STRANGE STRANGER
Darren Bader, Gabriel Madan, Ian Rosen, Kristen Lucas, Lutz Bacher, and Lynn Hershman Leeson
April 25 - May 23, 2026
Timeshare is pleased to present Strange Stranger , an exhibition of work by Darren Bader, Gabriel Madan, Ian Rosen, Kristin Lucas, Lutz Bacher, and Lynn Hershman Leeson.
The sign above the gallery’s storefront reads, “I see you’ve gone and changed your name again,” an instance of a work by Darren Bader. In his publication 77 And/or 58 And/with 19, Bader describes the work as follows: “The work is the word-sequence ‘I see you’ve gone and changed your name again.’ The work/words can be reproduced any way imaginable: physically, vocally, psychically, or otherwise.”
Where a storefront sign would typically identify a location, the phrase instead introduces instability at the level of address. It reads as a remark directed outward, toward the viewer, while also folding back onto the site itself, where names are often provisional and subject to change.
This instability extends into another work by Bader, self portrait as Jupiter and Ganymede, which consists of the titular phrase rendered in graphite directly on an interior gallery wall. The phrase invokes a split identity in Greco-Roman mythology - Jupiter, a god, and Ganymede, the abducted youth - proposing the self as occupying multiple, asymmetrical positions at once.
Ian Rosen’s AB/26 exists at the threshold of perception. Audio plays at an extremely low volume, often registering only as a suspicion within the room tone of the gallery. If the space is active, it may not be possible to distinguish it at all; if quiet, it emerges faintly. Rather than presenting a discrete work, AB/26 establishes a set of conditions under which something may or may not be heard.*
On opposing walls of the gallery hang two photographs by Lynn Hershman Leeson from her Roberta Breitmore series. Between 1973 and 1978, Hershman Leeson constructed and inhabited the persona of Roberta Breitmore, moving through everyday social systems including opening a bank account, seeing a therapist, and renting an apartment. Supported by documents, images, and lived interactions, Roberta Breitmore existed simultaneously as fact and fiction, with the distinction between the two blurred.
Similarly, Kristin Lucas engages legal systems to propose a renewed identity in her 2007 performance Refresh. Lucas successfully filed to legally change her name from “Kristin Sue Lucas” to “Kristin Sue Lucas” as a way to ‘refresh’ herself. Unlike Leeson, there is no physical transformation that Kristin Lucas enacts in this performance, rather, there is a linguistic and legal proposition of a transformed self. In Strange Stranger , this work is presented in the form ofRefresh Zine consisting of stacked paper ephemera related to her case which the viewer can collate and staple into a take-away zine.
Lutz Bacher’s Random Disco Flakes (2016) consists of a bottle of iridescent glitter signed “Lutz” with a marker. This editioned work was produced in conjunction with Bacher’s 2016 exhibition Magic Mountain at 356 S. Mission Rd, which also included a work titled Divine Transportation , where she covered the concrete floor of the gallery with a thin layer of glitter. The year before, Bacher used a handwritten list of names as a press release (Lute, Klutz, Bateau, Backer, Basher, Bather) situating the name “Lutz Bacher” within a field of variations. In Random Disco Flakes, the name “Lutz,” written on the bottle, does not secure an author function so much as it points to its ongoing slippage within her practice.
Gabriel Madan’s The Afterparty (Rafael) and The Afterparty (Rebecca) consist of two empty glitter bottles bearing the names “Rafael” and “Rebecca” in marker, after the artist’s late father and sister. Nearby, glitter is dispersed across the windowsill in The Afterparty (Scattered) . Running along the top of the walls is Gabriel Madan’s Night Song (2026), an installation of glittery, painted text. The text is drawn from a Hasidic story, later recounted by Walter Benjamin, who attributed it to Gershom Scholem. It also appears in Giorgio Agamben’s The Coming Community , and as an epigraph in Ben Lerner’s novel 10:04 , where Madan encountered it. The text reads:
There is a story about the world to come that says everything there will be just as it is here. Just as our room is now so it will be in the world to come; where our baby sleeps now, there too it will sleep in the other world. And the clothes we wear in this world, those too we will wear there. Everything will be as it is now, just a little different.
WORKS LIST
1. I see you've gone and changed your name again
Darren Bader
Text iteration
2. Self-portrait as Jupiter and Ganymede
Darren Bader
No. 2 pencil on wall
3. Random Disco Flakes, 2016
Lutz Bacher
8oz glitter container Edition of 60
4. Lynn Becoming Roberta #7, 1973-1978
Lynn Hershman Leeson
Chromogenic print
9 7/8 x 8 inches
5. Robota, 1976
Lynn Hershman Leeson
Chromogenic print
10 x 8 inches
6. Night Song, 2026
Gabriel Madan
Graphite, paint, clear gesso, glitter
7. Refresh Zine, 2007/2013
Kristin Lucas
Seven stacks of 8.5x11 inch laser-jet prints on shelf, stapler
Exhibition curated by Colleen Hargaden and Andy Bennett