Location & Hours

• Schanzeneckstrasse 3
3012 Bern, Switzerland
• Friday & Saturday
12:00 - 18:00

Contacts

WhatsApp
• +41 76 506 48 08
Instagram
• @gallerykendrajaynepatrick
Email
• info@gallerykendrajaynepatrick.com

In The News

• Gallery Press

Artists

MANUELA MORALES DÉLANO
• ADA FRIEDMAN
CONSTANZA CAMILA KRAMER GARFIAS
ANDRÉ MAGAÑA
QUALEASHA WOOD

Current

CONSTANZA CAMILA KRAMER GARFIAS
backwards along the river
solo exhibition
• Bern
7. February - 29. March. 2025

CONSTANZA CAMILA KRAMER GARFIAS
Textile Manifesto - From Bauhus to Soft Sculpture
group exhibition
Museum für Gestaltung
• Zürich
14. February - 13. July. 2025

Forthcoming

ADA FRIEDMAN & CONSTANZA CAMILA KRAMER GARFIAS 
duo presentation
Independent Art Fair
• New York City
5-8. May. 2025

MANUELA MORALES DÉLANO
solo exhibition
• Bern
24. May - 5. July. 2025

Past

TIMOTHY YANICK HUNTER
Solo Exhibition
Wavetable (Nine Night)
Bern
22. November 2024 - 1. February. 2025


ADA FRIEDMAN, MANUELA MORALES DÉLANO, CONSTANZA CAMILA KRAMER GARFIAS, ANDRÉ MAGAÑA, EVA & FRANCO MATTES, ROBYN TSINNAJINNIE
The Salon
an invitational art fair by NADA & The Community
• Paris
17-20. October. 2024

EVA AND FRANCO MATTES
J8~g#|;Net. Art{-^s1
• Bern
31. May - 20. July.  2024

ADA FRIEDMAN 
A Suite of Five Paintings, Positions, Art Basel Miami Beach 2023
• Miami
8-10. December. 2023


QUALEASHA WOOD
Manic Pixie, Magical Negro
• New York City
10. November - 16. December. 2023

MANUELA MORALES DÉLANO
& ROBYN TSINNAJINNIE
Twenty-First Century Occupational Adjustments and Considerations,  EPISODE 7: Do You Care Too Much?
• Bern
8. September- 21. October, 2023

ANDRÉ MAGAÑA
Riquisimo
• Bern
10. February - 25. March, 2023


ADA FRIEDMAN
Paintings in Pisces
• Bern
7. October - 1.7 December, 2022


S. ALVAREZ, KÉVIN BRAY
PAOLO CIRI, JOSHUA CITARELL, JIBADE-KHALIL HUFFMAN, KAHLIL ROBERT IRVING, EVEREST PIPKIN, KHADIJAT YUSSUF

Twenty-First Century Occupational Adjustments And Considerations,
EPISODE 6: OK, Computer
• New York City
4 March - April 10, 2022
• Basel
19. March - 26. April, 2022


DAVID-JEREMIAH
PLAY
• The Hamptons
15. January - 20. March, 2021

BAS JAN ADER, !MEDIENGRUPPE BITNIK, ANDRÉ BUTZER, HALIM FLOWERS, CAMILLE HENROT, SHAWNÉ MICHAELAIN HOLLOWAY, ISSAC JULIEN, MIKE KELLEY, LOUISE LAWLER, TREVOR PAGLEN, PAULINA OLOWSKA, JO SHANE, CINDY SHERMAN, ARDEN SURDAM, KENYA (ROBINSON), B. WURTZ, WICKERHAM & LOMAX Twenty-First Century Occupational Adjustments And Considerations,
EPISODE 4: Seating Chart for a Fall Dinner Party in a Pandemic
• GKJP X Metro Pictures
16. September - 31. December. 2020

CARDI B, CAITLIN CHERRY, KEZIA HARELL, KENYA (ROBINSON)
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.” 
• An essay by KJP for, YARD Magazine, July 2020

JO SHANE
Sculptures: 1990 - Present
• New York City
2. May - 1. June. 2019

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


PAUL MCMAHON, EILEEN ISAGON SKYERS, JEFFREY SONGCO Twenty-First Century Occupational Adjustments And Considerations,
EPISODE 2: One Liners
• The Hamptons
26. May - 17. June. 2018


IVAN ARGOTÉ, ROSA MENKMAN, KENYA (ROBINSON)
Twenty-First Century Occupational Adjustments And Considerations,
EPISODE 1Magnification
• New York City
18. January - 28. February. 2018


KENYA (ROBINSON)
Paper Rain for
Invocation Proclamation
Manifesto 2 & 3
 
• Gibney Dance Center
• New York City
28-30. September. 2017


Art Fairs

ADA FRIEDMAN
A Suite of Five Paintings
• Art Basel Miami Beach
6-10. December. 2023

ADA FRIEDMAN
The trailer to her forthcoming
• Art Basel Miami Beach 2023 presentation
10. November - 16. December. 2023


SHARONA FRANKLIN
Bouquet Solutions
• Art Basel
13-18. June. 2023

DAVID-JEREMIAH
FOGA: Real Nigga Edition
EXPO Chicago
13-16. April. 2023


TERESA BAKER, SHARONA FRANKLIN, CONSTANZA CAMILA KRAMER GARFIAS
The Three Fates
Art Basel Miami Beach 2022
1-4. December. 2022

QUALEASHA WOOD
A Suite of New Works
• Art Basel Miami Beach 2021

2-6. December. 2021

QUALEASHA WOOD
• NADA Miami Beach 2020
1-5. December. 2020

ROSA MENKMAN
• Daata Miami 2020

1-13. December. 2020

JO SHANE, QUALEASHA WOOD, !MEDIENGRUPPE BITNIK, ARDEN SURDAM
• NADA presents “FAIR”
Inaugural Edition 2020

Newsletters

• Newsletter Summer 2023

• Newsletter Winter 2022
• Newsletter Fall 2021
• Newsletter Midsummer 2022
• Newsletter Summer 2022
• Newsletter Spring 2021
• Newsletter Fall 2021
• Newsletter Fall 2020

An itinerant art gallery in New York City, USA
permanent locaton in Bern, Switzerland

CONSTANZA CAMILA KRAMER GARFIAS 

backwards along the river

8. February - 29. March. 2025



CURRICULUM VITAE
REQUEST PREVIEW



PRESS RELEASE
We are pleased to present Constanza Camila Kramer Garfias’ first solo exhibition with the gallery, after joining our program in 2024.

In backwards along the river, Constanza Camila Kramer Garfias critically examines the colonial historiography of Patagonia and its visual representations. She begins with Ferdinand Magellan’s expedition report from 1520, in which he described the indigenous peoples of Patagonia as “giants” due to their unfamiliar appearance. His spurious tall tales morphed into mythology and then solidified into European cultural truth, ultimately justifying the horror show that was the European conquest of the ‘Americas.’ Based on historical records and engravings, Kramer Garfias has created a series of large-scale jacquard and raffia works appropriating the visual conventions of colonial-era travelogues. In them, she playfully and thoughtfully dismisses and responds to their trumped-up depictions of her ancestors, offering nonrepresentational, material abstraction as a counter to propagandized (and thus politically abstracted) tales of sixteenth-century Patagonian society.

Works in this exhibition utilize material and conceptual deconstruction-via-reconstruction of colonial cartography. In her magnificently scaled jacquard maps, the first item of business is overlaying the territorial names imposed by European explorers with the originary names given by native communities. The second is the disruption of symbols of colonial power, accomplished by literally weaving over, around, through, and under them on the map. This is cogent work in our current political context wherein former colonies are legally renaming territories, stripping European languages from their governing status, demanding the return of looted art, and so on.

Jacquard tapestries were traditionally prestige items in royal courts, serving as expressions of power, status, and territorial grip. Thence Kramer Garfias’ impetus to work with the technique. Elaborate craftsmanship, often incorporating precious or rare materials, reinforced the objects’ authority. Kramer Garfias deliberately breaks with this history in other jacquard works, embellishing them with synthetic raffia yarn instead of noble fibers, thus stripping the Tapestry of its historical authority. For these works depicting people and scenes in hand-stitched raffia, Kramer Garfias first weaves the textile, then she paints on top of it as another way of bringing the material into an alternate reality. While the paint and jacquard meld to form a richly-colored and textured background, she patiently embroiders idyllic scenes of ancestral futures atop this repurposed colonial substrate.

Other monumental new fiber works take Magellan at his word. These are figures woven according to the scale of the people he described, but stripped of their racialized features and cloaked in Kramer Garfias' fashionably loose threads as opposed to animal fur.

Beyond her deconstructive methods, her constructive ones begin with studied engagement with indigenous knowledge systems. She is particularly interested in the cosmological worldview of autochthonous communities, often deeply rooted in a spiritual relationship with the surrounding natural environment. In these cultures, intimacy with plants and animals and knowledge of nature’s cycles and hidden languages is dutifully passed down through generations. In direct opposition to European and American conceptions of civilization; plants, animals, landscapes, and seasons are not regarded merely as resources to be tapped. Instead, they are co-journers and co-stewards of Earthly knowledge and histories. The resulting close relationship between people and their surroundings is reflected in how those cultures conceive of territory: not as static places with violently-guarded boundaries, but as living spaces shaped by collective rituals, narratives, and memory. From this perspective, backwards along the river roundly dismisses the conquistadores as arbiters of Patagonian history, permitting its kaleidoscopic primordial truths to flourish.


kelluwün, 2025
jacquardweave (cotton), hand-embroidered raffia, acrylic paint
37⅜ x 32⅝ in.
95 x 83 cm




Tras la trama: mapa 2, 2025
jacquardweave (raffia)
63 x 110¼ in.
160 x 280 cm



Metabolismo: Ajuste 2, 2024
acrylic on lithograph (1845) on paper
14 x 10 in.
35.56 x 25.40 cm

foye lawen, 2025
jacquardweave (cotton), hand-embroidered raffia, acrylic paint
36¼ x 31½ in.
92 x 80 cm



Selk´nam: Ona, 2024
jacquardweave (raffia), hand-embroidered raffia
86⅝ x 59 in.
220 x 150 cm




Tras la trama: mapa 1, 2025
jacquardweave (raffia)
122 x 124 in.
310 x 315 cm



Selk´nam: Ona, 2024
jacquardweave (raffia), hand-embroidered raffia
86⅝ x 59 in.
220 x 150 cm



Yámana, 2024
jacquardweave (raffia), hand-embroidered raffia
82⅝ x 51⅛ in.
210 x 130 cm


Puelche, 2024
jacquardweave (raffia), hand-embroidered raffia
114⅛ x 55⅛ in.
290 x 140 cm