LOYAL

So happy to welcome Madeleine Bialke to the chapel in Lund! Madeleine Bialke, A Far Cry now on view at LOYAL. The exhibition brings together five new paintings that explore landscape, memory, and perception through graduated color, compressed tubular forms, and what Bialke describes as “memory watching,” the experience of seeing an image change with each encounter. On view through June 13. @mbialkey

LOYAL is pleased to present A Far Cry, a solo exhibition of new paintings by Madeleine Bialke, her first solo exhibition with the gallery and her third time exhibiting with us. The exhibition is comprised of five oil paintings on canvas in which Bialke’s use of shifting color, light, and perspective tests the emotional and structural possibilities of landscape painting. The resulting works are simultaneously intimate, uncanny, and structurally precise. A FAR CRY Madeleine Bialke May 15–June 13, 2026 Opening with the artist Friday, May 15, 5–7 pm Color and light register immediately in Bialke’s paintings. Deep oranges, pinks, and blues carry a saturated intensity, where color functions less as description and more as a carrier of sensation. Light appears to originate from within the image and reflect back across it. The result is physical. Heat, brightness, and atmosphere are felt before the image is fully read. Complex systems of foliage, sky, water, and light are compressed into rounded, tubular shapes that streamline the image without emptying it of force. There is a proximity here to Léger and Tubism, where form is organized through cylinders and repetition, though in Bialke’s work this logic emerges through the natural world rather than the industrial one. The paintings draw from the Adirondack Mountains, where Bialke has been visiting since childhood, now revisited through distance and memory, “a far cry” from her present surroundings. She describes this shift as “memory watching,” the experience of seeing an image change with each encounter. Adapting John Cheever’s comments on writing to painting, Bialke describes the process as drawing from “a substratum of memory that was imperfectly understood.” Bialke revisits this formative landscape not to preserve it, but to test how memory and form continue to evolve through painting. Across the works, trees remain the central force, not as backdrop or symbol, but as living structures carrying memory, relation, and vitality. @mbialkey #madeleinebialke Bialke is represented by @newchildgallery

Thanks to all who visited this week in the chapel. Welcome back next week ✨✨ Tianyue Zhong UNTIL Through May 13 Wed–Fri 12–5 pm Sat 12–3 pm @tianyuezhong #tianyuezhong

A closer look Tianyue Zhong Hurtle Oil on linen 86 x 57 in @tianyuezhong #tianyuezhong On view through May 13

Now on view Tianyue Zhong UNTIL Three paintings, each articulating a different state of a shared originating vision. @tianyuezhong #tianyuezhong Images from Tianyue Zhong’s studio in Los Angeles.

“Why This Swedish Gallery Set Up Shop in a 19th-Century Chapel” A nice piece on the gallery and the new space in Lund. Thanks @pleaseemailmax @artsy Link in bio

Finally up ✨ Tianyue Zhong, UNTIL Open today Wednesday 12–5 pm Looking forward to sharing the show with everyone @tianyuezhong #tianyuezhong

Tianyue Zhong’s second solo exhibition with the gallery brings together three large-scale oil paintings on canvas, presented in LOYAL’s chapel space in Lund, where the works enter into a direct dialogue with the scale, height, and symmetry of the room. Tianyue Zhong UNTIL April 15–May 13, 2026 The three paintings in UNTIL emerge from a single originating moment Zhong experienced during a visit to the Tashi Lhunpo Monastery in Shigatse, Tibet. Observing groups ascending a long stone staircase in a continuous, rhythmic flow, she watched from below as bodies overlapped, merged, and separated, at times appearing as a single form before unfolding again. Zhong revisited this experience through collage and, subsequently, through painting. Rather than reconstructing a fixed scene, she worked to re-enter the sensation of that moment through touch, gesture, and the accumulation of layered marks in oil paint. As she describes it, “this process is like drawing an infinitely long bow… every bit of strength is held within the layers of each painting.” Recurrence and repetition play a central role in this process, not to reinforce narrative but to dissolve it. By revisiting the same imagery time and again, Zhong explores whether the initial sensibility can remain frozen in time even as memories fade. She questions whether these intuitive outcomes, rooted in a singular source, serve as a continuation of her lived experience or if they have evolved into an independent artistic discourse as they are transplanted across geographical borders and cultural dynamics. Tianyue Zhong (b. 1994, Chengdu) lives and works in Los Angeles. Zhong received her MA in Painting from the Royal College of Art, London (2020), and BA in Fine Art from the School of the Art Institute of Chicago (2018). Recent exhibitions include Marianne Boesky Gallery (New York), LBF Contemporary (London and Paris), Long Story Short (New York), Tabula Rasa (Beijing), and Loyal Gallery (Stockholm and Los Angeles). @tianyuezhong #tianyuezhong

Final week for Infinite Planes High inaugurating our new chapel space in Lund. It’s been a warm welcome. Thank you all! @hugoavigo @rosscaliendo @casermankatarina @alice_faloretti @lyj_______ @jean_nagai @aryotohdjojo @alezazheng

Part machine, part fiction, both recognizable and subtly displaced, Hugo Avigo’s forms are structures reimagined, standing between sculpture, design, and narrative. Function shifts into something speculative, where the ordinary becomes a site of imagination and quiet disorientation. Hugo Avigo Apolis 1 2025 Aluminium, smoke machine 200 x 30 x 30 cm (79 × 12 x 12 in) In ”Apolis 1”, towers, particularly those found in rapidly developing urban contexts across the Gulf and Asia, merge with the design vocabulary of vape devices and ventilation systems. By fusing the codes of familiar structures, Avigo shifts them away from utility and toward something more speculative. Operating as “technologies of atmosphere,” producing air, mood, and a shared sensory field, the work asks us to reconsider the spaces we inhabit and the narratives embedded within the material world. @hugoavigo #hugoavigo Hugo Avigo (b. 1988, Clamart, France) lives in Paris. He studied at Central Saint Martins, London, and the École Nationale Supérieure des Beaux-Arts de Paris. His work has been presented in solo exhibitions at Galerie Chloé Salgado and Ninetto Gallery, and group exhibitions at institutions including Collection Lambert, Avignon, and FRAC Île-de-France, Romainville

Presented in ”Infinite Planes High II”, Ross Caliendo’s ”Old Tree” engages perception through the material possibilities of painting, using structures drawn from the natural world as a framework to investigate color, vision, and intensity through a responsive, intuitive process. Ross Caliendo Old Tree 2026 Oil and acrylic on canvas with wood frame 36 × 41.5 in (91 × 105 cm) The tree, the ground, and the surrounding space appear, then begin to loosen, dissolving into an almost electromagnetic field where the picture plane suggests multiple levels of perception at once. Figurative touchstones orient the composition, then give way, guiding us beyond recognizable forms. The work centers less on depicting the visible world than on evoking the experience of seeing. Bright grounds give way to dense, worked surfaces that are built up, scraped, and carved back open to reveal what lies beneath. Accumulated marks, impasto pointillism, and etched lines create a vibrating rhythm, as color advances and recedes across the surface. @rosscaliendo #rosscaliendo Ross Caliendo (b. 1988, Pittsburgh, PA) lives and works in Los Angeles. He received his BFA from the Columbus College of Art and Design in 2011. Caliendo has developed a sustained exhibition history across the US, Europe, and Asia, with solo presentations at Night Gallery (Los Angeles), Ross + Kramer (New York and Miami), Loyal (Stockholm), Asia Art Center (Taipei), and CVG Foundation (Beijing), where he presented his first institutional solo exhibition in Asia. His work has been included in group exhibitions internationally, including at K11 Musea (Hong Kong), Pace Prints (New York), and SPURS (Beijing), and he participated in the Fores Project residency in London.

Driven by an interest in painting as a shared perceptual field, Yanjun Li’s work treats painting as a site of encounter. Through color, surface, and depth, she builds spatial environments where light fractures, forms shift, and layers open into one another, proposing a visual language that moves across cultural and material boundaries. Yanjun Li
Pyrotechnics 2025
Oil on canvas
100 × 65 cm (39 × 26 in) In Pyrotechnics, Li develops a layered surface where organic textures meet industrial materials. Drawing on visual sources ranging from stars and city lights to patterns of weather and migration, lines and forms converge and disperse, tracing paths like beams of light. A crisp glow cuts through transparent layers, moving across the painting in refracted planes. Presented as part of Infinite Planes High II, the work reflects the exhibition’s focus on the picture plane as a space where multiple conditions coexist, where surface, depth, and perception remain in constant negotiation. @lyj_______ #yanjunli Yanjun Li (b. 1998, Kunming, China) received her BFA from the School of Visual Arts in 2020 and completed a Post-Baccalaureate at the School of the Museum of Fine Arts at Tufts University in 2023. Her work has been presented in solo and group exhibitions including Latitude Gallery (New York), Jack Barrett Gallery (New York), and Long Story Short (Paris).