Loyal is pleased to announce Infinite Planes High, the inaugural exhibition in our new gallery space in Lund, Sweden, a former chapel built in 1887 by architect Helgo Zettervall.

Opening Reception
Friday, March 13, 5–8 pm

Hugo Avigo
Ross Caliendo
Katarina Caserman
Alice Faloretti
Yanjun Li
Jean Nagai
Aryo Toh Djojo
Aleza Zheng

Infinite Planes High (Part II) brings together eight artists working across painting, sculpture, and installation, and continues Infinite Planes High (Part I), presented last month at El Royale in Los Angeles.

The first chapter brought together Los Angeles artists Ida Badal, Michelle Blade, Ross Caliendo, Noah Cohen, Kyle De Lotto, Veronica Fernandez, Molly Greene, Lizette Hernandez, Chanel Khoury, Tidawhitney Lek, Brendan Lynch, Jean Nagai, Aryo Toh Djojo, and Aleza Zheng.

In Lund, the exhibition continues with Hugo Avigo, Ross Caliendo, Katarina Caserman, Alice Faloretti, Yanjun Li, Jean Nagai, Aryo Toh Djojo, and Aleza Zheng, an international group of artists from China, France, Italy, the United Kingdom, and Los Angeles, with several artists present in both chapters.

Across these two locations, the exhibition unfolds within distinct architectural and geographic contexts, each site introducing another plane into its field. Each artist approaches the picture plane as something shifting and expansive, capable of holding multiple conceptual layers at once. A plane is a surface, but also a dimension, a condition. Many of the works move between these layers, where personal memory intersects with inherited histories, and what appears contained opens outward.

The exhibition inaugurates Loyal’s new permanent Sweden gallery space in a former chapel in the historic city of Lund. Built in 1887 by the renowned Swedish architect Helgo Zettervall, whose work shaped many of Sweden’s most significant ecclesiastical landmarks, the chapel stands a short distance from Lund Cathedral (consecrated 1123) and Lund University (founded 1666). The space carries within it centuries of spiritual, intellectual, and architectural continuity, where Romanesque stone, Gothic revivalism, and academic inquiry chime with the rhythms of southern Sweden.

Installed within this architecture, Infinite Planes High takes on a particular resonance. Subtle references to speculative cosmologies and multidimensional frameworks appear throughout, reminding us that the visible world forms only one layer within a more intricate continuum. The exhibition becomes both site and state, and a school: a gathering of practices unfolding across connected planes where perception is tested. Upon entering, we are all in attendance.