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Morán Morán

@moranmorangallery

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Established in 2008, the gallery represents emerging, mid-career, and historical artists.

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When he’s not running @etra.la and @cafetelegrama, you’ll find co-owner and general manager @andrewmlawson exploring art galleries and escaping for weekend trips around the city. We’ve rounded up his favorite LA spots. 🐚 Read his full routine at the link in bio.

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FELIX Art Fair 2025
In fairness, we didn’t wait in the excruciating line to go to the 11th and 12th floor 🛗

Here are a few faves from the cabanas 🌴

Heidi
#13ThingsLA

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Recent work for @rockyxu @rockysmatcha @moranmorangallery @_water_school_

Oscar Tuazon for rocky’s matcha,
Circle House, LA, 2026

Always appreciate a call up from Rocky. Huge thanks again.

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CLAIRE CHAMBLESS “SPLEEN” OPENING TONIGHT, 6-8PM @moranmorangallery 💫💫💫

SEPTEMBER 20 - OCTOBER 25, 2025

OPENING RECEPTION
SATURDAY, SEPTEMBER 20, 6-8PM

641 N WESTERN AVENUE
LOS ANGELES, CA 90004

Founded in reference to Baudelaire’s usage of “spleen” in his anthology of poems Les Fleurs du Mal as a dialectical symbol between beauty and decay, ecstasy and despair, Chambless probes these as psychic phenomena within the exhibition. Here, the spleen behaves as a starting point for a journey into inner darkness, asking us as viewers to undergo an integration of our own shadow parts and bring them into the light. It is in this process of Jungian introspection that we might find how we divide light and shadow itself to be suspect.

Claire Chambless’s practice explores the unstable terrain where contradiction such as this resides—where opposing truths might not only coexist but inform one another. Central to this inquiry is her use of dollhouses, which serve less as nostalgic objects and more as psychological architectures. By reimagining their interiors and facades, Chambless transforms these miniature structures into symbolic landscapes of the psyche—spaces where light and shadow, public persona and private self, merge and unsettle one another. Building upon this body of work, Chambless has further pushed the mediums and forms these dollhouses take, from fragmenting free-standing sculpture to wall-mounted extrusions. This tension is mirrored in her material choices. Found objects blend seamlessly with handmade components, blurring the boundary between what is constructed and what is inherited. Similarly, the pristine fantasy world of the dollhouse is undercut by an undercurrent of corporeality—flesh, bone, and the visceral weight of lived experience seeping through the cracks of an otherwise idealized form.

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Over the last few weeks I’ve been at @labiennale installing The Wanda Coleman Songbook by @cauleen_smith ❤️ what an unforgettable experience.

This summer marks 8 years working with Cauleen .. where did the time go .. from Sojourner to the Deep West Assembly and now the Biennale … thank you Cauleen 😌. You are a star. But also a cosmos. Words can’t describe the worlds you inspire 🌅🎆🎇

A special thank you to the whole incredible, welcoming, dedicated team in Venice — Chiara, Max, Emilia, Michele, Fabrizia, Gabe, Carlo, Lilo (!!) and many (many) more 🏗️🖼️

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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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Debuting a new painting with @moranmorangallery @felixartfair - opens Wednesday 💗

Pink Legs, 2025
Oil on canvas
50x44 in.

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Join us for monthly public tours of Eve Fowler: words doing as they want to do, and learn more about the artist’s subjects and approach to text-based artwork. The paintings on view explore the materiality and rhythm of language through bold, abstract compositions.

The tours (on March 28, April 10, and May 2) are led by the curator, Meg Rotzel, who welcomes groups. To reserve your spot in the next public tour, visit the Linktree in our bio.

Image 1: Eve Fowler, Ouija (James Merrill), 2025, Flashe and acrylic ink on canvas. Image courtesy the artist, Gordon Robichaux, and Morán Morán

Image 2: Eve Fowler, Mirror for a Star. Star for a mirror., 2025, Flashe and acrylic ink on canvas. Image courtesy the artist, Gordon Robichaux, and Morán Morán

Image 3: Eve Fowler, December 7, 2025, 2025, Flashe and acrylic ink on canvas. Image courtesy the artist, Gordon Robichaux, and Morán Morán A square screen-printed canvas has the words from an Ouija board (e.g., YES, NO, the alphabet, and numbers 1–0) superimposed over columns of small printed text. All wording is in black on a cream-colored background.

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Eve Fowler’s ‘words doing as they want to do’ reviewed by Alanna Prince in the Boston Art Review, Issue 16 Spring/Summer 2026. Fowler’s two-phase exhibition originated at Gordon Robichaux and will remain on view at Harvard Radcliffe Institute, Boston, through June 5th.

‘words doing as they want to do’ was curated by Meg Rotzel, Curator of Exhibitions at the Harvard Radcliffe Institute for Advanced Study.

@evemfowler #EveFowler @megrotzellooks @gordonrobichaux @moranmorangallery @radcliffe.institute #JamesMerrill #GertrudeStein #JuneJordan #HildaDolittle

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Movie List
Dash Snow
PPP Editions, 2011
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#dashsnow #movielist #zine

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Today is the last day to check out my show Posthumously Speaking: Dear Dear Summer Some Are at @moranmorangallery. Thank you to Mills, Al and everyone at the gallery for helping put together a great show and extending it. Shout to @radamiz @tiffanyebarber @nickychulo and @ciarasrodriguez, we still@gotta cook. My heart is with you L.A. as you rebuild, restore and reconnect. I’m saddened by all the loss, homes, studios, communities and legacies so I’m grateful to Los Angeles for hosting me, pulling up and for the love. Peace. 🙏🏽

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