NOON Projects

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	<title>NOON Projects</title>
	<link>https://noon-projects.com</link>
	<description>NOON Projects</description>
	<pubDate>Wed, 04 Nov 2026 19:38:16 +0000</pubDate>
	<generator>https://noon-projects.com</generator>
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		<title>Menu Mobile</title>
				
		<link>https://noon-projects.com/Menu-Mobile</link>

		<pubDate>Wed, 22 Dec 2021 13:55:12 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

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		<description>NOON Projects
Exhibitions
Artists
ProgramsPress


About


ContactThursday to Saturday Noon – 6pm&#38;nbsp;NOON Projects951 Chung King RoadLos Angeles, CA 90012971 341 6648info@noon–projects.com
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		<title>Solitaire Homepage</title>
				
		<link>https://noon-projects.com/Solitaire-Homepage</link>

		<pubDate>Mon, 27 Nov 2023 23:47:11 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

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		<description>
	11.6.26–12.19.26
	
	Exhibition

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	 Maija Luutonen
 Solitaire&#38;nbsp;

For her second solo presentation at NOON Projects in Los Angeles, Finnish artist Maija Luutonen offers an intimate, site-specific installation bringing together paintings, artist’s books, and ceramic objects. Her work deals with the act and experience of perceiving the surrounding world. The paintings may be seen as condensed experiences of unraveling a perceived view or visual detail from underneath, above, or perhaps from the inside out. In “Solitaire,” perception becomes an intimate, embodied experience: an invitation to look closely, hold a painting, and spend time in the company of these objects.On view through December 19, 2026More

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		<title>Exhibition Current</title>
				
		<link>https://noon-projects.com/Exhibition-Current</link>

		<pubDate>Tue, 10 Sep 2024 20:52:34 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Exhibition-Current</guid>

		<description>︎︎︎ Current / Past / Future / Fairs</description>
		
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		<title>Exhibition Past</title>
				
		<link>https://noon-projects.com/Exhibition-Past-1</link>

		<pubDate>Tue, 10 Sep 2024 21:20:16 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Exhibition-Past-1</guid>

		<description>Current / ︎︎︎ Past / Future / Fairs</description>
		
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		<title>Exhibition Future</title>
				
		<link>https://noon-projects.com/Exhibition-Future</link>

		<pubDate>Wed, 11 Sep 2024 19:22:50 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Exhibition-Future</guid>

		<description>Current /&#38;nbsp;Past / ︎︎︎ Future / Fairs</description>
		
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		<title>Exhibition Fairs</title>
				
		<link>https://noon-projects.com/Exhibition-Fairs</link>

		<pubDate>Wed, 11 Sep 2024 19:22:44 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

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		<description>Current / Past / Future / ︎︎︎ Fairs</description>
		
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		<title>Maija Luutonen – Solitaire</title>
				
		<link>https://noon-projects.com/Maija-Luutonen-Solitaire</link>

		<pubDate>Wed, 04 Nov 2026 19:38:16 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

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		<description>
	11.6–12.19.2026
	
Maija LuutonenSolitaire
For her second solo presentation at NOON Projects, Finnish artist Maija Luutonen offers an intimate site-specific installation, consisting of paintings of various sizes on canvas and paper, as well as a collection of ceramic objects. The title of the exhibition refers to both the solitary card game and the experience of loneliness. The artworks in the exhibition were made in relation to one another, and together form a single, interconnected installation.


Luutonen has planned some of the rhythms of the exhibition from a distance at her studio in Helsinki, but the exhibition has taken its final form during the installation process at NOON. Her previous show took place at the gallery in early 2025, giving the artist more knowledge of the gallery space. The process with Solitaire is also marked by an ongoing dialogue between the artist and the gallerist.


In Solitaire, the paintings take their forms as large-scale canvases as well as paper-based, book-like objects. The large-scale canvases occupy the front space, while the backroom of the gallery offers a particularly intimate experience of Luutonen’s work on a smaller scale. It also brings the gallerist into focus, as some of the new pieces in the exhibition have been created for daily use at NOON. These sculpture-like ceramic objects include a cup, a toast rest, and an incense holder, providing support and care for the workday.


The backroom desk also serves as a platform for a selection of the book-like paintings. Taking an almost sculptural form, the books offer the viewer an intimate experience with the painting they are holding, and an opportunity to look closely and dive into the image.


Having a background in painting, but also textiles and fashion, Luutonen’s process begins with an intent rumination on ideas, thoughts, associative webs of references, and relations between her materials. Ceramics entered her practice about seven years ago, while her interest lies firmly in a fascination with images, and the gamut of associations and embodied memories or traces carried by them. The first phase of Luutonen's process involves weeks and months of slow thinking and is followed by a period of drawing plans, testing, and adjusting. After this unhurried beginning, the process shifts into an intense production phase, in which ideas and plans become finished works over a period of months.


Titles are an essential part of Maija Luutonen’s practice. She is constantly gathering words, expressions and sentences from song lyrics, books, films, magazines, and, particularly for this exhibition, NTS radio morning shows. The intriguing words are gathered into a long list, and sooner or later, the right title and the right work find each other. For Luutonen, the image and its title must explore the same topic or experience, each through its own means.


Luutonen’s work can, in a sense, be approached as painting in the expanded field. The artist paints layer after layer, often using meticulous stencils to create depth and dimension in the images. Even her large-scale paintings are made flat on her desk, with the reach of her body setting the limits of the work. As she sees it herself, her work doesn’t exactly follow a pattern or convey a “signature style” in painting, but rather the practice presents itself as malleable, ever transforming in relation to spaces and exhibitions.


A lot of Maija Luutonen’s work deals with the act and experience of perceiving the surrounding world. The paintings may be seen as condensed experiences of unravelling a perceived view or a visual detail from underneath, above, or perhaps from the inside out. Some surfaces may be blurred while others stand out in sharp focus. In Solitaire, perception becomes an intimate, embodied experience: an invitation to look closely, hold a painting, and spend time in the company of these objects.


Text by Elina Suoyrjö


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		<title>Tanya Brodsky &#38; Darren Cortez – Modern Things</title>
				
		<link>https://noon-projects.com/Tanya-Brodsky-Darren-Cortez-Modern-Things</link>

		<pubDate>Thu, 10 Sep 2026 18:24:53 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

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		<description>
	9.18–10.24.2026
	
Tanya Brodsky &#38;amp; Darren CortezModern Things
NOON Projects is honored to present Modern Things, a two-person exhibition by Tanya Brodsky and Darren Cortez. Working between material reality and inward perception, both artists attend to the quiet yet muscular power held beneath the surfaces of ordinary things.


Rooted in architecture and its many metaphors—for society, the body, the ways design touches us, and the ways it fails us—Tanya Brodsky’s practice examines the hidden systems and contradictions of the built environment. Although architecture takes the human body as its measure, it frequently alienates the very bodies it is intended to contain. Brodsky turns her attention toward fixtures, thresholds, and overlooked mechanisms: points of contact through which bodies encounter the systems and rules that organize daily life.


For this exhibition, Brodsky has cast the insides of spaces, producing sculptures from holes, insertions, gaps, and other architectural aberrations found within the Bemis Center’s residency building in Omaha, Nebraska. Her process begins by taking impressions of these cavities in bubblegum-pink, fleshy silicone, pouring brown Victory foundry wax into the molds, and casting the resulting forms in bronze and aluminum. The placement of the works retain a direct relationship to the building and to the body encountering them. Solid and severe yet fragmented, crumbling, and dripping, they preserve fingerprints and other traces of their laborious production.


The exhibition also includes photographic works printed on metal using images sourced from vintage issues of Progressive Architecture. Isolating corporate drop ceilings, bathroom systems, and other once-innovative design features, these pieces consider architecture’s recurring promise to improve daily life. Removed from their original contexts, the functional components are both earnest and faintly absurd, offering evidence of our persistent faith that another structure, mechanism, or material might finally make living easier.


Darren Cortez’s paintings possess a quiet, meditative energy. He begins each work in the woodshop, building stretchers to dimensions arrived at through instinct, often before knowing what image it will hold. The canvases may then remain in the studio for long stretches, waiting until an image begins to suggest itself. Like thoughts arising during meditation—or a photograph gradually appearing in a darkroom tray—their fuzzy, muted forms seem to emerge from within rather than being willed into being.


The images that surface move between the manufactured and the natural, drawing on ordinary things used to consume, build, and be disposed of: half-eaten fruit, screws, and cutlery. Enlarged and isolated on the canvas, these familiar objects loosen from their established functions to become sites of reflection and resistance, opening onto other systems of value, attention, and feeling. A hollowed fruit becomes an erotic bodily form; a screw or kitchen knife suggests the intimate infrastructures of domestic life, construction, and labor. Associations with agriculture, consumption, reproductive systems, and forms of labor that increasingly recede from view remain present without becoming illustrative. Tender, gently provocative, and unhurried, the paintings evoke looking without one’s glasses: aware of the periphery but freed from its details, able to focus only on the object before us.


There is a certain obviousness to the title Modern Things, borrowed from a song by Björk: the exhibition is filled with bolts, door handles, architectural systems, utensils, and other things associated with modern life. But the category begins to wobble around Cortez's fruit—something ancient and natural that is nevertheless cultivated, bought, consumed, and discarded as a commodity. Brodsky similarly looks at architectural features once presented as innovations, asking what remains when their promise of a better future has faded. Across both practices, useful objects become unfamiliar, intimate, and faintly funny. Here, “modern” remains deliberately unstable: a period, a style, a promise, or simply a way of looking. Suspended between function and form, figuration and abstraction, these familiar things remain both exactly what they are and something harder to name.


	Exhibition


On View 
September 18 – October 24, 2026
Opening Reception:

September 18, 20266–9 PMDownload Catalog

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	<item>
		<title>Alex Chaves – The Development Center: A Clownache Store</title>
				
		<link>https://noon-projects.com/Alex-Chaves-The-Development-Center-A-Clownache-Store</link>

		<pubDate>Fri, 28 Aug 2026 17:23:56 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Alex-Chaves-The-Development-Center-A-Clownache-Store</guid>

		<description>
	8.26–9.5.2026
	
Alex Chaves
The Development Center: 
A Clownache Store
The Development Center transforms NOON Projects into the temporary home of Clownache, Alex Chaves' direct to consumer curatorial art and fashion project. Functioning simultaneously as an exhibition, working studio, and retail space, Chaves will be in residence, painting a mural inspired by the architecture of early Modern Los Angeles while presenting a new series of watercolors alongside T-shirts and editions.

The Development Center draws upon themes central to Chaves' practice, examining the legacy of Modernism and the shifting ideas of identity, artifice, and image-making that emerged at the turn of the twentieth century. Working through a dialectic of critique and homage, Chaves frequently refigures iconic paintings by artists such as Picasso, Vuillard, and Gauguin into his own distinctive visual language. Like the painters he references, Chaves considers how moments of rapid social, technological, and cultural change shape the images we produce and consume.

The exhibition looks to the mythology of early Los Angeles—its Orange Empire and its colonial fantasy as the "Paris of the West"—as a framework for new paintings that freely collapse historical and contemporary imagery. References to Labubus and Diet Coke sit alongside portraits, flowers, imagined landscapes, and wrought-iron locks and keys from fifteenth-century Europe, creating an expansive visual vocabulary that moves between romanticism, spirituality, commodity, cultural heritage, and the fluidities of gender, sexuality, and morality.

The watercolors in The Development Center reveal a more intimate dimension of Chaves' practice. While he has long produced works on paper alongside his paintings on canvas, this marks his first exhibition devoted entirely to paintings on paper.

Clownache proposes that paintings, clothing, and editions all carry the same artistic intent, weight, and merit. The project initiates a direct relationship between artist and audience, offering works that range from unique paintings to hand made t-shirts and editions, each produced through Chaves' singular visual language.

Presented for a limited engagement at NOON in Chinatown, The Development Center offers visitors the rare opportunity to encounter Chaves' practice as it unfolds. As the mural develops throughout the exhibition, the gallery remains an active studio, inviting audiences to experience the evolving process while exploring the complete world of Clownache.

Alex Chaves (b. 1989, Summit, New Jersey) works across painting, drawing, performance, and writing. His portraits are often artistic peers depicted within domestic interiors, pairing expressive painterly surfaces with an interest in psychological intimacy, sensuality, and art history. His work contains many referential underpinnings; he often constructs a visual pun or question by performative appropriation. Across mediums, his practice considers the politics of beauty, interpersonal relation, and the ways we fetishize objects and create meaning. Chaves lives and works in Los Angeles.


	Exhibition


On View 
August 26 – September 5, 2026
Opening Reception:

August 26, 20266–9 PMFinissage:
September 5, 2026
4–7 PM

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		<title>Daniel Jack Lyons – Days Change at Night</title>
				
		<link>https://noon-projects.com/Daniel-Jack-Lyons-Days-Change-at-Night</link>

		<pubDate>Sat, 27 Jun 2026 02:06:58 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Daniel-Jack-Lyons-Days-Change-at-Night</guid>

		<description>
	6.28–8.1.2026
	Daniel Jack Lyons&#38;nbsp;
Days Change at Night
NOON Projects is pleased to present Days Change at Night, a solo exhibition of works by Daniel Jack Lyons — his first in Los Angeles.

Lyons makes photographs the way other artists make relationships: slowly, with attention, over time. Trained as an anthropologist, he approaches the medium as a form of sustained, reciprocal engagement — returning to the same people across months and years, sharing meals and conversation, allowing trust to accumulate before the camera is ever raised. The images that result bear the mark of this process. They are not taken. They are arrived at together.

His practice sits at the intersection of documentary photography and collaborative portraiture, and engages directly with questions that have long preoccupied both fields: who holds the camera, who controls the image, and what it means to represent a community from inside rather than outside it. Lyons works against extractive modes of image-making — the ethnographic gaze, the voyeuristic lens of nightlife photography — by building structures of shared authorship into the work from the start. Those he photographs actively shape how they are seen.

The portraits in Days Change at Night grew out of relationships Lyons developed with members of sCUM, a queer club night that operated in East Los Angeles from 2016 to 2020. sCUM was, by many accounts, a genuinely generative social space — a place where a younger generation of queer Angelenos built community, tested identities, and found each other. But the photographs Lyons made are not photographs of the club. They are photographs of people, made mostly elsewhere: in bedrooms, in the quiet of domestic life, in the company of partners, friends, and chosen family. The shift in setting is also a shift in register. Removed from the charged atmosphere of the dance floor, his collaborators present themselves differently — more slowly, more privately, more fully on their own terms.

Days Change at Night takes its title from X's 1980 song "Los Angeles," and carries something of that song's atmosphere — the fluid movement between public and private worlds, between who we are at night and who we are by day, between the self we perform and the one we return to.

The resulting photographs resist easy categorization. Neither candid documents nor constructed portraits, they are the product of mutual exchange — images that bear the mark of everyone who made them. What Lyons has built, over time and across these relationships, is neither spectacle nor archive, but something closer to portraiture in its oldest sense: a record of people defining themselves, on their own terms, for their own eyes.

Daniel Jack Lyons (b. 1981) is an American artist and anthropologist whose photographic practice explores queer identity, community, and belonging. Working closely with young people whose lives often exist beyond dominant social narratives, Lyons creates portraits that foreground self-expression, intimacy, and collective resilience.

His book Like a River (Loose Joints, 2022) documents the coming-of-age stories of queer and trans youth in the Brazilian Amazon. Lyons has exhibited internationally, most recently at the Rencontres d'Arles in France and Photo Australia Festival in Melbourne, with additional exhibitions in Paris, New York, Milan, Amsterdam, Warsaw, London, and Mozambique. His work has been featured in numerous publications including The New York Times, i-D, The New Yorker, and Vogue Italia. 

Lyons’ work is held in the permanent collections of the Deutsche Börse Photography Foundation and The Marciano Art Foundation, as well as select private collections.


	Exhibition


On View 
June 28–August 30, 2026View Catalog
Opening Reception:

June 28, 2026
3–5 PMConversation with Emma Reeves, Closing Party and Performances
August 1, 2026

6:30–9 PM

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