There’s an African proverb that tidily sums up the spirit behind the painter Rochelle Feinstein’s new exhibition You Once more. “If you wish to know the tip, look firstly.” The exhibition, which spans six totally different galleries in 5 cities throughout the US and Europe is, in a manner, a retrospective of Feinstein’s work, however that description doesn’t precisely do it justice.

The galleries—Bridget Donahue and Candice Madey in New York, Campoli Presti in Paris, Nina Johnson in Miami, Hannah Hoffman in Los Angeles and Galerie Francesca Pia in Zurich—are all exhibiting works from throughout Feinstein’s profession and as much as the current second. And as is typical to the artist’s fashion, one can be onerous pressed to inform an earlier piece from a later one. Particularly since, in some instances, new works are tacked proper onto older ones. It’s as if Feinstein works exterior of the time cycle that the majority artists dwell in. There isn’t a blue interval, or cubist interval, or grid interval. It’s all simply, Feinstein.

Rochelle Feinstein, Great View (1995) Courtesy of Gallarie Francesca Pia

“You possibly can’t actually assign a chronology to something about her,” says the gallerist Candice Madey, Feinstein “in some way exists exterior of time. She doesn’t work in a linear style, it’s extra like a community of nodes, which is why this exhibition feels nearly like an extension of her work. It’s fractured and kaleidoscopic, which mirrors that facet of her artwork making”.

Whereas the joint exhibition mannequin isn’t significantly new, it’s excellent for an artist like Feinstein and, a pleasing reminder that mid-level galleries can collaborate and placed on the sort of world exhibition that megas like Hauser & Wirth and Gagosian can seemingly pull off on a whim because of their advanced infrastructure and administrative energy. (To not point out their hefty financial institution accounts.) The egalitarian nature of the exhibition doesn’t cease at sharing artwork or delivery prices. The six galleries are additionally sharing earnings, with 50% going to the artist, 30% to every gallery and 20% right into a communal pot.

The concept to type this appreciation consortium sprung out of the sluggishness thrust upon everybody by the pandemic. Conversations between mates and colleagues sparked an nearly involuntary, but intuitive must work collectively to bolster Feinstein’s repute and propel her work on a grand scale. Some, like Madey, had labored with the artist for years. Donahue and Hoffman, then again, have been admirers however comparatively new to the desk. After the choice to carry the multi-venue present was solidified, every gallerist selected one piece, and from there began to construct a present round it.

Instalation view of Rochelle Feinstein: You Once more at Bridget Donahue. On the far left is Crimson Sq. (1992), to it is proper, Unhappy Body (2021) Picture by Gregory Carideo

“Every of the exhibits is totally different and offered me with an issue I might clear up. I like fixing issues,” Feinstein says. “When the thought took place I assumed it may very well be attention-grabbing to revisit the older work and to have interaction with one thing, whether or not it was a proper matter or material, one thing I used to be desirous about then, and enter the same mindset—however now. It’s a manner of wanting again to remain within the current.”

The tactic exhibits. At Bridget Donahue, Crimson Sq., made in 1992 and impressed by the autumn of the Berlin Wall, hangs subsequent to Unhappy Body, a piece made in 2021 that’s formally comparable, however the charged pink streaks of Crimson Sq. have been changed with muted smudgy blacks and greys.

Feinstein’s follow and willingness to not solely present older works however riff on and increase them made it simple for the gallerists, every with their very own enterprise, their very own fashion of programing and their very own imaginative and prescient, to tackle some facet of her work. That in flip gave the artist a manner of focusing her vitality and inspiration for brand spanking new footage.

Rochelle Feinstein, 2015/2015 (2016) ROCHELLE FEINSTEIN
2015/2015, 2016 Courtesy of Hanna Hoffman Gallery, Los Angeles. Picture by Gred Carideo

“It’s very a lot a mirrored image of the best way she works, that this constellation of galleries have been introduced in to make legible the prismatic nature of what she does,” says Hannah Hoffman. “As I’ve checked out set up footage from the opposite venues, every one is a unprecedented illustration of who Rochelle is at an artist, nuanced and layered. Not many artists can be as robust on this format. For people who find themselves new to the work, there’s a possibility to right away steep your self on the planet of Rochelle Feinstein and perceive what she’s been doing for many years.”

The exhibition opens all through January and February and runs by means of March and April on the six galleries.