The Fight Between Carnival and Lent: Curated by Max Lust
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Joseph BuckleyFamily In The Earth, 2025Plastic, MDF, paint, fiberglass, reclaimed institutional aluminum enclosed bulletin board,19 x 58 1/4 x 82 in
48.3 x 148 x 208.3 cm -
Alayna CoverlyTender, 2025Oil on canvas72 x 48 in
182.9 x 121.9 cm -
Maia del EstalSadness is similar to an orgasm, 2025Pastel, spray paint, ink, and acrylic on canvas57 x 67 in
144.8 x 170.2 cm -
Maia del EstalYou told me to make a painting everytime I masturbate, 2025Pastel, spray paint, charcoal, and marker on canvas57 x 67 in
144.8 x 170.2 cm -
Alannah FarrellEstate, 2024Watercolor, acrylic, and colored pencil on paper14 1/8 x 10 1/4 in
35.9 x 26 cm -
Alannah FarrellSilver, 2024Watercolor, acrylic, and colored pencil on paper10 1/4 x 14 1/8 in
26 x 35.9 cm -
Nate FlaggAm Hfam Min / Hear Wind Melody, 2023Colored pencil and wax medium on tinted paper24 x 16 in
61 x 40.6 cm -
Nate Flaggmnnyy'isat cce paa topurshiyn. Merun cemewat ara cce tyy ammyt tte y'or atat apa. Ho camarpyn! Torun mecm epa tshuhong. / On-widening there, the shining ring of ken. Now see the texture of its process– emerging mercy and what matter yields, advancing. Hee, 2025Colored pencil and wax medium on tinted paper in hand bound accordion6 3/4 x 182 1/2 x 2 3/4 in
17.1 x 463.6 x 7 cm -
Emily HarterBirding, 2024Oil on canvas60 x 78 in
152.4 x 198.1 cm -
Emily HarterBlowing Smoke, 2024Oil on canvas44 x 35 in
111.8 x 88.9 cm -
Emily HarterOlive Oyl St. Sebastian, 2024Oil and graphite on canvas34 x 26 in
86.4 x 66 cm -
Taylor Ashby HawkinsJoJo, 2022-23Silicone rubber, epoxy resin, urethane resin, wig, costume teeth, CPU parts30 x 13 x 15 in
76.2 x 33 x 38.1 cm -
Taylor Ashby HawkinsPrototype I, 2024PLA, epoxy resin, urethane resin, chrome paint, machine screws31 x 37 x 7 in
78.7 x 94 x 17.8 cm -
Katinka HuangAngels, 2025Acrylic and charcoal on canvas72 x 58 in
182.9 x 147.3 cm -
Luke Libera MooreArcane Resonance Sequencer (Chrono-Collider), 2023Cardboard, papier-mâché, pigmented wood putty, paper pulp, hay, acrylic paint, cast latex, found hardware, fabric dye57 x 38 x 9 1/2 in
144.8 x 96.5 x 24.1 cm -
Luke Libera MooreCoping Mechanism #1: Longing Engine, 2024Cardboard, papier-mâché, plaster, paper pulp, acrylic spheres, wood, test tubes, fabric dye, acrylic paint, varnish21 x 20 1/2 x 6 in
53.3 x 52.1 x 15.2 cm -
Luke Libera MooreCoping Mechanism #2: Altar of Reciprocity, 2024Cardboard, papier-mâché, plaster, paper pulp, acrylic spheres, wood, hardware, varnish31 x 15 x 15 in
78.7 x 38.1 x 38.1 cm -
Joseph ParraGlimmer of Solitude, 2025Acrylic squeezed from paint tubes on canvas over panel60 x 48 in
152.4 x 121.9 cm -
Joseph ParraGolden Shower, 2025Acrylic squeezed from paint tubes on canvas over panel60 x 48 in
152.4 x 121.9 cm -
Anastasiya TarasenkoCake and Milk, 2021Oil paint on copper mounted on wood panel18 x 24 in
45.7 x 61 cm -
Anastasiya TarasenkoDragon Fire, 2024Pulp painting on paper24 x 18 in
61 x 45.7 cm -
Anastasiya TarasenkoGeorge Washington Crossing the Delaware, 2019Oil on wood backed copper panel16 x 20 in
40.6 x 50.8 cm -
Anastasiya TarasenkoReliquary of Utility (Bond), 2021Oil on vintage meat cleaver
12 x 3 in
30.5 x 7.6 cm -
Anastasiya TarasenkoReliquary of Utility (Bone), 2021Oil on vintage meat cleaver12 x 4 in
30.5 x 10.2 cm -
Anastasiya TarasenkoReliquary of Utility (Dog), 2021Oil on vintage meat cleaver10 x 3 in
25.4 x 7.6 cm -
Anastasiya TarasenkoValley of Happy Pigs, 2022Oil paint on copper with a handmade resin border48 x 36 in
121.9 x 91.4 cm
Friedrichs Pontone is delighted to present The Fight Between Carnival and Lent, a group exhibition that pays homage to Pieter Bruegel the Elder's legendary 1559 painting of the same title.
The show celebrates the painting style known as the "Wimmelbild," the classical panoramic compositions Pieter Bruegel the Elder and his mentor Hieronymus Bosch both mastered. Similar to the Dutch masterwork, the curation is a celebration of the diversity and duality in society, specifically the duality of the art landscape. Featuring works by eleven artists from five countries with different backgrounds and disciplines, the floor plan is a wimmelbild in its own right. The exhibition, portraying antithetical themes, could be perceived as two separate bodies of works. Representing Lent is the top floor gallery, approaching topics with color, formality, and control. Harshly diverging from Lent is the downstairs gallery, or rather the Carnival, being dark, indulgent, and expressionistic.
The top floor gallery represents Lent through a minimal and light approach. In Bruegel's painting, Lent is personified as a woman dressed in grey. She is on the side of the church, representing purity within the Flemish town. Lady Lent, as she is called, raises a bread peel holding herrings, ready to joust the personified Carnival. Her demeanor is calm in comparison to her actions.
Downstairs, representing Carnival, is more dark and eloquent, creating two contrasting groups, like the Bruegel painting. Breugel personifies Carnival as a prince straddled atop a beer barrel. Holding a spear stabbed with various meats, he prepares to joust Lady Lent. Prince Carnival is coming from the side of the painting with the bar to symbolize the dark underbelly of the town.
Featuring works by:
Joseph Buckley
Alayna Coverly
Maia Del Estal
Alannah Farrell
Nate Flagg
Emily Harter
Taylor Ashby Hawkins
Katinka Huang
Luke Libera Moore
Joseph Parra
Anastasiya Tarasenko
