Frieze London 2025
Jane Lombard Gallery is pleased to participate in the 2025 edition of Frieze London with a group presentation of new and recent works by Jane Bustin, Azita Moradkhani, Michael Rakowitz, and Eva Struble. Marking history and memory, this presentation maps visibility through aspects of the landscape, body, materiality, and heritage.
Jane Bustin blends traditional and contemporary materials in works that investigate the formal components of abstraction – color, texture, and form. Her minimalist, geometric grids are rendered in soft, nuanced color palettes that feature reflective copper surfaces, rich hues of lustrous acrylic paint, and materials that breed nostalgia. In her recent body of work, she draws the viewer into the intimate world of women, casting a female gaze by incorporating tongue-in-cheek references to the tasteful nude. Bustin’s juxtaposition of aesthetic restraint and cultural reference challenges traditional narratives of femininity and abstraction, creating works that are both formally rigorous and emotionally resonant.
Rooted in the personal, and inescapably, the political, Azita Moradkhani's drawing and sculptural practice focuses on the female body as a site of subjugation and subversion. Combining intricate depictions of lingerie with historical photographs of political uprising and personal memories Moradkhani’s drawings highlight inherited histories and social unrest. Casting herself in sculpture, Moradkhani adorns the body in traditional Iranian motifs emphasizing the complexities inherent to the female form and challenging the fraying constructs of nationhood. Through intimate materials and meticulous technique, Moradkhani’s work is a quietly powerful act of resistance and remembrance.
Michael Rakowitz’s ongoing series “The invisible enemy should not exist” recreates artifacts that were destroyed or looted from the National Museum of Iraq following the U.S. invasion in 2003. Made from the packaging of Middle Eastern products and local Arabic newspapers, Rakowitz's work questions mechanisms of exclusion and belonging in the cultural zeitgeist. Moving between large monuments and smaller artifacts, the works collectively occupy a space between remembrance and resistance, prompting viewers to consider what it means to reconstruct memory in the aftermath of cultural destruction.
Eva Struble paints landscapes as an act of nostalgia and wistful future thinking. By translating her physical experience of place into vibrant, multisensory, abstract compositions, she contemplates the symbiotic relationship between humans and nature. Struble layers brushwork and rich palettes to create dynamic landscapes that evoke landscapes of coral reefs, snow-capped mountains, or imagined terrains – at once familiar and otherworldly. A testament to time, her paintings reflect both a deep personal connection to nature and a sense of urgency in response
to our changing environment.
Through nuanced layers of histories, Jane Bustin, Azita Moradkhani, Michael Rakowitz, and Eva Struble come together to depict traces of the past, narratives of resilience, and the archival
nature of memory.
