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Perrotin to open London gallery in early 2025
October 1, 2024
Perrotin gallery is delighted to announce the opening of Perrotin London in early 2025.
Situated in the heart of Mayfair, the gallery features 350 m2 of completely refurbished space in Claridge’s, a true British landmark. Perrotin is thrilled to be setting up its first London space in this vibrant and historic neighborhood. Located on Brook’s Mews, the gallery will be next to Claridge’s ArtSpace Café.
Perrotin London will offer a program created together with its artists to coincide with the city’s major cultural events, such as Frieze London, where the gallery has participated since 2004. For the 2024 edition, the gallery will present works by British sculptor Lynn Chadwick, whose Estate recently joined the gallery.
“It’s important to have a gallery in the British capital. We have a long-standing relationship with the UK art scene and collectors. I’ve been waiting for the opportunity to set up the gallery in the right conditions. I’m delighted to offer our artists a new exhibition platform and new projects in such a prestigious environment. This space was inaugurated in 2021 with a Damien Hirst exhibition organized by Claridge’s. As it happens, I organized Damien Hirst’s first two commercial exhibitions in 1990 (with a group show) and in 1991 (with a solo show) in my first Parisian space. At the exhibition opening in 1991, Frieze magazine launched its first issue, and Damien’s work was featured on the cover. It was an exceptional moment in my career. I look forward to coming full circle!” - Emmanuel Perrotin
Alison Jacques announces representation of Sagarika Sundaram
September 27, 2024
Sagarika Sundaram (b.1986, Kolkata, India; lives and works in New York, US) describes her process as one of transformation: ‘There’s an alchemy to it,’ she says of her work. ‘It changes in its final form.’ This sense of transformation and ‘alchemy’ has been a central theme throughout Sundaram’s career, where she uses wool, silk, and dyes to create textile sculptures, reliefs, and installations. These works bridge the bodily and the botanical, using the materiality of wool to explore internal, external, and imagined landscapes.
After working in graphic design for a decade, Sundaram pursued an MFA at Parsons School of Design, New York, following her degree in Visual Communication from the National Institute of Design, Ahmedabad. Each element in her work—wool, silk, dye—is chosen for its distinct textural qualities, which contribute to the polyphonic nature of her compositions. Her use of felt, an ancient textile form originating in Central Asia, is especially important. Treated entirely by hand, the material holds deep geographic histories while its pliability enables Sundaram to explore the potential of material as a form of thought.
In her studio, Sundaram approaches wool as if sketching, layering fibres like cross-hatching to create a mesh. Her process is intuitive; the work’s anatomy reveals itself only as layers of unruly colour interact and evolve. Stretched and coiled, her unfolding forms explore the intersections between human and natural worlds, challenging the notion that the two can be separated. As Sundaram puts it, ‘By the time things are humming along, the ending makes itself obvious—the work is complete when I can feel it talking to me.’
Sundaram made her solo debut at Palo Gallery, New York (2023), and has participated in group exhibitions at the Bronx Museum (2024) and the Al Held Foundation & River Valley Arts Collective (2023). Her upcoming solo show will be at Nature Morte Gallery, New Delhi (2025), and her work will be featured in the UBS VIP Lounge at Art Basel Miami Beach (2024).
Sundaram’s first solo exhibition with Alison Jacques will take place in Autumn 2025.
photo © Anita Goes
Roberts Projects announces representation of Wendy Red Star
September 24, 2024
Roberts Projects has announced representation of Wendy Red Star (Baaeétitchish – Does Things Well), following the gallery’s first solo exhibition of Red Star’s work – Bíikkua (The Hide Scraper) – this past August.
Wendy Red Star, of the Piegan clan and from the district of Pryor, engages in a multidisciplinary artistic practice grounded in the history and cultural knowledge of the Apsáalooke (Crow) people. Raised on the Crow reservation in Montana, her work reflects her deep connection to her community, culture, and land.
Red Star’s art recontextualizes United States history through a Crow lens, often challenging colonial narratives while elevating Crow experiences, traditions and stories. Through photography, sculpture, video, fiber arts and performance, Red Star’s work emphasizes the importance of Apsáalooke cultural practices and knowledge transmission, especially within her own family and community. Her rigorous research and focus on archival materials allows her to bring forward underrepresented aspects of Apsáalooke history, often intertwining wit and critical insight to challenge dominant narratives.
“This foundation is the main source for the inspiration behind all the work that I create… where I come from, the community that I’m from, the culture that I grew up in, the land that has molded my experience,” says Red Star, who sees her artistic practice as inseparable from her Apsáalooke identity. Additionally, Red Star’s work foregrounds the importance of amplifying Native women’s voices in the discourse of contemporary art.
photo: Paul Salveson
Timothy Taylor now represents Alice Tippit
September 18, 2024
Timothy Taylor has announced the representation of Alice Tippit. The Chicago-based artist will continue to be represented by Nicelle Beauchene in New York and Patron in Chicago.
In her canny, hard-edged paintings, Tippit plays with colour, shape, repetition, symmetry, figure, and ground to create images whose meaning remains unfixed. She paints vibrant, minimal arrangements of geometries and forms drawn from the art historical traditions of portraiture, still life, and landscape, including flora and fauna as well as architectural and pastoral elements. Tippit’s work suggests the expansive worlds of desire and identification that underlie how meaning is made.
The gallery will present a solo exhibition of new works by the artist next month at the ADAA’s The Art Show in New York.
photo: Evan Jenkins
New Fourth Plinth Commission by Teresa Margolles unveiled
On 18 September 2024, the new Fourth Plinth Commission Mil Veces un Instante (A thousand times in an Instant) by Teresa Margolles was unveiled on the Fourth Plinth.
Mil Veces un Instante is made up of plaster casts of the faces of 726 transexual, non-binary, and gender non-conforming people. The casts were made in Mexico City and Juárez, Mexico; and London. She worked closely with community groups across Mexico and the UK including Micro Rainbow and QUEERCIRCLE. The casts have been created by applying plaster directly onto the faces of participants, meaning that as well as recording their features the plaster is infused with their hair and skin cells.
Audience Survey Draw Winner!
September 17, 2024
We are delighted to announce a winner of the draw from our recent GalleriesNow Audience Survey.
Out of over 400 entries, a winner has been selected at random and sent a code to redeem their £100 GalleriesNow voucher.
We extend our heartfelt thanks to everyone who took the time to share their insights - your feedback is crucial in helping us refine and enhance the platform, and making more art accessible to more people.
We are using the valuable input to develop and implement enhanced features designed to improve your overall experience. Exciting updates are on the horizon so please stay tuned for announcements about the new features.
Congratulations again to our winner (who wishes to stay anonymous), and thank you all for contributing!
David Lewis joins Hauser & Wirth as Senior Director
September 13, 2024
Hauser & Wirth has announced that David Lewis has joined the gallery as a Senior Director in New York City. Lewis comes to Hauser & Wirth after having run his own eponymous gallery for over a decade, with a first location on Eldridge Street on the Lower East Side and a subsequent space on Walker Street in Tribeca. David Lewis Gallery attracted critical praise for its rigorous program focused equally on solo presentations showcasing emerging artists and incisive theory-driven group exhibitions, and for revising the canon via thoughtful attention to under-recognized older artists and historical figures. Prominent among those Lewis has championed are pioneering feminist artist Mary Beth Edelson (1933 – 2021) and celebrated Alabama-based expressionist painter and sculptor Thornton Dial (1928 – 2016).
Lewis is widely admired for his scholarly and sensitive approach to modern and contemporary cultural narratives, and his fresh interpretations of them. For example, with the exhibition ‘Dial / Hammons / Rauschenberg,’ Lewis was first to show Dial, an autodidact and product of the Jim Crow South, in context with famous art titans, proposing the trio as true peers. A specialist in the oeuvre of Francis Picabia (1879 – 1953), Lewis presented ‘Everyone Loves Picabia’ in 2023. Effectively recapping the conversations that had informed his gallery’s ethos and programming over the years, this show promulgated the value of seeking and sharing new connections between emerging and historical art.
Before opening the gallery in 2013, David Lewis lived and worked in Paris, where he completed a Ph.D. from The Graduate Center, CUNY, on the career of Francis Picabia, titled ‘Francis Picabia and the Problem of Nihilism.’ While in Europe, he contributed regularly to prominent international art magazines such as Artforum and Frieze, and published extensively, including essays on Philip Guston, Henri Matisse and Sturtevant, among many others.
photo: Axel Dupeux
Alan Vaughan awarded 2024 David and Yuko Juda Art Foundation Grant
September 12, 2024
The David and Yuko Juda Art Foundation Grant awards £50,000 to give artists the freedom to concentrate on their practice. Peter Doig curated this year’s shortlist - Tim Allen, Jai Chuhan, David Harrison, Tam Joseph, Gavin Lockheart, Kaoli Mashio, and Alan Vaughan.
The 2024 grant recipient was announced yesterday as Alan Vaughan.
Vaughan is based in the UK and Trinidad. His creative energies derive from “Moko Jumbie”, the stilt-walker spirits which followed the slave ships across the Atlantic to the New World. These towering figures appear at important events such as funerals and ceremonial processions and are integral to Trinidad Carnival.
Vaughan’s practice revolves around creating ritual performances, “Mas”, through the construction of highly distinct costumes and narrative masquerades, which he has described as becoming “living paintings or sculptures”.
An exhibition of all the shortlisted artists is at Annely Juda Fine Art, 23 Dering Street, London until 20 September - click here for more information.
The David and Yuko Juda Art Foundation charity was set up in 2017 and this is the sixth year the grant has been awarded. This curator of the grant for 2024 who nominated the seven shortlisted artists was leading Scottish artist Peter Doig.
photo (left to right): David Juda, Alan Vaughan, Peter Doig, Yuko Shiraishi
Rebecca Horn, 24 Mar 1944 – 6 Sep 2024
September 9, 2024
Sean Kelly Gallery has announced the death of Rebecca Horn, one of the most important German artists, at the age of 80.
Since the beginning of the 1970s Horn’s oeuvre constituted an ever-growing flow of performances, films, sculptures, spatial installations, drawings, and photographs. The essence of their imagery came out of the tremendous precision of the physical and technical functionality she used to stage her works each time within a particular space.
Horn’s diverse body of work was bound together by a consistency in logic; each new work appears to develop stringently from the preceding one. In her first performances, the body-extensions, Horn explored the equilibrium between body and space - performing with body extensions, masks, and feather objects. This was followed by kinetic sculptures and large, site-specific installations to honor places charged with political and historical importance. The objects used in the sculptures - violins, suitcases, batons, ladders, pianos, feather fans, and metronomes - moved beyond their defined materiality and were continuously transposed into ever-changing metaphors touching on mythical, historical, literary, and spiritual imagery. Each of Horn’s installations was a step towards breaking down the boundaries of space and time completely, offering glimpses of a materially liberated universe.
David Zwirner announces co-representation of Sasha Gordon with Matthew Brown
September 5, 2024
David Zwirner is pleased to announce the co-representation of New York–based painter Sasha Gordon with Matthew Brown. David Zwirner will debut a new painting by Gordon at Frieze London, and a solo exhibition of the artist’s work will be on view in September 2025 at the gallery’s 19th Street location in New York.
In her luminous and hyperrealistic paintings, Gordon often renders her own likeness, conveying the self and its many guises through translucent layers of oils in electric hues. Executed with technical precision and rigor, the artist’s visceral compositions treat her own corporeal form as a kind of unorthodox avatar that communicates subjective, psychological experience. Gordon lets her surreal narratives unfold intuitively on the canvas, depicting bodies in sometimes absurd, darkly humorous scenarios or disorienting spatial compositions and portraying faces that translate a range of feelings. In illuminating detail, she reimagines fragments extracted from her inner life while boldly envisioning worlds within worlds that bear uncanny resemblance to our own. Complicating the genre of self-portraiture and engaging the canon of art history, her work expresses multiple psychic registers at once, addressing viewers with a candor that is both familiar and unsettling in its intimacy.
Sasha Gordon was born in Somers, New York, in 1998. She received a BA from the Rhode Island School of Design, Providence, in 2020.
photo: Jason Schmidt
NıCOLETTı moves to new space in London’s Shoreditch
September 4, 2024
On 19 September 2024 Nicoletti opens its space at 91 Paul Street in London’s Shoreditch with a solo show by French artist Tarek Lakhrissi.
Combining poetry, film, sculpture and installation, Lakhrissi’s transdisciplinary practice centres on queer and diasporic perspectives and experiences. His installations borrow their aesthetics from literature and pop culture, often using autofiction – the interfusion of a biographical report with fictional elements – to discuss socio-political narratives.
In October 2024 the gallery will participate in Frieze’s Focus section for the third year in a row, with a solo booth by young Togolese-British artist Divine Southgate-Smith.
Built in 1899, the 1,279 sq ft converted Victorian warehouse on Paul Street will enable the gallery to expand their activities across two galleries: a large space for the main exhibition programme and a smaller one for experimental programming and special projects. The gallery is excited to be working with JAM, a group of architects formed by Adam Willis and Joe Halligan, co-founders of the Turner Prize-winning collective, Assemble.
Founder Oswaldo Nicoletti and Director Camille Houzé: “After 5 years operating from Hackney’s Vyner Street, where we were the only gallery to reopen after the pandemic, we wanted to bring new energy to our activity. Moving to Shoreditch will make the gallery more accessible to clients living in Central and West London while allowing us to stay true to our identity as an East London gallery – and to the community we have built over the years. Paul Street occupies an interesting position in the area, a walking distance from institutions like the Barbican and Raven Row, as well as from a dynamic pool of galleries such as Emalin, Hales, Kate MacGarry, and Modern Art on Helmet Row. We are also excited to work in a larger space, where the architects from JAM did a fantastic work to highlight the original features of this 19th Century Victorian warehouse. There, in addition to the main gallery space, we’ve been able to create a comfortable office and viewing room to welcome our clients, and an additional space dedicated to showing experimental projects and younger artists.”
photo: Jack Elliot Edwards
Lee Kang-So joins Thaddaeus Ropac
September 3, 2024
Thaddaeus Ropac announces the international representation of Korean painter and sculptor Lee Kang-So (b.1943, Daegu).
Recognised as one of Korea’s foremost contemporary artists, since the 1970s Lee has worked across photography, painting, printmaking, sculpture, installation and performance, profoundly shaping the evolution of Korean contemporary art. From the early decades of his career, he formulated an experimental practice that developed alongside the legacies of other avant-garde movements, including Mono-ha in Japan, Korean Experimental Art, Minimalism in the United States and Arte Povera in Italy.
“Lee Kang-So's approach to artmaking draws on traditional East Asian philosophical and aesthetic principles with a singularly intuitive approach. From his earliest groundbreaking performances in the 1970s through to his current practice, he has established a new visual lexicon to interrogate the very praxes of painting and sculpture.” - Thaddaeus Ropac
The gallery’s first solo exhibition of his work will be presented in spring 2025 in the Seoul gallery.
Lee Kang-So began his career staging avant-garde performances and installations, and his international reputation was cemented at the 9th Paris Biennale in 1975 when he tethered a live chicken within a chalk circle: the traces of its white dusty footprints conceived as a form of mark-making that transcended the autonomy of the artist.
Since the 1980s Lee has directed his attention to the brushstroke, fusing traditional and modern forms, working on canvas instead of rice paper and with paint instead of ink. Densely layered horizontal and vertical daubs of paint give way to sparse articulations of birds, deer, boats, mountains and houses. Elsewhere, expressive, pared-back monochromatic compositions of enlarged strokes evoke calligraphy and East Asian literati landscape traditions, while simultaneously gesturing to the aesthetics of Western minimalism.
Fundamentally driven by a deep sensitivity to his materials, Lee responds to their physical qualities to facilitate ‘coincidences’ rather than fixed, predetermined forms. Lumps of clay are thrown into the air and shaped by gravitational force, while ceramic sculptures find their form through processes of stacking and collapse. From 2010, the artist embarked on his ongoing series of Serenity paintings in which brushstrokes are directed by the rhythms of his breathing patterns, bodily sensations and qi or flow of vital energy as it is conceived in East Asian philosophy.
“Lee’s main interest is the issue of representation. He juxtaposes and compares a number of visual languages, which range from photography, that undeniably definitive and mechanical method of representation, to a pencil drawing that seems to pass by swiftly ... He is an artist who experiments with everything without leaving any hypothesis out.” - Philippe Dagen, art critic
photo: Parh Chan Woo © Lee Kang-So/Lee Kang So Zagupsil
Mai 36 Galerie announces representation of Jacopo Benassi
August 29, 2024
Mai 36 Galerie in Zürich announces the representation of Italian artist Jacopo Benassi.
Benassi began exploring photography in the 1980s, initially through environments connected to underground music. Over time, his work expanded to encompass portraits and self-portraits, performances, painting, nature, and the fashion industry. Throughout his career, he has consistently maintained a deeply intimate and introspective approach to photography.
Benassi’s work has progressively evolved from photography to painting, performance and sculpture. His photographic work, developed on the basis of the contrast between the underlying darkness and the light of the flash, set off pitilessly on every subject, has momentarily chosen the non-visible part of things as its location of choice and for concealment, with what remains guarded or imprisoned between one frame and the next, between one image and the next, what can only be imagined or desired.
Victoria Siddall appointed new Director of the National Portrait Gallery, London
August 28, 2024
Victoria Siddall’s appointment as Director of the National Portrait Gallery, London, was announced Wednesday, 28 August 2024.
The appointment, made by the National Portrait Gallery’s Board of Trustees, was approved by the Prime Minister, and Siddall will take up the post in Autumn 2024.
Victoria Siddall has over 20 years’ experience of leadership positions in the art world, both in the public and private sectors. Most recently, she co-founded Gallery Climate Coalition and Murmur, two charities that drive environmental responsibility in the art and music sectors, and or the past two years she has also worked with Tate in a strategic advisory capacity. Victoria was previously Global Director of Frieze, founding Frieze Masters and then leading four international art fairs across London, New York and Los Angeles. After securing the launch of Frieze Seoul, she became a non-executive Director of Frieze in March 2022.
Victoria is a trustee of Gallery Climate Coalition and the Ampersand Foundation and was until recently a trustee of the National Portrait Gallery. As Chair of the Board of Studio Voltaire she guided the organisation through a successful capital redevelopment campaign, greatly increasing the space dedicated to artist studios and public programmes. Other voluntary work has included securing a series of auction donations, which raised over $6.5m for the environmental charity ClientEarth.
The appointment of the Gallery’s thirteenth Director follows the departure of previous post-holder, Dr Nicholas Cullinan OBE, who left the Gallery to become Director of the British Museum in June 2024, and Victoria Siddall will take over from Interim Director Michael Elliott.
David Ross, Chairman of the Trustees of the National Portrait Gallery, London, says: “I am delighted to welcome Victoria Siddall as the new Director of the National Portrait Gallery. Her strengths as a cultural leader are considerable, as is her knowledge of the art world, understanding of audiences and international profile. I know that she has the vision and determination to build on our recent successes and lead the next stage of the Gallery’s development, and I greatly look forward to working with her.”
Victoria Siddall said: “I’m truly honoured to have the opportunity to lead the National Portrait Gallery, a museum that holds the world’s greatest collection of portraits and is unique in being about people and for people. The art within its walls tells stories of human achievement and what unites us as a society, inspiring and shaping our view of the world and our place in it. This is perhaps the most exciting time in the NPG’s history, following the recent reopening and Inspiring People project that the team delivered so flawlessly under Nicholas Cullinan’s leadership.”
And Secretary of State for Culture, Media and Sport Lisa Nandy said: “Victoria Siddall will bring a wealth of experience to this role and I am delighted that the National Portrait Gallery is making history by appointing its first female Director. Her leadership will lead the Gallery from strength to strength, building on their successful reopening last year and I am excited to see what she and the National Portrait Gallery team will have in store for us in the coming years.”
photo: Benjamin McMahon
Pedro Ruiz joins Nohra Haime Gallery
August 6, 2024
The Nohra Haime Gallery has announced the newest addition to their roster of artists - Pedro Ruiz is a distinguished Colombian artist renowned for his profound exploration of conceptual painting and socio-political narratives within the context of Colombia.
Born in 1957, Ruiz embarked on his artistic journey at the École Nationale Supérieure des Beaux-Arts in Paris, where he immersed himself in the study of painting and printing. His formative years included invaluable experiences at Stanley William Hayter's Atelier 17, refining his craft and deepening his artistic vision.
Returning to Bogota, Ruiz’s career evolved through collaborations with the advertising agency McCann Erickson, where he rose to become the company’s Artistic Director. His contributions earned international acclaim, garnering numerous awards at prestigious festivals.
Ruiz's work is a masterful blend of emotional depth and spiritual introspection, intricately woven with Colombia's rich ecological diversity. His meticulous approach to depicting the country’s flora and fauna reflects a profound commitment to authenticity, drawing inspiration from extensive research and reference materials.
Recognized with awards such as the Knight of the Order of Arts and Letters by the French government, Pedro Ruiz continues to captivate audiences globally. His comprehensive body of work was honored with a dedicated publication by Villegas Editors in 2011, with commentary by Colombian author William Ospina.
Ruiz's art unfolds as narratives where solitary figures drift in canoes among nature taking us to a magical kingdom devoid of superfluous elements, capturing the essence of the country's vibrant natural world.
An exhibition of his recent work will open on September 5th and run through October 26th, 2024.
Tolarno Galleries announces representation of Raymond Tan
August 2, 2024
Breaking away from the conventional notion of cakes as purely edible treats, Raymond Tan’s exhibition titled ‘A piece of …’ expands the horizons of creative expression by presenting cake sculptures designed not to be devoured but to be viewed as works of art.
Tan’s story begins in Selangor, where he spent his formative years before relocating to Australia in 2006 to pursue higher education. While completing a master’s degree in accounting, Tan discovered baking as a creative outlet.
His inventive bakes, including whimsical cake pops, intricately decorated fortune cookies, and stunning celebration cakes, quickly gained attention on Instagram.
Tan’s cake pops, featuring designs such as cacti, drippy watermelon, iconic landmarks and figures such as Anna Wintour and Karl Lagerfeld, became an internet sensation. His work was featured in Vogue, reposted by the Museum of Modern Art, New York, and highlighted in numerous other prestigious publications.
In 2019, following Melbourne’s first Covid lockdown, Tan founded Raya, a bakery on Little Collins Street, that has quickly become a beloved spot for locals and visitors alike. Raya is celebrated for its innovative cakes, which blend traditional techniques with contemporary twists, reflecting Tan’s artistic flair and global inspirations.
Raymond Tan’s journey from self-taught baker to a globally recognized culinary artist is a testament to his passion and creativity. Raya Bakery embodies his commitment to pushing the boundaries of baking and offering customers an extraordinary experience with every bite.
Imbued with creative freedom, ‘A piece of …’, his first exhibition at Tolarno Galleries, marks a new chapter in his story.
The exhibition continues until Saturday, 10th August, 2024.
photo: Christian Capurro
Galerie Barbara Thumm announces representation of Elyla
July 25, 2024
Galerie Barbara Thumm has announced the representation of the artist Elyla.
Elyla is a multi-disciplinary artist and activist working with video and photo performances, installations, experimental theatre, performative sculpture, and site-specific performance art interventions. Their name comes from the terms “him-and-she” in Spanish (El-y-la), reflecting their interest in recognizing gender as an apparatus of modernity that permeates life beyond the politics of the self or the colonial gender binary system. They are informed by Mesoamerican indigenous cultures and current social issues.
Elyla lives and works in Masaya, Nicaragua, and will pursue a Master of Arts at the Basel Academy of Art and Design FHNW in Switzerland in the Fall of 2024.
“I seek to propose a ‘cochona (queer) utopia’ that explores and holds the meaning of mestizaje, I recognize my cochoneidad (queerness) as my greatest access to my ancestry and my greatest anticolonial weapon. I aim to disrupt colonial hegemonic cultural narratives, to reclaim sexual dissidence as ancestral memory and knowledge.” - Elyla
Their first exhibition at the gallery will open on the 6th of September.
Pippy Houldsworth Gallery now represents Tamar Mason
July 19, 2024
Pippy Houldsworth Gallery is delighted to announce representation of South African artist Tamar Mason (b. 1966, Johannesburg), whose first solo exhibition with the gallery will take place from 15 November 2024 to 4 January 2025.
Mason works primarily in textiles, but is also known for her ceramics, prints and architectural commissions. Her choice of media, traditionally associated with women's work, ornament, and domesticity, confronts perceived divisions between art and craft, and allows Mason to integrate artistic practices more closely into daily life. Her work further explores the meeting of urban and rural, and historical and contemporary, while probing themes such as national identity, the environment, and motherhood. Mason draws on the geography and history of South Africa, incorporating personal experience and broader cultural narratives into her work.
Much of Mason’s work references rural areas of South Africa, places with rich historical and cultural significance but where basic government services are failing local communities. An enduring legacy of exploitation and suffering mars these neglected locales, which are adversely affected by climate change and ecological crises. In densely embroidered textiles, Mason explores the permanent record that societies leave on the land, in contrast to the transience of human lives on the planet. Through references to local narratives, archaeology, biodiversity, and topography, Mason considers the social memory of the landscape, memorialising tensions that are still felt today.
Tamar Mason lives and works in Mbombela, South Africa. She received a Fine Arts Diploma from the Scuola Lorenzo dei Medici, Florence (1987) and a BA from the University of South Africa (1993). Mason worked with rural women’s community projects from 1987 until 2002 on a project-to-project basis, teaching embroidery and business skills, before moving to focus on her own individual practice.
Galerie Eva Presenhuber announces representation of Liesl Raff
July 11, 2024
Vienna-based Liesl Raff's sculptures explore the nuances of physical and social interactions through a profound appreciation of diverse materials and persistent experimentation. Her work features a semiotics of materials that begins where words fail. Recently, she has used natural rubber to showcase its adaptable and shape-shifting properties. Standing near or within Raff's pieces, you experience a transition into a warm, cozy, and calm state, feeling a sense of dependability and safety. Her sculptures integrate seamlessly with their surroundings, promoting contact and interaction. Raff creates gathering spaces that encourage connections between people, her works, and their environment. Her art is about living with and learning from her materials, fostering engagement, and eliminating the distance between the work and the viewer.
“I have always been a fan of Liesl Raff's extraordinary sculptures, and I am thrilled that she has decided to join our gallery! Based in Vienna, she represents a vibrant and promising contemporary art scene that I have watched blossom over the past 40 years since I studied there. I look forward to Liesl's immersive and performative installations that will transform the Austrian Pavilion at the Gwangju Biennale in South Korea and the Lyon Biennale in France, both this September, as well as a solo show at our gallery in Zurich in early 2025” - Eva Presenhuber
In February 2025, a major solo exhibition will be presented at the gallery’s Maag Areal space in Zurich.
photo: Marcella Ruiz Cruz
NıCOLETTı to relocate to Shoreditch
July 4, 2024
NıCOLETTı is delighted to announce its relocation to a new gallery space in Shoreditch on 91 Paul Street, EC2A 4NY, opening in September 2024.
Established in May 2018, NıCOLETTı is a London-based gallery dedicated to supporting the development of emerging artists.
Committed to facilitating the research and production of critical discourses, the gallery’s exhibition programme investigates current and future socio-ecological paradigms, with a particular emphasis on exploring the intricate relationship between colonial history, ecology, and identity.
Alongside its gallery programme, NıCOLETTı curates VR exhibitions with artists using digital technology as a medium in their practice (NıCOLETTı DIGITAL), commissions sound works (NıCOLETTı AUDIO); and organises exhibitions and parties at The Glove That Fits, a techno club in East London.
