(AA) Chris Korda, David Hoyle & Zoe Dewitt
PARIS INTERNATIONALE 2025
October 22—26, 2025
or Paris Internationale 2025, Goswell Road presents three emblematic figures from its program: Chris Korda, David Hoyle, and Zoe Dewitt.
Chris Korda (b.1962, New York, US) is a transgender artist, activist, musician, software developer, and founder of The Church of Euthanasia (1992–). Her work merges ecological urgency with technological empathy. Now based in Berlin, Korda joined Goswell Road’s program in 2019, and they presented a retrospective of her work with the Church of Euthanasia to great acclaim. They also presented her CoE multiples in a solo booth at Paris Internationale in 2019. This led to them curating a large-scale retrospective, The (Wo)Man of the Future, at Confort Moderne (2022), and Korda recently presented a solo show, Artist’s
Con(tra)ception at Kölnischer Kunstverein, Germany (2024).
David Hoyle (b.1962, Blackpool, UK), legendary performer and visual artist, collapses cabaret, politics, and protest into visceral acts of resistance. Their first dedicated painting show, When Will It All End?, was held at Goswell Road in 2022 (supported by Fluxus Art Projects), followed by a collaboration with Paris Ass Book Fair at Palais de Tokyo (2023) and CAN Neuchâtel with NIFFF (2024). In 2024, Hoyle was also the subject of a retrospective of their work, titled Please Feel Free to Ignore My Work, at Factory International in Manchester, UK.
Zoe Dewitt (b.1962, Vienna, AT), artist and philosopher, emerged in the 1980s with her lauded ritual-industrial music project, Zero Kama, and her pioneering industrial label Nekrophile Rekords (1983–1990). Her artistic practice encompasses painting, performance, and video, inhabiting thresholds of life and death, sexuality and transcendence, refracted through queer-transfeminist thought. Goswell Road presented her Zero Kama project in a solo booth at Art-o-Rama (2021) and curated a retrospective of her work, Body and Metaphysics (2022), at the gallery.
Together, the artists’ practices entwine around the gallery’s ongoing meditation on the archive: what survives, what is erased, and what insists on being remembered. All of the artists shown reject standard gender roles and are over 60 years old.
