sculptural language of ancestry and protest

Marianne Boesky Gallery in Chelsea presents Esto es América, o qual é o limite?, the debut New York solo exhibition by Argentinian artist Gabriel Chaile. Currently on view through October 18th, 2025, the show brings together adobe sculptures, drawings, and photographs that combine ancestral forms with contemporary political imagery.

The five sculptural works at the center of the exhibition extend Chaile’s long-standing interest in the genealogy of form — his term for the ways shapes and motifs recur across cultures and time. The clay structures resemble bread ovens and animal figures, their surfaces marked with dense black line drawings. ‘Each sculpture is covered in black line drawings,’ the artist explains. ‘Within those lines, other hidden drawings emerge — like walking through a jungle, where you’re present, yet not always visible.’

gabriel chaile’s procession of anthropomorphic ovens

Artist Gabriel Chaile arranges the works in motion, as though marching across the gallery floor in procession. The largest piece suggests the body of a lizard or bird, captured mid-transformation. Surrounding it, four oven-like volumes evoke both domestic use and anthropomorphic presence. Together they form what the artist describes as ‘a walk, a march, or a protest.’

Along the walls, large photographic prints document a protest Chaile witnessed in Montana during a residency in the United States. Elderly people, children, and young adults gathered quietly with ambiguous signs. ‘What struck me was the manner of protest: people standing quietly on sidewalks,’ he recalls. ‘Watching from the car, I felt a kind of alignment — not necessarily with the political opposition, but with the deeper message: a call for a more inclusive coexistence.’

Kodak unveils compact and digital Charmera with a keychain

Kodak revives the retro point-and-shoot photography and vintage filters with the miniature keychain digital Charmera. A modern twist on the brand’s first signature single-use camera, the KODAK Fling, the device brings back the throwaway cameras from the 1980s, now able to save and transfer photos and videos using a USB-C cable and without using any film rolls. The compact and portable device functions as both a digital camera and a collectible item. It is so small that four of these can fit in the user’s hand.

The Kodak digital Charmera with a keychain includes seven different retro-style filters replicating the nostalgic film and vintage photography aesthetics. Alongside these, there are four different Kodak-branded frames that add decorative borders to images and the return of classic photography elements like film sprocket holes or vintage camera branding. A date stamp feature allows users to mark their photos with shooting dates, which is a common feature from film cameras of earlier decades.

Retro Device model with transparent shell 

Inside the compact case sits a digital image sensor that captures both still photographs and video recordings. The camera processes images through built-in software that applies vintage-style filters and frames automatically. There’s no need for them to develop any film; it is all digital. The Kodak digital Charmera with a keychain also connects to external devices through a USB-C port for file transfers without needing WiFi connections. The device requires a micro SD card to store the images and videos, another feature that now seems unusual in personal gadgets.

Kodak offers its digital Charmera with a keychain in seven designs, and one of them comes with a transparent shell so users can partly see the components inside. When they flip the device, a small screen allows them to see the pictures and videos they’ve taken. Another stunt that the brand pulls is the ‘blind box’ selling, meaning users don’t know what kind of design they’re getting until they open the box. Retro photography appeals to the new(er) generation, and Kodak hopes to contribute to the trend through its digital Charmera with a keychain.

A panoramic camera built to capture uninterrupted landscapes

The Sasquatch 617 is a panoramic, medium-format film camera developed by industrial designer Derek Chiang in collaboration with industrial and graphic designer Ellie Kim. The project responds to the challenge of capturing wide, uninterrupted landscapes beyond the limits of standard photographic framing.

Unlike stitched digital panoramas, which reconstruct scenes from multiple images, the Sasquatch 617 produces a continuous photograph, making it suited for dynamic environments with movement, such as trees in the wind or breaking waves.

Sasquatch 617 expands the limits of panoramic photography

The camera is constructed with a 304 stainless steel exterior frame combined with 3D printed polycarbonate components. With a lens attached, the system weighs approximately 1kg. Functional features include a focusing ring, a rear door panel for full access, and manual film advance knobs. Optional accessories extend usability and include a magnetically attached viewfinder, a magnetically attached shutter release cable, and a protective lens cover.

The Sasquatch 617 model is designed as a robust tool for outdoor use while maintaining precision in construction and operation. Pre-orders will be available on Kickstarter in September 2025, with shipping planned for late December.

A Dialogue Between Space, Materiality and Light

In southern Mexico City, within a double-height concrete house designed by OW Arquitectos, two furniture pieces by Omar Wade, Banca Tres (Bench Three) and Silla Cuatro (Chair Four), investigate the relationship between space, materiality, and light. The residence, characterized by skylights and large windows, provides the setting for this dialogue, framing the interaction of furniture and architecture.

Together, the two wooden pieces present an exploration of scale and construction. Rather than functioning as static objects, they actively engage their surroundings, responding to light, spatial context, and the passage of time.

Bench Three and Chair Four by Omar Wade

Banca Tres combines wood craftsmanship with living elements. Constructed from tzalam wood (120 × 40 × 44 cm), its surface incorporates a circular opening (18 cm in diameter, 25 cm deep) designed to hold a clay planter (17 × 55 cm). The integrated planting element transforms the bench into an evolving object that changes over time, linking furniture with natural growth.

Chair Four, influenced by the Oaxacan coast, employs parota wood sourced from the region. OW arquitectos’ designer Omar Wade conceives the chair as a precise cube (60 × 60 × 60 cm). Its seat and backrest are formed from 3 mm-thick steel sheets with narrow side flanges, joined to wooden legs with stainless steel bolts. The result is a composition that balances rigidity with a degree of visual permeability.

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A Dialogue Between Space, Materiality and Light

In southern Mexico City, within a double-height concrete house designed by OW Arquitectos, two furniture pieces by Omar Wade, Banca Tres (Bench Three) and Silla Cuatro (Chair Four), investigate the relationship between space, materiality, and light. The residence, characterized by skylights and large windows, provides the setting for this dialogue, framing the interaction of furniture and architecture.

Together, the two wooden pieces present an exploration of scale and construction. Rather than functioning as static objects, they actively engage their surroundings, responding to light, spatial context, and the passage of time.

Bench Three and Chair Four by Omar Wade

Banca Tres combines wood craftsmanship with living elements. Constructed from tzalam wood (120 × 40 × 44 cm), its surface incorporates a circular opening (18 cm in diameter, 25 cm deep) designed to hold a clay planter (17 × 55 cm). The integrated planting element transforms the bench into an evolving object that changes over time, linking furniture with natural growth.

Chair Four, influenced by the Oaxacan coast, employs parota wood sourced from the region. OW arquitectos’ designer Omar Wade conceives the chair as a precise cube (60 × 60 × 60 cm). Its seat and backrest are formed from 3 mm-thick steel sheets with narrow side flanges, joined to wooden legs with stainless steel bolts. The result is a composition that balances rigidity with a degree of visual permeability.