Galerie Isabella Bortolozzi is pleased to announce Adam Gordon’s solo exhibition Months Turn To Years, presenting a new body of work developed as what the artist describes as “one organism”; the exhibition opens on 1 May for Berlin Gallery Weekend 2026 and runs until 4 July. Whether resulting in painting or constructed environments, Adam Gordon primarily conceives of his work as part of a larger spatial and experiential framework. With Months Turn To Years, Gordon treats the gallery space as an enclosed “womb-like” environment, staging a series of oil paintings charged with an ambiguity of presence.
Gordon treats the process of painting—built up through multiple, often unseen layers of underpainting—as a kind of architecture integral to the final epidermal surface. These works often start with photographs that he has meticulously staged in physical space. At times they involve recurring figures such as a woman named Iwona who appears throughout his work as a figure of relative anonymity. He met her through a craigslist advertisement while seeking people for what he describes as various esoteric “life-actions”. The first was a staged work in Midtown Manhattan, where he directed her movements through the city—selecting her clothing, slightly aging her with a makeup artist, and instructing her not to interact with others. The work was neither documented nor clearly framed as an artwork—a liminal area which recurs in Gordon’s work.
From composition to staging to final image, Gordon has described his process as one of sustained attention, through which familiarity becomes unfamiliar. In earlier installations such as The Large Lady (2022), presented at Gandt, New York, Gordon choreographed the viewer’s experience by closing off the suburban basement space of the gallery and installing a peephole through which visitors encountered an ambiguous, dimly lit scene centred on a slowly rotating disco ball. By restricting access and isolating the act of looking, the work foregrounded a sense of instability in perception. This relationship between the control of perception and the construction of choreographed scenarios also translates into works of a much more plastic nature. For Months Turn To Years, Gordon continues this line of inquiry in a body of work that prioritises atmosphere over narrative, producing a singular and private mode of viewing.
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