@kdr305 - IGDataHub

Katia David Rosenthal Gallery

@kdr305

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KDR| 790 NW 22nd St Miami, FL 33127

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linktr.ee/kdr305 www.miaminewtimes.com/arts/katia-david-rosenthal-talks-about-her-miami-art-gallery-kdr-21311409 www.miaminewtimes.com/best-of/2024/arts-and-entertainment/best-art-gallery-20430772 www.culturedmag.com/article/2025/06/12/cultured-young-dealers-list-art-gallerists

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#leepivnik #alexistrice

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KDR is pleased to present a two-person booth featuring painter/sculptor Alexis Trice and sculptor Lee Pivnik at NADA Miami, Dec 1-5, 2026. Booth C1. @eelpicnic @newartdealers #leepivnik Lee Pivnik draws inspiration from living systems and other species to envision a future grounded in mutualistic relationships rather than extractive economies. Permeating his practice is the idea of entanglement: the touching, changing, mutating relationships between species and their environments. Through these intimacies, worlds of decay, degradation, or verdant flourishing arise. Lee Pivnik (b. 1995 in Miami, FL) In 2018 he graduated from the Rhode Island School of Design with a BFA in Sculpture. Pivnik founded and co-directs the Institute of Queer Ecology (IQECO) Pivnik has presented solo exhibitions with Dalé Zine (FL), Biosphere 2 (AZ), YoungArts (FL), and Hi-Lo Press (GA). He has been awarded Knight Arts Challenge Awards in 2019 and 2021, and a Creative Capital Award (2025). Working as the Institute of Queer Ecology, Pivnik has presented projects with the Guggenheim Museum (New York, NY), the United Nations - ART 2030 (New York, NY), Museo de Arte Zapopan, (Zapopan, Mexico), Centre Pompidou-Metz (Metz, France), Museum Schloss Moyland, (Bedburg-Hau, Germany), the Medellín Museum of Modern Art (Medellín, Colombia), Prairie (Chicago, IL), and Bas Fisher Invitational (Miami, FL), among others. Pivnik currently lives and works in Miami, FL. We can’t wait to see you at the fair! 13 Nov 2026

Miami, I’ll be at @kdr305 in Little Havana tomorrow Saturday the 14th touring Exilic Garden from noon until 3. Please come join us. This body of work is a lot of things but maybe most of all it’s a dialogue with the Florida room gallery and garden itself and I’m looking forward to spending some time within that conversation again. 1322 SW 11th St, Miami, FL 33135 Noon-3pm ~ 13 Nov 2026

It’s that time of year!!!! KDR is excited to present a two-person booth featuring painter/sculptor Alexis Trice and sculptor Lee Pivnik at NADA, Miami, Dec 1-5, 2026. Booth C1. @alexis_trice #alexistrice @newartdealers Alexis Trice makes paintings that navigate the inner workings of the natural world, sentimentality, and memory. She conveys these scenes with the realism of observed and documented natural science alongside the conjurings of her own mind. Trice’s work is about energy, both emotional and molecular, and its transference and impact as it ripples outward. This energy is released and ultimately recycled in a continuous, exquisite pattern. Alexis Trice (b. 1982 in New York, NY) received a BFA in Illustration from the School of Visual Arts, New York in 2004. This solo booth at NADA Miami will be Trice’s third representation by KDR gallery, the first in 2025: Deep Sea, Swallow Me, With Long Story Short Gallery in New York; and the second in 2025: YAMAS! Group show in Mykonos. Her recent solo exhibitions include Recent Works at Gary Marotta Fine Art, MA; DUST & BRINE at Arch Enemy Arts, PA; Undercurrent at Roq La Rue, WA; and Distanced Horizons at Gary Marotta Gallery, RI. Her work has shown at prominent galleries such as Hashimoto Contemporary, Los Angeles CA (2024), Visions West Contemporary, Bozeman MT (2024), Gallery ERGO, Seattle WA (2024), and Outré Gallery, Australia. Trice currently lives and works in New York City. We hope to see you at the fair! Photography by Gigi Chen. @gigichen.art 12 Nov 2026

Juan Bocca 𝑇ℎ𝑒 𝐶ℎ𝑎𝑚𝑜𝑚𝑖𝑙𝑒 𝐵𝑢𝑠ℎ, 2026 Oil on Diatomaceous Earth on Linen 20 x 16 in. @neurogenesis.sfx Down at ground level, wild chamomile blossoms drift like small points of light through a dense tangle of mossy green, ochre, and rust. One of my favorite parts of Juan’s works are that they are painted over diatomaceous earth, the surface is granular and finely cracked like dried soil, so the work feels like both a picture of the earth and a piece of it. On view by appointment at KDR305 home gallery in lil Havana as part of 𝐸𝑥𝑖𝑙𝑖𝑐 𝐺𝑎𝑟𝑑𝑒𝑛. Photo: Rodrigo Gaya @gayaman_photo 09 Nov 2026

In Untitled (The Odyssey), 700 BCE–2026, and its accompanying performance MZ (Bound II), 2026, Monsieur Zohore revisits Félix González-Torres’s Untitled (Go-Go Dancing Platform), exchanging the occasional go-go dancer for two lifeguards in silver lamé Speedos, mirrored sunglasses, and whistles. Stationed above a gallery floor covered in sand, the pair keep watch over visitors, dispensing attention, assistance, and the occasional exercise of authority. Their responsibilities are familiar enough, although the hazards of an afternoon spent looking at art remain difficult to assess. The chairs take their names from Achilles and Patroclus, whose celebrated intimacy has survived centuries of disagreement over precisely what to call it. In Book XI of Homer’s Odyssey, the companions appear together among the dead. Zohore grants them another engagement, this time in a profession where keeping someone alive is ostensibly the entire point. Between shifts, the chairs stand empty, retaining the proportions of monuments and the practical inconvenience of furniture awaiting its occupants. Here, the ancient epic and González-Torres’s fleeting performances meet on the considerably less heroic terrain of a Miami beach, where the pleasures of being watched are accompanied by the obligation to watch over someone else. Photography by @gayaman_photo 07 Nov 2026

KDR is pleased to announce 𝐶𝑜𝑚𝑝𝑜𝑠𝑖𝑡𝑖𝑜𝑛 𝑜𝑓 𝑎 𝑇𝑒𝑎𝑟, a solo exhibition of new work by the internationally acclaimed artist Aaron Young, opening Tuesday, December 1st, 2026. Save the date! Through sculpture and performance, Young explores the tensions between creation and destruction, permanence and impermanence, and the transformative power of materials. Extending the exhibition’s meditation on impermanence, six motorcycle riders will perform on opening night at 9 PM, their speed, sound, pressure, and physical exertion recorded in real time. Alongside the performance, Young presents works made from dry ice, salt, aluminum, plexiglass, and paper. Across these works, 𝐶𝑜𝑚𝑝𝑜𝑠𝑖𝑡𝑖𝑜𝑛 𝑜𝑓 𝑎 𝑇𝑒𝑎𝑟 dwells in the moment an action ends and an object begins. What endures is not the thing itself, but the trace it leaves behind, and in that trace, collapse becomes its own composition. AARON YOUNG 𝐶𝑜𝑚𝑝𝑜𝑠𝑖𝑡𝑖𝑜𝑛 𝑜𝑓 𝑎 𝑇𝑒𝑎𝑟 December 1, 2026 – January 16, 2027 @artistaaronyoung Opening Reception: Dec. 1, 2026, 7–10 PM Performance: Dec. 1, 2026, 9 PM, beginning promptly KDR 790 NW 22nd Street, Miami, FL 33127 Photograph by Sam Haynes and film by Aaron Young @rsamuelhayes 06 Nov 2026

Exlilic Garden by Juan Bocca is on view @kdr305 in Little Havana by appointment only. @neurogenesis.sfx Drawing on botanical imagery and themes from the Book of Genesis, Bocca arrives at notions of desire and renewal, using painting to explore our relationship with the natural world. The “garden” becomes a site for thinking about longing, transformation, and the boundaries between human experience and the living world just outside the gallery. In Genesis, the Tree of Life is not forbidden at first, but becomes unreachable after the Fall. Bocca paints from this perspective: paradise remains visible but is no longer open to us. Smoke appears throughout his work and the exhibition, creating both atmosphere and meaning. It acts as a veil, showing the distance between people and the divine, and the confusion that comes after the Fall. “The paintings resist the idea of paradise as a merely lost or distant place,” Bocca reflects. “Instead, they approach it as something that continues to make itself felt in the world around us.” Video by @gayaman_photo 05 Nov 2026

In “Untitled (Championne)”, 1983–2026, Monsieur Zohore transforms the global spectacle of soccer into a playful exploration of masculinity, intimacy, and queer desire. Images of male athletes embracing, celebrating, and colliding are scattered across a globe, crowned with a pink tiara and perched atop glittering blue heels. Emphasized by the title, Championne, the feminine form of the French word for champion, Zohore recasts this traditionally masculine sport through a deliberately feminine lens. Removed from their original context, the athletes’ familiar gestures take on new meanings, revealing how perceptions of masculinity, sexuality, and intimacy are shaped by cultural conventions. The year 1983, when Felix Gonzalez-Torres met his longtime partner Ross Laycock, offers a possible connection to the exhibition’s larger meditation on love and queer intimacy. In dialogue with Gonzalez-Torres’s interest in the emotional meanings embedded within ordinary objects and gestures, Zohore reimagines the soccer field as a space where camaraderie, affection, and desire become indistinguishable. The world becomes a stage for the performance of masculinity, and Monsieur dresses the entire thing in drag, making masculinity itself an object of play. Installation images by @gayaman_photo Monsieur Zohore Untitled (Championne) 1983-2026 Mixed Media on Globe, Play Heels, Tiara, Spinning Plate. 19 x 12 x 12 in. 48.26 x 30.48 x 30.48 cm MZ0016 03 Nov 2026

In 𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 (𝘚𝘸𝘦𝘦𝘵 𝘗𝘭𝘢𝘤𝘦𝘣𝘰) 1991–2026, Monsieur Zohore extends the participatory gesture of Félix González-Torres’s iconic candy installations, in which visitors are invited to take a piece, allowing the work to circulate beyond the gallery walls. But what becomes of the wrappers left behind? Zohore collects these discarded silver wrappers from gallery visitors, gathering the remnants of individual encounters into a transparent Lucite wastebasket. Reversing the movement of González-Torres’s original gesture, Zohore preserves what would otherwise disappear. As in his broader practice of repurposing paper towels and other disposable materials, the artist transforms the fleeting traces of consumption into a lasting record of participation, care, and collective presence. @mzohore Monsieur Zohore 𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 (𝘚𝘸𝘦𝘦𝘵 𝘗𝘭𝘢𝘤𝘦𝘣𝘰) 1991–2026 Silver Candy Wrappers in Lucite Wastebasket. 10 x 8½ x 8½ in. 25.40 x 21.59 x 21.59 cm MZ0013 Installation images by @gayaman_photo Last image: Felix Gonzalez-Torres, “𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥” (𝘓𝘰𝘷𝘦𝘳 𝘉𝘰𝘺𝘴), 1991. Installation view of “Felix Gonzalez-Torres: Sweet Revenge,” at Museo Reina Sofía, Madrid, 2026. Candies in silver wrappers, endless supply. Variable dimensions with installation. Ideal weight: 355 lb. Photography by Roberto Ruiz. Courtesy of Museo Reina Sofía, Madrid. 31 Oct 2026

Join us tonight from 6-9 PM for Allapattah Night! The whole neighborhood will be activated :) @mzohore In 𝑈𝑛𝑡𝑖𝑡𝑙𝑒𝑑 (𝑆𝑙𝑜𝑤 𝑆𝑢𝑛𝑠𝑒𝑡𝑠 𝑜𝑟 𝑂𝑛𝑒 𝑆𝑤𝑒𝑒𝑡 𝐷𝑎𝑦), Monsieur Zohore constructs a sprawling portrait and speculative history of Miami through the lives, images, and circumstances that brought people to the city, held them there, or marked their departures. Across seven mirrored panels, photographs, cinematic stills, art-historical quotations, and popular culture fragments assemble a panorama of political protest, exile, celebrity, illness, violence, and mourning. People who never met appear together; events separated by decades become neighbors; the city’s official history finds itself in rather questionable company. Théodore Géricault’s 𝑇ℎ𝑒 𝑅𝑎𝑓𝑡 𝑜𝑓 𝑡ℎ𝑒 𝑀𝑒𝑑𝑢𝑠𝑎 encounters Cuban rafters arriving in Florida, while Pedro Zamora, Mariah Carey, Félix González-Torres, and figures from 𝐴𝑐𝑒 𝑉𝑒𝑛𝑡𝑢𝑟𝑎: 𝑃𝑒𝑡 𝐷𝑒𝑡𝑒𝑐𝑡𝑖𝑣𝑒 share the composition. The entire work is made from Bounty paper towels, printed, dyed, and worked with looping gestures of bleach. Beneath the paper, a reflective surface draws the viewer into a history assembled with comparable liberties. 𝑈𝑛𝑡𝑖𝑡𝑙𝑒𝑑 (𝑆𝑙𝑜𝑤 𝑆𝑢𝑛𝑠𝑒𝑡𝑠 𝑜𝑟 𝑂𝑛𝑒 𝑆𝑤𝑒𝑒𝑡 𝐷𝑎𝑦) offers Miami as it might be remembered by someone who has lived through several of its histories and inherited the rest: a city whose inhabitants, like its reflections, are never quite where they appear to be. Monsieur Zohore 𝑈𝑛𝑡𝑖𝑡𝑙𝑒𝑑 (𝑆𝑙𝑜𝑤 𝑆𝑢𝑛𝑠𝑒𝑡𝑠 𝑜𝑟 𝑂𝑛𝑒 𝑆𝑤𝑒𝑒𝑡 𝐷𝑎𝑦), 1304–2026 Mixed media, Fit Cleer on panel 71 x 273 in. 180.34 x 693.42 cm MZ0042 Photo: Rodrigo Gaya @gayaman_photo 28 Oct 2026

The Fracture, 2026 Oil and Diatomaceous Earth on Dyed Linen 11 x 18 x 1.5” On view in Exilic Garden at @kdr305 in Little Havana. Photo by @gayaman_photo 28 Oct 2026

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DfsPAZQln4n	KDR is pleased to present a two-person booth fea…
DfrzV0CFkui	Miami, I’ll be at @kdr305 in Little Havana tomor…
DfpgRveFmpX	It’s that time of year!!!! KDR is excited to pr…

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DfsPAZQln4n	KDR is pleased to present a two-person booth fea…
DfrzV0CFkui	Miami, I’ll be at @kdr305 in Little Havana tomor…
DfpgRveFmpX	It’s that time of year!!!! KDR is excited to pr…

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