Gandy Gallery

10/05/2026

20 years !
so important, so essential ! 🙏🙏🙏

tranzit is a unique network of civic associations working independently in the field of contemporary art in Austria, the Czech Republic, Hungary, Slovakia and Romania and across the borders of a wider Europe. Its main goal is to support and articulate emancipatory practices, establish connections between culture and society by moving across geographies, generations, and political realms…

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07/05/2026

✅ [ ARTIST’S NEWS] JANA ŽELIBSKÁ

Jana Želibská participates in the group exhibition In the End There Will Be No End. Neo-Avant-Garde and Contemporary Artists from Art Fond Collection, Bratislava, curated by Katarína Bajcurová and , .

On view from April 24 until September 20, 2026.

Currently 06.07 June

04/05/2026

✅ [ ARTIST’S NEWS ] ILONA NÉMETH Ludwig Múzeum

Ilona Németh participates in the group exhibition In the End There Will Be No End. Neo-Avant-Garde and Contemporary Artists from Art Fond Collection, Bratislava, curated by Katarína Bajcurová and Lucia Gregorová Stach, at Ludwig Museum, Budapest. On view from April 24 until September 20, 2026.

At the exhibition in Gandy gallery I present two older pieces from the series inspired by a style of the well-known Swedish brand of mass-produced furniture, specifically PAX/NEXUS/SALVUS - Confessional and MALM-IN - Praying desk. In these works I examine the relationship between society - individual - Church - consumerism. PAX/NEXUS/SALVUS was created in 2005 and after that in 2008 I continued in this series with the polyfunctional drawer chest MALM-IN. This group of works will be completed with METOD - a new object I wanted to create for a long time but until now there had not been any opportunity to accomplish it.
New object METOD - Pulpit:
For a long time I take and collect photos of pulpits situated in various churches all over the Europe. I am interested in this kind of object from two different points of view. From one side, I consider it as an architectural, but very peculiar, object parasitizing in the sacral space. From the other side, I am interested in its special place, a hierarchical one, from which « the truth » is transmitted. The final form of METOD was conceived in collaboration with architect Marián Ravasz. The top part of a pulpit is usually formed into some kind of shed which serves to spread the sound. That is the reason why « an audio space » (created in collaboration with sound designer Matej Gyárfás) is integrated into METOD. This sound is diffused by a specific directional loudspeaker aimed to be heard by a single person at the time. »
Ilona Németh Gandy Gallery 2015

www.gandy-gallery.com

29/04/2026

・・・
Laureát Norbert Kuki .lambo 👏👏👏
CENA OSKÁRA ČEPANA 2026

The artistic practice of Norbert Kuki resists easy categorization, and that resistance is itself part of its integrity. Moving across social sculpture, activism, rap and merchandise, his work is not primarily concerned with being polished or validated by art institutions - it is concerned with proximity, exchange and the refusal to be spoken for. What the jury recognised in his portfolio is something harder to manufacture than a refined aesthetic: a genuinely non-fetishizing engagement with the Roma community from within, built through sustained exchange rather than the kind of brief, extractive encounter that so often produces tokenistic or reductive representations. Kuki’s work carries within it a universality of displacement that resonates across diasporas far beyond its immediate context. The jury values the ethical seriousness and the social urgency that animate his practice.

Portrét/Portrait: Martin Lacko

Spoluorganizátor / Co-organizer:

Partneri / Partners: Residency Unlimited, YVAA, Trust for Mutual Understanding, Nadácia Tatra banky

24/04/2026

[ PRESS ] 🙏🙏🙏

Popline Fichot, tisseuse d’histoires invite à toucher l’entrelacs du jeu, du plaisir et de la mort. Née en 1999 en France, elle vit et travaille entre Paris et le Morvan. Ses œuvres cherchent des récits où l’invisible devient matière, où la matière se met à vibrer comme une mémoire q...

23/04/2026

JANA ZELIBSKÁ
THE WORLD
Despair - Hope

Exhibition until May 29, 2026

The Gandy Gallery is pleased to present the fifth solo exhibition by Jana Zelibská,one of the most important female artists in Central European art

Jana Želibská addresses, in this solo exhibition, a world marked by destabilisation, the weakening of cultural institutions, and a politics of incompetence and blindness toward art and science. Since the 1960s, she has continuously developed art and feminist strategies of resistance to oppression and, through her unmistakable artistic language, creates a symbolically and affectively layered environment. Central to the installation is the artist’s long-cherished plaster copy of the marble bust of Cecilia Gonzaga, whose forcible removal from Levoča interrupted independent art-historical research and exposed the vulnerability of cultural memory. The question “Where is my sister?” articulates sisterhood as a form of solidarity and resistance against isolation and manipulation. The interconnected installation unfolds throughout the gallery space, working with hope and despair as two affective poles of a shared reality.
It reminds us that hope is neither escape nor illusion, but a conscious and active method of survival.
Lucia Gregorová Stach 🙏🙏

Jana Želibská (1941, Olomouc, Czechoslovakia), visual artist living and working in Bratislava, play a key role on Slovak artistic scene from the end of the Sixties. Her work was exhibited in many Slovak, as well as foreign institutions: Tate Modern (London), Walker Art Center (Minneapolis), Ludwig Muzeum (Budapest), Zacheta – Narodowa Galeria Sztuky (Warsaw), Museum moderner Kunst Stiftung Ludwig (Vienna), Národní galerie v Praze (Prague), XLVIII. Biennale di Venezia, Czechoslovak pavilion, Giardini di Castello (Venice), Courtyard Gallery (New York), Musée d´Art Moderne de la ville de Paris (Paris), Museo Universitario (Mexico) and others…

22/04/2026

POPLINE FICHOT

How Beautiful Was Your Shore, 2025
Sculpture series
Foam, sawdust, acrylic
View of the exhibition *Nos pieds d’argiles at Saint-Pierre Church, Le Corbusier Site, Firminy, France

This sculpted banquet, composed of undulating islands, is a festive and lavish staging of our meals. A mirror of our excessive relationship with consumption. Covered in a fine mold, these dishes seem to offer moths a world to devour.
The project reveals the tension between human accumulation and natural balance, in a play between life and destruction.

Popline Fichot (born in 1999 in France) lives and works between Paris and Morvan. She graduated with a master’s degree from the École Duperré in 2023. She has presented her work in several institutions, including the Ménagerie de Verre (2021), the Swedish Institute (2023), the Musée de la Chasse et de la Nature (2026), and the Le Corbusier – Firminy site (2026). She has held solo exhibitions at the Love&Collect Gallery (2022) and Les Abattoirs – FRAC Occitanie (2023). She has also participated in group exhibitions at the Sophie Scheidecker Gallery, the Galerie du Crous de Paris, Système D, and DOC!. The artist received training from Anna Hulacová (Czech Republic), Laure Prouvost (Belgium), Frederik Exner (France–Denmark), and Antoine Liebeart (France). She completed two residencies in 2022 and 2025 at the Ernan studio in Albissola Superiore, Lucio Fontana’s former studio, followed by a residency at Villa Belleville in 2026. In 2025, she was awarded the Galerie du Crous program and nominated for the COAL student prize. Her poems and fanzines have been added to the collections of the Zentralinstitut für Kunstgeschichte, the Central Institute for Art History in Munich. She is also a member of the Royal Book Lodge collective.

www.gandy-gallery.com

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20/04/2026

🟥 [ ARTIST’S NEWS ] INCI EVINER

Works by Inci Eviner on display at the Drawing Biennial 2026 taking place at Drawing Room, London from 16 April until 23 June 2026.

Inci Eviner’s work ranges from drawings and video to performative and collaborative practices, Eviner’s large body of work comprises multi-layered pieces that originate from drawings.

Eviner’s work explores the politics and potentiality of desire, space and subjectivity. As an artist mindful of the traumas that we experience in our everyday lives, she demands new approaches to seeing and listening.

Inci Eviner (b. 1956, Polatlı) graduated from the Painting Department of Istanbul State Academy of Fine Arts and completed her PhD at the same university. She represented Turkey at the 58th Venice Biennale, Turkish Pavilion in 2019. She held a comprehensive retrospective show in 2016 at the Istanbul Museum of Modern Art. Eviner’s solo exhibitions include the Drawing Center, New York (2015); Espace Chatelain, Brussels (2013); Musée d’Art, Paris (2011); Whitechapel Gallery, London (2009); MAC/VAL; and Vitry-sur-Seine (2009). Group exhibitions and biennials include; British Museum, London (2019-2020); Hayward Gallery, Southbank Center, London (2018-2019); Liverpool Biennial (2018); Q21 Exhibition Space, Museums Quartier Wien (2018); Gwangju Biennial (2018); Municipal Museum of Jena (2018) and the 13th Istanbul Biennial (2013). She received the Sharjah Biennial 13 Prize in 2017. The artist has been invited to a number of artist residencies including Rauschenberg Foundation, Florida (2017); SAM Art Projects (2010) and Leube, Salzburg (2005). Eviner’s works have been included in international collections such as the Deutsche Bank Collection, Centre Pompidou Paris, Istanbul Museum of Modern Art, Guggenheim New York and TBA21 Vienna. She lives and works in Istanbul.

www.gandy-gallery.com/incieviner

19/04/2026

I would like to sincerely thank to Jana PísaříkováJ
and to Galerie města Blanska for giving me the opportunity to put together this exhibition.
Thank you all so much! 🙏💛🙏💛🙏

www.gandy-gallery.com/exhibitions

14/04/2026

➡️[ ARTIST’S NEWS] JOSEPH GRIGELY

Solo show of Joseph Grigely entitled This Is Where We Are Palais de Tokyo , Paris, on display from 03 April until 13 September, 2026.

Invited by Palais de Tokyo to intervene in one of its spaces that remains particularly inaccessible to people with reduced mobility, Joseph Grigely has chosen to directly engage with the challenge of making this space equally available to all audiences. What might emerge from a meeting between a staircase and a ramp at the entrance? Perhaps a new path—one that disabled and non-disabled visitors could share, rather than navigate separately.
Through a series of works and a risograph-printed publication, the artist sets out to imagine and design what he calls an “architectural prosthesis”—a conceptual and material tool through which to explore both his own slow and difficult ascent within the art world, and to propose new ways to make that path more welcoming. But this process comes at a cost of rethinking the ways institutions organize, present, and find access, and an acknowledgment that the process can be difficult for everyone involved.
It is imperfect by historical design, even when institutions strive to be better. Hence the title of Joseph Grigely’s installation: “This is Where We Are”.

Joseph Grigely 👏👏👏
Amy Vogel 💛

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