the rhetoric of space conquest. Growing up surrounded by “rocket” playgrounds and the legacy of a local cosmonaut, Polina once imagined herself flying into outer space. Today, she reinterprets that childhood impulse as a path toward cultural return rather than escape. Osipova’s work invites viewers to consider how myth, materiality, and family archives can create new cosmologies and dialogues. Make sure to visit next week. ✉️ Request a preview at [email protected]

Mads Bryld Catching Dawn, 2026 Oil, rabbit skin glue on linen in oak frame 31 1/2 x 39 3/8 in 80 x 100 cm . . . In Catching Dawn, Bryld captures the fragile threshold where night gives way to morning, portraying dawn as a gradual emergence. Painted with a sense of immediacy, the forms in the image remain open, what appears as a flower might just as easily be a spark. Light seeps through dense, shifting vegetation, where deep greens and reds hold the residue of darkness while flickers of yellow and soft pink signal the arrival of day. A path quietly surfaces within the composition, less as a defined track than as a sensation of movement. . . Join us for the opening of “I Dwelled Into a Thousand Sunsets” by Mads Bryld 🗓️ May 14th, 5-8 pm 📍38 Crosby St, Floor 6 RSVP at [email protected]

LAST WEEK TO VIEW : What Falls, Hangs, Drips and Comes Undone 📍38 Crosby St, Floor 6, New York 10013 ✉️Book your appointment at [email protected] - LINA MCGINN Equally detested and adored, 2025 Polymerized gypsum, fiberglass, automotive enamel, polyeurethane. 68 x 7 x 15 in 172.7 x 17.8 x 38.1 cm - Lina McGinn (b. 1994, Brooklyn, NY) is currently completing her MFA in sculpture at Yale School of Art (expected 2027) and earned her BFA from the Cooper Union School of Art in 2016 where she received the Medici Award for Excellence in Art. Notable exhibitions include her recent solo exhibition, Dear John at Europa Gallery, New York (2025) as well as group exhibitions: Stooge, A.D. NYC, New York (2026); Every Driven Leaf, Chelsea Walls, New York (2024); Works on Paper on Fridges, Harkawik, NY (2023); Crucible, at Spencer Brownstone Gallery (2022); Hold Me, curated by Rafael De Cardenas at the Children’s Museum of Art (2022); One Work, One Piece, One Week, curated by Daisy Sanchez in New York. McGinn has been featured in Artforum and Artsy. On top of showing her own work, McGinn co-curates an ongoing outdoor contemporary outdoor sculpture exhibition space, Art Lot, in Red Hook, Brooklyn

OPENING MAY 14th MADS BRYLD I DWELLED INTO A THOUSAND SUNSETS 📍38 Crosby St, Floor 6, NYC 10013 JOHS is pleased to present I Dwelled into a Thousand Sunsets, the first New York exhibition of Danish painter Mads Bryld. Bringing together a body of work that emerges from images Bryld has gathered over time, during morning runs in Copenhagen, from landscapes in Sweden, and from New York some years ago, the exhibition is rooted in places that, from a distance, feel like home. In this way, memory is built through his paintings as he proposes an alternative tempo, one that invites stillness, attention, and a deeper attunement to the world’s transitions. Within his practice, Bryld is drawn to spaces that feel unresolved or “messy,” yet function on their own terms. From this perspective, his works do not depict nature as a fixed image, but as something continuously becoming. They operate as windows, gazes outward that ultimately absorb the viewer. . . MADS BRYLD I Dwelled into a Thousand Sunsets, 2026 Oil, rabbit skin glue on linen in stained oak frame 65 x 59 in 165 x 150 cm . . Mads Bryld, born 1991, lives and works in Copenhagen, Denmark. Recent exhibitions include; Altered Horizons, Haricot Gallery, London, United Kingdom, 2025. Sometime in the Spring, Somewhere in the Fall, V1 SALON, Copenhagen, Denmark, 2025. Landscapes, V1 Gallery & Eighteen, Copenhagen, Denmark 2025. Fortune Teller, V1 SALON, Copenhagen, Denmark 2024. Catching Currents, Chasing Ducks, V1 SALON, Denmark 2024. Onions, group exhibition, OUTPOST, Copenhagen, Denmark 2023. Bookbar, Paris, France 2023. Psyche, Copenhagen, Denmark, 2022, and A Mon Avis Vol. IIII, group exhibition 2022.

Jo Dennis Still Hollow Water, 2024 Oil, acrylic and spray paint, cotton fabric, marble dust on military surplus tent fabric. 78 3/4 x 70 7/8 in 200 x 180 cm . . . Jo Dennis (b. 1973, UK) is a British artist based in London. Her practice spans two decades, working across painting, sculpture, photography, and installation. Dennis explores our psychological and emotional connection to place and memory, specifically in relation to ruination, surface, and decay, and how these themes link with notions of mortality. Dennis received her MA in Painting from the Royal College of Art, London (2022) and her BA in Fine Art and Contemporary Critical Theory from Goldsmiths College, London (2002).Recent exhibitions include Belenius Gallery, Stockholm (solo) A Letter to my Daughter (solo) Carvalho New York 2025: David Zwirner PLATFORM (group) curated by Elisabeth Johs 2025, A Glass of Absinth (solo) at JO-HS, Mexico City 2025. Dennis is a recipient of a Grants for the Arts from Arts Council England (2023-24). She is the co-founder of several artist-led projects in London: Pigeon Park (2021-22), Peckham 24 Photo Festival (2016-2024), AMP Gallery (2015-2018), and Asylum Chapel (2010-present). She has collaborated with Sid Motion Gallery on five solo projects (2017-2023), including the launch of her artist’s book, I touched this with my hand, I touched that with my eye (2020). Dennis is a trustee of the Artists General Benevolent Institute. Her work was recently included in The Book Of Ladders, 100 Contemporary Art Works, edited by Paul Carey Kent and Adeline de Monseignat (2023), and Site Specific by Tall Poppy Press (2023).