Gazelli Art House is delighted to announce the launch of its New York gallery with the inaugural exhibition, Put the Kettle On, opening on 22 September 2026.
Bringing together works by Agil Abdullayev, Memo Akten, Derek Boshier, Pauline Boty, Harold Cohen, Brendan Dawes, Jake Elwes, Lilly Fenichel, Jann Haworth, Kalliopi Lemos and Recycle Group, Put the Kettle On marks the beginning of Gazelli Art House’s New York program through an exhibition that reveals unexpected continuities between historical and contemporary practice.
Opening during Armory Week, alongside Gazelli Art House’s presentation at The Armory Show 2026, this marks a significant milestone in the gallery’s international expansion, establishing a presence in New York’s Chelsea arts district and extending its program across London, Baku and New York.
Founded in London in 2010, Gazelli Art House has built an international reputation for presenting pioneering twentieth-century artists alongside leading contemporary practitioners across painting, sculpture, installation and digital media.
Occupying more than 10,000 square feet in the heart of Chelsea’s gallery district, the new gallery provides an ambitious platform for exhibitions, commissions and interdisciplinary projects while strengthening relationships with artists, collectors and institutions across North America.
Borrowing a familiar phrase associated with hospitality and gathering, Put the Kettle On reflects the gallery’s conviction that meaningful encounters often begin around a shared table. Referencing the rich tea traditions of both London and Baku – the two cities that have shaped Gazelli Art House’s identity – the exhibition welcomes New York audiences with an invitation to exchange ideas, discover new perspectives and forge connections across cultures, artistic practices and generations.
Across the exhibition, artists spanning more than six decades explore the ways images shape our understanding of the world. From Harold Cohen’s investigations into abstraction and the rule-based systems that would later underpin AARON – one of the earliest computer programs designed to produce paintings and drawings autonomously – to Pauline Boty, Derek Boshier, and Jann Haworth’s examinations of mass media and visual culture, the exhibition traces a lineage of artists who have continually challenged the conventions of representation. A distinct strand within the exhibition revisits the legacy of post-war American abstraction through Lilly Fenichel, whose lyrical, gestural paintings extend the language of Abstract Expressionism while anticipating later developments in color, form and spatial perception.
Contemporary perspectives are brought into the exhibition through Memo Akten, Brendan Dawes, Jake Elwes and Recycle Group, whose use of artificial intelligence, algorithms and digital networks expands traditional ideas of authorship, perception and image-making. Agil Abdullayev and Kalliopi Lemos, meanwhile, explore memory, identity and displacement through distinct approaches to painting and sculpture, demonstrating how established artistic languages continue to evolve through contemporary experience.
Together, these artists demonstrate that innovation is rarely born in isolation. Spanning the post-war period to the present day, Put the Kettle On reveals unexpected affinities between painting and digital media, abstraction and figuration, and analog and computational practice, introducing Gazelli Art House’s New York program through an exhibition shaped by curiosity, experimentation and exchange.
Mila Askarova, Founder & CEO of Gazelli Art House, said:
“New York felt like the natural next step for us. Since founding the gallery, we’ve remained committed to the enduring importance of the physical gallery as a place where artists, ideas and audiences meet. Even as we’ve championed digital art through GAZELL.iO, our ambition has always been to expand—not replace—the traditional gallery model. Opening in New York allows us to connect our programmes across London, Baku and New York, creating a truly international platform while reaffirming that, in an increasingly digital world, the experience of encountering art in person remains more important than ever.”
