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Opening in Venice: Lisson artists Otobong Nkanga, Dana Awartani, Marina Abramović, Anish Kapoor, Ding Yi, Ceal Floyer, Josh Kline, Lee Ufan, Hugh Hayden, Ryan Gander and Tony Cragg will all have presentations during the first week of The 61st International Art Exhibition of the Venice Biennale.

🗓️ 9 May – 22 November, 2026

🔗 Explore via the link in bio.

Film by Studio Chore

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

Next week, Lisson is honored to stage the first solo exhibition of Huguette Caland’s work in New York for five years. Organized by independent curator and writer Tarini Malik, this presentation charts Caland’s groundbreaking career across five decades and three continents.

Working in Beirut, Paris and Los Angeles, the artist displayed a conscious and liberated attitude toward the notion of home, finding new artistic impetus at every turn and constantly furthering her work, across different countries and cultures. Through drawing, painting, sculpture and writing, Caland developed her unique voice in every location she inhabited and every language she encountered, finding spiritual solace in depictions of places, mental spaces and her own sensual form, a “practice that attempted to undo the rootlessness of both her diaspora and her own body,” as Malik puts it.

🗓️ Opening Wednesday 13 May, 6-8pm at 504 West 24th St

🔗 Explore the show via the link in our bio.

Image: Huguette Caland in France in the 1970s. Photo by Mustafa Ariss

#HuguetteCaland #Lisson #LissonNewYork

The National Pavilion of Saudi Arabia at the 61st International Art Exhibition of La Biennale di Venezia, commissioned by the Visual Arts Commission of the Ministry of Culture, presents Dana Awartani’s ‘May your tears never dry, you who weep over stones’, curated by Antonia Carver, with assistant curator Hafsa Alkhudairi.

The commission is Awartani’s most ambitious to date. Building on her training in geometric art forms, the work draws on ancient mosaic traditions. Taking her practice to new levels of complexity in collaborative process and material execution, it is the result of in-depth research into places across the Arab world that have been subjected to devastating damage in recent years, and which are under threat from man-made conflict and violence.

The installation encompasses the entire floor of the pavilion, assembling mosaic references from across Syria, Lebanon, and Palestine whose shared motifs and traditions highlight common cultures spanning some three millennia. As visitors step into and traverse the imagined archaeological site, they encounter highly detailed geometric, floral, and faunal designs of extraordinary intricacy and material fragility. Eschewing binding agents, the bricks crack as they dry, conveying the potential loss of shared histories.

🗓️ 9 May – 22 November 2026

🔗 Explore via the link in bio.

Images: Dana Awartani, May your tears never dry, you who weep over stones. Photo courtesy of the artist and the Visual Arts Commission, Commissioner of the National Pavilion of Saudi Arabia

@danaawartanistudio @saudipavilion @visualarts_moc #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #DanaAwartani

The National Pavilion of Saudi Arabia at the 61st International Art Exhibition of La Biennale di Venezia, commissioned by the Visual Arts Commission of the Ministry of Culture, presents Dana Awartani’s ‘May your tears never dry, you who weep over stones’, curated by Antonia Carver, with assistant curator Hafsa Alkhudairi.

The commission is Awartani’s most ambitious to date. Building on her training in geometric art forms, the work draws on ancient mosaic traditions. Taking her practice to new levels of complexity in collaborative process and material execution, it is the result of in-depth research into places across the Arab world that have been subjected to devastating damage in recent years, and which are under threat from man-made conflict and violence.

The installation encompasses the entire floor of the pavilion, assembling mosaic references from across Syria, Lebanon, and Palestine whose shared motifs and traditions highlight common cultures spanning some three millennia. As visitors step into and traverse the imagined archaeological site, they encounter highly detailed geometric, floral, and faunal designs of extraordinary intricacy and material fragility. Eschewing binding agents, the bricks crack as they dry, conveying the potential loss of shared histories.

🗓️ 9 May – 22 November 2026

🔗 Explore via the link in bio.

Images: Dana Awartani, May your tears never dry, you who weep over stones. Photo courtesy of the artist and the Visual Arts Commission, Commissioner of the National Pavilion of Saudi Arabia

@danaawartanistudio @saudipavilion @visualarts_moc #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #DanaAwartani

The National Pavilion of Saudi Arabia at the 61st International Art Exhibition of La Biennale di Venezia, commissioned by the Visual Arts Commission of the Ministry of Culture, presents Dana Awartani’s ‘May your tears never dry, you who weep over stones’, curated by Antonia Carver, with assistant curator Hafsa Alkhudairi.

The commission is Awartani’s most ambitious to date. Building on her training in geometric art forms, the work draws on ancient mosaic traditions. Taking her practice to new levels of complexity in collaborative process and material execution, it is the result of in-depth research into places across the Arab world that have been subjected to devastating damage in recent years, and which are under threat from man-made conflict and violence.

The installation encompasses the entire floor of the pavilion, assembling mosaic references from across Syria, Lebanon, and Palestine whose shared motifs and traditions highlight common cultures spanning some three millennia. As visitors step into and traverse the imagined archaeological site, they encounter highly detailed geometric, floral, and faunal designs of extraordinary intricacy and material fragility. Eschewing binding agents, the bricks crack as they dry, conveying the potential loss of shared histories.

🗓️ 9 May – 22 November 2026

🔗 Explore via the link in bio.

Images: Dana Awartani, May your tears never dry, you who weep over stones. Photo courtesy of the artist and the Visual Arts Commission, Commissioner of the National Pavilion of Saudi Arabia

@danaawartanistudio @saudipavilion @visualarts_moc #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #DanaAwartani

The National Pavilion of Saudi Arabia at the 61st International Art Exhibition of La Biennale di Venezia, commissioned by the Visual Arts Commission of the Ministry of Culture, presents Dana Awartani’s ‘May your tears never dry, you who weep over stones’, curated by Antonia Carver, with assistant curator Hafsa Alkhudairi.

The commission is Awartani’s most ambitious to date. Building on her training in geometric art forms, the work draws on ancient mosaic traditions. Taking her practice to new levels of complexity in collaborative process and material execution, it is the result of in-depth research into places across the Arab world that have been subjected to devastating damage in recent years, and which are under threat from man-made conflict and violence.

The installation encompasses the entire floor of the pavilion, assembling mosaic references from across Syria, Lebanon, and Palestine whose shared motifs and traditions highlight common cultures spanning some three millennia. As visitors step into and traverse the imagined archaeological site, they encounter highly detailed geometric, floral, and faunal designs of extraordinary intricacy and material fragility. Eschewing binding agents, the bricks crack as they dry, conveying the potential loss of shared histories.

🗓️ 9 May – 22 November 2026

🔗 Explore via the link in bio.

Images: Dana Awartani, May your tears never dry, you who weep over stones. Photo courtesy of the artist and the Visual Arts Commission, Commissioner of the National Pavilion of Saudi Arabia

@danaawartanistudio @saudipavilion @visualarts_moc #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #DanaAwartani

The National Pavilion of Saudi Arabia at the 61st International Art Exhibition of La Biennale di Venezia, commissioned by the Visual Arts Commission of the Ministry of Culture, presents Dana Awartani’s ‘May your tears never dry, you who weep over stones’, curated by Antonia Carver, with assistant curator Hafsa Alkhudairi.

The commission is Awartani’s most ambitious to date. Building on her training in geometric art forms, the work draws on ancient mosaic traditions. Taking her practice to new levels of complexity in collaborative process and material execution, it is the result of in-depth research into places across the Arab world that have been subjected to devastating damage in recent years, and which are under threat from man-made conflict and violence.

The installation encompasses the entire floor of the pavilion, assembling mosaic references from across Syria, Lebanon, and Palestine whose shared motifs and traditions highlight common cultures spanning some three millennia. As visitors step into and traverse the imagined archaeological site, they encounter highly detailed geometric, floral, and faunal designs of extraordinary intricacy and material fragility. Eschewing binding agents, the bricks crack as they dry, conveying the potential loss of shared histories.

🗓️ 9 May – 22 November 2026

🔗 Explore via the link in bio.

Images: Dana Awartani, May your tears never dry, you who weep over stones. Photo courtesy of the artist and the Visual Arts Commission, Commissioner of the National Pavilion of Saudi Arabia

@danaawartanistudio @saudipavilion @visualarts_moc #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #DanaAwartani

On the occasion of the 61st International Art Exhibition of La Biennale di Venezia, Fondazione Berengo and Berengo Studio are delighted to present a new solo show by Tony Cragg in Venice: ‘Ocean of Drops.’

The exhibition presents a new selection of recent sculptures by the British-German sculptor in glass, stone, and wood, including the large-scale glass sculpture created in collaboration with Berengo Studio in Murano, which gives the exhibition its title and theme.

For Cragg ‘Ocean of Drops’ references the manner in which all materials are in essence accumulations of nuclear particles, cells, and strata, exploring the fundamental internal structures that determine the world we encounter day-to-day.

🗓️ 5 May – 28 June 2026

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Tony Cragg, Ocean of drops’ Ca’ Tron Plazza, Venice Biennale, Italy, 2026 ©Tony Cragg, Courtesy the Artist

#TonyCragg #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

On the occasion of the 61st International Art Exhibition of La Biennale di Venezia, Fondazione Berengo and Berengo Studio are delighted to present a new solo show by Tony Cragg in Venice: ‘Ocean of Drops.’

The exhibition presents a new selection of recent sculptures by the British-German sculptor in glass, stone, and wood, including the large-scale glass sculpture created in collaboration with Berengo Studio in Murano, which gives the exhibition its title and theme.

For Cragg ‘Ocean of Drops’ references the manner in which all materials are in essence accumulations of nuclear particles, cells, and strata, exploring the fundamental internal structures that determine the world we encounter day-to-day.

🗓️ 5 May – 28 June 2026

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Tony Cragg, Ocean of drops’ Ca’ Tron Plazza, Venice Biennale, Italy, 2026 ©Tony Cragg, Courtesy the Artist

#TonyCragg #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

On the occasion of the 61st International Art Exhibition of La Biennale di Venezia, Fondazione Berengo and Berengo Studio are delighted to present a new solo show by Tony Cragg in Venice: ‘Ocean of Drops.’

The exhibition presents a new selection of recent sculptures by the British-German sculptor in glass, stone, and wood, including the large-scale glass sculpture created in collaboration with Berengo Studio in Murano, which gives the exhibition its title and theme.

For Cragg ‘Ocean of Drops’ references the manner in which all materials are in essence accumulations of nuclear particles, cells, and strata, exploring the fundamental internal structures that determine the world we encounter day-to-day.

🗓️ 5 May – 28 June 2026

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Tony Cragg, Ocean of drops’ Ca’ Tron Plazza, Venice Biennale, Italy, 2026 ©Tony Cragg, Courtesy the Artist

#TonyCragg #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

On the occasion of the 61st International Art Exhibition of La Biennale di Venezia, Fondazione Berengo and Berengo Studio are delighted to present a new solo show by Tony Cragg in Venice: ‘Ocean of Drops.’

The exhibition presents a new selection of recent sculptures by the British-German sculptor in glass, stone, and wood, including the large-scale glass sculpture created in collaboration with Berengo Studio in Murano, which gives the exhibition its title and theme.

For Cragg ‘Ocean of Drops’ references the manner in which all materials are in essence accumulations of nuclear particles, cells, and strata, exploring the fundamental internal structures that determine the world we encounter day-to-day.

🗓️ 5 May – 28 June 2026

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Tony Cragg, Ocean of drops’ Ca’ Tron Plazza, Venice Biennale, Italy, 2026 ©Tony Cragg, Courtesy the Artist

#TonyCragg #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

On the occasion of the 61st International Art Exhibition of La Biennale di Venezia, Fondazione Berengo and Berengo Studio are delighted to present a new solo show by Tony Cragg in Venice: ‘Ocean of Drops.’

The exhibition presents a new selection of recent sculptures by the British-German sculptor in glass, stone, and wood, including the large-scale glass sculpture created in collaboration with Berengo Studio in Murano, which gives the exhibition its title and theme.

For Cragg ‘Ocean of Drops’ references the manner in which all materials are in essence accumulations of nuclear particles, cells, and strata, exploring the fundamental internal structures that determine the world we encounter day-to-day.

🗓️ 5 May – 28 June 2026

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Tony Cragg, Ocean of drops’ Ca’ Tron Plazza, Venice Biennale, Italy, 2026 ©Tony Cragg, Courtesy the Artist

#TonyCragg #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

On the occasion of the 61st International Art Exhibition of La Biennale di Venezia, Fondazione Berengo and Berengo Studio are delighted to present a new solo show by Tony Cragg in Venice: ‘Ocean of Drops.’

The exhibition presents a new selection of recent sculptures by the British-German sculptor in glass, stone, and wood, including the large-scale glass sculpture created in collaboration with Berengo Studio in Murano, which gives the exhibition its title and theme.

For Cragg ‘Ocean of Drops’ references the manner in which all materials are in essence accumulations of nuclear particles, cells, and strata, exploring the fundamental internal structures that determine the world we encounter day-to-day.

🗓️ 5 May – 28 June 2026

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Tony Cragg, Ocean of drops’ Ca’ Tron Plazza, Venice Biennale, Italy, 2026 ©Tony Cragg, Courtesy the Artist

#TonyCragg #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

On the occasion of the 61st International Art Exhibition of La Biennale di Venezia, Fondazione Berengo and Berengo Studio are delighted to present a new solo show by Tony Cragg in Venice: ‘Ocean of Drops.’

The exhibition presents a new selection of recent sculptures by the British-German sculptor in glass, stone, and wood, including the large-scale glass sculpture created in collaboration with Berengo Studio in Murano, which gives the exhibition its title and theme.

For Cragg ‘Ocean of Drops’ references the manner in which all materials are in essence accumulations of nuclear particles, cells, and strata, exploring the fundamental internal structures that determine the world we encounter day-to-day.

🗓️ 5 May – 28 June 2026

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Tony Cragg, Ocean of drops’ Ca’ Tron Plazza, Venice Biennale, Italy, 2026 ©Tony Cragg, Courtesy the Artist

#TonyCragg #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

On the occasion of the 61st International Art Exhibition of La Biennale di Venezia, Fondazione Berengo and Berengo Studio are delighted to present a new solo show by Tony Cragg in Venice: ‘Ocean of Drops.’

The exhibition presents a new selection of recent sculptures by the British-German sculptor in glass, stone, and wood, including the large-scale glass sculpture created in collaboration with Berengo Studio in Murano, which gives the exhibition its title and theme.

For Cragg ‘Ocean of Drops’ references the manner in which all materials are in essence accumulations of nuclear particles, cells, and strata, exploring the fundamental internal structures that determine the world we encounter day-to-day.

🗓️ 5 May – 28 June 2026

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Tony Cragg, Ocean of drops’ Ca’ Tron Plazza, Venice Biennale, Italy, 2026 ©Tony Cragg, Courtesy the Artist

#TonyCragg #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

On the occasion of the 61st International Art Exhibition of La Biennale di Venezia, Fondazione Berengo and Berengo Studio are delighted to present a new solo show by Tony Cragg in Venice: ‘Ocean of Drops.’

The exhibition presents a new selection of recent sculptures by the British-German sculptor in glass, stone, and wood, including the large-scale glass sculpture created in collaboration with Berengo Studio in Murano, which gives the exhibition its title and theme.

For Cragg ‘Ocean of Drops’ references the manner in which all materials are in essence accumulations of nuclear particles, cells, and strata, exploring the fundamental internal structures that determine the world we encounter day-to-day.

🗓️ 5 May – 28 June 2026

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Tony Cragg, Ocean of drops’ Ca’ Tron Plazza, Venice Biennale, Italy, 2026 ©Tony Cragg, Courtesy the Artist

#TonyCragg #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

Opening on 8 May, @diaartfoundation presents a major exhibition of work by Lee Ufan at Dia Beacon.

The exhibition presents an extraordinary selection of paintings the artist realized between the 1970s and early ’90s, alongside three of his Mono-ha sculptures that extend the conceptual propositions of his works on canvas. The specificity of Lee’s work emerges beside that of his international peers, on view in nearby galleries, such as On Kawara, Agnes Martin, Robert Ryman, Richard Serra, and Kishio Suga, all equally invested in questions of material, time, and metaphysics.

Taking place concurrently with a major exhibition of Lee’s work at SMAC San Marco Art Centre in Venice, organized by Dia and curated by the institution’s Nathalie de Gunzburg Director Jessica Morgan, these two presentations celebrate the artist’s 90th birthday and his extraordinary contribution across disciplines and geographies.

🔗 Find out more via the link in our bio.

Image: Lee Ufan, From Line, 1977, Glue on canvas, 130 x 163 cm, 51 1/8 x 64 1/8 in © Lee Ufan, Courtesy Lisson Gallery

#LeeUfan #DiaBeacon #DiaArtfoundation

For the Biennale Arte 2026, Otobong Nkanga has wrapped the four columns supporting the façade of the Central Pavilion in the Giardini with locally made brick. Ceramic pots attached to the cladding contain plants that steadily extend their roots and vines, eventually obscuring the columns. Murano glass objects, their forms inspired by a pumpkin that grows in West Africa, pulsate with light, like the beating heart of a translucent organism. As in many of her past projects, Nkanga generates her works as sites where people and nature encounter one another to the soundtrack of the world’s “minor keys”.

Nkanga has transformed Carlo Scarpa’s Sculpture Garden into an inviting space that beckons visitors to pause. Here, various types and sizes of rocks, quarried from nearby regions of Italy, are placed directly on the floor. Their layers reveal unfathomable spans of time. The cavities of some are filled with rainwater, while others cradle aromatic plants.

For Nkanga, storytelling is not only the gift of human beings. Rather, every element that constitutes this world is capable of speaking. Her art manifests the implicit relationships between the earth and ourselves, gently transcending national borders, cultural differences, and language barriers to bring us into connection with one another.

— Kimihiko Nakamura

🗓️ 9 May – 22 November 2026

🔗 Explore via the link in bio.

Images:

Otobong Nkanga, Soft Offerings to Silenced Voices and to All Who Have Turned to Dust, 2026, Sculptural installation: local bricks, earth/clay, ceramic pots, creeping plants, wooden sculpted insect houses, murano handblown glasses, water, engraved rock, 12 high temperature - fired ceramic tablets imprinted with poems and drawings © Otobong Nkanga, Courtesy Lisson Gallery;

Otobong Nkanga, And Still, Here We Are, 2026, Sculptural installation: terracotta, Italian marble, wood, plants, © Otobong Nkanga, Courtesy Lisson Gallery

@otobongnkanga @labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #OtobongNkanga

For the Biennale Arte 2026, Otobong Nkanga has wrapped the four columns supporting the façade of the Central Pavilion in the Giardini with locally made brick. Ceramic pots attached to the cladding contain plants that steadily extend their roots and vines, eventually obscuring the columns. Murano glass objects, their forms inspired by a pumpkin that grows in West Africa, pulsate with light, like the beating heart of a translucent organism. As in many of her past projects, Nkanga generates her works as sites where people and nature encounter one another to the soundtrack of the world’s “minor keys”.

Nkanga has transformed Carlo Scarpa’s Sculpture Garden into an inviting space that beckons visitors to pause. Here, various types and sizes of rocks, quarried from nearby regions of Italy, are placed directly on the floor. Their layers reveal unfathomable spans of time. The cavities of some are filled with rainwater, while others cradle aromatic plants.

For Nkanga, storytelling is not only the gift of human beings. Rather, every element that constitutes this world is capable of speaking. Her art manifests the implicit relationships between the earth and ourselves, gently transcending national borders, cultural differences, and language barriers to bring us into connection with one another.

— Kimihiko Nakamura

🗓️ 9 May – 22 November 2026

🔗 Explore via the link in bio.

Images:

Otobong Nkanga, Soft Offerings to Silenced Voices and to All Who Have Turned to Dust, 2026, Sculptural installation: local bricks, earth/clay, ceramic pots, creeping plants, wooden sculpted insect houses, murano handblown glasses, water, engraved rock, 12 high temperature - fired ceramic tablets imprinted with poems and drawings © Otobong Nkanga, Courtesy Lisson Gallery;

Otobong Nkanga, And Still, Here We Are, 2026, Sculptural installation: terracotta, Italian marble, wood, plants, © Otobong Nkanga, Courtesy Lisson Gallery

@otobongnkanga @labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #OtobongNkanga

For the Biennale Arte 2026, Otobong Nkanga has wrapped the four columns supporting the façade of the Central Pavilion in the Giardini with locally made brick. Ceramic pots attached to the cladding contain plants that steadily extend their roots and vines, eventually obscuring the columns. Murano glass objects, their forms inspired by a pumpkin that grows in West Africa, pulsate with light, like the beating heart of a translucent organism. As in many of her past projects, Nkanga generates her works as sites where people and nature encounter one another to the soundtrack of the world’s “minor keys”.

Nkanga has transformed Carlo Scarpa’s Sculpture Garden into an inviting space that beckons visitors to pause. Here, various types and sizes of rocks, quarried from nearby regions of Italy, are placed directly on the floor. Their layers reveal unfathomable spans of time. The cavities of some are filled with rainwater, while others cradle aromatic plants.

For Nkanga, storytelling is not only the gift of human beings. Rather, every element that constitutes this world is capable of speaking. Her art manifests the implicit relationships between the earth and ourselves, gently transcending national borders, cultural differences, and language barriers to bring us into connection with one another.

— Kimihiko Nakamura

🗓️ 9 May – 22 November 2026

🔗 Explore via the link in bio.

Images:

Otobong Nkanga, Soft Offerings to Silenced Voices and to All Who Have Turned to Dust, 2026, Sculptural installation: local bricks, earth/clay, ceramic pots, creeping plants, wooden sculpted insect houses, murano handblown glasses, water, engraved rock, 12 high temperature - fired ceramic tablets imprinted with poems and drawings © Otobong Nkanga, Courtesy Lisson Gallery;

Otobong Nkanga, And Still, Here We Are, 2026, Sculptural installation: terracotta, Italian marble, wood, plants, © Otobong Nkanga, Courtesy Lisson Gallery

@otobongnkanga @labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #OtobongNkanga

For the Biennale Arte 2026, Otobong Nkanga has wrapped the four columns supporting the façade of the Central Pavilion in the Giardini with locally made brick. Ceramic pots attached to the cladding contain plants that steadily extend their roots and vines, eventually obscuring the columns. Murano glass objects, their forms inspired by a pumpkin that grows in West Africa, pulsate with light, like the beating heart of a translucent organism. As in many of her past projects, Nkanga generates her works as sites where people and nature encounter one another to the soundtrack of the world’s “minor keys”.

Nkanga has transformed Carlo Scarpa’s Sculpture Garden into an inviting space that beckons visitors to pause. Here, various types and sizes of rocks, quarried from nearby regions of Italy, are placed directly on the floor. Their layers reveal unfathomable spans of time. The cavities of some are filled with rainwater, while others cradle aromatic plants.

For Nkanga, storytelling is not only the gift of human beings. Rather, every element that constitutes this world is capable of speaking. Her art manifests the implicit relationships between the earth and ourselves, gently transcending national borders, cultural differences, and language barriers to bring us into connection with one another.

— Kimihiko Nakamura

🗓️ 9 May – 22 November 2026

🔗 Explore via the link in bio.

Images:

Otobong Nkanga, Soft Offerings to Silenced Voices and to All Who Have Turned to Dust, 2026, Sculptural installation: local bricks, earth/clay, ceramic pots, creeping plants, wooden sculpted insect houses, murano handblown glasses, water, engraved rock, 12 high temperature - fired ceramic tablets imprinted with poems and drawings © Otobong Nkanga, Courtesy Lisson Gallery;

Otobong Nkanga, And Still, Here We Are, 2026, Sculptural installation: terracotta, Italian marble, wood, plants, © Otobong Nkanga, Courtesy Lisson Gallery

@otobongnkanga @labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #OtobongNkanga

For the Biennale Arte 2026, Otobong Nkanga has wrapped the four columns supporting the façade of the Central Pavilion in the Giardini with locally made brick. Ceramic pots attached to the cladding contain plants that steadily extend their roots and vines, eventually obscuring the columns. Murano glass objects, their forms inspired by a pumpkin that grows in West Africa, pulsate with light, like the beating heart of a translucent organism. As in many of her past projects, Nkanga generates her works as sites where people and nature encounter one another to the soundtrack of the world’s “minor keys”.

Nkanga has transformed Carlo Scarpa’s Sculpture Garden into an inviting space that beckons visitors to pause. Here, various types and sizes of rocks, quarried from nearby regions of Italy, are placed directly on the floor. Their layers reveal unfathomable spans of time. The cavities of some are filled with rainwater, while others cradle aromatic plants.

For Nkanga, storytelling is not only the gift of human beings. Rather, every element that constitutes this world is capable of speaking. Her art manifests the implicit relationships between the earth and ourselves, gently transcending national borders, cultural differences, and language barriers to bring us into connection with one another.

— Kimihiko Nakamura

🗓️ 9 May – 22 November 2026

🔗 Explore via the link in bio.

Images:

Otobong Nkanga, Soft Offerings to Silenced Voices and to All Who Have Turned to Dust, 2026, Sculptural installation: local bricks, earth/clay, ceramic pots, creeping plants, wooden sculpted insect houses, murano handblown glasses, water, engraved rock, 12 high temperature - fired ceramic tablets imprinted with poems and drawings © Otobong Nkanga, Courtesy Lisson Gallery;

Otobong Nkanga, And Still, Here We Are, 2026, Sculptural installation: terracotta, Italian marble, wood, plants, © Otobong Nkanga, Courtesy Lisson Gallery

@otobongnkanga @labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #OtobongNkanga

For the Biennale Arte 2026, Otobong Nkanga has wrapped the four columns supporting the façade of the Central Pavilion in the Giardini with locally made brick. Ceramic pots attached to the cladding contain plants that steadily extend their roots and vines, eventually obscuring the columns. Murano glass objects, their forms inspired by a pumpkin that grows in West Africa, pulsate with light, like the beating heart of a translucent organism. As in many of her past projects, Nkanga generates her works as sites where people and nature encounter one another to the soundtrack of the world’s “minor keys”.

Nkanga has transformed Carlo Scarpa’s Sculpture Garden into an inviting space that beckons visitors to pause. Here, various types and sizes of rocks, quarried from nearby regions of Italy, are placed directly on the floor. Their layers reveal unfathomable spans of time. The cavities of some are filled with rainwater, while others cradle aromatic plants.

For Nkanga, storytelling is not only the gift of human beings. Rather, every element that constitutes this world is capable of speaking. Her art manifests the implicit relationships between the earth and ourselves, gently transcending national borders, cultural differences, and language barriers to bring us into connection with one another.

— Kimihiko Nakamura

🗓️ 9 May – 22 November 2026

🔗 Explore via the link in bio.

Images:

Otobong Nkanga, Soft Offerings to Silenced Voices and to All Who Have Turned to Dust, 2026, Sculptural installation: local bricks, earth/clay, ceramic pots, creeping plants, wooden sculpted insect houses, murano handblown glasses, water, engraved rock, 12 high temperature - fired ceramic tablets imprinted with poems and drawings © Otobong Nkanga, Courtesy Lisson Gallery;

Otobong Nkanga, And Still, Here We Are, 2026, Sculptural installation: terracotta, Italian marble, wood, plants, © Otobong Nkanga, Courtesy Lisson Gallery

@otobongnkanga @labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #OtobongNkanga

For the Biennale Arte 2026, Otobong Nkanga has wrapped the four columns supporting the façade of the Central Pavilion in the Giardini with locally made brick. Ceramic pots attached to the cladding contain plants that steadily extend their roots and vines, eventually obscuring the columns. Murano glass objects, their forms inspired by a pumpkin that grows in West Africa, pulsate with light, like the beating heart of a translucent organism. As in many of her past projects, Nkanga generates her works as sites where people and nature encounter one another to the soundtrack of the world’s “minor keys”.

Nkanga has transformed Carlo Scarpa’s Sculpture Garden into an inviting space that beckons visitors to pause. Here, various types and sizes of rocks, quarried from nearby regions of Italy, are placed directly on the floor. Their layers reveal unfathomable spans of time. The cavities of some are filled with rainwater, while others cradle aromatic plants.

For Nkanga, storytelling is not only the gift of human beings. Rather, every element that constitutes this world is capable of speaking. Her art manifests the implicit relationships between the earth and ourselves, gently transcending national borders, cultural differences, and language barriers to bring us into connection with one another.

— Kimihiko Nakamura

🗓️ 9 May – 22 November 2026

🔗 Explore via the link in bio.

Images:

Otobong Nkanga, Soft Offerings to Silenced Voices and to All Who Have Turned to Dust, 2026, Sculptural installation: local bricks, earth/clay, ceramic pots, creeping plants, wooden sculpted insect houses, murano handblown glasses, water, engraved rock, 12 high temperature - fired ceramic tablets imprinted with poems and drawings © Otobong Nkanga, Courtesy Lisson Gallery;

Otobong Nkanga, And Still, Here We Are, 2026, Sculptural installation: terracotta, Italian marble, wood, plants, © Otobong Nkanga, Courtesy Lisson Gallery

@otobongnkanga @labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #OtobongNkanga

During the 61st International Art Exhibition of La Biennale di Venezia, Anish Kapoor presents an ambitious new exhibition at Palazzo Manfrin, the 16th century Palazzo and Venetian landmark in Cannaregio which is home to the artist’s Foundation.

‘Anish Kapoor: Palazzo Manfrin’ brings together around 100 architectural models documenting projects both realised and unrealised from the past 50 years of Kapoor’s practice, alongside a series of large-scale installations and stainless-steel works. Anish Kapoor: Palazzo Manfrin presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.

In the exhibition Kapoor explores the transformational quality of sculpture in new architecturally scaled works. Visitors are welcomed into the Palazzo via a monumental new black-pigment iteration of Kapoor’s seminal work, At the Edge of the World (1998), measuring eight-metres in diameter and suspended from the ceiling. A new towering mirror work will be exhibited, alongside the iconic Descent into Limbo (1992).

🗓️ 6 May – 8 August 2026 at Palazzo Manfrin

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Anish Kapoor’ at Palazzo Manfrin, Cannaregio, Venice, 6 May – 8 August 2026 © Anish Kapoor, Courtesy Lisson Gallery

#AnishKapoor #PalazzoManfrin #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

During the 61st International Art Exhibition of La Biennale di Venezia, Anish Kapoor presents an ambitious new exhibition at Palazzo Manfrin, the 16th century Palazzo and Venetian landmark in Cannaregio which is home to the artist’s Foundation.

‘Anish Kapoor: Palazzo Manfrin’ brings together around 100 architectural models documenting projects both realised and unrealised from the past 50 years of Kapoor’s practice, alongside a series of large-scale installations and stainless-steel works. Anish Kapoor: Palazzo Manfrin presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.

In the exhibition Kapoor explores the transformational quality of sculpture in new architecturally scaled works. Visitors are welcomed into the Palazzo via a monumental new black-pigment iteration of Kapoor’s seminal work, At the Edge of the World (1998), measuring eight-metres in diameter and suspended from the ceiling. A new towering mirror work will be exhibited, alongside the iconic Descent into Limbo (1992).

🗓️ 6 May – 8 August 2026 at Palazzo Manfrin

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Anish Kapoor’ at Palazzo Manfrin, Cannaregio, Venice, 6 May – 8 August 2026 © Anish Kapoor, Courtesy Lisson Gallery

#AnishKapoor #PalazzoManfrin #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

During the 61st International Art Exhibition of La Biennale di Venezia, Anish Kapoor presents an ambitious new exhibition at Palazzo Manfrin, the 16th century Palazzo and Venetian landmark in Cannaregio which is home to the artist’s Foundation.

‘Anish Kapoor: Palazzo Manfrin’ brings together around 100 architectural models documenting projects both realised and unrealised from the past 50 years of Kapoor’s practice, alongside a series of large-scale installations and stainless-steel works. Anish Kapoor: Palazzo Manfrin presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.

In the exhibition Kapoor explores the transformational quality of sculpture in new architecturally scaled works. Visitors are welcomed into the Palazzo via a monumental new black-pigment iteration of Kapoor’s seminal work, At the Edge of the World (1998), measuring eight-metres in diameter and suspended from the ceiling. A new towering mirror work will be exhibited, alongside the iconic Descent into Limbo (1992).

🗓️ 6 May – 8 August 2026 at Palazzo Manfrin

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Anish Kapoor’ at Palazzo Manfrin, Cannaregio, Venice, 6 May – 8 August 2026 © Anish Kapoor, Courtesy Lisson Gallery

#AnishKapoor #PalazzoManfrin #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

During the 61st International Art Exhibition of La Biennale di Venezia, Anish Kapoor presents an ambitious new exhibition at Palazzo Manfrin, the 16th century Palazzo and Venetian landmark in Cannaregio which is home to the artist’s Foundation.

‘Anish Kapoor: Palazzo Manfrin’ brings together around 100 architectural models documenting projects both realised and unrealised from the past 50 years of Kapoor’s practice, alongside a series of large-scale installations and stainless-steel works. Anish Kapoor: Palazzo Manfrin presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.

In the exhibition Kapoor explores the transformational quality of sculpture in new architecturally scaled works. Visitors are welcomed into the Palazzo via a monumental new black-pigment iteration of Kapoor’s seminal work, At the Edge of the World (1998), measuring eight-metres in diameter and suspended from the ceiling. A new towering mirror work will be exhibited, alongside the iconic Descent into Limbo (1992).

🗓️ 6 May – 8 August 2026 at Palazzo Manfrin

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Anish Kapoor’ at Palazzo Manfrin, Cannaregio, Venice, 6 May – 8 August 2026 © Anish Kapoor, Courtesy Lisson Gallery

#AnishKapoor #PalazzoManfrin #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

During the 61st International Art Exhibition of La Biennale di Venezia, Anish Kapoor presents an ambitious new exhibition at Palazzo Manfrin, the 16th century Palazzo and Venetian landmark in Cannaregio which is home to the artist’s Foundation.

‘Anish Kapoor: Palazzo Manfrin’ brings together around 100 architectural models documenting projects both realised and unrealised from the past 50 years of Kapoor’s practice, alongside a series of large-scale installations and stainless-steel works. Anish Kapoor: Palazzo Manfrin presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.

In the exhibition Kapoor explores the transformational quality of sculpture in new architecturally scaled works. Visitors are welcomed into the Palazzo via a monumental new black-pigment iteration of Kapoor’s seminal work, At the Edge of the World (1998), measuring eight-metres in diameter and suspended from the ceiling. A new towering mirror work will be exhibited, alongside the iconic Descent into Limbo (1992).

🗓️ 6 May – 8 August 2026 at Palazzo Manfrin

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Anish Kapoor’ at Palazzo Manfrin, Cannaregio, Venice, 6 May – 8 August 2026 © Anish Kapoor, Courtesy Lisson Gallery

#AnishKapoor #PalazzoManfrin #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

During the 61st International Art Exhibition of La Biennale di Venezia, Anish Kapoor presents an ambitious new exhibition at Palazzo Manfrin, the 16th century Palazzo and Venetian landmark in Cannaregio which is home to the artist’s Foundation.

‘Anish Kapoor: Palazzo Manfrin’ brings together around 100 architectural models documenting projects both realised and unrealised from the past 50 years of Kapoor’s practice, alongside a series of large-scale installations and stainless-steel works. Anish Kapoor: Palazzo Manfrin presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.

In the exhibition Kapoor explores the transformational quality of sculpture in new architecturally scaled works. Visitors are welcomed into the Palazzo via a monumental new black-pigment iteration of Kapoor’s seminal work, At the Edge of the World (1998), measuring eight-metres in diameter and suspended from the ceiling. A new towering mirror work will be exhibited, alongside the iconic Descent into Limbo (1992).

🗓️ 6 May – 8 August 2026 at Palazzo Manfrin

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Anish Kapoor’ at Palazzo Manfrin, Cannaregio, Venice, 6 May – 8 August 2026 © Anish Kapoor, Courtesy Lisson Gallery

#AnishKapoor #PalazzoManfrin #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

During the 61st International Art Exhibition of La Biennale di Venezia, Anish Kapoor presents an ambitious new exhibition at Palazzo Manfrin, the 16th century Palazzo and Venetian landmark in Cannaregio which is home to the artist’s Foundation.

‘Anish Kapoor: Palazzo Manfrin’ brings together around 100 architectural models documenting projects both realised and unrealised from the past 50 years of Kapoor’s practice, alongside a series of large-scale installations and stainless-steel works. Anish Kapoor: Palazzo Manfrin presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.

In the exhibition Kapoor explores the transformational quality of sculpture in new architecturally scaled works. Visitors are welcomed into the Palazzo via a monumental new black-pigment iteration of Kapoor’s seminal work, At the Edge of the World (1998), measuring eight-metres in diameter and suspended from the ceiling. A new towering mirror work will be exhibited, alongside the iconic Descent into Limbo (1992).

🗓️ 6 May – 8 August 2026 at Palazzo Manfrin

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Anish Kapoor’ at Palazzo Manfrin, Cannaregio, Venice, 6 May – 8 August 2026 © Anish Kapoor, Courtesy Lisson Gallery

#AnishKapoor #PalazzoManfrin #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

During the 61st International Art Exhibition of La Biennale di Venezia, Anish Kapoor presents an ambitious new exhibition at Palazzo Manfrin, the 16th century Palazzo and Venetian landmark in Cannaregio which is home to the artist’s Foundation.

‘Anish Kapoor: Palazzo Manfrin’ brings together around 100 architectural models documenting projects both realised and unrealised from the past 50 years of Kapoor’s practice, alongside a series of large-scale installations and stainless-steel works. Anish Kapoor: Palazzo Manfrin presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.

In the exhibition Kapoor explores the transformational quality of sculpture in new architecturally scaled works. Visitors are welcomed into the Palazzo via a monumental new black-pigment iteration of Kapoor’s seminal work, At the Edge of the World (1998), measuring eight-metres in diameter and suspended from the ceiling. A new towering mirror work will be exhibited, alongside the iconic Descent into Limbo (1992).

🗓️ 6 May – 8 August 2026 at Palazzo Manfrin

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Anish Kapoor’ at Palazzo Manfrin, Cannaregio, Venice, 6 May – 8 August 2026 © Anish Kapoor, Courtesy Lisson Gallery

#AnishKapoor #PalazzoManfrin #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

During the 61st International Art Exhibition of La Biennale di Venezia, Anish Kapoor presents an ambitious new exhibition at Palazzo Manfrin, the 16th century Palazzo and Venetian landmark in Cannaregio which is home to the artist’s Foundation.

‘Anish Kapoor: Palazzo Manfrin’ brings together around 100 architectural models documenting projects both realised and unrealised from the past 50 years of Kapoor’s practice, alongside a series of large-scale installations and stainless-steel works. Anish Kapoor: Palazzo Manfrin presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.

In the exhibition Kapoor explores the transformational quality of sculpture in new architecturally scaled works. Visitors are welcomed into the Palazzo via a monumental new black-pigment iteration of Kapoor’s seminal work, At the Edge of the World (1998), measuring eight-metres in diameter and suspended from the ceiling. A new towering mirror work will be exhibited, alongside the iconic Descent into Limbo (1992).

🗓️ 6 May – 8 August 2026 at Palazzo Manfrin

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Anish Kapoor’ at Palazzo Manfrin, Cannaregio, Venice, 6 May – 8 August 2026 © Anish Kapoor, Courtesy Lisson Gallery

#AnishKapoor #PalazzoManfrin #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

During the 61st International Art Exhibition of La Biennale di Venezia, Anish Kapoor presents an ambitious new exhibition at Palazzo Manfrin, the 16th century Palazzo and Venetian landmark in Cannaregio which is home to the artist’s Foundation.

‘Anish Kapoor: Palazzo Manfrin’ brings together around 100 architectural models documenting projects both realised and unrealised from the past 50 years of Kapoor’s practice, alongside a series of large-scale installations and stainless-steel works. Anish Kapoor: Palazzo Manfrin presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.

In the exhibition Kapoor explores the transformational quality of sculpture in new architecturally scaled works. Visitors are welcomed into the Palazzo via a monumental new black-pigment iteration of Kapoor’s seminal work, At the Edge of the World (1998), measuring eight-metres in diameter and suspended from the ceiling. A new towering mirror work will be exhibited, alongside the iconic Descent into Limbo (1992).

🗓️ 6 May – 8 August 2026 at Palazzo Manfrin

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Anish Kapoor’ at Palazzo Manfrin, Cannaregio, Venice, 6 May – 8 August 2026 © Anish Kapoor, Courtesy Lisson Gallery

#AnishKapoor #PalazzoManfrin #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

During the 61st International Art Exhibition of La Biennale di Venezia, Anish Kapoor presents an ambitious new exhibition at Palazzo Manfrin, the 16th century Palazzo and Venetian landmark in Cannaregio which is home to the artist’s Foundation.

‘Anish Kapoor: Palazzo Manfrin’ brings together around 100 architectural models documenting projects both realised and unrealised from the past 50 years of Kapoor’s practice, alongside a series of large-scale installations and stainless-steel works. Anish Kapoor: Palazzo Manfrin presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.

In the exhibition Kapoor explores the transformational quality of sculpture in new architecturally scaled works. Visitors are welcomed into the Palazzo via a monumental new black-pigment iteration of Kapoor’s seminal work, At the Edge of the World (1998), measuring eight-metres in diameter and suspended from the ceiling. A new towering mirror work will be exhibited, alongside the iconic Descent into Limbo (1992).

🗓️ 6 May – 8 August 2026 at Palazzo Manfrin

🔗 Explore the presentation via the link in bio

Shown here: Installation images of ‘Anish Kapoor’ at Palazzo Manfrin, Cannaregio, Venice, 6 May – 8 August 2026 © Anish Kapoor, Courtesy Lisson Gallery

#AnishKapoor #PalazzoManfrin #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Opening tomorrow, ‘Marina Abramović: Transforming Energy’ will be presented during the 61st International Art Exhibition of La Biennale di Venezia, making her the first living woman artist to be honoured with a major exhibition at the Gallerie dell’Accademia in Venice in 2026.

The exhibition marks the artist’s 80th birthday and establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped the cultural identity of Venice. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) Shanghai, in close collaboration with the artist, the exhibition unfolds across both the museum’s permanent collection galleries and its temporary exhibition spaces, a first in the institution’s history, embedding Abramović’s practice within the very heart of Venetian patrimony.

‘Transforming Energy’ is an encounter between past and present, material and immaterial, body and spirit. Visitors are invited to experience a series of interactive Transitory Objects — stone beds and structures embedded with crystals — by lying, sitting, or standing upon them, activating what Abramović calls “energy transmission.” Iconic works such as ‘Imponderabilia’ (1977), ‘Rhythm 0’ (1974), ‘Light/Dark’ (1977), ‘Balkan Baroque’ (1997), and ‘Carrying the Skeleton’ (2008) appear alongside projections of early performances, while new works created for the occasion bring her decades-long exploration of endurance, vulnerability, and transformation into sharp relief.

🗓️ 6 May – 19 October 2026

🔗 Explore via the link in bio.

Images: Installation views of ‘Marina Abramović: Transforming Energy’ at Gallerie dell’Accademia di Venezia, 2026. Photographer Matteo de Fina

@labiennale #BiennaleArte2026 #LaBiennaleDiVenezia #Lisson #MarinaAbramović

Now open in London, an exhibition of work by the influential LA-based artist, Ken Price (Los Angeles, 1935-2012) in collaboration with Matthew Marks Gallery.

The exhibition showcases Price’s mastery of ceramics and expansion of the possibilities of the medium. As early as the 1960s and 70s, Price created diminutively scaled works whose innovative and outlandish shapes subverted the functionality of traditional ceramics. Works such as Prone (1997), Itself (2003), Yin (2009) and Amazon (2003) – formed from fired and painted clay – represent Price’s biomorphic, often erotic, sculptural creations.

Speaking inherently to the viewer’s body, these fluid compositions play with form and balance, intimacy and seclusion. Through processes of layering and sanding pigment, Price achieves surfaces of depth and luminosity, transforming clay into objects that appear almost otherworldly.

🗓️ On view through 25 July at 27 Bell Street

🔗 Explore the show via the link in our bio.

Shown here: Installation view of ‘Ken Price’, 1 May – 25 July 2026 © Ken Price Estate; Courtesy Lisson Gallery

#KenPrice #Lisson #LissonLondon

Now open in London, an exhibition of work by the influential LA-based artist, Ken Price (Los Angeles, 1935-2012) in collaboration with Matthew Marks Gallery.

The exhibition showcases Price’s mastery of ceramics and expansion of the possibilities of the medium. As early as the 1960s and 70s, Price created diminutively scaled works whose innovative and outlandish shapes subverted the functionality of traditional ceramics. Works such as Prone (1997), Itself (2003), Yin (2009) and Amazon (2003) – formed from fired and painted clay – represent Price’s biomorphic, often erotic, sculptural creations.

Speaking inherently to the viewer’s body, these fluid compositions play with form and balance, intimacy and seclusion. Through processes of layering and sanding pigment, Price achieves surfaces of depth and luminosity, transforming clay into objects that appear almost otherworldly.

🗓️ On view through 25 July at 27 Bell Street

🔗 Explore the show via the link in our bio.

Shown here: Installation view of ‘Ken Price’, 1 May – 25 July 2026 © Ken Price Estate; Courtesy Lisson Gallery

#KenPrice #Lisson #LissonLondon

Now open in London, an exhibition of work by the influential LA-based artist, Ken Price (Los Angeles, 1935-2012) in collaboration with Matthew Marks Gallery.

The exhibition showcases Price’s mastery of ceramics and expansion of the possibilities of the medium. As early as the 1960s and 70s, Price created diminutively scaled works whose innovative and outlandish shapes subverted the functionality of traditional ceramics. Works such as Prone (1997), Itself (2003), Yin (2009) and Amazon (2003) – formed from fired and painted clay – represent Price’s biomorphic, often erotic, sculptural creations.

Speaking inherently to the viewer’s body, these fluid compositions play with form and balance, intimacy and seclusion. Through processes of layering and sanding pigment, Price achieves surfaces of depth and luminosity, transforming clay into objects that appear almost otherworldly.

🗓️ On view through 25 July at 27 Bell Street

🔗 Explore the show via the link in our bio.

Shown here: Installation view of ‘Ken Price’, 1 May – 25 July 2026 © Ken Price Estate; Courtesy Lisson Gallery

#KenPrice #Lisson #LissonLondon

Now open in London, an exhibition of work by the influential LA-based artist, Ken Price (Los Angeles, 1935-2012) in collaboration with Matthew Marks Gallery.

The exhibition showcases Price’s mastery of ceramics and expansion of the possibilities of the medium. As early as the 1960s and 70s, Price created diminutively scaled works whose innovative and outlandish shapes subverted the functionality of traditional ceramics. Works such as Prone (1997), Itself (2003), Yin (2009) and Amazon (2003) – formed from fired and painted clay – represent Price’s biomorphic, often erotic, sculptural creations.

Speaking inherently to the viewer’s body, these fluid compositions play with form and balance, intimacy and seclusion. Through processes of layering and sanding pigment, Price achieves surfaces of depth and luminosity, transforming clay into objects that appear almost otherworldly.

🗓️ On view through 25 July at 27 Bell Street

🔗 Explore the show via the link in our bio.

Shown here: Installation view of ‘Ken Price’, 1 May – 25 July 2026 © Ken Price Estate; Courtesy Lisson Gallery

#KenPrice #Lisson #LissonLondon

Now open in London, an exhibition of work by the influential LA-based artist, Ken Price (Los Angeles, 1935-2012) in collaboration with Matthew Marks Gallery.

The exhibition showcases Price’s mastery of ceramics and expansion of the possibilities of the medium. As early as the 1960s and 70s, Price created diminutively scaled works whose innovative and outlandish shapes subverted the functionality of traditional ceramics. Works such as Prone (1997), Itself (2003), Yin (2009) and Amazon (2003) – formed from fired and painted clay – represent Price’s biomorphic, often erotic, sculptural creations.

Speaking inherently to the viewer’s body, these fluid compositions play with form and balance, intimacy and seclusion. Through processes of layering and sanding pigment, Price achieves surfaces of depth and luminosity, transforming clay into objects that appear almost otherworldly.

🗓️ On view through 25 July at 27 Bell Street

🔗 Explore the show via the link in our bio.

Shown here: Installation view of ‘Ken Price’, 1 May – 25 July 2026 © Ken Price Estate; Courtesy Lisson Gallery

#KenPrice #Lisson #LissonLondon

Now open in London, an exhibition of work by the influential LA-based artist, Ken Price (Los Angeles, 1935-2012) in collaboration with Matthew Marks Gallery.

The exhibition showcases Price’s mastery of ceramics and expansion of the possibilities of the medium. As early as the 1960s and 70s, Price created diminutively scaled works whose innovative and outlandish shapes subverted the functionality of traditional ceramics. Works such as Prone (1997), Itself (2003), Yin (2009) and Amazon (2003) – formed from fired and painted clay – represent Price’s biomorphic, often erotic, sculptural creations.

Speaking inherently to the viewer’s body, these fluid compositions play with form and balance, intimacy and seclusion. Through processes of layering and sanding pigment, Price achieves surfaces of depth and luminosity, transforming clay into objects that appear almost otherworldly.

🗓️ On view through 25 July at 27 Bell Street

🔗 Explore the show via the link in our bio.

Shown here: Installation view of ‘Ken Price’, 1 May – 25 July 2026 © Ken Price Estate; Courtesy Lisson Gallery

#KenPrice #Lisson #LissonLondon

Now open in London, an exhibition of work by the influential LA-based artist, Ken Price (Los Angeles, 1935-2012) in collaboration with Matthew Marks Gallery.

The exhibition showcases Price’s mastery of ceramics and expansion of the possibilities of the medium. As early as the 1960s and 70s, Price created diminutively scaled works whose innovative and outlandish shapes subverted the functionality of traditional ceramics. Works such as Prone (1997), Itself (2003), Yin (2009) and Amazon (2003) – formed from fired and painted clay – represent Price’s biomorphic, often erotic, sculptural creations.

Speaking inherently to the viewer’s body, these fluid compositions play with form and balance, intimacy and seclusion. Through processes of layering and sanding pigment, Price achieves surfaces of depth and luminosity, transforming clay into objects that appear almost otherworldly.

🗓️ On view through 25 July at 27 Bell Street

🔗 Explore the show via the link in our bio.

Shown here: Installation view of ‘Ken Price’, 1 May – 25 July 2026 © Ken Price Estate; Courtesy Lisson Gallery

#KenPrice #Lisson #LissonLondon

In this new video, Ding Yi (@dingyiartstudio) shows us around his riverfront Shanghai studio, where he muses on a 40-year career, his presentation in Venice, and the endurance of motifs.
⁠
In 1988, while studying at Shanghai Academy of Fine Arts, artist Ding Yi first adopted the cross as a motif, either in the form of a ‘+’ or ‘x’ symbol⁠. This intentional departure from representational painting was a manifesto, a declaration of his dedication to abstraction, which has spanned decades to the present day⁠.
⁠
This new profile of Ding Yi, made in collaboration with @nowness and @shanghartgallery, captures him on the eve of his exhibition, Cosmotechnics, at the @fondazionequerinistampalia in Venice⁠. Alongside key archive pieces, the artist has created a new series of twelve black-and-white relief paintings rendered in basswood, and two stone steles, either incised or rendered in relief, carved with his signature cross motif.

‘Cosmotechnics’ is curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera)

🔗 Watch in full via the link in our bio.

Film Courtesy Nowness, Lisson and ShanghART

#DingYi #Nowness #ShanghART

Daniel Buren ‘Pages in situ’
11 June – 22 August 2026
Lisson, London

This exhibition, curated by graphic designer Fraser Muggeridge, charts Daniel Buren’s expanded use of the 8.7cm stripe over almost six decades, from the street to the gallery walls and from the canvas to printed matter. Exploring the legacy of the artist’s famous motif – through art works, archival objects and his prodigious publishing and printed matter output – the installation attempts an entire history of the stripe as subversive interruption within books, magazines and all forms of printed matter. It begins with Buren’s contribution to the Prospect 68 catalogue at the Kunsthalle Düsseldorf in 1968 – a double-page spread of uncaptioned green stripes – and ends with a new version of an off-site exhibition of pasted vertical stripes first staged on a billboard in central London in 1972.

Bringing together more than 100 printed items, ‘Pages in situ’ spans interventions in books, magazines and newspapers, often presented “without name or explanation”, alongside invitations, posters and group and solo exhibition catalogues, as well as dedicated artist books. Variations in colour, sequencing, cut-outs and format all play a role in shaping each item. Across these diverse formats, Buren’s consistent “visual tool” operates as a powerful graphic element, threading through each publication while continually shifting in form and intent.

Slide 1: 35mm slide of contribution to ‘Studio International’, 1970
Slide 2: ‘Work in situ’, Billboard as an exhibition, Jack Wender Gallery, 59 Shaftesbury Avenue, London, 1972
Slide 3: Centrefold spread of ‘Prospect 68’ catalogue,Düsseldorf Kunsthalle, 1968
Slide 4: Buren related book stack showing ‘Bilder - Objekte - Filme - Konzepte’ Städtische Galerie im Lenbachhaus, München, 1973

@lisson_gallery
@frasermuggeridgestudio
#DanielBuren

Daniel Buren ‘Pages in situ’
11 June – 22 August 2026
Lisson, London

This exhibition, curated by graphic designer Fraser Muggeridge, charts Daniel Buren’s expanded use of the 8.7cm stripe over almost six decades, from the street to the gallery walls and from the canvas to printed matter. Exploring the legacy of the artist’s famous motif – through art works, archival objects and his prodigious publishing and printed matter output – the installation attempts an entire history of the stripe as subversive interruption within books, magazines and all forms of printed matter. It begins with Buren’s contribution to the Prospect 68 catalogue at the Kunsthalle Düsseldorf in 1968 – a double-page spread of uncaptioned green stripes – and ends with a new version of an off-site exhibition of pasted vertical stripes first staged on a billboard in central London in 1972.

Bringing together more than 100 printed items, ‘Pages in situ’ spans interventions in books, magazines and newspapers, often presented “without name or explanation”, alongside invitations, posters and group and solo exhibition catalogues, as well as dedicated artist books. Variations in colour, sequencing, cut-outs and format all play a role in shaping each item. Across these diverse formats, Buren’s consistent “visual tool” operates as a powerful graphic element, threading through each publication while continually shifting in form and intent.

Slide 1: 35mm slide of contribution to ‘Studio International’, 1970
Slide 2: ‘Work in situ’, Billboard as an exhibition, Jack Wender Gallery, 59 Shaftesbury Avenue, London, 1972
Slide 3: Centrefold spread of ‘Prospect 68’ catalogue,Düsseldorf Kunsthalle, 1968
Slide 4: Buren related book stack showing ‘Bilder - Objekte - Filme - Konzepte’ Städtische Galerie im Lenbachhaus, München, 1973

@lisson_gallery
@frasermuggeridgestudio
#DanielBuren

Daniel Buren ‘Pages in situ’
11 June – 22 August 2026
Lisson, London

This exhibition, curated by graphic designer Fraser Muggeridge, charts Daniel Buren’s expanded use of the 8.7cm stripe over almost six decades, from the street to the gallery walls and from the canvas to printed matter. Exploring the legacy of the artist’s famous motif – through art works, archival objects and his prodigious publishing and printed matter output – the installation attempts an entire history of the stripe as subversive interruption within books, magazines and all forms of printed matter. It begins with Buren’s contribution to the Prospect 68 catalogue at the Kunsthalle Düsseldorf in 1968 – a double-page spread of uncaptioned green stripes – and ends with a new version of an off-site exhibition of pasted vertical stripes first staged on a billboard in central London in 1972.

Bringing together more than 100 printed items, ‘Pages in situ’ spans interventions in books, magazines and newspapers, often presented “without name or explanation”, alongside invitations, posters and group and solo exhibition catalogues, as well as dedicated artist books. Variations in colour, sequencing, cut-outs and format all play a role in shaping each item. Across these diverse formats, Buren’s consistent “visual tool” operates as a powerful graphic element, threading through each publication while continually shifting in form and intent.

Slide 1: 35mm slide of contribution to ‘Studio International’, 1970
Slide 2: ‘Work in situ’, Billboard as an exhibition, Jack Wender Gallery, 59 Shaftesbury Avenue, London, 1972
Slide 3: Centrefold spread of ‘Prospect 68’ catalogue,Düsseldorf Kunsthalle, 1968
Slide 4: Buren related book stack showing ‘Bilder - Objekte - Filme - Konzepte’ Städtische Galerie im Lenbachhaus, München, 1973

@lisson_gallery
@frasermuggeridgestudio
#DanielBuren

Daniel Buren ‘Pages in situ’
11 June – 22 August 2026
Lisson, London

This exhibition, curated by graphic designer Fraser Muggeridge, charts Daniel Buren’s expanded use of the 8.7cm stripe over almost six decades, from the street to the gallery walls and from the canvas to printed matter. Exploring the legacy of the artist’s famous motif – through art works, archival objects and his prodigious publishing and printed matter output – the installation attempts an entire history of the stripe as subversive interruption within books, magazines and all forms of printed matter. It begins with Buren’s contribution to the Prospect 68 catalogue at the Kunsthalle Düsseldorf in 1968 – a double-page spread of uncaptioned green stripes – and ends with a new version of an off-site exhibition of pasted vertical stripes first staged on a billboard in central London in 1972.

Bringing together more than 100 printed items, ‘Pages in situ’ spans interventions in books, magazines and newspapers, often presented “without name or explanation”, alongside invitations, posters and group and solo exhibition catalogues, as well as dedicated artist books. Variations in colour, sequencing, cut-outs and format all play a role in shaping each item. Across these diverse formats, Buren’s consistent “visual tool” operates as a powerful graphic element, threading through each publication while continually shifting in form and intent.

Slide 1: 35mm slide of contribution to ‘Studio International’, 1970
Slide 2: ‘Work in situ’, Billboard as an exhibition, Jack Wender Gallery, 59 Shaftesbury Avenue, London, 1972
Slide 3: Centrefold spread of ‘Prospect 68’ catalogue,Düsseldorf Kunsthalle, 1968
Slide 4: Buren related book stack showing ‘Bilder - Objekte - Filme - Konzepte’ Städtische Galerie im Lenbachhaus, München, 1973

@lisson_gallery
@frasermuggeridgestudio
#DanielBuren