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@lizzieftch

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Recent Acquisition ✨ @LizzieFtch and @RyanTrecartin’s psychedelic, campy work explores how digital culture and social media influence communication and identity. Since meeting in 2000, the artists have established a collaborative practice spanning video, sculpture, sound, and installation.

Their work pushes self-representation to the extreme, dissolving boundaries among art, entertainment, irony, and sincerity, and presents an “expanding universe” of fragmented, fluid digital identities. Now part of ICA Miami’s permanent collection, “FixMeAmanda!!FixMeAmanda!!FIXME” (2006) is emblematic of the duo’s early collaborative period following their breakthrough participation in the 2006 Whitney Biennial.

Often created alongside the artists’ film productions and built from untraditional, everyday materials sourced from hardware stores, thrift shops, and furniture retailers, the resulting figures portray identity as malleable and unstable, mirroring the fragmented, information-saturated nature of modern life.
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Lizzie Fitch / Ryan Trecartin, “FixMeAmanda!!FixMeAmanda!!FIXME,” 2006, mixed media, 42 × 36 × 36 in. (106.7 x 91.4 x 91.4 cm), gift of Andrea Rosen.

#ICAMiami #ContemporaryArt #RyanTrecartin #LizzieFitch

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Recent Acquisition ✨ Since meeting in 2000, @RyanTrecartin and Lizzie Fitch (@lizzieftch) have established a collaborative practice that includes video, sculpture, sound, and installation. Renowned for their psychedelic and camp style, the duo explores how digital culture and social media influence communication and identity. Their work presents an “expanding universe” of fragmented subjectivities in which one's identity can be broken down into multiple digital personas and fluid parts.

The duo is best-known for their “sculptural theaters”: immersive environments that serve as physical stages for their non-linear films. Their work pushes self-representation to the extreme, dissolving boundaries between art, entertainment, irony, and sincerity.

“(Tommy Chat Just E-mailed Me.)” (2006), now part of ICA Miami’s permanent collection, is emblematic of the duo’s early collaborative period following their breakthrough participation in the 2006 Whitney Biennial. A distorted reflection of consumer culture, the work captures an “imploding dramaturgical logic” in which traditional storytelling is abandoned in favor of chaotic, overlapping loops of performance.
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Ryan Trecartin, in collaboration with Lizzie Fitch, “(Tommy Chat Just E-mailed Me.),” 2006. HD video (7:15 min.). Edition of 8 with three artist proofs. Institute of Contemporary Art, Miami. Gift of @AndreaRosenGallery.

#ICAMiami #LizzieFitch #RyanTrecartin #ContemporaryArt This image features two people in colorful costumes and makeup in the background, with a smaller inset image of a person making an expressive face in the foreground. The setting includes various objects and a bright yellow border surrounding the composition.

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PLY WOULD, at @moranmorangallery an exhibition by Lizzie Fitch (b. 1981) @lizzieftch and Ryan Trecartin (b. 1981) @ryantrecartin featuring a new sculptural theater housing two interconnected movies. Known for their immersive installations, the artists present several standalone sculptures alongside video work within a room-size hybrid structure as part of their multiphase project Whether Line.

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CURA.REWIND ⏮️
February 2026 
• Alice Bucknell. ᴄʟɪᴘᴘᴇᴅ ʜᴏʀɪᴢᴏɴ 🕳️ at Basement Roma @alicebucknell @basementroma curated by CURA. @curamagazine Ilaria Marotta @ilamarotta text by Alice Scope @alicescope  
• Klara Lidén #klaraliden at KW Institute for Contemporary Art @kwinstitutefcontemporaryart @emenderby @some_lane

• Henrike Naumann ❤️ RIP

• Klára Hosnedlová. Echo’ at White Cube Bermondsey @klarahosnedlova @whitecube Sound @billyjohnbultheel Video: © White Cube (Sam Smith)⁠

• MOCA Focus: Diane Severin Nguyen WAR SONGS @_melancholia @samanthashappiness @moca

• Lizzie Fitch / Ryan Trecartin: PLY WOULD at Morán Morán @lizzieftch @moranmorangallery @ryantrecarti

• Karl Holmqvist PAINT WITH MAKE-UP at Galerie New

• Danh Vo. πνεῦμα (Ἔλισσα) @votrungkydanh at Stedelijk Museum, Amsterdam @stedelijkmuseum

• WangShui. @wangshui_ Night Signal at White Cube Bermondsey @whitecube

• Lynn Hershman Leeson at Hoffman Donahue Los Angeles @hoffman.donahue @lynn.l.leeson

• Marianna Simnetts – HEADLESS @mariannasimnett at Max Ernst Museum @max_ernst_museum @societeberlin

@ilamarotta 😉 🧑‍🍳

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If you are heading to LA over the next few months DO NOT miss “PLY WOULD,” a new exhibition by the brilliant artistic duo Ryan Trecartin and Lizzie Fitch at Morán Morán Gallery. The exhibition opens this Saturday, February 21, from 6-8 pm.

Trecartin is well-known for his video, installation, sculpture, sound design, and photo-based work that focuses on the fluid nature of identity, the unfolding definitions of community, and the complexities of subject formation. Writing—whether in the form of scripts he writes for his videos or poetic texts that function as prompts for his work in other media—is at the root of his practice. Trecartin tracks the ways in which individual and shared identities are transforming alongside the disorienting interrelationships between the body and language.

For “PLY WOULD,” Trecartin and his longstanding collaborator Lizzie Fitch have created a new sculptural theater housing two interconnected films, alongside standalone sculptures and video within a room-sized hybrid structure. The works are part of their multiphase project “Whether Line” that was initiated in 2016, when the artists relocated to rural Ohio and constructed permanent sets and land work. Comprising a hobby barn, a watchtower, a lazy river trench, and other structures, the site operates as a generative framework—part landscape, part stage, part conceptual engine. Originally commissioned by Fondazione Prada, “Whether Line” (2019/2026), uses the fiction of idealized rurality as a starting point, exploring contested concepts of territory and property and the inherent mutability of boundaries, whether existential, psychosocial, or physical.

“PLY WOULD” will remain on view through April 18, 2026.

Image: Ryan Trecartin, still from “TITLE WAIVE,” 2026. Courtesy of the artists, Sprüth Magers and Morán Morán.

@ryantrecartin @lizzieftch @moranmorangallery

#RyanTrecartin #LizzieFitch #moránmorán #DavilaVillaStothart

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TELFAR and DIS early days!

1. TELFAR for Ryan’s Web 1.0 (DIS Magazine, 2010)
2. Andrew and Paul Cupo wear TELFAR tank tops (DIS Magazine “Spring Trends” 2010)
3. Christopher wears shirt and shorts by TELFAR, socks and shoes by Utilikilt; Tony wears shirt and shoes by Utilikilt, shorts by TELFAR and raincoat by Carhartt (DIS Magazine “Currently Bending,” 2010)
4. TELFAR FW 2011 Video “Extreme Lengths and Emerging Adulthood” by DIS
5. Installation view from S/S 2011 TELFAR collab with Ryan Trecartin, Lizzie Fitch and Rhett LaRue
6-8. DISHtv “Extreme Casting for TELFAR FW 2011” directed by Leilah Weinraub (DIS Magazine, 2011)
9. TELFAR Style: FW 2013 virtual game designed by Alan Schaffer (DIS Magazine, 2013)
10. TELFAR FW 2013 show “Quilted Comfort” with soundtrack by Fatima Al Qadiri (DIS Magazine, 2013)
11. TELFAR SS 2013 FORMALE;LIFE Video by Lizzie Fitch, Nick Rodrigues & Ryan Trecartin and Telfar
12-13. TELFAR FW 2014 show debuts TELFAR Shopping Bag
14. TELFAR SS2014
15. TELFAR Customer t-shirt in Animation Companion by Ryan Trecartin (DIS Magazine, 2014)
16. TELFAR “Get The Look” statues (DISown 2014)
17. TELFAR making of “Get The Look” statues (DISown 2014)
18. Legendary TELFAR 9/14/2015 White Castle Times Square Party
19-20. TELFAR’s 10 year retrospective at the 9th Berlin Biennale, 2016 (curated by DIS)

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Please join us Saturday April 12 from 6-9pm for the New Galerie’s 15th anniversary 🎂

To mark this special date, from April 12 -26, we will be screening three movies from Lizzie Fitch/Ryan Trecartin’s "Any Ever".

The Re’Search, 2009-10
Roamie View : History Enhancement, 2009-10
K-CoreaINC.K (section a) 2009

Special Thanks to Lizzie Fitch and Ryan Trecartin for this special screening. It means a lot to us to show their work again. 🩷🩷

@ryantrecartin @lizzieftch 🤍🤍 #anyever #movies

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“Am I over-existing or am I over existing? That's my inside joke.”

From April 12 - 26, to mark New Galerie’s 15th anniversary, we’ll be screening three movies from Lizzie Fitch/Ryan Trecartin’s "Any Ever".

The Re’Search, 2009-10
Roamie View : History Enhancement, 2009-10
K-CoreaINC.K (section a) 2009

In 2008, following the premiere of "I-Be Area" (2007), the artists Lizzie Fitch and Ryan Trecartin moved to Miami to produce what would eventually become "Any Ever". Spanning four years of production across three years of shows, "Any Ever" is a constellation of autonomous but interrelated works, including movies, sculptures, “ambient soundtracks,” “sculptural theaters,” text, maps, and photographs.
As a title, "Any Ever" umbrellas multiplicity (and generative code) within its own body of works—like an album title—it’s both a “version-hood” lubricant and a game-like bracket.
The seven individual movies within "Any Ever" can also function as a diptych or two halves: a trilogy - "Trill-ogy Comp" (2009) - and a tetralogy - "Re'Search Wait'S" (2009-10). At the time, it was shown in several iterations and occurrences: two videos at the New Museum (2009), and the entirety at The Power Plant, Toronto, Canada (2010), Pacific Design Center, LA (2010), PS1 (2011) and the MAMVP (2011).
The work of Fitch/Trecartin focuses on the fluid nature of identity, the unfolding definitions of community, and the complexities of subject formation.

Special Thanks to Lizzie Fitch and Ryan Trecartin for this special screening. It means a lot to us to show their work again.
Special Thanks to Marcel Brient, Catherine Thieck, Odile Burluraux, Yvonne and Lucien Hamel for all their support and love since 15 years.

@ryantrecartin @lizzieftch #15years #anyever #ryantrecartin

@clara8_rain @odileburluraux @yvonneguegan @gb.8311

images:
Ryan Trecartin
The Re'Search (Re'Search Wait'S), 2009-10
40:09 min, color video, stereo audio, HD 29.97fps
Courtesy The Marcel Brient Collection
© Ryan Trecartin

Lizzie Fitch/Ryan Trecartin
Available Sync, 2011
Sculptural theater exhibiting: The Re'Search (Re'Search Wait'S), 2009-10
Courtesy of Sprüth Magers and Morán Morán
© Lizzie Fitch/Ryan Trecartin

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« Énormément Bizarre » opens today at @centrepompidou ‼️
Very proud to be part of the Jean Chatlus’s collection and stunning show amongst #yayoikusama #mikekelley #cindysherman #karenkilimnik #ryantrecartinlizziefitch … and so many others of my heroi.n.es!!! The show runs until the 30th of June.
Merci Jean Chatlus, @annalisa.rimmaudo, Marion Dana, @fondationantoinedegalbert and to my beautiful (blurry) friends and family that could make it to the opening.

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Documentation of Audience Plant 2024 is live @aspenartmuseum - relive the mountaintop dream.

pronounce your chords

dream team: @ryantrecartin @lizzieftch @thejasonmoran @aarondavidross @michael_beharie @bobbybeethoven @deepfrieddrum @sunday.applepie #samgendel #aspenmusicschoolcontemporaryensemble @nicolaleesm @danielmerritt @sabpsl @simonemkrug @aspenmusicfest @aspensnowmass #sixproductions @aspenartmuseum

Video by Ryan Jenkins

More to come…

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Lizzie Fitch and Ryan Trecartin’s latest film TITLE WAIVE (2024), now showing at Fondazione Prada in Tokyo, transports the viewer into a re-imagined past and a reconstructed present. The experience is both alien and strikingly familiar, mirroring the fluctuating self-representations and shared experiences of our digitally driven lives. Described as “sculptural theaters,” these spaces transform visitors from passive spectators into integral participants of the unfolding narrative.

Hit the link in bio to buy Flash Art 349 Winter 2024-25.

Lizzie Fitch and Ryan Trecartin’s exhibition “It Waives Back” is on view at @fondazioneprada, Tokyo until January 13, 2025.

#RyanTrecartin
#LizzieFitch
#FlashArt349
#FlashArtMagazine

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