Artists

Cudelice Brazelton IV, Nicolás Guagnini, Tobias Hohn & Stanton Taylor

Press release

Constellations Warsaw Opening weekend: April 10-12, 2026 The exhibitions runs until May 16. In mid April 2026, a third edition of Constellations, a gallery share initiative, will be held in Warsaw. After its inauguration in 2024, this year program will engage 13 leading Warsaw-based contemporary art galleries (BWA Warszawa, Consonni Radziszewski, Foksal Gallery Foundation, Gunia Nowik Gallery, Import Export, Le Guern, Monopol, Piktogram, Raster, Stereo, Turnus, WHOISPOLA, and Wschód) that will showcase exhibitions created in collaboration with invited international partners. The program takes place across various venues throughout Warsaw, with each collaboration presented within the respective host gallery's space in the city. Galeria Wschód is hosting Galerie Max Mayer (Berlin) presenting jointly new works by Cudelice Brazelton IV, Tobias Hohn & Stanton Taylor and Nicolás Guagnini. _ Broadly encompassing painting, sculpture, assemblage and collage, Cudelice Brazelton IV ( (b. 1991, Dallas, Texas) explores identity, abstraction and the physicality of place in his work, challenging traditional boundaries between materials, space, and viewer interaction. The artist's practice largely centers on his experiences as a former steelworker in the American Midwest, a profession he inherited from his late father, and fascination with cosmetic imagery, as it holds personal resonance since he spent much of his time in his mother's salon in their basement. Brazelton often integrates fragments of the industrial and domestic past of places he visits, cities he resides in, spaces he is producing exhibitions at. His practice, that combines materials such as cosmetic products, fabric, leather, acrylic or craft elements found in public spaces, metal or cardboard, has evolved through diverse cultural and geographical influences, exploring both his personal history and broader artistic dialogues. Over more than a decade of collaboration, Tobias Hohn (b. 1991, Prüm, Germany) and Stanton Taylor (b. 1990, Port of Spain, Trinidad and Tobago) have developed a distinctly site-specific method for analyzing the social and commercial pressures that shape public space. Through paintings, installations, and objects, their reproductive practice focuses on the seemingly familiar to reveal the strangeness embedded within it. The body of work presented at Galeria Wschód centers on the language of commercial display, materials such as glass, steel, and plastic, and the promise of a world that remains just out of reach. These images are reconfigured and stripped of their original context, then arranged into new visual structures. The result is a dense field of references where art history, popular culture, and everyday imagery operate together as elements of a single system. The artists use the city, particularly Berlin, as a stage for analyzing visual culture. Fragments of architecture, shop displays, advertisements, and other elements of public space become a material for exploring how images organize social experience. Their work also examines the effects of gentrification and the economy of images, showing how urban space, visual culture, and social relations are reshaped by market mechanisms. The artists invite reflection on one's own trajectory within systems of expectation and control. By repeating the mechanisms of the gallery, they make them open to renegotiation, transforming the exhibition into a social and cognitive experiment. Nicolás Guagnini (b. 1966, Buenos Aires, Argentina) enacts a romanticized notion of the artist as a fallen revolutionary and independent entrepreneur, performing post-conceptual clichés of cultural capital as it dissolves into everyday life. His ceramic sculptures, catering to a demand for decoration, reflect the psychological expressions of a dominant Western value system. They test the economization of the social sphere and of artistic labor, engaging in a complicity with critique through parodic figures of artistic machismo and wounded masculinity. In Guagnini's work, the fetishized commodities of art remain unsublimated. By evoking repressed longings for the missing object as the cause of desire, the sculptures simultaneously confront the repulsive and the passé: glossy white glazes reminiscent of bodily fluids cover piles of skewed body parts—noses, ears, breasts, and penises—resting atop art books. Drawing the viewer into a mental parkour of style, position, and authorship through dense, often familiar, and highly refined artistic references, Guagnini's works reflect the formation of relationships with the everyday practices of their surroundings. In The Black Box we are screening a video Overbite III (2023) by Cudelice Brazelton IV Overbite III (2023) is a video work of captured CCTV footage of the artist entering the gallery Murmurs in Los Angeles late in the night. Peripheral vision and spatial awareness come into play for safety as a pitbull jumps from the window of a car and attacks the artist. This is a moment of chance and being at the wrong place at the right time. The work documents the unexpected and the collisions of urban space, perhaps anchoring all four artworks to something lived and street smarts. Aesthetics are experienced rather than superficial or style here. A swift kick and jumping on the car for elevation as an unknown figure hides behind the electric post in the video, the video skipping frames as the body briefly vanishes.