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Adrian Preisler

@adrianpreisler

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Hamed Maiye is a London-based interdisciplinary artist occupied with memory, archiving, and magical realism via a variety of materials, including painting, photography, sculpture, and performance. His work draws on anthropological theory, Yoruba philosophy, and historical documentation to create scenarios intended to provoke introspection and emotional reflection. Maiye's art wrestles language-, image and world-making while exploring the cultural mythology and myth making that inform his work. His work establishes surrealist logics that challenge dominant epistemologies and highlight the constructed nature of memory and history. Hamed Maiye (b. 1991) lives and works in London. In 2014, he received a BA with honours from the Canterbury School of Architecture (UCA). Solo and duo exhibitions include: Frieze with Harlesden High Street, London (2023); Harlesden High Street, London (2022); PM/AM, London (2021). Horniman museum (2020) Selected group exhibitions include: Borders & Other Myths, Gallery Affinity, Lagos (2026); Aleph, HSBC curated by REDEYE, London (2026); Good Eye 23/24, Saatchi Gallery (2025); Stretching the Light, Rele, London (2024); Following the body, Fragment, New York (2023); Time the Perfect Muse, Dada Gallery (2022); Soon this Will be Over, Sarabande Foundation, London (2022). Maiye’s work will feature in the forthcoming exhibition: Sunset Club, Studio Chapple/Sadie Coles, London (2026). Recent residencies include the Sarabande Foundation, Camden Arts Centre, and Selfridges, London. 1: Evangelising - a history revised, 2022. Spray paint and air brush on reclaimed bible. 2: Otherworldly, possessions. 31, 2022. Oil, pigment, spray paint, air brush, acrylic ink, archival fixative on paper. Maiye's work is featured in our forthcoming exhibition ELEMBO, alongside works by Exodus Crooks and Darryl Daley, at Broncko Bianchi from 16-31 October. The exhibition is realized in collaboration with Harlesden High Street as part of their Frieze Week programme, with an opening event on 17 October from 6-9pm. by @adrianpreisler
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2 days ago
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Darryl Daley is a London-based moving image artist and filmmaker working across film projection, installation, sound, photography, and graphic design. Daley's practice departs from the intersecting identities and mythologies of the Black Atlantic. Concerned with the aesthetics of temporality and the materiality of film(making), his work navigates personal and familial histories through themes of matriarchy, inheritance, spirituality, and cultural continuity, and how they act as archival, hauntological and immaterial anchors herein. Ranging widely across media and formats, his works operate via abstraction, material assemblage and liminal spatiality, foregrounding multiplicitous discourses on Blackness and the Black body as vessels of ancestral transmission. Recent awards, grants and nominations include the 2025/26 DYCP Arts Council grant, the 2025 Jarman Award Long List, the 2024 Circa Art Prize (as Finalist) and the 2023 NOW gallery Young Artist Commission. Select recent exhibitions and screenings include What You See Here, What You Hear Here at NOW Gallery, 2023; BlackStar Film Festival 2026; Prismatic Ground 2026; Open City Documentary Festival 2026 and Alchemy Moving Image festival 2025. Select residencies include the 2025 Arthub x Collective Makers Studio Residency and the 2024 ICF Studio Residency. 1: Crossing / The Dragon Can’t Dance (2026), 10mins, VHS and SD video 2: Revival 24 (2024), 3mins, Scanned Super8 and archive material footage. Black and White Daley's work is featured in our forthcoming exhibition ELEMBO, alongside works by Exodus Crooks and Hamed Maiye, at Broncko Bianchi from 16-31 October. The exhibition is realized in collaboration with Harlesden High Street as part of their Frieze Week programme, with an opening event on 17 October from 6-9pm. by @adrianpreisler
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3 days ago
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Exodus Crooks (they/he) is a British-Jamaican multidisciplinary artist interested in self-determination and how it is circumscribed by borders and interstices political, religious, and spiritual. Formed by a fractious domestic life, their autoethnographical practice negotiates identity and freedom. Text, sculpture, and moving image here turns questions of belonging into new trajectories of movement that turn the percieved distinctions between queer and migrant experience into porous and fuzzy conjectures of familiarity. He recently served on a regional arts advisory board and a national artist's council advocating for artist protection and development. They have previously exhibited and worked with Studio Voltaire, Hospital Rooms, Ikon Gallery, the International Curators Forum, iniva, LUX Scotland and Serpentine Galleries in London. Exodus is proud to work from a studio in the heart of the Midlands' vibrant art community in Digbeth, Birmingham, working closely with local galleries and organisations such as Vivid Projects, The New Art Gallery Walsall and Wolverhampton Art Gallery. Above: The confession: part 1, 2022. Photograph and text on birch wood. Exodus' work is featured in our forthcoming exhibition ELEMBO, alongside works by Darryl Daley and Hamed Maiye, at Broncko Bianchi from 16-31 October. The exhibition is realized in collaboration with @harlesdenhighstreet as part of their Frieze Week programme, with an opening event on 17 October from 6-9pm. by @adrianpreisler
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4 days ago
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CHARLIE JIMENEZ: LUX RITUS 12/10/2026, 6-9pm Broncko Bianchi 458 Hackney rd E2 9EG Tickets on Eventbrite (link in bio) 'A memory walks beyond life and death The space remembers even if the face forgot, Photos for clothes and numbers for names, In motion are the memories of the souls without song.' Closing LUX RITUS is the ensemble live performance 'February 30th, 1956' which combines theatre, live-music, and projections. February 30th, 1956 is a meditation on life after death - told through a haunted space of expressionist performance, and flashing lights of distorted memories. The performance imagines the memories of people forgotten and remembered as living wandering fragments of their former selves, serenading lost memories, until the light dances their way out of the ghost and into the memory. Set to visuals by artists Autojektor picked from the Roe Darling Archive, with live viola by Josh Curtis. Performers ensemble: Chloé a.a Das Neves, Kuba Pawełczak, Ronan Cardoza and Louise Earwaker. by @adrianpreisler
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7 days ago
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CHARLIE JIMENEZ: LUX RITUS 12/10/2026, 6-9pm Broncko Bianchi 458 Hackney rd E2 9EG Tickets on Eventbrite (link in bio) For LUX RITUS, our performance and screening night with Charlie Jimenez on the 12th of October, we present a series of the artist’s films spanning from their earlier animation work (2019’s A Fugue) to their more theatrical recent productions Engines (2025) and Transmutation (2026). A common thread in all is light as a component in rituals of transformation and -cendence: as unveiling, blinding, burning, purifying, sometimes all at once. Films, in order of appearance: Candle (2021) - 7:00 A dying, sedentary woman sees her self split into oscillating echoes inside a burning house. The last one to remain makes herself a friend as they embrace before the gate of death. Keratin (2022) - 4:00 Two bodies grieve their lost third: a child separated from their womb. As braided hair locks take the place of tears and spit growing from their eyes, their folding together gives birth to a chimeric, collective body. A Fugue (2019) - 6:00 In this early work, Jimenez puts forth a Jungian rite of passage, wherein a faceless, nameless body begins a journey into light from an architecture of shadows. Engines (2025) - 4:00 A transmythical vision of eternal occurrence, wherein Phanes, the androgynous god of light and (pro)creation in Orphic cosmogony, is born from fire as motor engines and bodies writhe in a ritual dance of destructive creation. Transmutation (2026) - 9:25 In their graduation work from Central Saint Martins, Jimenez tells a surreal Genesis: a blind god fashions new eyes at and from the moment of a woman’s birth. As each of them de- and ascends through a cycle of transformation, they fuse together into a chimeric being. by @adrianpreisler
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8 days ago
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CHARLIE JIMENEZ: LUX RITUS - Film Screening + Live Performance Tickets in Bio (Eventbrite) - 12th October, Monday - 6pm @comedyofmenace is pleased to present ‘LUX RITUS’ an evening of films and performance by Charlie Jimenez at Broncko Bianchi. The title meaning “LIGHT RITES”, each work shown emerges as a ritual of maturing and transformation, ending (literally or metaphorically) with light - light that blinds, light that burns, light that unveils, without discrimination, but indeed with force. The films will be introduced by the artist, followed by a Q&A and their performance piece February 30th, 1956 made in collaboration with @autojektorx with live music by @joshjsc_. 18:00 - Doors 18:15 - Introduction 19:00- Film Screening 19:30 - Q&A 20:15 - Performance taken in Apiary Studios by @adrianpreisler
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23 days ago
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Sean Weisgerber is - masochist as he is - caught in the elder tongue of re-modernism as a site from which the intersections of artistic labour and value-production come into view. For Weisgerber, (re-)modernist legacies are both a haunting fount of inspiration, an object of critique and an aesthetico-formal shackle that increasingly leads to exhausting labours of absurd precision. Weisgerber’s practice wilfully plays with expectation, presenting what at first glance looks easily derivative of a mid-century conceptual legacy, like his Price per Square Inch series, where canvases of neatly arranged price stickers turn out to be entirely hand-painted facsimiles resultant of excruciating amounts of work. Priced exactly according to the combined value of the stickers put together, Weisgerber employs the logics of abstraction to put the (literal and allegorical) production of value plainly into view. For this exhibition, he presents a site-specific installation of thousands of wall-mounted £ 0.00 price stickers, employing the conceptual framework of Sol LeWitt’s Wall Drawing #10 into a mosaical tapestry of null-value. Installed with help from the curators, it casts the artist as less of an Apollonian maker-hero and more an exhausted, eternally grinding menial labourer. Sean Weisgerber lives and works between London and Toronto. His work has been exhibited with Arsenal Contemporary (New York), Blouin Division (Toronto, Montreal), Wil Aballe Art Projects (Vancouver), and the Art Gallery of Ontario (Toronto), with fair presentations at Dallas Art Fair, Art Brussels, ArtGenève, Plural Art Fair (Montreal), and Art Toronto. His work has been featured in publications including BlackFlash Magazine, Peripheral Review, ARK Magazine, and Anthropology Today. Weisgerber holds an MA in Painting from the Royal College of Art, London (2026), and a BFA from Emily Carr University of Art + Design (2009). He is represented by Blouin Division in Canada. 1: Cost of Tuition (International Students, MA Painting, Royal College of Art, 2025/26), 2025 Part of the Price Per Square Inch series. Acrylic on linen. 64 x 51 cm 2: Wall Drawing #2, 2022 2H pencil, 20,049 price stickers by @adrianpreisler
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a month ago
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Niamh Dale is a London-based artist working with writing and sculpture to pursue a conceptual investigation into affective forms and an assembled self that is continually circulating between sense and estrangement. This is explored through the relationship between self-exploratory poetics and the spatialisation of embodied experience, straddling free verse writing and sculptural arrangements of found materials. Times New Roman’s strongest soldier, Dale pairs everyday, “cheap” materials - like discarded cardboard (discardboard?), snowglobes and gift bags - with engraved fragments of her writing, turning them into paradoxical containers and leaky vessels for the transits of self-relevation, lesbianism and the sheer oddity of alienated banality – what she calls the Lesbian Surface. In Dom, found cardboard boxes are mounted on an MDF board and encased in an acrylic shell with an elliptical cutout in the middle. The lefthand, topmost box holds the titular text fragment, while the bottommost, righthand box says “you.” In a quiet pun on power plays and role dynamics, Dale suspends a tender exchange of forces between a transparent, yet rigid shell and the mass-produced materiality of MDF, treating overlapping and proximity as means to keep poles in tension and, implicitly, frustration. Lesbianism / Articulate, Dale’s MFA Degree Show work from Central Saint Martins, consists of a staggering amount of the cardboard boxes emblematic of her practice. Laser engraved with fragments of her writing that open up without disclosure, Dale puts these fragments into formations that spatially jumble their syntactical structures while pairing them semantically. Text is here highlighted as texture – a material, embodied thing that cannot help leaking into space, awkwardly juxtaposed from its usual rigidity in a new realm of entropy and tri-dimensionality. Dale (b. 2000, UK) holds a BA in Fine Art (2022) and an MFA (2026) from Central Saint Martins, London. Her work is featured in Grinding, shown at Broncko Bianchi from 24/9-4/10. 1: Dom, 2026 Found cardboard, feather, MDF, acrylic and metal fixtures 100 x 44 cm 2: Lesbianism / Articulate, ongoing Laser engraved cardboard boxes by @adrianpreisler
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a month ago
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For Millie Rose Dobree, the ephemeral materialities of commercial object culture - such as fidget and party toys or online thrift finds - perpetuate a sustained, and frequently failed, promise of happiness and celebration. This poetics of bittersweet disposability, reckless trend-chasing and performative emotionality emerges as what the artist calls Disposable Joy. Her Reproduction (modern rave poster) series initiates a recursive loop of reduction. Here, Dobree serially re-prints a commercial rave poster on a vast range of materials (from Econyl to canvas and linen), increasingly obliterating the original print until it leads into total, tie-dyed abstraction. In other works, she casts Mylar party balloons and Vinted finds in bronze, “sacrificing” the original object as it burns in the mould. The methods and logics of reproduction are here jury-rigged towards the production of singular works – an implicit re-activation of a different register from which an artwork’s aura can emerge. Millie Rose Dobree (b. 1998, London) recently finished an MFA at Goldsmiths, University of London and previously attended the Gerrit Rietveld Academie, Amsterdam, her studies there including an exchange at the Cooper Union, New York. Recent exhibitions include EVERYTHING MIGHT BE ALRIGHT (Camberwell Kabinett, London, 2024), All or Nothing (to Play For) (Best Wishes, @ Next Door, London, 2025), Hoofbeats Pounding (ANNEX, Koppel Project, London, 2025), Disposable Joy (London, 2025), snacks (Amsterdam, 2023), A Tongue Becomes Yours (Bornem, 2022), and whatever(,) show(’)s up(!) (bologna.cc, Amsterdam, 2022). As part of her artistic and curatorial practice, she runs the artist-led project space Best Wishes, @bestwishes.unlimited in a former bike shed in East London. Dobree's work will feature in Grinding, our next group exhibition at Broncko Bianchi running from 24/9-4/10. 1: S, A, Y, L, E, S, S 2026 Bronze 20 x 20 x 2 cm each 2: Reproduction (modern rave poster) 4 2026 Screenprint on linen 135 x 88.5 cm Installation view from Goldsmiths MFA Degree Show, 2026 3: To let down (P) 2026 Reproduction bronze Dimensions variable 4: To hold up (I) 2026 Bronze 7 x 7 cm by @adrianpreisler
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a month ago
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Our thanks to everyone who came by for the opening of Jesus Vasquez's “Somewhere between 1979 and 2033 in South Brooklyn, at the edge of Sunset Park and Park Slope, all the Courtyard Saints found and lost their Block in one lifetime.” The exhibition will be open by appointment and at select hours - announced on here - until the 20th of August. Appointments can be made in DM or on comedyofmenace@gmail.com Broncko Bianchi 458 Hackney rd, E2 9EG Installs by @oncle_douglas Special thanks to @michael.l.y.e & @kaithais by @adrianpreisler
9
3 months ago
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COMEDY OF MENACE is pleased to present Brooklyn-born, London based multimedia artist Jesus Vasquez’s exhibition “Somewhere between 1979 and 2033 in South Brooklyn, at the edge of Sunset Park and Park Slope, all the Courtyard Saints found and lost their Block in one lifetime.” Originally shown at his recent graduate exhibition at the Royal College of Art, London, Vasquez’s ambitious, multi-collaborative installation is a hyperpoliticised recreation of the green walls that usually surround New York construction sites. The work interrogates the otherwise minor gestures lining these walls – wanted posters, graffiti, construction permits – casting New York as a stage and battleground for politics local, national and global. The exhibition opens with a Private View on the 1st of August, and runs from the 2nd to the 20th of August at Broncko Bianchi in Bethnal Green. 02 August - 20 August 2026 Open by appointment Private View Saturday 01 August 2026, 4-9 pm Broncko Bianchi 458 Hackney rd London, E2 9EG Temporary logo and poster courtesy of the artist by @adrianpreisler
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3 months ago
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Octagon (2026) will be presented at @royalcollegeofart Battersea Campus - 18th - 21st June 14:00-18:00pm durational live performance structured around a set of instructional prompts. Combining movement, sound, object arrangement and live casting, the work evolves through multiple activations, including a collaboration with saxophonist @si_cles and performers @krzywaszyja and @froyofabcoco Curated by @adrianpreisler @ameyathapar @lilyyiyan @keiraxinyue @therealsamuelwitt Lily Yiyan Hou, Keira Xinyue Zhang, & Vitoria Giusti by @adrianpreisler
7
4 months ago
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