NıCOLETTı announces representation of Tarek Lakhrissi

March 31, 2026

NıCOLETTı is delighted to announce representation of Tarek Lakhrissi (b. 1992, Châtellerault, FR), in collaboration with Galerie Allen, Paris, FR.

Tarek Lakhrissi is a French-Moroccan artist whose practice spans video, installation, performance, and poetry. Grounded in literature and informed by pop and visual culture, his work critically examines the ways language, desire, race, and power shape bodies and subjectivities. Through symbolic and affective forms, he constructs speculative narratives that challenge dominant representations and foreground questions of visibility, vulnerability, and otherness.

Lakhrissi’s first solo exhibition at NıCOLETTı, SPIT, inaugurated the gallery space in Shoreditch in 2024. In 2026, the artist will present a major commission at Bold Tendencies, London, UK.

photo: Horst Diekgerdes

Pat Steir, 1938 – 2026

March 26, 2026

Hauser & Wirth have announced the passing of New York-based artist Pat Steir, shortly before her 88th birthday.

One of the great innovators across contemporary painting, drawing and printmaking, Steir rose to prominence in the late 1970s and 1980s for her iconographic canvases and immersive installations. She gained critical acclaim for her inventive approach to painting, including the rigorous pouring technique she developed for her Waterfall series, in which she harnessed gravity and gesture to achieve works of remarkable lyricism.

Steir is survived by her husband Joost Elffers and niece Lily Sukoneck-Cohen.

photo: Grace Roselli

Perrotin now represents Sigrid Sandström

March 20, 2026

Perrotin is pleased to announce the representation of Stockholm-based artist Sigrid Sandström on the occasion of her third solo exhibition with the gallery, which will be presented in London and will feature a series of new paintings. This follows her solo exhibitions at Perrotin Shanghai in 2024 and Perrotin Tokyo in 2025.

At the core of Sandström’s practice is an inquiry into painting as image, explored through her engagement with abstract landscapes. Drawing on references from geography, sociology, and philosophy, she constructs compositions that articulate states of perception and reflection. Recurring elements such as circular discs, poured paint, and stains serve as shapeshifting strategies, allowing forms to move between painterly abstraction and imagery evoking mountains, water, earth, and light. Through this fluid visual language, Sandström examines how paintings unfold as sites of perception, prompting viewers to consider where, when, and how an image emerges.

Her compositions traverse within the dual notion of site, both conceptual and experiential, creating a dynamic relationship among artist, artwork, and viewer. As her work moves toward greater abstraction, her expansive landscapes continue to challenge the boundaries of painting as a medium. This ambiguity remains central to both the formation of the work and its encounter with the viewer.

In addition to Perrotin, Sandström will continue to be represented by Anat Ebgi Gallery, Cecilia Hillström Gallery, and Inman Gallery.

Sigrid Sandström: Squall at Perrotin London opens with a private view on Thursday 26 March.

photo: Per-Erik Adamsson

The Carlos Cruz-Diez Estate joins Cristea Roberts Gallery

March 12, 2026

Cristea Roberts Gallery is delighted to announce global representation for the original prints from the Carlos Cruz-Diez Estate, the Estate’s first gallery representation in London.

Carlos Cruz-Diez (1923 – 2019) was one of the great twentieth-century thinkers, writers and innovators in the realm of colour. During his lifetime he made paintings, sculpture, prints, architectural interventions and site-specific installations. His radical approach to art anticipated the immersive and experimental works that define much of contemporary art today.

The artist made a significant body of printed work throughout his lifetime, picking it up at important points in the development of his research and practice. Cristea Roberts Gallery’s first showing of Cruz-Diez’s prints will be at Art Basel Hong Kong. Following further presentations at art fairs throughout 2026, the gallery will stage a solo exhibition of works from the Estate in London in 2027.

photo: Atelier Cruz Diez / Lisa Preud'homme

Perrotin announces global representation of Alma Allen

March 10, 2026

Perrotin is pleased to announce global representation of Alma Allen.

Allen (b. Utah, 1970, lives and works in Tepoztlán, Mexico) is a self-taught sculptor who works in wood, stone and bronze, often with material sourced from his immediate surroundings. The artist’s biomorphic works appear psychically charged and talismanic, simultaneously inviting and resisting classification.

His first solo exhibition with Perrotin will open in Paris in October 2026.

Resembling roots, seed pods, molluscs and fossils, Allen’s sculptures appear to relate to the vast expanses of territory and monolithic natural formations that have punctuated his life: Utah where Allen spent his childhood; Joshua Tree, California, where Allen lived for over a decade; and Tepoztlán, Mexico, where the artist currently has his studio. Other works are reminiscent of torsos with clumsily protruding limbs, empty plinths or deconstructed architectural columns, which may be read as anti-monuments.

Allen’s artistic trajectory has seen him progress from humble origins, selling hand-carved miniatures on the streets of Soho, New York, to his breakthrough inclusion in the 2014 Whitney Biennial. Allen will represent the United States of America in the 61st International Art Exhibition of La Biennale di Venezia in 2026 and his first solo exhibition with Perrotin will open in Paris in October 2026.

photo: Luis Garva

Stacey Gillian Abe to represent Uganda at 2026 Venice Biennale

March 6, 2026

The Uganda Pavilion has been announced for the 61st International Art Exhibition of La Biennale di Venezia, taking place from 9 May to 22 November 2026.

Commissioned by Acaye Kerunen and curated by Taga Francis Nuwagaba, the pavilion will present works by Stacey Gillian Abe alongside Joseph Ntensibe, Lilian Nabulime, Ronex Ahimbisibwe, Lakwena Maciver, Sheila Nakitende and Aloka Trevor.

Foregrounding a range of practices shaped within and across East Africa, the presentation explores shared themes of material culture, spirituality and social memory, while reflecting the diversity of contemporary artistic production connected to Uganda.

The announcement follows Stacey Gillan Abe’s fourth solo exhibition at Unit, Garden of Blue Whispers. Her new body of work develops narratives of reclamation, exploring both personal and social ancestry through her signature use of indigo and hand-embroidered silk detailing.

Roberts Projects announces representation of Esmaa Mohamoud

March 3, 2026

Roberts Projects is pleased to announce its representation of Esmaa Mohamoud. This announcement follows the gallery’s first solo exhibition with the artist in 2025, What Does Webster’s Say About Soul?

Known for her conceptual practice that incorporates familiar objects and symbols from Black visual culture—including football equipment, peacock chairs, lowriders, butterflies and shea butter—Mohamoud reimagines her source materials by transforming their scale and layering cultural references to recontextualize their conventional meaning. Grounded in extensive research and painstaking production, her work displays not only a mastery of a given material, but also a nuanced understanding of its symbolic power. By investigating Black history through its material culture, Mohamoud bypasses monolithic racial stereotypes to envision a world rich with complexity and diverse experiences.

Through her critique of Black body politics, Mohamoud considers how subjects are made to navigate spaces where they have already been objectified and racialized. In creating work that demystifies these unspoken social codes, Mohamoud simultaneously celebrates and reconfigures a visual language rooted in time-honored traditions of resistance and resilience.

Esmaa Mohamoud (b. 1992 London, ON, Canada; lives and works in Brooklyn, NY) is a conceptual artist working at the intersection of sculpture and installation. Her sculptures explore the politics of race and identity through references to and recontextualizing of objects from popular culture. Making use of materials that carry both personal and historical significance, Mohamoud creates symbolically rich and metaphorically complex works that consider the legacy of racial violence and the possibilities for future renewal.

photo: Jeremy Clemente

Galerie Peter Kilchmann now represents Amol K Patil

February 23, 2026

Galerie Peter Kilchmann is pleased to announce the representation of Amol K Patil.

Amol K Patil (b. 1987, Mumbai, India; lives and works in Mumbai and Amsterdam) is a conceptual and performance artist whose practice unfolds across sculpture, installation, drawing, video, sound, and performance. Grounded in personal and collective histories, his work excavates the layered experiences of labour, migration, and social marginalisation, particularly as they resonate through the hierarchies of caste and class that shaped his upbringing in Mumbai’s chawl neighbourhoods. Drawing on the archival legacies of his grandfather, a Powada poet, and his father, an avant-garde playwright, Patil treats artistic production as a form of counter-memory - inviting audiences into poetic yet exacting reflections on labour, movement, and visibility.

Working at the intersection of memory and materiality, Patil employs kinetic devices, repeated gestures, bodies in motion, and architectural traces to unsettle dominant narratives of urban life and human disposability. His installations often operate as choreographed environments, where light, sound, and fragmented bodies hover between presence and erasure.

Amol K Patil’s upcoming exhibition at Galerie Peter Kilchmann, The Shadow of Lustre, opens with a reception on Thursday 26 February.

The Estate of Carol Rama now represented by Hauser & Wirth

February 19, 2026

Iwan Wirth, Manuela Wirth and Marc Payot, Presidents of Hauser & Wirth, announced today that the gallery will represent the Estate of Carol Rama alongside Galerie Isabella Bortolozzi, Berlin.

Over more than seven decades, Carol Rama (b. 1918, Turin; d. 2015) developed a radical body of work that addressed connections between desire, sacrifice, eroticism and repression. By constructing a visual cosmos where transgression leads to liberation, Rama countered assumptions about gender, sexuality and representation, offering a retort to the societal conventions and the prevailing far-right political ideologies that defined the fascist-dominated Italy of her youth. She set neither boundaries nor hierarchies between painting, drawing, sculpture and printmaking, pulling all of these mediums into her image universe. ‘My self-assurance exists only across from a sheet of paper that needs to be filled in,’ Rama once declared. ‘Work is the only way to drive off my fears. My rebellion consists of painting.’

Today, Rama is considered one of the most original and individualistic artists to emerge from the 20th Century. Yet while she exhibited regularly in Italy, her work was largely absent from international contemporary discourse until the late 1990s when it finally attracted interest among a new generation of artists, curators and critics. Rama’s art has since galvanized ever-expanding attention and avid scholarship. She was awarded the Golden Lion for Lifetime Achievement at the Venice Biennale in 2003 and major solo exhibitions of her work have been presented at the Stedelijk Museum, Amsterdam (1998); MACBA, Barcelona (2014); Musée d’Art Moderne de Paris, Paris (2015); New Museum, New York City (2017); and Schirn Kunsthalle, Frankfurt (2024), among others.

Carol Rama’s first solo exhibition with Hauser & Wirth will open in May 2026 in New York.

photo: Pino Dell’Aquila

David Zwirner announces representation of Louis Fratino

February 12, 2026

David Zwirner is pleased to announce the representation of New York–based artist Louis Fratino (b. 1993). At Frieze Los Angeles later this month the gallery will feature new paintings by the artist. Fratino’s first solo exhibition with the gallery will be in London in Fall 2026. An upcoming exhibition Fratino and Matisse: To See This Light Again, which places the two artists in dialogue, will open at the Baltimore Museum of Art in March 2026. Fratino is also represented by Sikkema Malloy Jenkins, New York, and Galerie Neu, Berlin.

Fratino creates paintings, drawings, and sculptures that depict intimate personal experiences and domestic affairs, frequently centering contemporary queer life and the male body. In portraying all manner of subjects garnered from his immediate circles and through observation, he connects an exuberant palette of bold, high-contrast colors with an expressive figuration that cites his considered study of classical and modern Western art history and literature. His compositions recall the beauty of ancient Greek kouroi and references from Christian iconography while synthesizing and recasting the techniques and styles of a wide range of painters such as Pablo Picasso, Marsden Hartley, Alice Neel, Georgia O’Keeffe, Dana Schutz, Yannis Tsarouchis, and Christopher Wood, among others. The artist illuminates relations between his subjects—familial, romantic, fraternal, erotic—to reveal the pleasures and tensions that operate within private spheres, as well as distinct social and cultural tremors that reverberate throughout public life and determine how difference is navigated. In his work, Fratino interprets these storied pasts and approaches anew, his striking compositions simultaneously proposing tender portraits of those around him and uncovering expansive links to narratives across time.

Louis Fratino was born in Annapolis, Maryland, in 1993. He received a BFA from Maryland Institute College of Art, Baltimore, in 2015. In 2014, Fratino was selected to participate in the Ellen Battell Stoeckel Fellowship at Yale Summer School of Art and Music, Norfolk, Connecticut, and, in 2016, he received a Fulbright Research Fellowship in Painting and Printmaking to study in Berlin.

photo: Jordan Weitzman

Jack Shainman Gallery now represents Donyel Ivy-Royal

January 27, 2026

Jack Shainman Gallery is pleased to announce its representation of Brooklyn-based artist, Donyel Ivy-Royal. Known for his interdisciplinary practice that synthesizes a diverse range of influences—from post-Impressionism to the Mission School—into work encompassing a wide range of mediums, including painting, photography, sound, drawing and installation, Ivy-Royal brings an exciting and innovative new voice to the gallery’s roster. The gallery will debut his work with a solo exhibition at its Chelsea space in November of 2026.

Guided by process and ritual, Ivy-Royal creates work that explores the act of return to a given subject. His paintings often utilize photography as a kind of preliminary sketch—documenting quotidian scenes that inform his visual language before later returning to these images as points of departure. He constructs his paintings through successive layers of addition and removal, building depth through accumulation while allowing traces of earlier gestures to remain visible. By gradually eliminating the original detail of the photographic image, Ivy-Royal creates a space of liminal meaning within his abstraction, one where subject and effect blur together. His expanded approach to painting has seen him use ordinary and commonplace objects as substrates for his work, transforming the quotidian into aesthetic form, a reflection of his working philosophy to use whatever is at hand. The found objects he incorporates into his work, from cardboard to yard signs and salvaged materials, are used not only as material but as subject as well, with their original context and meaning both retained and reimagined.

Sound is integral to Ivy-Royal’s process. The artist uses recordings made in the studio as a starting point, weaving their essence into the construction of his paintings. Through this translation, images are metabolized and reconfigured, becoming both conceptual frameworks and emotional anchors within his compositions. Residing between the discernible and the indiscernible, the poetic and the practical, Ivy-Royal’s works collapse the distinction between past and present—they press upon the boundary separating perception and knowledge.

Marian Goodman (1928–2026)

January 26, 2026

The death has been announced of highly influential gallerist Marian Goodman.

Goodman started her art career in the 1960s dealing in artist editions, and opened her eponymous gallery in New York in 1977. It was a desire to gain representation for the European artist Marcel Broodthaers that prompted the creation of the gallery, and Goodman would go on to work with a remarkable roster of mostly non-American artists.

The gallery expanded to Paris in 1995 and Los Angeles in 2023, and notably moved its New York headquarters to Tribeca’s historic Grosvenor building in 2024.

Today the Gallery represents over fifty US and international artists and estates including Eija-Liisa Ahtila, Maurizio Cattelan, Rineke Dijkstra, Pierre Huyghe, Steve McQueen, Gabriel Orozco, Thomas Schütte, Tino Sehgal, Thomas Struth, and Danh Vo.

The gallery’s story will continue under the current partnership team of Rose Lord, Junette Teng, Emily-Jane Kirwan, and Leslie Nolen.

More information on the gallery, its programme and artists can be found here.

photo: Thomas Struth, 2007

Sally Tallant appointed Director of the Hayward Gallery

January 21, 2026

The Southbank Centre announces that Sally Tallant has been appointed Director of the Hayward Gallery and Visual Arts.

Tallant will take up the role from July 2026 and will lead a programme of work that includes directing and curating exhibitions at the Hayward Gallery, the Southbank Centre’s contemporary art space. She will also organise visual arts installations across the whole Southbank Centre site and will oversee a national programme of work through Hayward Gallery Touring which reaches hundreds of thousands of people across the UK every year.

“I am delighted to be returning to London as Director of the Hayward Gallery and Visual Arts, Southbank Centre. It is an honour to join Mark Ball and Elaine Bedell, and to build on the outstanding legacy of Ralph Rugoff, shaping the next chapter of this vital cultural destination and civic institution,” says Sally Tallant.

Tallant is currently Director of the Queens Museum in New York, where she has overseen over 30 major exhibitions, including Fia Backstrom, A Billion Dollar Dream, Suzanne Lacy, Tracey Rose, Christine Sun Kim, Aliza Nisenbaum, Aki Sasamoto, Lyle Ashton Harris, Stephanie Dinkins, Charisse Pearlina Weston, Emilie Gossiaux, Caroline Kent, Pia Camil and Mierle Laderman Ukeles as well as wide-reaching education, public programmes and community events in one of the most diverse communities in the US.

She takes over from Ralph Rugoff OBE, who will step down in Spring 2026 after 20 years in the post. Beyond the end of his Director role, Ralph Rugoff will provide curatorial oversight for a major retrospective of Anish Kapoor, opening on 16 June 2026 as part of the Southbank Centre’s 75th Anniversary celebrations.

photo: Thierry Bal

New Museum to reopen in March 2026

January 13, 2026

The New Museum, Manhattan’s only museum dedicated exclusively to contemporary art, today announced that its 60,000 sq ft building expansion designed by OMA / Shohei Shigematsu and Rem Koolhaas in collaboration with Executive Architect Cooper Robertson will open to the public on 21 March 2026.

The inaugural exhibition New Humans: Memories of the Future will unfold throughout the entirety of the expanded New Museum. This ambitious thematic survey will bring together works by more than 200 artists, writers, scientists, architects, and filmmakers to explore how dramatic technological and societal changes have spurred new conceptions of what it means to be “human.” Placing new and recent works by artists including Sophia Al-Maria, Lucy Beech, Meriem Bennani, Cyprien Gaillard, Pierre Huyghe, Tau Lewis, Daria Martin, Wangechi Mutu, Precious Okoyomon, Berenice Olmedo, Philippe Parreno, Hito Steyerl, Jamian Juliano-Villani, Andro Wekua, and Anicka Yi in the context of works by twentieth-century artists and cultural figures such as Francis Bacon, Constant Nieuwenhuys, Salvador Dalí, Ibrahim El-Salahi, H.R. Giger, Kiki Kogelnik, Hannah Höch, Tatsuo Ikeda, Gyula Kosice, El Lissitzky, Lennart Nilsson, Eduardo Paolozzi, Carlo Rambaldi, Germaine Richier, and Elsa von Freytag-Loringhoven, New Humans examines the ways in which artists’ visions of the future have evolved throughout time.

Alongside New Humans, the New Museum will also unveil a number of major new commissions that will be on long-term view in dedicated sites in and around the building, including a work by Tschabalala Self created for the Museum’s façade, a monumental sculpture by Klára Hosnedlová for the Museum’s new Atrium Stair, and a work by Sarah Lucas created for the Museum’s new public plaza at the building’s entrance.

The New Museum will offer free admission for its opening weekend, welcoming neighbors from across New York City and visitors from around the world to explore the Museum’s new space, experience its reopening exhibition and site-specific commissions, and celebrate with music and activities for art lovers of all ages. Registration for free opening weekend tickets, made possible through the generous support of New Museum Trustee Charlotte Feng Ford, will go live in February 2026.

image courtesy OMA/bloomimages.de

David Zwirner announces representation of Amy Sillman

January 9, 2026

David Zwirner is pleased to announce the representation of New York–based artist Amy Sillman. Sillman’s first exhibition with the gallery will be in New York in 2027.

Amy Sillman is widely recognized as one of the most significant painters of her generation. Since the early 1990s, she has developed a multidisciplinary practice that spans painting, drawing, digital animation, printmaking, large-scale installations, and critical writing. Sillman’s process-oriented work navigates the contested terrains between images and words, line and shape, object and site, meaning and feeling.

The artist’s decisive compositions emerge from accumulated layers of painting, erasure, and revision in a process that is at once slow and immediate, deliberate and impulsive, and ultimately considers notions of time. Engaging deeply with the history of painting, Sillman draws from a wide range of high and low art influences and precedents—from gestural to hard-edge painting, abstract expressionism to minimalist seriality—excavating and remaking them in an expansive practice that speaks to the present. The artist also deploys diverse modes of inquiry from film, music, and philosophy, using humor, improvisation, and ambiguity as radical strategies for dismantling hierarchies and constructing new meaning.

photo: Bruno Staub

Felix & Spear now represents Amanda Holiday

Felix & Spear is pleased to announce representation of Amanda Holiday.

Amanda Holiday was born in Sierra Leone in 1964 and moved to the north of England at the age of five. She studied Fine Art at Wimbledon School of Art and was actively involved in the UK Black arts movement, exhibiting in landmark Black art exhibitions during the 1980s, before transitioning into film.
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In 1989, she directed the Arts Council–funded documentary Employing the Image, which examines the lives and work of five young Black British artists, including Sonia Boyce and Zarina Bhimji. This was followed by the one-minute film Manao Tupapau, which reanimates a Gauguin painting from the perspective of the model. Her BFI-funded experimental drama Miss Queencake reimagines elements of Gauguin’s life as a decolonial anti-narrative. From 2001 to 2010, Holiday was based in Cape Town, where she worked in educational television.
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Her 1987 drawing Red Riding Hood was exhibited in Women in Revolt!, which toured from Tate Britain in 2024 to the Whitworth, Manchester, in 2025. In the same year, she undertook a UKRI travel research fellowship at the Smithsonian’s National Museum of African American History and Culture in Washington, DC. Her artworks have been included in the group exhibitions Bloom Song and Gloam, both presented by Vivienne Roberts Projects, and her drawing The Sense is currently on view in the Courtauld’s East Wing Biennial until 2027. Holiday has been selected as one of two artists representing the UK at the Malta Biennale 26.
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She is currently completing a PhD in Poetry, Race and Art at the University of Brighton.

Perrotin announces representation of Kathia St. Hilaire

January 5, 2026

Perrotin is thrilled to announce the representation of Kathia St. Hilaire on the occasion of her first solo exhibition, The Vocals of the Chaotic Burst, at Perrotin Paris. This new exhibition marks the artist’s first presentation in France, following her participation in the group exhibition FEMMES, curated by Pharrell Williams. Her first solo exhibition with the gallery took place in Perrotin New York in 2024.

Informed by her experience growing up in Caribbean and African American neighborhoods in South Florida, the artist seeks to memorialize the communities that she has been a part of through innovative printmaking techniques. Her work draws inspiration from Haitian Vodun flags, which are used to tell the country’s history and honor ancestral spirits. Using nontraditional materials such as beauty products, industrial metal, fabric or tires, she creates ornate tapestries that seek to preserve the Haitian history and Vodun religion that lives around us in Miami.

Kathia St. Hilaire received her M.F.A. in Painting and Printmaking at the Yale School of Art in New Haven, Connecticut and her B.F.A. in Printmaking at the Rhode Island School of Design in Providence, Rhode Island. Her work has recently been featured in solo shows at the Clark Art Institute, Williamstown, MA; Perrotin, New York, NY; and the NSU Art Museum Ft. Lauderdale, Ft. Lauderdale, FL; as well as group exhibitions at the Speed Museum of Art, Louisville, KY; The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs; Half Gallery, New York; Blum & Poe, New York; and James Fuentes, New York.

photo: Guillaume Ziccarelli

In Memoriam: Ceal Floyer (1968-2025)

December 11, 2025

Esther Schipper is saddened to announce the passing of Ceal Floyer. She died on 11 December 2025 after a long battle with illness.

Floyer was one of the most radically conceptual artists of her generation, renowned for her concise humor and profoundly understated visual language. Her works are brilliantly inventive and, just like her, full of razor-sharp intelligence, dry wit, and visual acuity. The minimal interventions she defined as her artworks—shifts in scale, subtle spatial displacements, plays on words and nearly invisible edits—provoke a heightened awareness of perception itself.

Like a haiku, Ceal’s art was built from restraint, with every choice being highly intentional and nothing left to chance. Her work is poetic yet uncompromising, and invites viewers to reconsider the mechanics of seeing, naming, and meaning. She achieved, in her practice, a paradoxical condition of feather-light gravitas. Exuding a quiet but forceful presence, her distinct artistic voice was both playful and profound.

As in her “nail-biting performance” at Symphony Hall in Birmingham in 2001, pictured above, everything is contained in a single gesture: success and anxiety, presence and absence, confidence and fragility–distilled into the smallest possible action.

As she used to say when people asked what it was about: “It's Ceal.”

Ceal Floyer was born in 1968 and grew up in England. She studied at Goldsmiths College, London. Since the late 1990s Floyer lived in Berlin. In 2007 Floyer was awarded the prestigious Preis der Nationalgalerie für junge Kunst, Berlin and in 2009 the Nam June Paik Art Center Prize by the Nam June Paik Center, Yongin. Floyer participated in Manifesta 11 in Zurich (2016), dOCUMENTA (13) in Kassel (2012), and in the 53rd Venice Biennale (2009). Floyer's work has been exhibited extensively. Among the most important solo exhibitions are: Ceal Floyer, Aspen Art Museum, Aspen (2016); On Occasion, Aargauer Kunsthaus, Aarau (2016); Ceal Floyer, Kunstmuseum Bonn (2015); Ceal Floyer, Museion, Bolzano (2014); Ceal Floyer, Kabinett für Aktuelle Kunst, Bremerhaven (2013); Things, Project Arts Centre, Dublin (2011); Works on Paper, CCA, Tel Aviv (2011); Ceal Floyer, DHC/ART, Montreal (2011); Auto Focus, Museum of Modern Art (MOCA), North Miami (2010); Ceal Floyer, KW Institute For Contemporary Art, Berlin (2009), and Gakona, Palais de Tokyo, Paris (2009)

photo © Hugo Glendinning

Alison Jacques now represents Gina Kuschke

December 9, 2025

Alison Jacques announces representation of London-based artist Gina Kuschke (b.1992, Cape Town, South Africa), and presents ‘A Place Beyond’, the gallery’s first solo exhibition of her work, taking place from 15 January to 21 February, 2026.

Since completing her MA in Painting at The Royal College of Art and BA in History of Art at The Courtauld Institute of Art, Kuschke has developed a practice of abstract painting, giving form to a confluence of cultures, migratory patterns and memories. Kuschke works the paintings until they reflect a true translation of her lived experience.

Growing up between South Africa and London, Kuschke spent long periods by the sea and in the savanna, developing a heightened attentiveness to nature’s cues; how water, rocks, and the shifting contours of the varied and distinct landscapes that she moved between, reveal the visual effects of time. This, together with the inevitable adaptations that define the migrant experience of navigating contrasting contexts, cultivated her sensitivity to place. In her gestural approach to landscape, she maps the meeting of her external environment and inner geography, delivering a true translation of her lived experience.

Kuschke’s large-scale paintings are created through a sustained physical performance, making each composition intensely bodily. The works begin the moment she makes the painting’s ‘support’ – constructing the frame, stretching and grounding the canvas. ‘It is never a blank canvas’, she explains. Even before picking up a tool, Kuschke builds the work – materially and conceptually – a process which is integral to the final resolve.

photo: Matthew Coles