**Tabitha Soren** Emailed Kiss Goodnight, 2016
Tabitha Soren, Emailed Kiss Goodnight, 2016. Copyright of the artist and courtesy of Jackson Fine Art.

Jackson Fine Art| September 16 - December 23, 2022

Though a palpable sense of pathos connects all her images, Soren begins each new series using the methodical investigative tools she used during her time in journalism. Books, research studies, and statistics lay a necessary analytical foundation for the visual ideas she communicates. These data points then merge with her experiences growing up in a military family, spending her youth moving around the world and adjusting to the cultural differences, social structures, and visual cues that came with each relocation. This constant navigation of environments hinged on threat and survival led to a true understanding of what it means to always live on high alert, giving Soren a level of empathy for internal struggle and a sincere desire to show the myriad ways we reveal ourselves as we move through the world.

to view more of this exhibition visit here.

C|O Berlin| from Sep 17, 2022 to Jan 18, 2023

A young man looks gracefully at the camera, his head slightly turned, delicate rouge shimmering on his high cheekbones, lips painted a seductive red, and light blue eye shadow glistening on his eyelids. In this half-portrait, his pink-lacquered fingers touch his right cheek, and a ring features prominently on his pinkie. Is this actually the likeness of a woman? Are we able to determine a person’s identity simply by reading gender-specific visual codes?

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©**Rodrigo Valenzuela** Afterwork #11,2021 Silver Gelatin Print 24hx30 win 60.96h x 76.20 wcm Edition2of3+1APRV019

Asya Geisberg Galleryis| September 10-October 22,2022

Asya Geisberg Galleryis proud to present “Afterwork”, the second exhibition at the gallery byLos Angeles-basedRodrigo Valenzuela. Recently the recipient of a Guggenheim Fellowship,and a research fellowship at the Smithsonian Museum, Valenzuela has completed aphotographic series basedon the ghostly absence of workers in an indeterminate time and place,at once futuristic and harking back to a century ago. In staged sets suggesting abandonedfactories, Valenzuela wishfully foments a revolution, enabling workers powerless in the face ofrelentless international movement of capital to flee or perhaps overrun their workplaces. As in ascience-fiction universe where we feel a potential reality just out of reach of our present,Valenzuela’s scenes meld mechanical objects with steam or smoke, suggestive of steelmanufacturing, a cloud of sweat - the only bodily proof of human toil - or a cinematic trope offuturistic atmosphere. In these eerily depopulated scenes, viewers are prompted to envisionalternative possibilities to histories of workers dispossessed, or made obsolete, and industries thatthrived on human pain.

To view more of this exhibition visit here.