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Tai Shani joins Gathering

April 27, 2023

Gathering is delighted to announce representation of Tai Shani (b. 1976, London), following the artist’s inaugural exhibition with the gallery in 2022.

“We’re thrilled to share this wonderful news. Tai is a remarkable artist and she has been an integral part of Gathering’s vision – her unique, courageous and powerful voice epitomises the gallery’s desire to showcase the most compelling contemporary and historical artists. We couldn’t be more excited to continue our journey together.“
– Alex Flick, Founder & Director, Gathering

Tai Shani’s artistic practice, comprising performance, film, photography, and installation, uses experimental writing as a guiding method. Oscillating between theoretical concepts and visceral details, Shani’s texts attempt to create poetic coordinates in order to cultivate fragmentary cosmologies of marginalised nonsovereignty. Taking cues from both mournful and undead histories of reproductive labour, illness and solidarity, her work is invested in recovering feminised aesthetic modes – such as the floral, the trippy or the gothic – in a register of utopian militancy. In this vein, the epic, in both its literary long-form and excessive affect, often shapes Shani’s approach: Her long-term projects work through historical and mythical narratives, such as Christine de Pizan’s allegorical city of women or the social history of psychedelic ergot poisoning, extending into divergent formats and collaborations. Shani’s projects examine desire in its (infra-)structural dimension, exploring a realism that materially fantasises against the patriarchal racial capitalist present. Tai Shani is the joint 2019 Turner Prize winner together with Lawrence Abu Hamdan, Helen Cammock and Oscar Murillo. Her work has been shown extensively in Britain and internationally.

Shani’s work will be featured in upcoming exhibitions at Reina Sofia, Madrid; Kunsthall Trondheim, Trondheim; Mécènes Du Sud, Montpellier; and the Contemporary Arts Center, Cincinnati.

Turner Prize 2023 shortlist announced

Tate Britain has announced that Jesse Darling, Ghislaine Leung, Rory Pilgrim and Barbara Walker have been shortlisted for the Turner Prize 2023.

Coinciding with the gallery’s centenary celebrations, an exhibition will be at Towner Eastbourne, East Sussex, UK, from 28 September 2023 to 14 April 2024 and the winner will be announced on 5 December 2023 at an award ceremony in the town’s Winter Gardens.

Jesse Darling is nominated for the solo exhibitions “No Medals, No Ribbons” at Modern Art Oxford and “Enclosures” at Camden Art Centre (virtual visit available here).

Ghislaine Leung is nominated for her solo exhibition Fountains at Simian, Copenhagen.

Rory Pilgrim is nominated for the commission RAFTS in the exhibition “Radio Ballads” at Serpentine, and a live performance of the work at Cadogan Hall, London.

Rory Pilgrim is nominated for the commission RAFTS at Serpentine (part of the exhibition “Radio Ballads” see here) and Barking Town Hall, and a live performance of the work at Cadogan Hall, London.

Barbara Walker is nominated for her presentation entitled Burden of Proof at Sharjah Biennial 15.


One of the world’s best-known prizes for the visual arts, the Turner Prize aims to promote public debate around new developments in contemporary British art. Established in 1984, the prize is named after the radical painter JMW Turner and is awarded each year to a British artist for an outstanding exhibition or other presentation of their work. The winner receives £25,000 with £10,000 awarded to the other shortlisted artists.

Turner Prize 2023 is part of Towner 100, a year-long centenary celebration of arts and culture across Eastbourne.

The members of the Turner Prize 2023 jury are Martin Clark, Director, Camden Art Centre; Cédric Fauq, Chief Curator, Capc musée d’art contemporain de Bordeaux; Melanie Keen, Director of Wellcome Collection; and Helen Nisbet, Artistic Director, Art Night. The jury is chaired by Alex Farquharson, Director, Tate Britain.

Photos: Danko Stjepanovic; Ben Westoby c. Modern Art Oxford; GRAYSC; andriesse-eyck galerie

Lullin + Ferrari announces representation of Mirjam Blanka Inauen

April 26, 2023

Mirjam Blanka Inauen presented her first project with the gallery in spring 2022 and had her first solo show in 2023.

Inauen is an artist and musician who lives and works in Zurich. She studied sociology, anthropology and gender studies in Colombia, Mexico and Lausanne and worked as a sociologist before devoting herself entirely to visual arts and music. Her visual work is inspired by music and features rhythmic patterns, bright colours and textile surfaces that convey a sense of presence, closeness and intimacy.

Inauen's art possesses a startling directness. Her approach is both conceptually driven and intuitive. With the simplest means, multicoloured color surfaces on paper and a vocabulary of forms that follows from the colours, she creates moods and feelings.

“It is this feeling of presence/transcendence that I want to create as an artist. So I place straight lines and simple forms on a grid, repeat, mirror, rotate and superimpose them so to create patterns — rhythms. The fluidity of the paint and the indefiniteness of colour are snapped in a formation, only to flow once more with the material of their supporting paper or fabric.” - Mirjam Blanka Inauen

Galleria Continua announces its representation of Eva Jospin

Eva Jospin (1975, Paris), who graduated from the École Nationale Supérieure des Beaux-Arts de Paris, has been composing forest and architectural landscapes for the past fifteen years, which she develops in various media. Winner of the Prix de l'Académie des Beaux-Arts in 2015 and resident at the Villa Medici in Rome in 2017, she has had numerous exhibitions of international importance, notably at the Palais de Tokyo (Inside, 2014) and at the Palazzo Dei Diamanti in Ferrara in 2018, at the Museum Pfalzgalerie in Kaiserslautern in 2019, at the Hayward Gallery in 2020, at the Het Noordbrabants Museum in Den Bosch (Paper Tales, 2021) and more recently at the Musée de la Chasse et de la Nature in Paris (Galleria, 2021).

The artist also unveiled several monumental and immersive installations as part of specific commissions, for example in the center of the Cour Carrée du Louvre (Panorama, 2016), or at the Abbey of Montmajour (Cenotaph, 2020) ; signed the creation of an incredible set of embroidered panels for the Dior Haute Couture fashion show 2021-2022 (Chambre de Soie, 2021) and realized the monumental décor of the Dior spring-summer 2023 fashion show (Nymphées, 2022).

Eva Jospin also created permanent works such as the installation Folie, at the Domaine de Chaumont-sur-Loire, inaugurated in 2015, La Traversée at Beaupassage in 2018, Paris and Le Passage in Nantes in 2019. In 2022, Eva Jospin inaugurated Microclima, a new permanent installation conceived as a winter garden in the Max Mara Piazza del Liberty shop in Milan.

Throughout 2023, more than twenty of the artist's works will be presented at contemporary art fairs around the world as part of the carte blanche given to the artist by the house Ruinart. This series of works will be connected with Eva Jospin's solo exhibition at the Fondation Thalie in Brussels in spring 2023 (Panorama), and with the exhibition planned starting from the summer 2023 at the Palais des Papes in Avignon (Palazzo).

Eva Jospin’s first exhibition at Galleria Continua will be a solo show in San Gimignano, opening 27 May.

photo: Lorenzo Fiaschi

Shaqúelle Whyte joins Pippy Houldsworth Gallery

April 19, 2023

Pippy Houldsworth Gallery announces the representation of British artist Shaqúelle Whyte.

Whyte’s first solo exhibition with the gallery will open in April 2024 - “there’s an incredible canon of artists making work right now. To be among those few given the platform to express themselves freely is a privilege” - Whyte.

In his paintings, Whyte presents imagined spaces imbued with a sense of ambiguity that interrogate the human condition, all the while exploring the material qualities of the medium. Loosely rendered, energetic brushwork and an expansive approach to composition are hallmarks of the artist’s practice.

Although non-linear, narrative plays a central role in Whyte’s work, which sees him carry certain motifs over from one painting to the next. These recurring details contribute to the sense of theatre that pervades his work; Whyte directs his subjects as though they are actors and his canvas a stage.

Despite excluding himself from the work representationally, the stories he crafts reflect his everyday life and innermost thoughts. The figures in Whyte’s paintings act as conduits for his subconscious. Giving form to thought through paint, he generates a sense of introspection through his characters’ often averted or guarded faces. At once enigmatic and familiar, Whyte’s paintings evoke the surreal and shape the ephemeral, ultimately leaving his world open to the viewer’s own interpretation.


Shaqúelle Whyte (b. 2000, Wolverhampton) lives and works in London. He received a BA in Fine Art from the Slade School of Fine Art in 2022 and is currently studying an MA at the Royal College of Art. He will have his first solo exhibition at Pippy Houldsworth Gallery in April 2024. Other upcoming projects include a solo online presentation with White Cube early next year. Recent group shows include Buffer, Guts Gallery, London (2022) and Seasons in the City, curated by Artuner, Palazzo Capris, Turin (2022).

Image courtesy the artist and Pippy Houldsworth Gallery, London

In Memory Of Irma Blank

April 17, 2023

Mai 36 Gallery announces the death of Irma Blank

“I think we are inside our doing, through our body, in time. Time accompanies us, but we also accompany time, and as we proceed every occurrence, including errors, finds its balance, until life coincides with a path of signs, a road that goes from the beginning to the end” - Blank

“We have lost a graceful, radical artist and wonderful person” - Victor Gisler, Mai 36


Irma Blank was a passionate reader and lover of language.

Born in 1934 in Northern Germany, she met her Italian husband in 1955 and moved to Sicily. The gap between the two countries and the two languages was immense - it led her to question the adequacy or rather the inadequacy of any language. She then realized “that there’s no such thing as the right word” - even in one’s mother tongue - to really convey meaning/feeling.

Blank’s entire body of work is based on language and therefore literature - whether emptying books from their meaning or creating a new form of nonverbal, asemantic writing, for instance by creating drawings that mimick the layout of existing books/newspapers or using a utopian alphabet.

Her work was the result of a matured conceptuality, asserting itself in the corporality of production and engaging with a utopic community of hypothetical readers, while also in its nature, a soliloquy.

photo: Maria Mulas

Gagosian announces representation of Cy Gavin

April 13, 2023

Gagosian announces the global representation of American artist Cy Gavin.

In his recent work, Gavin paints metaphorical interpretations of sites that have been shaped over time by human intervention and geological or cosmic phenomena. Composed with fluid, gestural brushstrokes in striking colors, they are at times monumental in scale.

Gavin was born in Pittsburgh in 1985 and raised in Donora, Pennsylvania. He graduated from Carnegie Mellon University in 2007 and earned his MFA in 2016 from Columbia University. Following the death of his father in 2015 he traveled to his ancestral homeland of Bermuda to research his family’s genealogy and the island’s history. The paintings he made during this period include depictions of Gibbet Island and Tucker’s Town - the site of an enclave of Black Bermudians that was destroyed in 1920 to create an exclusive golf resort. The works are marked by the legacies of enslavement, colonialism, and resistance, visualizing the creation and maintenance of similar power structures in the United States.

In 2016, Gavin relocated from New York City to New York’s Hudson Valley, where he currently lives and works. He began painting the area’s landscape, ranging from the environment around his studio to dramatic features of the region. Spanning approximately thirty feet in length, Bash Bish Falls (2019) features a panoramic view of the waterfall, frozen in winter, and a clove, or gorge. The cascade in southwestern Massachusetts is set in one of the few remaining old-growth eastern hemlock forests and is pictured on the night of a full lunar eclipse.

In 2021, Gavin’s first solo museum exhibition was organized by the Aspen Art Museum, Colorado, he was also included in the 2022 Whitney Biennial, and had his debut exhibition with Gagosian in New York in 2023.

Gavin’s debut solo exhibition at Gagosian opened in Feb 2023 in New York, and will be followed by an exhibition of new paintings this fall in Rome.

Photo: Marco Giannavola

Igshaan Adams joins Thomas Dane Gallery

Thomas Dane Gallery announces the representation of Igshaan Adams, in collaboration with blank projects in Cape Town and Casey Kaplan in New York.

Adams’ cross-disciplinary practice combines aspects of weaving, sculpture and installation, drawing on his background to contest racial, sexual and religious boundaries. This intersectional topography remains visible throughout his practice and serves as a palimpsest in which traces of personal histories are inscribed and reinscribed. He explains: “I’m interested in the personal stories recorded on the surface. What is recorded is not necessarily always a factual account but can be what is imagined - a combination of myth-making and meaning-making”.

Adams approaches materiality through his own subjectivity; cultural and religious references are used in conjunction with surfaces that have always been present throughout his life: thread, beads, wire, linoleum, cotton twine, fabric. His interest in the material oscillates between the intuitive process of handling different substances, and a formal inquiry into how various materials behave in different contexts and how they transfigure or evolve.

The gallery will present a solo exhibition of new work by Adams in London, opening in October 2023, to coincide with Frieze London.

Igshaan Adams (b. 1982, Cape Town) lives and works in Cape Town, South Africa.

Photo: Mario Todeschini

Whitford Fine Art announces the death of Georges Bernède

Whitford Fine Art today announces the passing of their represented artist and friend Georges Bernède on the 10th April 2023, aged 96.

Bernède began his career in the 1940s as a figurative painter under the tutelage of the established female artist Mildred Bendall (1891-1977). The 1960s found him turning to Lyrical Abstraction, and his unique artistic style eventually grew into a more instinctive, gestural form of deceptively subtle yet dramatic abstract painting. A tireless innovator and promoter of Abstract art, Georges continuously sought to express the essence of life, to establish an analogy to musical rhythm and to touch the viewer deep in their subconscious.

The Gallery remains committed to continuing Georges’s legacy.

Alison Jacques to expand with new gallery space on Cork Street, Mayfair

Alison Jacques today announced plans to expand the business’s presence in London with a new 6000 sq. ft location at 22 Cork Street, Mayfair.

The new space will open in Autumn 2023, following a significant renovation by architect Mike Rundell who also designed the existing Alison Jacques gallery at 16-18 Berners Street. 22 Cork Street was a vacant concrete shell which Rundell has transformed into a three floor gallery HQ comprising four exhibition spaces, private viewing rooms, ample offices and on-site storage.

Alison Jacques first opened in London on Clifford Street in 2004 before moving to its current home on Berners Street in 2007. 22 Cork Street represents a significant new chapter. The gallery looks forward to building on its reputation for discovering under-acknowledged artists and being a platform for artists who are making history.

Alison Jacques comments: “In 1993, in my previous life as a journalist, I was lucky enough to interview legendary art dealer Leslie Waddington who offered me a job at his gallery on Cork Street. I remember sitting at the reception desk and dreaming that one day, I would have my own gallery on Cork Street.

Serendipitously, our new space is opposite Waddington; my only regret being that Leslie is not alive to offer his sage advice. He is very much part of the history of Cork Street, along with pioneering dealers Victoria Miro, John Kasmin, James Mayor and Bernard Jacobson. Victoria’s original gallery was once next door to our new space. As the first female gallerist to inspire me, she continues to lead with an astute eye and admirable integrity.

These are very big shoes to fill, particularly with neighbouring 21 Cork Street being the former home of ground-breaking gallerist Robert Fraser aka ‘Groovy Bob’. I believe this legacy of the dealer as a true connoisseur and the spirit of Cork Street as cultural hub of the London art world, can happen again”.

The gallery opens with a solo show of new work by Sheila Hicks. The legendary 88-year-old USA born artist, who has resided in Paris for several decades, was the subject of a recent major retrospective at The Hepworth Wakefield, UK. Jacques will conclude the year with an exhibition of iconic 20th century American artist Robert Mapplethorpe, including work never previously exhibited. “I have been lucky enough to represent Robert Mapplethorpe in the UK since 1999 and it is fitting that our second show on Cork Street should be dedicated to his work, ahead of next year marking 25 years of collaboration with the Robert Mapplethorpe Foundation, New York”.

photo: © Hannah Starkey

“distilled through a dream” – the paintings of Gideon Appah

April 6, 2023

In Gideon Appah’s debut exhibition with Pace, and his first solo exhibition in the UK, the Ghanaian-born artist takes over all three rooms of the gallery’s London space in Hanover Square.

These new works show Appah continuing to explore and experiment with scale, form, colour, and composition. His striking bold and colorful paintings - otherworldly and with flattened perspective - confront the viewer, presenting stylised people, animals and locations in highly-painterly mise-en-scènes which have a distinctly mystical overtone, and an added background narrative of both African and universal folklore.

Drawing on both personal memories and his experiences of popular culture, Appah’s almost theatrical compositions at times seem to be representing actual situations, though ones distilled through a dream, and it has been said that his works cast the viewer as a voyeur, giving at times a palpable sense of “is this secret, should I be seeing this?”

The almost two-metre square Red Sun for example, features a scene that, while quotidian and familiar-feeling at first, quickly acquires more depth as the viewer contemplates Appah’s characteristically naked or nearly naked protagonists together with the strangely-coloured landscape they are both in and portrayed against. Working with the twin influences of imagination and memory what had seemed immediately understandable acquires an unfamiliar and ambiguous tilt.

Appah says that painting is an intuitive act, translating the self to the exterior world - “it scares me sometimes because I don’t know where that work is coming from”, he says. He works from sources including his own childhood, his family, newspaper clippings, music videos, cinema, and early ethnographic images, producing pieces that combine the contemporary within the historical and imbuing the paintings with a familiarity alongside an otherness, a “now” together with a general timelessness.

These large-scale works, with his combination of expressionist, saturated colors - blues, pinks, whites and greens - alongside loose, gestural, rough brushstrokes, give both an immediate urgency and a comforting reassurance to his work.

The exhibition Gideon Appah: How to Say Sorry in a Thousand Lights is at Pace, London until April 15.

Gideon Appah: born Ghana 1987, where he continues to live and work.

Born in Accra, Ghana in 1987, Gideon Appah received his Bachelor of Fine Arts at The Kwame Nkrumah University of Science and Technology in Kumasi, Ghana in 2012. After graduating with a BFA in Painting, Appah held his first exhibition in Ghana, including his first solo exhibition at the Goethe Institute in Accra in 2013. Other important exhibitions of his work include Gideon Appah: Forgotten, Nudes, Landscapes, Institute for Contemporary Art at University of Commonwealth Virginia, Richmond (2022); Blue Boys Blues, Mitchell-Innes & Nash, New York (2020); Orderly Disorderly, Ghana Science Museum, Accra (2017); Clay Objects (Past and Present Aesthetics), Nubuke Foundation, Accra (2013); and End of Year Exhibition, K.N.U.S.T Museum, Kumasi, Ghana (2012). In 2015, he was chosen as one of the top ten finalists for the Kuenyehia Art Prize for Contemporary Ghanaian Arts. That same year he became the first international artist to win the 1st Merit Prize Award at the Barclays L’Atelier Art Competition, which was held in Johannesburg. This awarded him a three-month artist residency at the Bag Factory Studios (2016) and a solo show at the Absa Gallery (2017), both in Johannesburg, South Africa. His work is held in public collections worldwide including Absa Museum, Johannesburg; Musée d'Art Contemporain Africain Al Maaden, Marrakesh, Morocco; and Royal Ontario Museum, Toronto, Canada.

Hauser & Wirth announces details of 2023 partnership with Hospital Rooms

This year, Hospital Rooms and Hauser & Wirth continue their partnership through a series of initiatives that further expand Hospital Rooms’ impact.

The 2023 initiative will begin with a major exhibition, ‘Holding Space,’ at Hauser & Wirth London, featuring artist Sutapa Biswas and many others, on view from 17 August to 12 September. The exhibition will culminate in the ‘Hold Me Auction’ at Bonhams on 12 September, followed by an open-air exhibition at Granary Square, King’s Cross for World Mental Health Day on 10 October, featuring artists Hurvin Anderson, Yinka Ilori and Alvin Kofi.

These initiatives will raise funds to support three ambitious new projects which will transform NHS mental health setting across the UK, including Sandwell Children and Adolescent Mental Health Services, Black Country Healthcare NHS Foundation Trust; Rivers Centre Acute Units at Hellesdon Hospital, Norfolk and Suffolk NHS Foundation Trust, and Bodmin and Redruth Hospitals, Cornwall Partnership Foundation Trust.

Neil Wenman, Partner, Hauser & Wirth:
“As long-time supporters of Hospital Rooms, we have witnessed first-hand the extraordinary impact of their work in changing lives across NHS mental health inpatient units across the country. Embarking on our second year of a three- year partnership, I am thrilled to champion another programme of activities and fundraising that we know will help bring hope and courage, especially to young people in mental health services in the UK.”

Tim A Shaw, Co-Founder, Hospital Rooms:
“Since first coming up with the idea of Hospital Rooms, we have believed that every person in a mental health unit deserves to experience extraordinary artwork, and to have the freedom to express themselves. The projects we have planned for the next year, taking place in Norwich, Sandwell and Cornwall will mean that we will be collaborating with more artists, NHS staff and mental health service users, than ever before. In partnership with Hauser & Wirth, we will be able to draw attention to the work of Hospital Rooms, address the challenges of rethinking the way mental health units look and feel, and bring about drastic change, transforming what can often be clinical environments into spaces that provide joy and dignity, stimulate and heal.”

Hospital Rooms is an award winning arts and mental health charity that was founded when a friend of artist Tim A Shaw and curator Niamh White was sectioned under the Mental Health Act and the unit she was required to stay in was squalid, dilapidated and devoid of any sense of imagination or creativity.

Sutapa Biswas, All around me my gathered star, 2023, Springfield Hospital. Photographer: Damian Griffiths

William Kentridge wins Outstanding Achievement in Opera award

April 5, 2023

In this year’s Olivier Awards, presented at the Royal Albert Hall in London, William Kentridge was awarded Outstanding Achievement in Opera for the conception and direction of his piece “Waiting for the Sibyl” at Barbican.

The Barbican Theatre in London staged a three night only presentation in April 2022 that included Kentridge’s chamber opera as well as an accompanied short film by the artist.

Kentridge is an artist known for his prints, drawings and animated films. The works shown at Barbican were created in collaboration with choral composer and performer Nhlanhla Mahlangu and composer Kyle Shepherd - one of South Africa’s leading pianists

Xie Nanxing nominated for Sigg Prize 2023

April 3, 2023

Petzel is pleased to announce that Xie Nanxing is shortlisted for Sigg Prize 2023.

Xie Nanxing (b. 1970, Chongqing, China) currently splits his time between Beijing and Chengdu. He is a radical experimental painter who challenges the traditions and conventions of painting taught within art schools. He is interested in psychology and often turns to investigative psychology to question the true nature of things in his practice.

Nanxing has exhibited widely internationally with solo exhibitions at Petzel (2022), Galerie Urs Meile (2020, 2015, 2008); Thomas Dane Gallery (2019); Ullens Center for Contemporary Art, Beijing (2018); Kunstverein Hamburger Bahnhof (2005); Manchester Art Gallery (2003); and Pulitzer Gallery, Amsterdam (1998). Recent and notable group exhibitions include: Beijing Bienniale (2022); Art Museum of Sichuan Fine Arts Institute, Chongqing, China (2021); Song Art Museum, Beijing (2020); Hive Center For Contemporary Art, Beijing (2020); The Warehouse Dallas (2020); Württembergischer Kunstverein Stuttgart (2019); MAK Museum für Angewandte Kunst, Vienna (2019); Casa Cavazzini, Italy (2017); Red Brick Art Museum, Beijing (2016); Museum of Contemporary Art Chengdu (2016); Today Art Museum, Beijing (2106); Shanghai 21st Century Minsheng Art Museum (2015); OCT Contemporary Art Terminal (OCAT), Shenzhen (2014); Gerhard Richter and the Disappearance of the Image in Contemporary Art, Centro di Cultura Contemporanea Strozzina (CCCS), Palazzo Strozzi, Florence, Italy (2010); Painting on the Move, Kunsthalle Basel, Basel, Switzerland (2002); Documenta XII, Kassel, Germany (2007); and d’APERTutto, La Biennale di Venezia, 48. Esposizione Internationale d’Arte, Venice, Italy (1999).

Sigg Prize 2023 will showcase the works of six shortlisted artists for the award. Open to artists born or working in the Greater China region, the award recognizes important artistic practices in the region and aims to highlight and promote diverse works on an international scale. This exhibition is the second edition of the prize, which will present a wide range of mediums, including painting, sculpture, video, and installation. Through the works, the artists demonstrate their unique visions and approaches to current urgent contemporary issues, fostering the cultural dialogues emerging from the region in response to a critical transitional period of the world.

photo: Fan Xi

“Limits” is a relative term

March 28, 2023

Chris Burden, The TV Commercials 1973-1977 © Chris Burden/ARS/EAI

One of Hans Ulrich Obrist’s favourite questions when interviewing artists is to ask about any “unrealized projects” they may have - it is a great way of allowing the artist to look out to the whole realm of possibilities without any practicalities intruding into the creative process. Unrealized work has also been an enduring fascination when it comes to artists who are no longer with us - what could they have done, what would they have done if they could, where would they have taken us?

The American artist Chris Burden was the first person to be represented by Larry Gagosian. Burden was known, especially in his early work, for pieces that involved direct physical danger and highly political, boundary-pushing performances. As he moved more into installations he retained both of these facets and continued to produce work that could be as controversial as it was influential.

The gallery has published a book “Poetic Practical: The Unrealized Work of Chris Burden” which details over sixty of his uncompleted projects, stretching across many disciplines since, as Burden said himself “much of my art has dealt with energy, systems of transportation, architecture, and power”. For an artist whose realised works included him being shot (literally, with a rifle), in Shoot (1971), and engineering a flying steamroller, The Flying Steamroller (1996), the idea of where his imagination could have taken us is especially beguiling - and the book includes facsimiles from Burden’s notebooks alongside many of his reference photographs to take us on highly detailed proposals from an artist who would never let practical considerations impinge on his creative drive.

The book will be the subject of a discussion at the gallery’s bookshop in Burlington Arcade, London, on April 4 at 7pm, where Vicky Richardson, head of architecture at the Royal Academy of Arts and Yayoi Shionoiri, executive director of the Burden estate, will discuss how Burden challenged the lines between art and architecture as well as his continuing influence on the wider art world.

The exhibition Chris Burden: Cross Communication is at the gallery’s Park & 75 space in New York until April 29.

Chris Burden was an American artist who gained international recognition for his thought-provoking and boundary-pushing performances and installations. Born in Boston in 1946, Burden studied arts, physics and architecture at Pomona College in California and went on to do his MFA at the University of California.

Burden’s early work was characterized by performances which often involved putting his body in danger, exploring the limits of physical endurance and the relationship between the performer and the audience. One of his most (in)famous pieces from the time was “Shoot” (1971) where Burden’s friend shot him in the arm from a distance of about fifteen feet with a .22 caliber rifle.

In the years that followed, Burden continued to push the boundaries of performance art with works such as “Trans-fixed” (1974), where he was crucified by being nailed to the back of a Volkswagen Beetle, and “Through the Night Softly” (1973) which he described as “holding my hands behind my back, I crawled through 50 feet of broken glass. There were very few spectators, most of them passersby”.

In the late 1970s and early 1980s, Burden’s focus shifted to installations, which often incorporated large-scale machinery and industrial materials, such as “The Big Wheel” (1979) where a large, circular platform is spun at high speed, driven by a motorcycle.

Burden’s work often engaged with larger social and political issues, and many of his performances and installations were explicitly political in nature. He continued to create challenging and provocative works throughout his career up to his death in 2015, and remains a highly respected figure in the art world.


Zadie Xa joins Thaddaeus Ropac

March 20, 2023

Thaddaeus Ropac is delighted to welcome Zadie Xa to the gallery and will represent her globally. Her first solo exhibition will be in the Paris Marais gallery in March 2024. Her work was featured in the Seoul gallery earlier this year as part of the group show Myths of Our Time, and her largest solo exhibition in London to date is currently on view at Whitechapel Gallery until the end of April. This July, Space K Seoul will open a solo exhibition of her work, which will be on view until 12 October 2023.

Zadie Xa is an incredibly dynamic artist who combines materials and mediums in an experimental and progressive way. Her distinctive voice questions how we form our identity, bringing diverse motifs and imagery into dialogue across her wide-ranging practice. — Thaddaeus Ropac

Korean-Canadian and now living in London, Xa has developed an expansive practice that investigates the nature of diasporic identities, global histories, familial legacies and interspecies communication. She explores these themes through immersive installations that appeal to the sensory experience of the viewer, often incorporating painting, sculpture, textile, sound and performance elements. Embracing a highly collaborative mode of working, she has developed ongoing exchanges with dancers and musicians, and has worked closely with the artist Benito Mayor Vallejo since 2006.

Zadie Xa takes inspiration from diverse global references: from the history of art and craft, to speculative fiction, pop culture, music, fashion and her own Korean heritage. Korean folklore and mythology, in particular, offer rich visual and narrative traditions that inform her interdisciplinary practice, providing her projects with a ‘skeleton or backbone’ which, she explains, allows her to ‘create points of linking myself to other artists and a timeline in history.’

Narrative storytelling is a way in which I’m able to enter different worlds and think about what’s happening within the sociopolitical contemporaneously to me. My work is pushing back against that monolithic idea of what the centrepoint of culture is. — Zadie Xa

photo: Artifact

Almine Rech now represents Joël Andrianomearisoa

March 16, 2023

Almine Rech is pleased to announce the representation of Malagasy-French artist Joël Andrianomearisoa in France, Belgium, UK, Shanghai and New York. The gallery will feature his work in Art Brussels 2023 and in a solo exhibition at Almine Rech Paris in 2024.

Joël Andrianomearisoa's work fits into the gallery's program in an original way in relation to other artists already represented, particularly those using textiles and weaving, all while enriching a chapter of the contemporary art landscape that the program seeks to address.

These creative materials were used, although not very much, at the beginning of the 20th century, only to be abandoned for some time. Today they are once again growing in prominence due to a desire on the part of artists to intervene manually with materials linked to the richness of craftsmanship. It represents the desire and sensual pleasure attached to a renewal in continuity of the history of civilizations, as well as a protective reaction to technology and the virtual.
Joël Andrianomearisoa trained as an architect at the École Spéciale d'Architecture; he also sculpts, paints and draws abstract landscapes of wild grasses and reeds, themes that are aligned to his work with these natural elements.

– Almine Rech

Yes I am hungry for time, at times fragile or melancholic, a kiss or a caress,
in color or at night, sometimes flowers, sometimes steel, sometimes cloth, sometimes paper...
but above all, I am eager for a world in all its forms with all its possible forms.
A world poem to materialize every emotion.
An exercise through time, our time, our space, and the multiple geographies of our hearts and the land.
Starting with two vital concepts, that of matter and desire ... to infinity.

– Joël Andrianomearisoa

photo: Nicolas Brasseur

Pace welcomes Yoo Youngkuk

Pace has announced international representation of the Yoo Youngkuk Estate. The artist will make his debut with the gallery at the 2023 edition of Art Basel Hong Kong, where his 1974 painting Work will feature in the gallery’s booth.

Throughout his nearly seven-decade career, Yoo founded several vital artistic groups in Japan and Korea that blazed a trail for generations of avant-garde artists. A pioneer of geometric abstract painting, his distinctive visual lexicon is characterized by bold color fields and an expressive application of paint. At the core of Yoo’s practice is a steadfast and passionate engagement with the distillation of painterly forms as a means of investigating his deeply personal relationship to nature.

Working in close collaboration to build upon the artist’s established legacy, the Seoul-based PKM Gallery will represent the estate in Korea, and Pace will represent the estate on an international basis.

Yoo’s first solo exhibition outside of Korea will take place at Pace’s flagship gallery in New York in Fall 2023.

portrait of Yoo Youngkuk, 1980s © Yoo Youngkuk Art Foundation

Phyllida Barlow, 1944-2023

March 14, 2023

For almost 60 years, British artist Phyllida Barlow took inspiration from her surroundings to create imposing installations that can be at once menacing and playful. She created large-scale yet anti-monumental sculptures from inexpensive, low-grade materials such as cardboard, fabric, plywood, polystyrene, scrim, plaster and cement. These constructions were often painted in industrial or vibrant colors, the seams of their construction left at times visible, revealing the means of their making.

Barlow’s restless invented forms stretch the limits of mass, volume and height as they block, straddle and balance precariously. The audience is challenged into a new relationship with the sculptural object, the gallery environment and the world beyond.

‘There’s something about walking around sculpture that has the possibility of being reflective, like walking through a landscape,’ Barlow has said. ‘The largeness of sculpture has that infinite possibility to make one engage beyond just the object itself and into other realms of experience.’

Barlow exhibited extensively across institutions internationally and in 2017 represented Britain at the Venice Biennale.

photo: Ruth Clark

Taka Ishii Gallery announces the opening of a new space in Hong Kong

Opening on Saturday 18 March, the new viewing space will be dedicated to exhibiting works that represent the gallery program of contemporary art rooted in the photographic. Since its founding in 1994, Taka Ishii Gallery has organized exhibitions and publication projects with the objectives of presenting international contemporary artists domestically and acting as a platform for emerging and established Japanese artists. In 2018, the gallery set down roots in Hong Kong with the launch of SHOP Taka Ishii Gallery, an experimental art space.

The reborn Hong Kong space will periodically host exhibitions and curated programs, bringing to viewers the work of international artists whose practices transcend existing frameworks of contemporary art.

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