Frith Street Gallery

Last chance to see Polly Apfelbaum's 'Grey Scale I and II' (2015) in Woven Histories: Textiles and Modern Abstraction at the National Gallery of Art, Washington DC before it closes on 28 July.

In the Woven Histories: Textiles and Modern Abstraction exhibition catalogue, Lynne Cooke writes:

'In 'Grey Scale I and II' (2015, Polly Apfelbaum pays homages to the heritage of lost American weaves. As the ink from Apfelbaum's markers impregnated her sensuous, synthetic velvet, it imbued the geometric designs with an irregular pattern of dark and light accents. Accentuating that homemade effect, Apfelbaum presents these fabrics informally, casually draped on hooks on the wall. In so doing, she underlines their genealogies in class and craft histories, at odds with the constructivist Bauhaus-era vocabularies to which they might appear, on first glance, to nod.'

📍Polly Apfelbaum in Woven Histories: Textiles and Modern Abstraction | National Gallery of Art, NW, Washington DC until 28 July 2024

📷 Polly Apfelbaum, Grey Scale I and II, 2015

Now live: Moving Image Programme: Alliances 💫

Running in parallel with our Gallery Summer Show 'Alliances', we are delighted to present an online programme of moving image works by gallery artists.

In the spirit of 'Alliances' – an exhibition presenting pairs of works by different gallery artists – this online programme brings together pairs of moving image works.

Cornelia Parker's 'Killing Time' (2007) presents footage she filmed on four consecutive days at an unspecified location in America. It features a group of tourists waiting, watching with cameras, ready to capture a breathtaking event. They are full of anticipation, talking about something that they are sure is imminent, and thus the artist epitomises the agonising process of counting down seconds and minutes before a desired event takes place. In fact, the four split screens show visitors at Yellowstone National Park, Wyoming, waiting for the famed Old Faithful Geyser to erupt.

Bridget Smith's work of the same title documents the private, yet extraordinary world of a possum hunter living in the Urewara National Park. Revealing a world of personal fulfilment and obsession, the artist pushes the boundaries of her well-known photographic interiors, often devoid of human presence. Her memoirs of the daily rituals of her subject provide a personal insight into a space, or time otherwise left unrevealed.

📹 Cornelia Parker, Killing Time, 2007 and Bridget Smith, Killing Time, 2008 | available to view online until 4 August.

🔗 Link in bio to watch both works

📷 (1) Cornelia Parker, Killing Time, 2007 (film still) (2) Bridget Smith, Killing Time, 2008 (film still)

Alliances, a summer exhibition presents pairs of works by different gallery artists. The relationship can be related to media, it can be formal or purely visual.

Fiona Tan's 'Ascent from Nagaizumi' (2016) and John Riddy's 'Shin-Fuji (Dusk)' (2005) both capture Mount Fuji. Tan's print was inspired by her film 'Ascent' (2016). The film is a reflection on Mount Fuji's importance to the Japanese, and is both a study of its visual culture and a tribute to the history of both photography and film. The print itself depicts the mythical mountain rising above clouds and the image is annotated with thoughts on the nature of place.

John Riddy's 'Shin-Fuji (Dusk)' (2005) is part of a series exploring the relationship between the traditional and modern landscapes of Japan. Layering the urbanised small town of Shin-Fuji with the natural beauty of Mount Fuji, Riddy contrasts the polar opposites – rural and urban, old and new, natural and artificial. Riddy uses the mountain as a precisely placed point of reference to suggest the sophisticated spatial awareness in Japanese society and the Fuji fervour of modern tourism. Here Mount Fuji is presented according to artistic tradition, but by including the town of Shin-Fuji, Riddy demands a new perspective, both perpetuating and adding to the myth of a mountain.

📍View both works in dialogue in Alliances: Gallery Summer Show at Frith Street Gallery, Golden Square until 9 August 2024.

📷 (1) Installation view, Alliances: Gallery Summer Show, Frith Street Gallery, 2024. Photo: Ben Westoby (2) Fiona Tan, Ascent from Nagaizumi, 2016 (3) John Riddy, Shin-Fuji (Dusk), 2005

Anna Barriball's 'Window (blue grid)' (2023) is currently on show in the Royal Academy Summer Exhibition.

Windows and other kinds of thresholds have been a recurring theme in Barriball's work, depicting and inhabiting apertures and in-between spaces which are often rendered at one-to-one scale drawings. In previous works the artist has used 2B pencil to press paper into found objects and surfaces using repeated pencil strokes to create intense interrogations of surface. The artist's new one-to-one scale drawings take a different approach, considering instead the relationship between objects and light and attempting to capture the way in which windows act as an aperture through which light passes.

Works by Polly Apfelbaum, Fiona Banner aka The Vanity Press and Cornelia Parker are also included in the show.

📍Summer Exhibition | Royal Academy of Arts until 18 August 2024

📷 Anna Barriball, Window (blue grid), 2023

Alliances: Gallery Summer Show presents pairs of works by different gallery artists.

Working in sculpture, film and photography, Dorothy Cross looks at relationships between body and time and the human and the natural world. Based on Ireland's West Coast, Cross's immediate environment is inseparable from her practice, present in the richly symbolic materials she uses to create strange and often unexpected. encounters. Talking about the video 'Endarken' (2000), she explains; 'There is a derelict cottage, that dates from famine times, slowly decaying on a hill near my house. I filmed the cottage under foggy skies. A small spot appears in the centre of the screen. It expands rapidly like the pupil of an eye. It appears to slow down as it grows to ultimately fill the screen and obliterate the image'.

In comparison, Shilpa Gupta's series of photographs reflects on a mood of existential loneliness amid the Covid 19 pandemic. Taken in urban areas, the prints are mounted on aluminium, but altered by the artist to create a gaping absence of the heart of the image. The viewer sees only the outer edges of the photograph, such as the mottled surface of the road, a hint of a building, a fragment of sky or some trees. Each photograph creates a sense of longing – for completeness, or a return to the bustling fullness of normal life. As a group, they recall the minimalism and seriality of Sol LeWitt or Donald Judd, or the repetition of a daily calendar.

View the works in Alliances: Gallery Summer Show at Frith Street Gallery, Golden Square until 9 August 2024.

📷 (1) Installation view, Alliances: Gallery Summer Show, Frith Street Gallery, Golden Square. Photo: Ben Westoby (2) Dorothy Cross, Endarken, 2000 (film still) (3) Shilpa Gupta, Untitled, 2021

Fiona Banner aka The Vanity Press 'DISARM', 2024 opens at CIRCA Piccadilly Lights tomorrow.

Join the artist and CIRCA at the global premier of 'DISARM' on Tuesday 15 July, 7–7.30pm in Piccadilly Circus – beside Eros, The Shaftesbury Memorial Fountain.

The screening will be followed by drinks and a conversation between the artist and British-Iranian journalist, documentary producer and author, Ramita Navai at 180 Studios, the Strand from 8–10pm.

🔗RSVP essential via CIRCA website

📷 Fiona Banner aka The Vanity Press. Photo: Leroy Boeteng

Artist Talk: Cornelia Parker and Veronica Ryan

Join two of Britain's most celebrated contemporary artists, Cornelia Parker RA and Veronica Ryan RA, as they explore sculpture and the role of art in the public realm.

Cornelia Parker's 'PsychoBarn (Flotsam)' is currently on view in the Royal Academy Summer Exhibition.

📍On sculpture: Cornelia Parker and Veronica Ryan in conversation | Wednesday 10 July 6.30–7.45pm at Benjamin West Lecture Theatre, Royal Academy, London

🔗 Event details via the link in our bio

📷 Cornelia Parker, PsychoBarn (Flotsam), 2024

Alliances: Gallery Summer Show is now open at Frith Street Gallery, Golden Square ✨

This eclectic and playful show presents pairs of works by different gallery artists. The relationship between the two can be related to media, it can be formal, poetic, or purely visual, creating temporary dialogues between diverse artworks. Many of these pieces intimate in scale, invite the viewer to look closely and form their own connections.

📍Alliances: Gallery Summer Show | Frith Street Gallery, Golden Square until 9 August 2024

📷 Installation view, Alliances: Gallery Summer Show, Frith Street Gallery, Golden Square, 5 July–9 August 2024. Photo: Ben Westoby

Final week to catch Dayanita Singh in the group exhibition 'Mirror/ Maze: Echoes of Song, Space, Spectre at KNMA before it closes on 10 July.

Singh's 'Mona Shayari' (2013/2021) is a 'moving still image' which captures the artist's friend reciting Urdu poetry.

Singh explains:
"For some time now, I had been playing with the Mona work, trying to find another form for the work, something that could be a true portrait of Mona. I always felt that in almost 25 years of photographing her, I had never been able to do justice to her uniqueness. Finally, I found the form with the moving still image, which is still [black-and-white] portrait of Mona, listening to her favourite song. At first, she appears like someone who has just [woken up], then she gets the song and finally she becomes the song. This was another breakthrough for me, the idea of the moving still image, not video, not still photography, but something else."

📍Dayanita Singh, Mona Shayari, 2013 in Mirror/ Maze: Echoes of Song, Space, Spectre | KNMA, Noida until 10 July

📷 Stills from the exhibition- Mirror/ Maze: Echoes of Song, Space, Spectre. Image Credit: Kiran Nadar Museum of Art

Final days to bid in the Drawing Biennial's online auction before it closes 3 July.

Callum Innes's 'Untitled (From a series of ongoing sketchbooks) (2023) is among the 274 works donated to the biennial in support of the Drawing Room's mission. The Biennial is a vital fundraiser that provides Drawing Room with funding for the next two years of activity, supporting artists and the community through championing drawing.

📍Drawing Biennial 2024 | Drawing Room, London until 3 July

📷 Callum Innes, Untitled (From a series of ongoing sketchbooks), 2023

Last Chance to catch Dayanita Singh's exhibition at Frith Street Gallery, Golden Square.

'Light did not Know' (2024) is one of Singh's several wall-mounted panels that can be endlessly rearranged. Described by Singh as 'contact sheets', the form gained particular importance for the artist while examining her archive of forty years of analogue photographic contact sheets. This particular work features details of Herzog de Meuron's architecture at Schaulager in Basel.

The title of the piece comes from a quote by the architect Louis Khan in the book Licht und Raum – Light and Space, in which he poetically expresses the significance of sunlight falling upon a wall.

View the work in person and join us on Thursday 27 June 6–8pm for a finissage to mark the closing of Dayanita Singh's exhibition of new work at Frith Street Gallery, Golden Square.

📍 Finissage | Thursday 27 June 6–8pm at Frith Street Gallery, Golden Square

📷 Installation views, Dayanita Singh, Frith Street Gallery, Golden Square, 2024. Photos: Ben Westoby

Fiona Banner aka The Vanity Press's 'Disarm' (2024) print is currently on view at the Royal Academy Summer Exhibition until 18 August 2024.

The edition of 40 is available to purchase via the Royal Academy website.

📍Royal Academy Summer Exhibition until 18 August

📷 Fiona Banner aka The Vanity Press, Disarm, 2024.

Last chance to see Dayanita Singh's exhibition at Frith Street Gallery, Golden Square before it closes on 29 June 2024.

The contact sheet is at the heart of Singh's work and unlike other photographers, Singh uses contact sheets not only to select images, but also to influence directly the form and structure of the artistic work of which they are an integral part.

Singh has developed a system for her exhibitions that allows works to be moved, exchanged, rearranged, thus mobilising presentation with the aim of creating new readings as well as empowering the viewer to take the step of intervening in the presentation of the artworks themselves. This concept takes its newest form in the 'constructed contact sheets' on show at Golden Square until 29 June.

Join us until 8pm on Thursday 27 June for an evening finnisage to mark the closing of the exhibition.

📍Dayanita Singh, Frith Street Gallery, Golden Square until 29 June 2024

📷 (1) Dayanita Singh, Let's See, 2021 © Dayanita Singh (2 & 3) Installation views, Dayanita Singh, Frith Street Gallery, Golden Square, 2024. Photos: Ben Westoby

Bidding for the Drawing Biennial 2024 is open and ends 8pm, 3 July.

Daniel Silver is amongst 274 artists who have generously donated works to the Drawing Biennial in support of the Drawing Room's mission. The Biennial is a vibrant pulse-check of contemporary drawing in 2024, as well as a vital fundraiser that provides Drawing Room with funding for the next two years of activity, supporting artists and the community through championing drawing.

🔗Visit the link in our bio for Drawing Room's online fundraising auction.

📷 Daniel Silver, With a Sculpture, 2023

We are delighted to join Tate in announcing the first major UK museum exhibition of work by Małgorzata Mirga-Tas, whose solo exhibition at Tate St Ives will open on 19 October.

Mirga-Tas is known for her textile collages created with materials and fabrics that are mainly gathered from family and friends. Her visual storytelling comes from a feminist perspective and challenges stereotypical representations of Roma people.

Often working in collaboration with other women, she sews pieces of clothing, handkerchiefs, tablecloths, curtains and sheets together to create vivid portraits and scenes from everyday life.

📍Małgorzata Mirga-Tas: Tate St Ives | 19 October 2024–5 January 2025

📷 Małgorzata Mirga-Tas, Untitled (After Gentile da Fabriano), 2023. Photo: Marek Gardulski

Raqs Media Collective's 'The Bicyclist Who Fell into a Time Cone' (2023) will be screened as part the Whitney Biennial 2024 Film Program on Friday 21 June.

The film program is organised by guest curator Korakit Arunanondchai and presents films by a group of artists and filmmakers born in Asia for who storytelling, dreams, animistic beliefs, and metaphors serve as tools to explore their conflicting desires towards the Western idea of modernisation.

'The Bicyclist Who Fell into a Time Cone' (2023) will also be shown on MUBI as part of the program.

📍Whitney Biennial 2024 – Film Program | 7pm Friday 21 June, Floor 3, theatre, Whitney Museum of Art, New York

🔗 Visit the Whitney Biennial website for details

📷 Raqs Media Collective, The Bicyclist Who Fell into a Time Cone, 2023 (film still)

A new sculptural structure is included in Dayanita Singh's current exhibition at Frith Street Gallery, referencing the artist's freestanding museums that act as both means of display as well as storage for her photographs.

This particular structure is empty, containing no images. An arrangement of lines in space, fabricated in teak, is not quite sculpture nor architecture yet it alludes to both.

As the viewer moves around the exhibition, the structure becomes an additional device for framing, creating a dialogue with the architectural forms and lines of abstraction in the photographs. This work may be considered a culmination of what the artist has described as an act of 'shedding'–turning away from the magnitude of images that populated her early 'mobile museums' and exploring how one might obscure or reduce the image to a point of abstraction or even total absence.

📍View the work until 29 June at Frith Street Gallery, Golden Square

📷 Installation views, Dayanita Singh, Frith Street Gallery, 17 May–29 June 2024. Photos: Ben Westoby

Cornelia Parker has created a new print in her iconic 'red spot' series for this years Royal Academy Summer Exhibition which opens today. The artist returns with 'Green (With Envy)' (2024). 💚

Works by Polly Apfelbaum, Fiona Banner aka The Vanity Press and Anna Barriball are also included in the show.

📍 Summer Exhibition 2024 | Royal Academy 18 June–18 August 2024

🔗Visit the RA website to purchase this year's edition.

📷 Cornelia Parker, Green (With Envy), 2024

Final day to find us at Art Basel 💫

Made from Zebrino marble which clearly shows its geological strata, Massimo Bartolini's 'Airplane' (2019) evokes a core of rock from the depths of the planet. The piece takes the form of a plinth; the top carved with a bas-relief representing an unfolded paper airplane (a recurring motif in the artist's work). In this way it resembles a broken column – nothing can rest on top of the plinth as it is an object in itself; not just the support; a work in its own right.

📍View the work in person at Art Basel Halle 2.0 Booth C7
Public Access: 16 June 11am–7pm

🔗 Visit the link in our bio for our booth highlights

✉️ For enquiries email [email protected]

📷 Installation view, Frith Street Gallery, Art Basel 2024. Photo: Art Basel

Returning time and again to the particularities of a place, John Riddy's work is often driven by his curiosity to see and photograph locations which have become a part of our cultural landscape. 'Le Tholonet (towards Bibémus)', 2024 comes from a new series of works made in Aix-en-Provence, France, in an area where Paul Cézanne spent much of his life painting his now celebrated motifs.

Riddy's own pre-occupation is with the cross-over between our accumulated images and references and the everyday physical reality of what is in this case a simple path. Working in black and white allows him to emphasise the modulated tones and sculptural qualities of the landscape, dislocating the image from the drama of a specific moment in time. The muted tones and carefully balanced composition help allude to other kinds of 'after-image'; x-rays of artworks or the etching made 'after' a painting.

📍Find us at Art Basel Halle 2.0 Booth C7
- Public Access until 16 June 11am–7pm

📷 John Riddy, Le Tholonet (towards Bibémus), 2024. Photo: Ben Westoby

In 'Vietnamese Women' (1985), Nancy Spero has used a single image, adapted from a news report about the Vietnam War, repeated in a double procession across the horizon.

Some of the figures are printed directly on the paper, whereas others are printed separately, then cut and collaged over the top of the printed figures. Sometimes dragged or smudged across the surface, the figures printed on the paper create a sense of movement or dynamism. This kinetic energy is reinforced by a shift in position and attitude of each figure, as if they were talking at different paces or rhythms, either escaping a threat or travelling to an unknown destination.

📍View the work at Art Basel Halle 2.0 Booth C7
- Public Access: 13–16 June 11am–7pm

🔗View Highlights via the link in our bio

📷 Nancy Spero, Vietnamese Women, 1985

Massimo Bartolini's 'Until it Breaks' is one of several geometric works on paper made by the artist using a huge homemade spirograph to produce a mathematical series of curves and loops on paper, patterns technically known as hypotrochoids and epitrochoids. Each drawing takes many hours to complete, concluding when the paper itself gives way to the continuous friction and build-up of intersecting lines and rips apart.

Bartolini is the official representative at the Biennale Arte 2024, Venice. His installation 'Due qui / To Hear' is on show at the Italian Pavilion in Venice until 24 November. Running alongside the project is a public programme entitled IF ONLY WE HAD EARS and this month's initiative 'Trusting the Background (Listening with Nature)' takes place at the Giardino delle Vergini this weekend.

Event Details ✨
Trusting the Background (Listening with Nature) | Giardino delle Vergini, Italian Pavilion, Venice
Friday 14 June –Saturday 15 June 2024

📍View 'Until it Breaks' (2008) in person at Art Basel Halle 2.0 Booth C7
- VIP Access: 12 June 11am–8pm
- Public Access: 13–16 June 11am–7pm

The abstractions of Juan Uslé evoke a range of associations, from cadence of human breath and the beat of a pulse to the environs and energy of his homes in northern Spain and New York City. the paintings and works on paper might resemble a landscape even as they present a manifestly abstract pattern of subtly controlled mark and colour, often evoking a piece of music or the rhythmic transcription of a recording device.

'I move the brush and press down until the next heartbeat occurs,' says Uslé. 'I try to follow a sequential rhythm, marked by the beating of my pulse...and in general it turns into a sequential field or territory of marks and routes reminiscent of the sea, a landscape, or a pentagram.'

📍See the work in person at Art Basel Halle 2.0 Booth C7
- VIP Access: 12 June 11am–8pm
- Public Access: 13–16 June 11am–7pm

🔗Learn more via the highlights link in our bio or via OVR Basel

📷 Juan Uslé, Saja (el avance), 2023

We are at Art Basel!

Visit us at Booth C7 Halle 2.0 where we are showing major works by Tacita Dean, Marlene Dumas, Shilpa Gupta, Małgorzata Mirga-Tas, Dayanita Singh, Thomas Schütte, Raqs Media Collective, Callum Innes, Cornelia Parker, Nancy Spero, John Riddy and Juan Uslé amongst others.

🔗Find out more via our Basel Highlights, or by visiting OVR Basel online. Links in bio.

📍Art Basel Halle 2.0 Booth C7
- VIP Access: 11–12 June 11am–8pm
- Public Access: 13–16 June 11am–7pm

📷 Frith Street Gallery Stand C8. Installation view Art Basel 2023.

Sleep. Waking. Life. Death. The most intimate, singular as well as universal of experiences is rendered through a pair of clock-faces that mark the rhythm of every working day, and every life. The alteration between waking, working, sleeping on the one hand, and the beginning and end of life on the other are the two sets of movements that stand behind the conception of this piece.

‘Sleep, Clock’ (2018) grows out of Raqs Media Collective’s continued pre-occupation with time and with the metaphorical possibilities of horology. It was produced using lenticular technology, which allows a seemingly solitary photographic image to change or move as it is viewed from different angles. The work was shown at Manif d’Art, La Biennale de Québec in 2024.

🕙 See the work in person at Art Basel, Halle 2.0 Booth C7

Learn more via the highlights link:
https://website-frithstreetgallery.artlogic.net/viewing-room/b711ff16860c44d1ae4131b8a541eca3/

📷 Raqs Media Collective, Sleep, Clock, 2018. Two synchronised lenticular fields, Clock Faces, Text. 60 x 60 cm. Photo: Ben Westoby

Art Basel

Callum Innes’s most recent series of paintings, entitled ‘Tondos’, reference the rich art historical context of circular paintings, prevalent in 15th century Italy. The works are made using round plywood panels and unlike canvases, their surfaces are rigid rather than giving, requiring a different approach to the application of paint, some are covered in gesso prior to painting while others are varnished which causes the paint to react in very different ways to the works on canvas. Abandoning the formers clearly defined straight edges, the sides of these new pieces are slightly bevelled imparting a feeling of expansiveness, of moving outwards.

One of the most respected painters working today, Innes’s practice interrogates the qualities and possibilities of oil paint. He is known for luminous abstractions which expose the fundamentals of painting: pigment, surface and space. Moving between the solid and the seemingly permeable, his works invoke a dynamic conversation between presence and absence.

📍Visit us at Art Basel Halle 2.0 Booth C7
- VIP Access: 11–12 June 11am–8pm
- Public Access: 13–16 June 11am–7pm

🔗Learn more via the highlights link in our bio or via OVR Basel

📷 Callum Innes, Untitled Shellac No. 2, 2024

Małgorzata Mirga-Tas's first solo exhibition in The Netherlands, 'This is not the end of the road' is now open at the Bonnefanten, Maastricht.

Mirga-Tas's 'Jawlom khiere/ Returning home' (2024) accompanies a new work by Morena Bamberger about her Sinti family, created especially for the museum.

Małgorzata Mirga-Tas: This is not the end of the road is on view at the Bonnefanten, Maastricht until 15 February 2025.

📍View more of Mirga-Tas's work at our booth at Art Basel 2024 | Halle 2.0 Booth C7
- VIP Acess: 11–12 June 11am–8pm
- Public Access: 13–16 June 11am–7pm

🔗Visit the Bonnefanten website for details.

📷 Małgorzata Mirga-Tas, Jawlom khiere / Returning home, 2024

We are getting ready for Art Basel next week and looking forward to welcoming you onto our stand.

Included in the presentation will be Tacita Dean's 'Sakura (Jindai II)' (2023). Trees make a regular appearance in Dean's practice. From the flowering Jacarandas she photographed in Los Angeles for her set designs for the ballet, The Dante Project, to giant Oaks and Monkey Puzzle trees in the English countryside.

'Sakura (Jindai II)' is a large-scale photograph that Dean has overdrawn in pencil, of the Jindai-Zakura, a rare cherry blossom tree in Yamanashi Prefecture, Japan. With an estimated age of 2000 years, this tree is thought to be the oldest of its kind. Its branches are supported by wooden crutches, a practice intended to extend its life. Dean's meticulous embellishment of the tree's branches give it an otherworldly quality and accentuates the inherent duality of nature as a powerful yet vulnerable entity.

📍Visit us at Art Basel Halle 2.0 Booth C7
- VIP Access: 11–12 June 11am–8pm
- Public Access: 13–16 June 11am–7pm

🔗Learn more via the highlights link in our bio or via OVR Basel

📷 Tacita Dean, Sakura (Jinda II), 2023

Massimo Bartolini's project 'Due qui / To Hear', curated by Luca Cerizza is currently open in the Italian Pavilion at the 60th International Art Exhibition – La Biennale di Venezia.

The Public Programme 'IF ONLY WE HAD EARS' accompanying the project, is curated by Luca Cerizza in collaboration with Gaia Martino. It will focus on several key themes raised by the project and by Bartolini's practice.

Each month over the course of the presentation there will be two days of public programme initiatives held in the Giardino delle Vergini next to the Italian Pavilion.

This month's initiative 'Trusting the Background (Listening with Nature)' runs from 14–15 June and will include a range of workshops, talks and readings.

Please note, admission ticket to La Biennale di Venezia is required.
📍Trusting the Background (Listening with Nature) | Giardino delle Vergini, Italian Pavilion, Venice

Friday 14 June – Saturday 15 June 2024

Visit the link in our bio for full programme details.

📷 Installation view, Due qui / To Hear, 60th International Art Exhibition – La Biennale di Venezia. Courtesy La Biennale di Venezia. Photos: Andrea Avezzù

The first solo exhibition by Małgorzata Mirga-Tas opens in The Netherlands at the Bonnefanten next week.

The major premiere will include Mirga-Tas's monumental work, 'Re-enchanting the World' first shown at the Polish pavilion at the Venice Biennale 2022, as well as new works that continue to build an affirmative iconography of Roma communities.

Visit the Bonnefanten website for details.

📍Małgorzata Mirga-Tas: This is not the end of the road opens at Bonnefanten, Maastrict | 8 June 2024–15 February 2025

📷 Małgorzata Mirga-Tas, Re-enchanting the World: March, 2022. Collection Bonnefanten