Company is pleased to announce DASH, a solo exhibition by Swedish born artist Cajsa von Zeipel on view in the gallery from May 6 - June 21, 2025.

Known for her uncanny silicone-based sculptures that blur boundaries between the corporeal and the artificial, von Zeipel employs plaster and silicone to examine cycles of collapse and recovery, producing sculptures that oscillate between fragility and force. The dialogue between materials articulates a practice grounded in queerness, embodiment, and the structural systems, both personal and institutional, through which survival and transformation are negotiated. Appropriately titled DASH, the exhibition draws on the word’s multiple meanings—to strike violently, to run in urgency, to break apart—as wellas its role as a grammatical connector, a mark of interruption or continuation. This layered symbolism mirrors the works themselves, simultaneously suspended in atrophy and reconstruction. DASH is a charged meditation on power and the systems in flux, navigating the unstable frameworks that shape contemporary life.

Von Zeipel’s sculptures rise within a kind of post-human Tower of Babel, where fragmented forms, scaffolding, and symbolic debris are stacked in delicate conversation. These assemblages loom as monuments to decaying institutions, destabilized and out of time, as if excavated from the depths of a museum’s forgotten vault. Built up, stripped down, and layered with intention, figures contort into anatomically improbable poses, exposing the traces of their own making. Here, plaster is not merely a reference, but a living material. Bodies appear caught mid-transformation, neither fully formed nor entirely broken. They climb, fall, and shift gracefully, suggesting a subdued sense of unrest. Are they assembling themselves? Or coming apart?

Setting the stage for these tableaus is Automatic (2006), a video by Swedish artist Peter Geschwind in which flying objects erupt into chaotic motion and anonymous figures charge through a disorienting digital landscape. Originally installed at Färgfabriken in Stockholm as part of a large-scale installation curated by Jan Åhman, the work treats physical space as a cinematic sequence—transforming the viewer’s experience as they move from one zone to the next. Despite its mechanical underpinnings, the world Geschwind conjures feels volatile and alive, suspended in a state where gravity breaks down and movement never ceases. Further activating the senses and deepening the atmosphere, orange lighting washes the gallery space in an apocalyptic glow and a custom scent that conjures burning embers drifts through the installation. Animalistic creatures surface throughout as quiet symbols. They serve as enduring witnesses, detached yet ever-present, embodying what was, and what remains.

Silicone sculptures punctuate the exhibition with visceral intensity. Saturated in pop-cultural textures and rendered with fleshy tactility, these works navigate emotional volatility and bodily precarity. In one, a canoe holds two figures, marooned within a raft-like shelving unit that nods to Gericault’s Raft of the Medusa, shifting the focus from collective disaster to solitary psychic drift. In another, a bride hangs suspended upside down from the ceiling, her body dangling in a moment of descent that echoes Baroque depictions of fallen angels. From her outstretched hand, rice slips and scatters, collecting in mounds across the gallery floor. A symbol of both ritual and nourishment, the rice elicits a disrupted tradition and underscores the ambiguity between sustenance and emptiness.

Rather than existing in opposition, the silicone and plaster works reflect and inform one another, together articulating von Zeipel’s ongoing exploration of transfiguration. The stark material contrast heightens their reciprocity: the heavy, historic weight of plaster meets the slick contemporary immediacy of silicone, reflecting a practice deeply invested in queerness, embodiment, and the architectures - personal, institutional, and cultural - we build to survive. Through this interplay, von Zeipel reveals how different material languages can speak to shared states of vulnerability, resilience, and becoming. These sculptures do not offer resolution, but instead dwell in the tension of what it means to change. As history buckles and identities are reassembled, DASH poses the haunting questions: what do we salvage from the wreckage and who or what gets to begin again?

This is von Zeipel’s fourth solo exhibition at Company. Other recent solo shows include those at Andrehn-Schiptjenko, Paris (2022); the Rubell Museum, Miami (2021); Cherish, Geneva (2021) and Arcadia Missa, London (2019). Group exhibitions include those at Gothenburg Museum of Art, Gothenburg; the Rubell Museum, Washington DC; the Museum of Sex, New York; Arken Museum, Ishøj; the Athens Biennale, Greece; Copenhagen Contemporary, Copenhagen and Kunsthalle Düsseldorf, Germany.. Her work is in numerous public and private collections such as the Onassis Foundation, Rubell Museum, Museum of Modern Art Warsaw, Faurschou Collection, 21C Museum, Modern Museet, Borås Museum of Arts, Tank Shanghai, Foundation Mallorca, and the Eskilstuna Museum of Art, Gothenburg Museum of Art, Gävleborg County Museum and Västerås Museum of Art. Von Zeipel was born in 1983 in Gothenburg, Sweden. She lives and works in New York, New York.

Special thanks to: SCHNIBLO for smell, Christopher Insulander for collaborating on styling, Grace McLaughlin, and Gunilla Geschwind Klingberg.