Press

In 1994, when Kevin Hatt invited 22-year-old Chloë Sevigny to his studio for a portrait, neither of them could anticipate how her upcoming role in Larry Clark’s generation-defining film Kids would launch her acting career and cement her status as a downtown fashion it girl.

Hatt, a Canadian photographer known for his studio portraiture and publisher of photo journal Kit and Caboodle, had met Sevigny through his photo assistant in Washington Square Park. Sevigny was already gaining traction as an emerging figure in the underground scene, having been cast in music videos for Sonic Youth and The Lemonheads. After meeting each other, Hatt would occasionally drop in...

On the Monday after the opening of Bárbara Sánchez-Kane and Sofía Alazraki’s Fortuna y Fetiche at Dashwood Projects, the East 4th Street outpost of the renowned Dashwood Books, the sun had finally come out and it was already a busy news day. Before Alazraki arrived, Sánchez-Kane and I were speaking about an article in the New York Times about how the Trump administration is desperate for people to have more children through incentivized pregnancy. For the both of us, starting our week out on such an intense piece of news was flattening because it is now shockingly unsurprising when the White House announces insane new...

“Fortuna y Fetiche” explores themes of identity, desire, and societal power dynamics. Sánchez-Kane's work, known for challenging traditional Mexican masculinity and femininity, merges fashion, performance, and sculpture to probe pleasure and domination. Alazraki, a photographer and set designer, creates still life installations, investigating how objects acquire symbolic meaning within systems of consumption. Their collaborative work born from a series of intimate letters combines eroticism, humor, and surrealism, assembling fragmented, anthropomorphic sculptures from second-hand objects.

While Bárbara Sánchez-Kane has stepped away from the regular fashion cycle, she is still a designer. “I’ve never left fashion; it’s the core of my work,” she told W. “It’s just that the access and the speed of it didn’t work for me. I like the possibilities of exploration.” That exploration continues in her artwork, which exists in conversation with fashion, as well as themes of “Mexicanness,” religion, and sexual identity, all at play in Bárbara Sánchez-Kane y Sofía Alazraki: Fortuna y Fetiche. The collaboration between the two artists began as an exchange of letters and evolved into a collection of images: Frankenstein-like sculptures...