[Location & Hours]
• Schanzeneckstrasse 3
3012 Bern, Switzerland
• Thursday - Saturday
12:00 - 18:00

[Get in Touch]
• WhatsApp
41 76 506 48 08
• Instagram
@gallerykendrajaynepatrick
Email
info@gallerykendrajaynepatrick.com



[Artists]
• QUALEASHA WOOD
• ADA FRIEDMAN

[Press]
Gallery Press

[Current]
Eva & Franco Mattes
J8~g#|;Net. Art{-^s1
• Bern
Open through July 20, 2024

Qualeasha Wood
code_amina
Solo Exhibition
• Harvey B. Gantt Center for African-American Arts + Culture
OPENING May 24, 2024


David-Jeremiah
I Drive Thee
Solo Exhibition
The Clark Institute
10 February 2024
- 26 January 26 2025

Qualeasha Wood
GIANTS: Art from the Dean Collection of Swizz Beatz and Alicia Keys
Group Exhibition
• The Brooklyn Museum
10 February 2024
- 7 July 2024

[Forthcoming]
Constanza Camila Kramer Garfias
Solo Exhibition
• Bern

[Past] 
• Bern Gallery Weekend
Saturday 13th & Sunday 14th January, 2024
• We will also be open on Friday 12th January
• 11:00 - 19:00
[Presenting]
MANUELA MORALES DÉLANO & ROBYN TSINAJINNIE
• Twenty-first Century Occupational Adjustments and Considerations:
• EPISODE 7: Do You Care Too Much?

• Bern

ADA FRIEDMAN
@ Art Basel Miami Beach 2023
Dec 6 - 10, 2023

• Miami Beach

QUALEASHA WOOD
Manic Pixie Magical Negro
Nov 10 - Dec 16, 2023
178 Norfolk St
• New York City, 10002

ADA FRIEDMAN
• Pre-Preview: A Suite of Three Paintings in New York
Nov 10 - Dec 16, 2023
178 Norfolk St
• New York City, 10002


MANUELA MORALES DÉLANO & ROBYN TSINAJINNIE •
• Twenty-first Century Occupational Adjustments and Considerations:
• EPISODE 7:
Do You Care Too Much?
Sep 8 - Oct 21, 2023
• Bern


SHARONA FRANKLIN @ Art Basel
• Bouquet Solutions
Jun 13 - 18, 2023
• Basel

DAVID-JEREMIAH @ EXPO Chicago
• FOGA: Real Nigga Edition
Apr 13 - 16, 2023
• Chicago

ANDRÉ MAGAÑA
• Riquísimo
Feb 10 - Mar 25, 2023
• Bern

TERESA BAKER, SHARONA FRANKLIN, CONSTANZA CAMILA KRAMER GARFIAS @Art Basel Miami Beach, 2022
• The Three Fates
Nov 29 - Dec 4, 2022
• Miami Beach

ADA FRIEDMAN
• Paintings in Pisces
Oct 7 - Dec 17, 2022
• Bern

• Twenty-first Century Occupational Adjustments and Considerations:
• EPISODE 6: OK, Computer
• New York City: Mar 4 - Apr 10, 2022
• Basel: Mar 19 - Apr 26, 2022


QUALEASHA WOOD

• A Suite of New Works
November 28 - December 2, 2021
• Art Basel Miami Beach


DAVID-JEREMIAH 
• PLAY
Jan 15 - Mar 20, 2021
• The Hamptons


• ROSA MENKMAN @ Daata Miami 2020 (Online)

• QUALEASHA WOOD @ NADA Miami Beach (in New York), 2020

Twenty-first Century Occupatioinal Adjustments and Considerations:
• EPISODE 4: Seating Chart for a Fall Dinner Party in a Pandemic
Sep 16 - Dec 31, 2020
• Metro Pictures x Kendra Jayne Patrick, Online Exhibition

Twenty-first Century Occupational Adjustments and Considerations:
• EPISODE 3: “I told my parents I was babysitting some really rich white folks’ kids”/”Dis here da new time. Let dat be.” 
Jul 2020
• KJP for YARD Magazine

JO SHANE, QUALEASHA WOOD, !MEDIENGRUPPE BITNIK, ARDEN SURDAM @ NADA presents, “FAIR” Inaugural Edition 2020 (Online)
• May 20 - Jun 21, 2020

JO SHANE
• Sculptures: 1990 - Present
May 2 - Jun 1, 2019
• New York City

JOSHUA CITARELLA, LAP-SEE LAM, TATIANA KRONBERG
• Four as One and Three
Sep 16 - Nov 4, 2018
• New York City

Twenty-first Century Occupational Adjustments and Considerations: 
• EPISODE 2: One Liners
May 26 - Jun 17, 2018
• The Hamptons

Twenty-first Century Occupational Adjustments and Considerations:
• EPISODE 1: Magnification
Jan 17 - Feb 28, 2018
• New York City

KENYA (ROBINSON)
• Paper Rain for
Invocation Proclamation Manifesto 2 & 3
Sep 28 - 30, 2017
• New York City



[Seasonal Newsletters]
Summer 2023
Midsummer 2022
Summer 2022
Spring 2021
Fall 2021
Fall 2020

[About]
A gallery in Bern, Switzerland with an itinerant arm in New York City. 


















                                             


           Ada Friedman

            Paintings in Pisces

            7 October  - 17 December 2022



Listen. I know that internet/youth culture is all about the woowoo at the moment. Witchery, manifesting, reality shifting, tarot, horoscopes are everywhere, seeming to provide mass respite from crumbling political and climate realities the world over. But! Ada Friedman’s Painting in Pisces is a dreamlike exhibition, wherein the fluidity and ritual for which her sign is known combine into thoroughly considered, agile paintings. So, I want to have some fun musing about attitude-as-cosmic assignment versus attitude-as-aesthetic-posture, as a means of parsing her dense and subtle works.  

Friedman’s sign is said to be mutable and shape-shifting, represented by a wandering fish. Those born under Pisces are said to be highly sensitive, very present in any given environment without melting into it. Friedman’s paintings are double-sided, each one living on the reverse of another. Their shapes are irregular and incongruent, while they are anatomical relatives. Here, you’ll see pieces from a body of paintings all shaped like relaxing isosceles triangles. And although they are composed in similar form, height, and width, they are entirely distinct from one another. In terms of color, works sharing one of Friedman’s odd structures might seem to be complete strangers meeting for the first time. Yet an inextricable physical relationship with the painting on its backside (frontside? topside? underbelly?) harmonizes the full work by forcing chance interactions and compatibilities between the two. Her works are firm in their adaptability. Repetitive in a refusing way. Fish flip, decisions are final/reversible, light shimmers.

The condition of fish, incidentally, is also William James’ preferred metaphor1 for the use and misuses of abstraction. A misused abstraction is one imposed upon the world. A point of view inconsiderate of finer, relevant aspects of a thing for the sake of ease or control; a harmful distortion of reality. Useful abstraction, however, is in line with its originary sensibility: a verb describing the attempt to make the unfathomable ingestible, yes, but by way of curiosity rather than knowing. An attempt to understand rather than expound. Like a good tarot reading.

In service to this end, Ada’s prima materia is paper, for its broad range of use. Yet the artist also fully integrates intermittently collected and discreetly organized materials into a painting’s whole. These items tend to be fragile and/or translucent, demanding delicate, intentional handling. Importantly, Friedman does not adhere them to already-painted surfaces; these works are not collages. Instead, lighting gel or a found doily serve as integral structural components of the entire plane on which any two paintings live, further coordinating works which share all of their material elements to differently composed ends. They swim together, wherever and however they want. Friedman manipulates each component with precisely the same physical gestures she uses to oil paint, resulting in unified, motley, elegant paintings.






____________________________________________________________________

Now let the water represent the world of sensible facts, and let the air above it represent the world of abstract ideas…. We are like fishes swimming in the sea of sense, bounded above by the superior element, but unable to breathe it pure or penetrate it. We get our oxygen from it, however, we touch it incessantly, … in this part, now in that, and every time we touch it, we are reflected back into the water with our course redetermined and reenergized. The abstract ideas of which the air consists are indispensable for life, but irrespirable by themselves, as it were, and only active in their redirecting function.


William James. "The One and the Many". Lecture 4 in Pragmatism: A new name for some old ways of thinking. New York: Longman Green and Co (1907): 49-63.