Star signs: Misha Kahn creates a kaleidoscopic world at Friedman Benda

New York’s Friedman Benda gallery plays host to two noteworthy exhibitions this month – ‘Marcel Wanders: Portraits’ and Misha Kahn’s ‘Return of Saturn, Coming of Age in the 21st Century’. The two prove to be quite the bookends: Wanders, the well-established designer whose restrained show is rendered in a dark palette becomes a foil for Kahn, who, at 26, is very much gaining a name of his own, with a very kaleidoscopic show he himself describes as something ‘meant to encourage comfort with one’s own mental chaos’.
The product of Kahn’s imagination is a collection of everyday objects: stools, mirrors, lamps and tables. Each is brightly colored, and his choice of material steers far from convention. He has made a cabinet, for example, from banana leaves, grasses, cactus, bone and lavimisu. And it shows. The Wild One China Cabinet smells like a stable. The show’s pièce de résistance, though, is The Slippery Feel of Inevitability, a hand-woven mohair tapestry that depicts a landscape made of Jell-O molds – again, brightly colored and apparently underwater.
The subtitle, ‘Return of Saturn’, speaks to Kahn’s personal self-reflections. Pointing to astrological tradition, he explains that it takes 27 years for Saturn to return to the same position where it had been at the moment of a person’s birth, making it a fruitful time to consider one’s life, a place he considers himself to be now.
This is not an art-in-a-white-box kind of show. Kahn created an immersive environment, covering the floors in plywood tiles and the walls in a custom-made wallpaper depicting oranges at various stages of having been peeled. The wallpaper itself is also torn and partially peeled. ‘I always thought peeling an orange was like ripping wallpaper,’ he suggests. As for why he chose oranges? ‘I thought they were like cosmic belly buttons. And I kind of liked the connection with the Medicis.’
This equates to a collection of everyday objects: stools, mirrors, lamps, and tables, each brightly coloured and incorporating a range of materials that steer far from convention
The subtitle, ‘Return of Saturn’ points to astrological tradition. Kahn explains that it takes 27 years for Saturn to return to the same position where it had been at the moment of a person’s birth, making it a fruitful time to consider one’s life, a place he considers himself (aged 26) to be now
The show’s pièce de résistance, The Slippery Feel of Inevitability (pictured), is a hand-woven mohair tapestry that depicts a landscape made of Jell-O molds, again brightly colored and apparently underwater
INFORMATION
'Misha Kahn: Return of Saturn, Coming of Age in the 21st Century' is on view until 9 April. For more details, visit Friedman Benda's website
Photography: Andrew Meredith. Courtesy the artist and Friedman Benda
ADDRESS
Friedman Benda
515 West 26th Street
New York, NY 10001
Wallpaper* Newsletter
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox.
-
Must-visit cinemas with award-worthy design
Creativity leaps the screen at these design-led cinemas, from Busan Cinema Centre’s record-flying roof to The Gem Cinema Jaipur’s art deco allure
By Sofia de la Cruz Published
-
The modernist home of musician Imogen Holst gets Grade II listing
The daughter of the composer Gustav Holst lived here from 1964 until her death, during which time the home served a locus for her own composition work, which included assisting Benjamin Britten
By Anna Solomon Published
-
This fun and free-spirited photography exhibition offers a chromatic view on the world
‘Chromotherapia’ at Villa Medici in Rome, explores how we view colour as a way of therapy, and how it has shaped photography over the last century (until 9 June 2025)
By Tianna Williams Published
-
Wim Wenders’ photographs of moody Americana capture the themes in the director’s iconic films
'Driving without a destination is my greatest passion,' says Wenders. whose new exhibition has opened in New York’s Howard Greenberg Gallery
By Osman Can Yerebakan Published
-
20 years on, ‘The Gates’ makes a digital return to Central Park
The 2005 installation ‘The Gates’ by Christo and Jeanne-Claude marks its 20th anniversary with a digital comeback, relived through the lens of your phone
By Tianna Williams Published
-
In ‘The Last Showgirl’, nostalgia is a drug like any other
Gia Coppola takes us to Las Vegas after the party has ended in new film starring Pamela Anderson, The Last Showgirl
By Billie Walker Published
-
‘American Photography’: centuries-spanning show reveals timely truths
At the Rijksmuseum in Amsterdam, Europe’s first major survey of American photography reveals the contradictions and complexities that have long defined this world superpower
By Daisy Woodward Published
-
Miami’s new Museum of Sex is a beacon of open discourse
The Miami outpost of the cult New York destination opened last year, and continues its legacy of presenting and celebrating human sexuality
By Anna Solomon Published
-
Sundance Film Festival 2025: The films we can't wait to watch
Sundance Film Festival, which runs 23 January - 2 February, has long been considered a hub of cinematic innovation. These are the ones to watch from this year’s premieres
By Stefania Sarrubba Published
-
What is RedNote? Inside the social media app drawing American users ahead of the US TikTok ban
Downloads of the Chinese-owned platform have spiked as US users look for an alternative to TikTok, which faces a ban on national security grounds. What is Rednote, and what are the implications of its ascent?
By Anna Solomon Published
-
Architecture and the new world: The Brutalist reframes the American dream
Brady Corbet’s third feature film, The Brutalist, demonstrates how violence is a building block for ideology
By Billie Walker Published