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Closing tomorrow!
It’s the last couple of days to view Gerda Scheepers’ solo exhibition, ‘Mallarmé’s Pillow’, closing 16 May.

𝗶𝗺𝗮𝗴𝗲: Gerda Scheepers, ‘Mallarmé’s Pillow’ (2026) | Installation view at blank projects, Cape Town @slater_studio

#gerdascheepers #blankprojects

Kemang Wa Lehulere on ‘In Minor Keys’, curated by Koyo Kouoh.

For the 61st International Art Exhibition of La Biennale di Venezia, Kemang Wa Lehulere presents a newly commissioned large-scale installation titled ‘I Bleach My Words For Your Comfort’.

The artist states, “There is a common African proverb stating that when an elder dies, a library burns down. If we accept this, we must ask: what becomes of the banned or censored book? Do alphabets possess a memory? If so, what do we make of alphabets that split open the pages of repressive regimes like razors? When the physical library is destroyed or forbidden, does the body become the final archive - the last site of resistance?”

Wa Lehulere’s monumental work can be viewed in the Arsenale, until 22 November.

#labiennaledivenezia #kemangwalehulere @labiennale @kemangwalehulere

Kemang Wa Lehulere on ‘In Minor Keys’, curated by Koyo Kouoh.

For the 61st International Art Exhibition of La Biennale di Venezia, Kemang Wa Lehulere presents a newly commissioned large-scale installation titled ‘I Bleach My Words For Your Comfort’.

The artist states, “There is a common African proverb stating that when an elder dies, a library burns down. If we accept this, we must ask: what becomes of the banned or censored book? Do alphabets possess a memory? If so, what do we make of alphabets that split open the pages of repressive regimes like razors? When the physical library is destroyed or forbidden, does the body become the final archive - the last site of resistance?”

Wa Lehulere’s monumental work can be viewed in the Arsenale, until 22 November.

#labiennaledivenezia #kemangwalehulere @labiennale @kemangwalehulere

Kresiah Mukwazhi is part of the new presentation at Boros Collection.

Tickets are available on our website.

@kresiahmukwazhi
@jan_kaps
@blankprojects

Photo: @nevenallgeier

Now open: ‘in situ: Igshaan Adams. Unsettling Dust: The Body’s Archive’ at Guggenheim Museum Bilbao. Exhibition continues until 1 November 2026. 

The Guggenheim Museum Bilbao presents the latest chapter of its ‘in situ’ series, with Igshaan Adams transforming the gallery into an immersive environment shaped by movement, memory and material. Working across weaving, sculpture and installation, Adams employs rope, beads, wire and found objects to construct intricate surfaces that register the entanglement of race, religion, sexuality and lived experience.

Developed through an ongoing dialogue between weaving and dance, the works originate in performances where dancers moved across canvases, leaving behind layered traces of gesture, rhythm and release. These “dance prints” are translated into large-scale woven tapestries that hang within the gallery as spatial encounters, inviting viewers to circulate around and through them. Their presentation foregrounds the dual-sided nature of the weave, while smaller cloud-like forms appear to gather and release fragments of movement, colour and memory.

At once immersive and introspective, ‘Unsettling Dust: The Body’s Archive’ gives material presence to invisible forces: memory, empathy and collective experience, proposing weaving as a deeply embodied and communal act, and movement as both a record of lived histories and a means of transformation.

Curated by Lekha Hileman.

‘in situ: Igshaan Adams’
‘Unsettling Dust: The Body’s Archive’

5 May–1 November 2026

Guggenheim Museum Bilbao
Avenida Abandoibarra, 2
48009 Bilbao
Spain
(Galleries: 204, 208)

𝗶𝗺𝗮𝗴𝗲: Installation view ‘in situ: Igshaan Adams. Unsettling Dust: The Body’s Archive’, Guggenheim Museum Bilbao, 2026 © Igshaan Adams. Photos: Guggenheim Museum Bilbao

#IgshaanAdams
#GuggenheimBilbao
@igshaan.adams
@museoguggenheim

Now open: ‘in situ: Igshaan Adams. Unsettling Dust: The Body’s Archive’ at Guggenheim Museum Bilbao. Exhibition continues until 1 November 2026. 

The Guggenheim Museum Bilbao presents the latest chapter of its ‘in situ’ series, with Igshaan Adams transforming the gallery into an immersive environment shaped by movement, memory and material. Working across weaving, sculpture and installation, Adams employs rope, beads, wire and found objects to construct intricate surfaces that register the entanglement of race, religion, sexuality and lived experience.

Developed through an ongoing dialogue between weaving and dance, the works originate in performances where dancers moved across canvases, leaving behind layered traces of gesture, rhythm and release. These “dance prints” are translated into large-scale woven tapestries that hang within the gallery as spatial encounters, inviting viewers to circulate around and through them. Their presentation foregrounds the dual-sided nature of the weave, while smaller cloud-like forms appear to gather and release fragments of movement, colour and memory.

At once immersive and introspective, ‘Unsettling Dust: The Body’s Archive’ gives material presence to invisible forces: memory, empathy and collective experience, proposing weaving as a deeply embodied and communal act, and movement as both a record of lived histories and a means of transformation.

Curated by Lekha Hileman.

‘in situ: Igshaan Adams’
‘Unsettling Dust: The Body’s Archive’

5 May–1 November 2026

Guggenheim Museum Bilbao
Avenida Abandoibarra, 2
48009 Bilbao
Spain
(Galleries: 204, 208)

𝗶𝗺𝗮𝗴𝗲: Installation view ‘in situ: Igshaan Adams. Unsettling Dust: The Body’s Archive’, Guggenheim Museum Bilbao, 2026 © Igshaan Adams. Photos: Guggenheim Museum Bilbao

#IgshaanAdams
#GuggenheimBilbao
@igshaan.adams
@museoguggenheim

Now open: ‘in situ: Igshaan Adams. Unsettling Dust: The Body’s Archive’ at Guggenheim Museum Bilbao. Exhibition continues until 1 November 2026. 

The Guggenheim Museum Bilbao presents the latest chapter of its ‘in situ’ series, with Igshaan Adams transforming the gallery into an immersive environment shaped by movement, memory and material. Working across weaving, sculpture and installation, Adams employs rope, beads, wire and found objects to construct intricate surfaces that register the entanglement of race, religion, sexuality and lived experience.

Developed through an ongoing dialogue between weaving and dance, the works originate in performances where dancers moved across canvases, leaving behind layered traces of gesture, rhythm and release. These “dance prints” are translated into large-scale woven tapestries that hang within the gallery as spatial encounters, inviting viewers to circulate around and through them. Their presentation foregrounds the dual-sided nature of the weave, while smaller cloud-like forms appear to gather and release fragments of movement, colour and memory.

At once immersive and introspective, ‘Unsettling Dust: The Body’s Archive’ gives material presence to invisible forces: memory, empathy and collective experience, proposing weaving as a deeply embodied and communal act, and movement as both a record of lived histories and a means of transformation.

Curated by Lekha Hileman.

‘in situ: Igshaan Adams’
‘Unsettling Dust: The Body’s Archive’

5 May–1 November 2026

Guggenheim Museum Bilbao
Avenida Abandoibarra, 2
48009 Bilbao
Spain
(Galleries: 204, 208)

𝗶𝗺𝗮𝗴𝗲: Installation view ‘in situ: Igshaan Adams. Unsettling Dust: The Body’s Archive’, Guggenheim Museum Bilbao, 2026 © Igshaan Adams. Photos: Guggenheim Museum Bilbao

#IgshaanAdams
#GuggenheimBilbao
@igshaan.adams
@museoguggenheim

Now open: ‘in situ: Igshaan Adams. Unsettling Dust: The Body’s Archive’ at Guggenheim Museum Bilbao. Exhibition continues until 1 November 2026. 

The Guggenheim Museum Bilbao presents the latest chapter of its ‘in situ’ series, with Igshaan Adams transforming the gallery into an immersive environment shaped by movement, memory and material. Working across weaving, sculpture and installation, Adams employs rope, beads, wire and found objects to construct intricate surfaces that register the entanglement of race, religion, sexuality and lived experience.

Developed through an ongoing dialogue between weaving and dance, the works originate in performances where dancers moved across canvases, leaving behind layered traces of gesture, rhythm and release. These “dance prints” are translated into large-scale woven tapestries that hang within the gallery as spatial encounters, inviting viewers to circulate around and through them. Their presentation foregrounds the dual-sided nature of the weave, while smaller cloud-like forms appear to gather and release fragments of movement, colour and memory.

At once immersive and introspective, ‘Unsettling Dust: The Body’s Archive’ gives material presence to invisible forces: memory, empathy and collective experience, proposing weaving as a deeply embodied and communal act, and movement as both a record of lived histories and a means of transformation.

Curated by Lekha Hileman.

‘in situ: Igshaan Adams’
‘Unsettling Dust: The Body’s Archive’

5 May–1 November 2026

Guggenheim Museum Bilbao
Avenida Abandoibarra, 2
48009 Bilbao
Spain
(Galleries: 204, 208)

𝗶𝗺𝗮𝗴𝗲: Installation view ‘in situ: Igshaan Adams. Unsettling Dust: The Body’s Archive’, Guggenheim Museum Bilbao, 2026 © Igshaan Adams. Photos: Guggenheim Museum Bilbao

#IgshaanAdams
#GuggenheimBilbao
@igshaan.adams
@museoguggenheim

Now open: ‘in situ: Igshaan Adams. Unsettling Dust: The Body’s Archive’ at Guggenheim Museum Bilbao. Exhibition continues until 1 November 2026. 

The Guggenheim Museum Bilbao presents the latest chapter of its ‘in situ’ series, with Igshaan Adams transforming the gallery into an immersive environment shaped by movement, memory and material. Working across weaving, sculpture and installation, Adams employs rope, beads, wire and found objects to construct intricate surfaces that register the entanglement of race, religion, sexuality and lived experience.

Developed through an ongoing dialogue between weaving and dance, the works originate in performances where dancers moved across canvases, leaving behind layered traces of gesture, rhythm and release. These “dance prints” are translated into large-scale woven tapestries that hang within the gallery as spatial encounters, inviting viewers to circulate around and through them. Their presentation foregrounds the dual-sided nature of the weave, while smaller cloud-like forms appear to gather and release fragments of movement, colour and memory.

At once immersive and introspective, ‘Unsettling Dust: The Body’s Archive’ gives material presence to invisible forces: memory, empathy and collective experience, proposing weaving as a deeply embodied and communal act, and movement as both a record of lived histories and a means of transformation.

Curated by Lekha Hileman.

‘in situ: Igshaan Adams’
‘Unsettling Dust: The Body’s Archive’

5 May–1 November 2026

Guggenheim Museum Bilbao
Avenida Abandoibarra, 2
48009 Bilbao
Spain
(Galleries: 204, 208)

𝗶𝗺𝗮𝗴𝗲: Installation view ‘in situ: Igshaan Adams. Unsettling Dust: The Body’s Archive’, Guggenheim Museum Bilbao, 2026 © Igshaan Adams. Photos: Guggenheim Museum Bilbao

#IgshaanAdams
#GuggenheimBilbao
@igshaan.adams
@museoguggenheim

‘in situ: Igshaan Adams. Unsettling Dust: The Body’s Archive’ opens next week, 5 May, at Guggenheim Museum Bilbao. Curated by Lekha Hileman the exhibition is on view until 1 November 2026.

The works presented, developed through Adams’ collaboration with Garage Dance Ensemble in O’okiep (Northern Cape, South Africa), originated from performances staged in 2024 during a residency and exhibition at NEON in Athens. Emerging from his ongoing dialogue between weaving and dance, they began with dancers moving across canvases laid over painted linoleum floors, leaving behind layered traces of gesture, rhythm and release. At Guggenheim Museum Bilbao, these traces are translated into large-scale woven tapestries suspended in space and accompanied by smaller woven ‘clouds’, giving form to memory and movement, and proposing weaving as a bodily, communal practice of healing.

Opening Talks with Igshaan Adams, 4 May 6pm.
Performance by Garage Dance Ensemble and Talk with Igshaan Adams, 5 May 6:30pm.

𝗶𝗺𝗮𝗴𝗲: Igshaan Adams, ‘Breaking linear’ (2025) (detail)©️Igshaan Adams. Photo: Mario Todeschini

@igshaan.adams @museoguggenheim @lekha_hileman
#igshaanadams #guggenheimmuseumbilbao

blank and Jan Kaps are pleased to announce Kresiah Mukwazhi’s participation in the fourth iteration of the NGV Triennial 2026 at the National Gallery of Victoria in Melbourne, Australia opening 13 December 2026.

Mukwazhi examines the politicisation and instrumentalization of the female body as a contested site upon which the power dynamics of patriarchal society are played out. Her practice is an expression of her commitment to solidarity, empowerment, and care for marginalized communities and strives to provide a platform for resistance and self-empowerment.

According to the exhibition’s organisers, “NGV Triennial 2026 is a dynamic and multilayered exhibition experience that unfolds across all four levels of NGV International. In dialogue with the NGV’s historical collections and spanning painting, video, sculpture, installation, fashion, textiles, ceramics and design, the 2026 NGV Triennial offers visitors a global journey through contemporary practice.”

𝗶𝗺𝗮𝗴𝗲 𝟭: Portrait by Neven Allgeier

𝗶𝗺𝗮𝗴𝗲 𝟮: ‘Nyenyedzi nomwe (the Seven Sisters Pleiades)’ (2024) | Stitched bra straps on canvas, 350 × 800 cm (138 x 315 in) (detail)

#NGVTriennial #NGV @ngvmelbourne #blankprojects #jankaps #kresiahmukwazhi

blank and Jan Kaps are pleased to announce Kresiah Mukwazhi’s participation in the fourth iteration of the NGV Triennial 2026 at the National Gallery of Victoria in Melbourne, Australia opening 13 December 2026.

Mukwazhi examines the politicisation and instrumentalization of the female body as a contested site upon which the power dynamics of patriarchal society are played out. Her practice is an expression of her commitment to solidarity, empowerment, and care for marginalized communities and strives to provide a platform for resistance and self-empowerment.

According to the exhibition’s organisers, “NGV Triennial 2026 is a dynamic and multilayered exhibition experience that unfolds across all four levels of NGV International. In dialogue with the NGV’s historical collections and spanning painting, video, sculpture, installation, fashion, textiles, ceramics and design, the 2026 NGV Triennial offers visitors a global journey through contemporary practice.”

𝗶𝗺𝗮𝗴𝗲 𝟭: Portrait by Neven Allgeier

𝗶𝗺𝗮𝗴𝗲 𝟮: ‘Nyenyedzi nomwe (the Seven Sisters Pleiades)’ (2024) | Stitched bra straps on canvas, 350 × 800 cm (138 x 315 in) (detail)

#NGVTriennial #NGV @ngvmelbourne #blankprojects #jankaps #kresiahmukwazhi

Gerda Scheepers’ solo exhibition ‘Mallarmé’s Pillow’ is currently on view at the gallery until 16 May.

Across the exhibition, abstraction remains tethered to the world of things, while the image is kept fragmentary, shaped and contained within the picture plane. A visual syntax emerges across the compositions, forming a constellation of relations in which forms feel at once finite and open-ended.

𝗶𝗺𝗮𝗴𝗲: Installation view at blank projects, Cape Town @slater_studio

#blankprojects #gerdascheepers

blank is pleased to present
‘Mallarmé’s Pillow’, Gerda Scheepers’ sixth solo exhibition with the gallery.

Opening Thursday, 26 March
6 - 8pm

The exhibition’s title, itself an unlikely and intriguing associative merge, invokes the French symbolist poet Mallarmé’s understanding of meaning as emerging through the relation between form, content and language, an approach that resonates with Scheepers’ treatment of painting as a medium to be both constructed and read: an evolving process through which she continually holds the boundaries between abstraction and pictorial representation in tension. Across the exhibition, abstraction remains tethered to the world of things, while the image is kept fragmentary, shaped and contained within the picture plane. A visual syntax emerges across the compositions, forming a constellation of relations in which forms feel at once finite and open-ended.

The show will culminate with the publication of a new book focussing on the artist’s recent practice, accompanied by a text from Owen Martin, Senior Curator at Astrup Fearnley Museet, Oslo, and curator of ‘Space Making’ (2025) at the same museum.

𝗶𝗺𝗮𝗴𝗲: Gerda Scheepers, ‘Mallarmé’s Pillow‘ (2026) | Acrylic and acrylic ink on canvas, 181 x 244 x 3 cm

#gerdascheepers #blankprojects

It’s the last week to view Gregory Olympio’s solo exhibition, ‘Vaisseaux’, closing this Saturday 14 March.

In this latest body of work, Olympio presents the reclining figure as a central motif for the works; a subtle allusion to art histories of the painted recumbent body in renderings of devotion, intimacy and looking, from the Pietà to the odalisque and more contemporary meditations on rest and vulnerability. Aware of this lineage, Olympio however draws on it only lightly, presenting his reposing figures in a quieter register, as if in a state of suspension, where meaning is held in reserve.

Copies of Olympio’s first-ever publication, ‘Je ne suis pas un produit fini’, are available to purchase at the gallery.

𝗶𝗺𝗮𝗴𝗲: Gregory Olympio, ‘Corps Flottants’ (2025) | Acrylic on canvas, 183 x 80.5 x 3.5 cm

#gregoryolympio #blankprojects

We are pleased to announce that Kemang Wa Lehulere has been invited to participate in the 61st International Art Exhibition of La Biennale di Venezia, “In Minor Keys”, curated by the late Koyo Kouoh. Congratulations Kemang!

Working in a variety of media, including sculpture, installation, drawing and performance, Wa Lehulere uses found objects and salvaged materials to create environments and events that situate personal memories within, and in contrast to, collective narratives. Using conceptually loaded materials such as school desks, tyres, chalkboards and ceramic dogs, he poeticises the ‘double lives’ of objects - their potential for multiple interpretations - to tease out their ambivalent or subversive meanings through reconfiguration and assemblage.

𝗶𝗺𝗮𝗴𝗲: DNA photographers

#kemangwalehulere #galerietschudi #blankprojects #labiennaledivenezia

blank is pleased to present Gregory Olympio’s first-ever publication, ‘Je ne suis pas un produit fini’, featuring an overview of his practice to date, and an accompanying text in which the artist is in conversation with Prof Rory Bester.

Copies are available to purchase at the gallery

Designed by Ben Johnson

blank is pleased to present Gregory Olympio’s first-ever publication, ‘Je ne suis pas un produit fini’, featuring an overview of his practice to date, and an accompanying text in which the artist is in conversation with Prof Rory Bester.

Copies are available to purchase at the gallery

Designed by Ben Johnson

blank is pleased to present Gregory Olympio’s first-ever publication, ‘Je ne suis pas un produit fini’, featuring an overview of his practice to date, and an accompanying text in which the artist is in conversation with Prof Rory Bester.

Copies are available to purchase at the gallery

Designed by Ben Johnson

blank is pleased to present Gregory Olympio’s first-ever publication, ‘Je ne suis pas un produit fini’, featuring an overview of his practice to date, and an accompanying text in which the artist is in conversation with Prof Rory Bester.

Copies are available to purchase at the gallery

Designed by Ben Johnson

blank is pleased to present Gregory Olympio’s first-ever publication, ‘Je ne suis pas un produit fini’, featuring an overview of his practice to date, and an accompanying text in which the artist is in conversation with Prof Rory Bester.

Copies are available to purchase at the gallery

Designed by Ben Johnson

blank is pleased to present Gregory Olympio’s first-ever publication, ‘Je ne suis pas un produit fini’, featuring an overview of his practice to date, and an accompanying text in which the artist is in conversation with Prof Rory Bester.

Copies are available to purchase at the gallery

Designed by Ben Johnson

blank is pleased to present Gregory Olympio’s first-ever publication, ‘Je ne suis pas un produit fini’, featuring an overview of his practice to date, and an accompanying text in which the artist is in conversation with Prof Rory Bester.

Copies are available to purchase at the gallery

Designed by Ben Johnson

Come visit us @investeccapetownartfair
📍 Galleries | Booth C15

Preview 19 February
Public days 20 - 22 February

Featuring works by Igshaan Adams, Annabelle Agbo Godeau, Jared Ginsburg, donna Kukama, Sabelo Mlangeni, Kyle Morland, Kresiah Mukwazhi, Asemahle Ntlonti, Gregory Olympio, Zoë Paul, Gerda Scheepers, Kemang Wa Lehulere, James Webb, Kamva Matuis and Monika Emmanuelle Kazi

@igshaan.adams @annabelle.agbo.godeau @jaredglnsburg @donnakukama @mlangenisabelo @_kylemorland @kresiahmukwazhi @iqaba_lasengcobo @gregoryolympio @zoe_paul_studio @gerdascheepers @kemang.absent.magician @theotherjameswebb @matuiskamva @monikaemmanuelle

𝗶𝗺𝗮𝗴𝗲: @slater_studio

#blankprojects #investeccapetownartfair