Count Your Chickens surveys Kim Gordon’s work from 2007 to the present, bringing together a new film commissioned by Amant alongside drawings, ceramics, paintings, and selected readymades. Across these mediums, the exhibition considers how intimacy and private experience are formatted for public address, and the different ways they aesthetically operate as sites of desire, consumption, and spectatorship. Since the early 1980s, Gordon’s work extends disciplines and distinct cultural fields: she seamlessly moves between art, design, writing, and fashion, as well as music and film.

Anchoring the exhibition is Jeanetta and Alex (2026), a commissioned film in which two performers, poet Jeanetta Rich and artist Alex Hubbard, gradually come together through the mediated presence of the guitar as an instrument of choreographed seduction. Scored by Gordon, the work opens with Jeanetta’s monologue, moving from tension toward a critique of post-industrial structures which envelops Gordon’s practice. Many of the artworks featured in Count Your Chickens draw from built environments, designed surfaces, and logistical supports as material conditions through which perception and movement are organized. This emphasis registers both in her choice of medium, such as faux hedges, spandex covered cocktail tables, and colonial pattern fabric, and in bodies of work that treat these infrastructures less as backdrop than as evidence of social formation. In the fabric paintings Early Suburbs (2023/2024) and Track Development Community (2021), the names of various Los Angeles neighborhoods, shaped by development and successive waves of gentrification, are boldly hand painted to echo protest banners, situating the viewer within a field of displacement and resistance.

Captured with the immediacy of her iPhone, the series Proposal for a painting (2022) consists of inkjet prints with digital marks depicting the interiors of hotel rooms the artist has occupied for days or weeks at a time. The screen-drawn lines become markers of a specific place, where the privacy and tight quarters of a bed contend with the impersonal nature of these rooms and the allure of global travel. A related body of work, Airbnb Series (2019), turns toward intimacy through a set of drawings depicting female nudes on tracing paper. They are swiftly sketched in flesh tones of red and pink, suggesting movement and a fleeting presence, further alluded to by the work’s title. Together, Proposal for a painting and the Airbnb Series depict interiors structured by the presumed appearance of a female body, standardized design, temporary occupancy, and online-mediated visibility. Across these works, the phone camera registers not simply as a tool but as a cultural form that frames communication and self-presentation while complicating any straightforward association with technological advancement and social anxiety.

Alongside Count Your Chickens, Kim Gordon and Bill Nace have curated the exhibition Folded Group, featuring a group of peers’ and musicians’ visual artwork. Folded Group will be on view at Amant’s newly inaugurated exhibition space at 312 Maujer.