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Janice McNab

@janice.mcnab

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@galeria_fermay
Books: THE HOUSE AND THE FOREST, 2026
GALAXY BALLROOM, A DANCE WITH HILMA AF KLINT, 2024
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Durant la Nit de l’Art vam tenir la possibilitat de gaudir de The House and The Forest, una exposició a Can Balaguer comissariada per Janice McNab. La mostra va reunir les veus de Rosa Caterina Bosch, Louise Hopkins, Ken Kiff, Jennifer Latour, Edward Lipski, Joan Miró, Asunción Molinos Gordo, Janice McNab i Joana Vasconcelos, juntament amb els creadors anònims dels ex-vots mallorquins. Obres d’èpoques, llenguatges i sensibilitats diferents van compartir espai i van dialogar entre elles. NIT DE L'ART 2026
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Durante la Nit de l’Art tuvimos la posibilidad de disfrutar de The House and The Forest, una exposición en Can Balaguer comisariada por Janice McNab. La muestra reunió las voces de Rosa Caterina Bosch, Louise Hopkins, Ken Kiff, Jennifer Latour, Edward Lipski, Joan Miró, Asunción Molinos Gordo, Janice McNab y Joana Vasconcelos, junto a los creadores anónimos de los ex-votos mallorquines. Obras de épocas, lenguajes y sensibilidades distintas compartieron espacio y dialogaron entre sí. NIT DE L'ART 2026
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The House and the Forest, curated by Janice McNab, Can Balaguer, Palma, Mallorca continues until 27 September The book is released today. With essays by Janice McNab and Fernando Gómez de la Cuesta. 116 pages with illustrations of the exhibition which has so successfully been shown in this important historic house since June. Photography by @juan.david.cortes_studio. The book can be purchased from @canbalaguer. The exhibition brings together works by Rosa Caterina Bosch, Louise Hopkins, Ken Kiff, Jennifer Latour, Edward Lipski, Joan Miró, Asunción Molinos Gordo, Joana Vasconcelos, exvotos mallorquins, and artist-curator Janice McNab in a historic manor house whose door knocker, a female hand holding an apple, symbolizes the link between home and nature. The exhibition has been assisted by @galeria_fermay @janice.mcnab @gomezdelacuesta @canbalaguer
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GALERÍA FERMAY  ¿En dónde tejemos la ronda? / Weaving the Round  Noa i Lara Castro, Janice McNab, popea, Jennifer Tee  Comissariat per Cristina Anglada ¿En dónde tejemos la ronda? és el títol de l’exposició que reuneix a la Galeria Fermay el treball de Noa i Lara Castro, Janice McNab, popea i Jennifer Tee. Les seves pràctiques parteixen de materials i experiències properes —el cos, les plantes, els aliments, els teixits, els llibres, els residus, les històries familiars, els paisatges— per obrir-los cap a qüestions més àmplies. En totes elles, la relació amb la natura està travessada per les formes en què habitem, transformem i recordem els llocs que ens envolten: des de la crisi ecològica i el règim de consum fins al turisme i els seus efectes, les històries de migració i els llegats colonials. _ ¿En dónde tejemos la ronda? Titula la muestra que reúne en la Galería Fermay el trabajo de Noa y Lara Castro, Janice McNab, popea y Jennifer Tee. Sus prácticas parten de materiales y experiencias próximas —el cuerpo, las plantas, los alimentos, los tejidos, los libros, los residuos, las historias familiares, los paisajes— para abrirlos hacia cuestiones más amplias. En todas ellas, la relación con la naturaleza está atravesada por las formas en que habitamos, transformamos y recordamos los lugares que nos rodean: desde la crisis ecológica y el régimen de consumo hasta el turismo y sus efectos, las historias de migración y los legados coloniales.   _ Weaving the Round is the title of the exhibition bringing together the work of Noa and Lara Castro, Janice McNab, popea, and Jennifer Tee at Galería Fermay. Their practices begin with materials and experiences close at hand—the body, plants, food, textiles, books, waste, family histories, landscapes—and open them out towards broader questions. In all of them, the relationship with nature is shaped by the ways in which we inhabit, transform, and remember the places around us: from the ecological crisis and regimes of consumption to tourism and its effects, histories of migration, and colonial legacies.  NIT DE L'ART 2026 19.09.2026 18 - 23 h ✨
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📆17.09.2026 a les 17.30 h 📖 Presentació del catàleg i visita a l'exposició 'The House and The Forest' 📍#canbalaguerpalma. Carrer Unió, 3. Palma Una edició de l'Ajuntament de Palma, amb textos de Janice McNab i Fernando Gómez de la Cuesta. Obres de @rosacaterinabosch , @louise__hopkins , #KenKiff, #JenniferLatour , @edwardlipski , #joanmiro , @asuncionmolinosgordo , @joanavasconcelosatelier, exvots mallorquins i l’artista i comissària Janice McNab. 👉🏽Disseny gràfic: @canbarretes 📸 Fotografíes: @juan.david.cortes_studio 🎟️Entrada gratuïta! 🗣️Idiomes: anglès (vehicular) i castellà 📆17.09.2026 a las 17.30 h 📖 Presentación del catálogo y visita a la exposición #TheHouseandTheForest 📍Can Balaguer. Carrer Unió, 3. Palma Una edición del Ayuntamiento de Palma, con textos de Janice McNab y Fernando Gómez de la Cuesta. Obras de Rosa Caterina Bosch, Louise Hopkins, Ken Kiff, Jennifer Latour, Edward Lipski, Joan Miró, Asunción Molinos Gordo, Joana Vasconcelos, exvotos mallorquines, y de la artista y comisaria Janice McNab. 👉🏽Diseño gráfico: Can Barretes 📸 Fotografías: Juan David Cortés 🎟️Entrada gratuita! 🗣️Idiomas: inglés (vehicular) y español 📆17.09.2026. 5:30 pm 📖 Catalogue exhibition presentation and guided tour to 'The House and The Forest' 📍Can Balaguer. Carrer Unió, 3. Palma Published by Palma City Council, It includes texts by Janice McNab (ed.) and Fernando Gómez de la Cuesta. Works by Rosa Caterina Bosch, Louise Hopkins, Ken Kiff, Jennifer Latour, Edward Lipski, Joan Miró, Asunción Molinos Gordo, Joana Vasconcelos, and the artist curator Janice McNab, as well as mallorcan ex-votos. 👉🏽Graphic design: Can Barretes 📸 Photographs: Juan David Cortés 🎟️ Free admission 🗣️Languages: English (mainly) and Spanish @abaart @ken.kiff_estate @halesgallery @john.talbot7 @bonjourlatour @odprintsales @timvanlaere_tvl @miromallorca @successiomiro @artpalmacontemporani @tonifrr @javibonetd @timvanlaere_ @ajuntpalma @artpalmacontemporani
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In my sadness at the passing of Dolly Parton, I have been retracing where I have acknowledged her impact on my life in what I have written. I have no shame in disclosing the tears her passing has brought to my redneck eyes. Yeah, back in the months preceding the ‘True North’ show opening in Palma de Mallorca at @galeria_fermay in 2023, I agreed with @tonifrr, a fellow curator, owner of the gallery and longterm compadre, that I didn’t want to do a print publication; that I wanted to put it all online so that more people would have free access to the discourse. The simple truth is that this is one of the shows that brought me the greatest personal joy and that I also feel that the book-length text—freely available to you online—is one of the signature pieces I have written, rather eccentric and nutty, but frankly, credible nonetheless. Just check out truenorthproject dot org. Dolly is soooo in there at the core. It’s one of the pieces of my writing I know would have brought a smile to my father Denton’s lips. @janice.mcnab @catsy2000 @michelledeignan @sarahbakercakes @enriquemarty Artists: Sarah Baker, Andy Hsu, Michelle Deignan, Claire de Jong, Janice McNab, Enrique Marty, Catriona Shaw
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Claire de Jong is probably the most neglected and significant Dutch/South African artist of her generation. Everybody—except for @janice.mcnab - thought we were this little “fag and hag” comedy routine. I don’t do comedy where painting is concerned. Claire was a profoundly powerful painter and I stood behind her work from the first day I saw it in a CARTER PRESENTS show in East London. I’m not getting into the politics of it but, as a woman painter, she was presented almost apologetically. F**k that and they didn’t even say daddy was coming... I showed her work in the space I was curating for the Dutch Embassy—and not them, whiny little male be-atches—because there is a point at which I have real respect for Michaelis… I don’t want to fanny about too much with this, but if you actually look at those pale, pale layers of paint she worked up, you will understand that, despite vociferously claiming to be “anti-intellectual”, she was one of the most intuitive and intelligent painters I have ever known. Claire loved the writer @briangetsabout who stayed at her place in Antwerp, the aging kitty eventually shipped out to SarFEfrica… She loved @janice.mcnab who she told me “spoke to her like a real person”. She loved @veeseegee (and I am not even going to go do the day job of translating the Dutch here but ii bastards out as “she’s not a c**t and doesn’t mind I have a vagina” She loved my partner Luc. Obvs. Who doesn’t? But, mostly, she really enjoyed speaking with me about this development in her painting. You have no idea. If you want to, I will be happy to talk about the bollocks and under-exploration of good South African painting. It may be had for you to fathom the sheer bollocks that people like Claire or @giselestafford had to endure as women artists. But I suspect we can get on with it and you don’t want to hear of its 18th-century arrival..:.
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Can Balaguer  The House and The Forest Rosa Caterina Bosch, Louise Hopkins, Ken Kiff, Jennifer Latour, Edward Lipski, Joan Miró, Ascunción Molinos Gordo, Janice McNab, Joana Vasconcelos, Autors Anònims d’exvots mallorquins  Comissariat per Janice McNab  Fins al 27.09.26  Carrer Unió, 3 07001 Palma  Horari dt. - ds. de 10 a 19 h dg. i festius, d’11 a 14 h  canbalaguer.palma.es
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Nah! Kinda Grumplestilskin on acid since receiving an email yesterday from a museum director–resent an hour ago—who has the temerity to describe me as being “known as a curator of painting” to ask me to write a text about a shite painter they feel obliged to show for whatever reason. That’s not gonna happen. I am a curator. The only painting I write about is what I can discuss without feeling like a fraud. And, yes you probably expect me to post work by @janice.mcnab @bettinacarl2 @inabierstedt @alexhudsonhq @enriquemarty @maurobonacina Claire de Jong or various other painters whose work I have written about over the years, all those other painters whose work I have long advocated without being so trashy as to drop the big names. That’s all fine. But I hope there is still enough life in me to show works by the likes of @norahnona whose work I am putting in this post. I can still imagine new shows. I am a curator, not a “curator of painting”. So f**k you very much unnamed Northern European museum….
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#thehouseandtheforest fins el 27 de setembre! Consultau les activitats a palmacultura.es #thehouseandtheforest hasta el 27 de septiembre Consultad las actividades a Palma cultura.es #canbalaguerpalma @rosacaterinabosch @asuncionmolinosgordo @joanavasconcelosatelier @edwardlipski @bonjourlatour @miromallorca @ken.kiff_estate @john.talbot7 @louise__hopkins @apropaculturabalears @bemargam
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Installation views of the beautiful group exhibition ‘The House and the Forest’ that artist and curator @janice.mcnab put together at @canbalaguer @palmacultura The project is an insightful comment on our fragile and ever changing interrelation with nature within a domestic environment. The show includes works by @rosacaterinabosch , @louise__hopkins , Ken Kiff, @bonjourlatour , @edwardlipski , Joan Miró, @asuncionmolinosgordo , @joanavasconcelosatelier , anonymous Mallorquín exvoto paintings and Janice McNab. Grateful to all the artists involved in the project, most specially to @ken.kiff_estate @john.talbot7 @miromallorca @barogaleria @highlights_em @abaart @gomezdelacuesta @antoniamperello @isadelenterprise @artpalmacontemporani Insurance: Tectus Insurance Brokers @franz_ihm Installation: @xicarandanasl 📸 @juan.david.cortes_studio
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I am very sad today. So, yes, I am so missing my friend, the Dutch/South African artist Claire de Jong who passed away not that long ago. I am furious. She spent so much time, I am very certain to say, bigging up others. I’m trying to laugh and make it jolly, but I am so missing my friend, the artist who passed away not that long ago. I am furious. She spent so much time propping up the careers of male artists while, in reality, she was the most gifted f**king artist in the room. Claire put in the time studying Dutch 17-th century painting techniques at @michaelisschooloffineart but she really nailed it with a series of private “conservator” tutored courses funded by her modelling career in Paris in the 80s when she was “the neck of @debeersofficial.” I actually didn’t give a flying f**k about this. I cared about her painting. We loved making “dumb model” jokes as we cooked for others in her kitchen in Antwerp. She knew that I was one of the few people who understood the critical rigour to which painters were subjected in her day at Michaelis She painted some of the most stunning abstract paintings I have ever seen. It also kinda didn’t matter because she was a woman of immense grace and self-effacing humour. She was nae an erse to other women artists and I know that artists as diverse as @veeseegee , @katee_may , @janice.mcnab , @veeseegee or @angiereed44 were welcomed by her along with academics like @girlonaboat (no, don’t be an erse: you were entirely welcomed despite her “Efricaness” and the camp laddie) I think if there were ever an example to articulate the unique elegance of Cape Town, it will always be Claire de Jong… @instagai1 @viviennekoorland @janice.mcnab @laurentdombrowicz @giannie_couji @eric_d_clark @michelledeignan @cibicjasmina
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