Exhibition Dates: November 22 – December 14, 2025
Opening Reception: Saturday, November 22 | 7–11PM
Location: Superchief Gallery, Los Angeles
L.A.’s Originales: Women Defining Contemporary Art is a an all-women group show curated by Steve Galindo and
Superchief Gallery that serves as both a manifesto and gathering. It is a reality check, joy ride, and archive in motion.
In tandem with Superchief’s founding ethic, it makes visible what is too often hidden, gives voice to what is too often
silenced, and disrupts who gets to say what counts as art.
L.A.’s Originales: Women Defining Contemporary Art is a proposition: to reroute power from the gallery halls and plant it
back into the streets. Born from Superchief’s mission to make art accessible and overturn the gatekeeping codes of the art
world, Originales gathers Los Angeles–based women whose work refuses walls, translation fees, and quietude. Here, art
lives where people live: on street corners, against alleys, across flyers and murals, in conversation and confrontation.
These artists wield the tools of visual culture— as acts of reclamation and counter-archive. They code-shift meaning in
real time. They confront the blank wall, language bias, gendered iconography, and cultural erasure. They provoke—with
color, humor, wordplay, scale, and tactility—to reroute the flow of representation back toward the many, not the few.
Under the umbrella of Originales, each piece becomes a node in a network of resistance. The show resists the “white
cube” entirely: instead of contained rooms, visitors move through a layered environment of digital and analog works. At
every turn, the belief is the same: art licenses not just gaze, but motion. It asks viewers to step up, step out, step closer.
Hostile Home II gathers Kendalle Getty’s sculptural, performative, photographic, and time-based practices into a single
organism: a house that thinks out loud. Here, her re-engineered furniture, détourned pin-up imagery, lyric-etched mirrors,
and melting self-portraits no longer appear as separate series—they function like rooms in one psyche, mapping how
womanhood, domesticity, pop culture, and power script the everyday.
Visitors enter through a mise-en-scène of “supportive” objects turned suspect: a sandpaper sofa, a chair bristling with
nails, crystal-armored seating that nods to hostile architecture. These works refuse the home’s myth of safety, exposing
how design can enforce compliance as easily as it offers comfort. In adjacent galleries, mirrors engraved with pop refrains
and invented crests fold private reflection into public spectacle; glass surfaces watermark the viewer’s face, asking who
owns an image and who gets to name it.
Threaded through the space, Getty’s Angry Feminist Pin-Up vocabulary returns as banners, calendars, and lightboxes—
cheeky, legible, and politically pointed. The pin-up’s gaze is flipped into a chorus of consent, pleasure, and solidarity,
aligning the house’s decorative language with a feminist ethics of visibility.
At the core, wax self-portraits—scanned, cast, pigmented, and wicked—perform duration. When lit, they soften and
bleed, moving from object to subject in real time. The gesture—fingers at the temples, testing an imagined lift—becomes
a study of aging, illness, and self-fashioning under pop’s bright lights. Video and sound braid these rooms together: loops
of domestic foley, whispered mantras, and pop-aganda fragments drift between thresholds, turning corridors into echo
chambers where memory repeats until it mutates.
Across Hostile Home II, interiors and exteriors trade places. The living room behaves like a street, the mirror like a
billboard, the body like a clock. Getty composes a new domestic vernacular from abrasive textures and glossy signs,
from confession and spectacle, from inheritance and self-invention. The house she builds is not a refuge but a rehearsal
studio—somewhere to confront the scripts that raised us, rewrite them in our own language, and practice living differently.