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Grinding: 24/9-4/10
@millierosedobree @glimmronthehorzncallingmelswhr @seanweisgerber
LUX RITUS: 12/10
@charliejjimenez
both at @bronckobianchi

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COMEDY OF MENACE is pleased to present Grinding, an exhibition featuring works by Millie Rose Dobree, Niamh Dale and Sean Weisgerber, at Broncko Bianchi, London. The exhibition will be open by appointment from the 24th of September until the 4th of October, with a PV on the 23rd of September from 6-9pm.

Everyone is grinding. Or, on the grind. Locking into their grindset. Struggling, grinding, shining. Allegedly.
They grind on: their work, their selves, their (potential) lovers. It’s a term both laborious, sacrificial and erotic. It’s integral to contemporary notions of what labour is. It’s a mindset, an ethics, a philosophy (or lack of). It’s a gyrating motion of one’s lower body onto another’s.
Dobree undercuts the technics of reproduction, through re-printed rave posters and “suicidal” bronze casts of Mylar party balloons and objects courtesy of Vinted’s algorithm, inversely rigging them toward a recursive logic of singular reduction; Dale’s cardboard boxes, found on London street corners in a chase that is equal parts materialist ritual and bizarre grind, are engraved (and imbued) with the crappy charm of a tenderly awkward lesbian poetics; Weisgerber’s excruciating amounts of artistic labour - like a canvas of painstakingly handpainted price stickers - end up looking like “derivative” re-modernist gestures, exposing a masochist underbelly of 60’s Conceptualism.
What’s left after the grind, when whatever was grinded is ground?
The struggle is guaranteed. The grind is embraced. The shine is probably a scam.

Broncko Bianchi
458 Hackney Road
London E2 9EG by @comedyofmenace

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21 days ago

Our thanks to everyone who stopped by for the opening of Grinding, with @millierosedobree @glimmronthehorzncallingmelswhr & @seanweisgerber at @bronckobianchi this Wednesday. Approximately 30,000 £ 0.00 price stickers, a couple hundred laser engraved cardboard boxes and two bronze BuzzBalls are but a few of the ingredients in the chromatic slurry that is this show. The exhibition will be open by appointment (over DM) until the 4th of October.

Special thanks to @beautifulwaternymph for helping with install, and @oncle_douglas for the gorgeous install shots. by @comedyofmenace

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5 days ago

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 @comedyofmenace

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6 days ago

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 @comedyofmenace

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10 days ago

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 @comedyofmenace

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13 days ago

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 @comedyofmenace

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15 days ago

Thanks to everyone who took the time to come by Broncko Bianchi to visit the exhibition, as well as those to come.
To mark its closing, we are hosting a finissage with an artist talk on the 19th of August from 5-7:30pm. The exhibition continues to be open by appointment until the 20th.

Installation view: @oncle_douglas by @comedyofmenace

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2 months ago

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 @comedyofmenace

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3 months ago

We're pleased to announce that the measure of all things (and those that are not) has been extended and is now on view until the 15th. Time to catch up on your homework for those of you who haven't.
DMs open for appointments.

Above: Theodore Wilkins-Lang, Revelation, year(s) unknown, 2025. Silver gelatin print, 104cm x 81cm.

Our thanks once again go to:

@isabellezetterstrom
@lladyrouge
@ewelinkadochan
@theo.wilkinslang.studio

Installation view: @oncle_douglas

Exhibition realized with support from @studentartmarket by @comedyofmenace

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4 months ago

Thank you to everyone who came by for the opening of Broncko Bianchi and the measure of all things (and those that are not) yesterday.

Works by:
@isabellezetterstrom
@lladyrouge
@theo.wilkinslang.studio
@ewelinkadochan

Curated by @comedyofmenace and @kro_ni_ki

The exhibition is on until 12 June, and open for appointment as well as during select intervals announced here. Reach us over DM.

Broncko Bianchi
at Apiary Studios
458 Hackney Rd
E2 9EG

Installation views: @oncle_douglas
Realized with support from @studentartmarket by @comedyofmenace

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4 months ago

the measure of all things (and those that are not)
4-12 June
PV: 3 June, 6-9pm
458 Hackney Rd
E2 9EG, London

"Of all things the measure is Man, of the things that are, that they are, and of the things that are not, that they are not."
Protagoras as quoted by Plato, "Protagoras or the Sophists"

the measure of all things (and those that are not) presents the work of Isabelle Zetterström, Lucia Rossi, Ewelinka Dochan and Theodore Wilkins-Lang, curated by COMEDY OF MENACE and Marta Przygodzka. The exhibition also marks the first activity of an exhibition space – Broncko Bianchi – at Apiary Studios, run by the collective and Przygodzka; welcome to the housewarming.

homo mensura is a classical doctrine that relativistically measures all of the cosmos – even the unknown – through “man’s” scale, such as the use of feet and inches as measuring units. The notion has since come to underpin Western anthropocentrism, cementing the man-measure in the normative, white masculine body and perpetuating its violent exercise in world-building as a romantic pursuit of the ideal. The four artists on show variously disturb these scales and their applicability in a world where weirder shit is always going on.

In Zetterström’s paintings, extraterrestrial landscapes are suffused with alien organs, collapsing the divisions between interior and exterior and opening up worlds and embodiment stranger than ours in both scales and poetics. Rossi presents a series of bronze casts all derived from the same handheld mirror, fragments of a Narcissus story centred on its armature rather than its subject, an exercise in baroquely alchemical simulacra-production. Informed by their training in fibrous plastering and placement at the Hungarian University of Fine Arts, Dochan expands standardised mould-making and casting techniques into contemporary forms, revealing the material matter of being and death-driven abjection at its core. And in Wilkins-Lang’s works, large-format darkroom portraits negotiate the traditions of religious icon-building, closing with Revelation, a serendipitously developed light leak found on three-decade-old camera film from Cleveland, Ohio. taken in Apiary Studios by @comedyofmenace

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