Clayton Schuster

Memory may not be a tape-recorder, but in Sasha Gordon’s work, it serves as a device for the initial transportation. Characters wander this fluxing landscape—be it a drive-through window, a master bedroom, or white suburbia—shifting through the dynamic background of her dream-like haze. As a viewer of Gordon’s narrative paintings, you are intruding on intimate scenes of inciting trauma. There’s a word for this process.

In 2007, Magnhild Kennedy indulged a lifelong fascination by moving to London. “I have had London on my mind since I was a teen. I wanted to live there even before my first visit,” she says. Growing up in Trondheim, Norway, from the age of sixteen onward she devoured every image and word in issues of the famed English culture magazine The Face. “This was before the internet,” she says, “I come from a fairly small and homogeneous town. Foreigners were always exciting and inspiring to me.

ABOVE: Installation view, Jeffrey Gibson, boshullichi / inlvchi – we will continue to change, Kunsthaus Zürich, 2025, photo by Franca Candrian, Kunsthaus Zürich Jeffrey Gibson was far more open about the act of dreaming and the beliefs that make-up spirituality than I expected. I started our conversation saying that I like to keep things loose, that he can tell me if I’m too far out there and need to reign in. “I like to be led,” he says.