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Igshaan Adams, ‘Between Then and Now,’ at Mudam Luxembourg. Exhibition continues until Sunday 16 August 2026.

Conceived as a woven timeline of the artist’s work, the exhibition begins with an expansive installation of textile swatches, where visitors are invited to immerse themselves in Adams’s studio environment by touching them. His signature tapestries and ‘cloud’ sculptures are presented alongside his dance prints, shown here for the first time as a large-scale environment.

Organised by Mudam Luxembourg – Musée d'Art Moderne Grand-Duc Jean and the Hepworth Wakefield in collaboration with ARoS Aarhus Kunstmuseum.

Igshaan Adams
‘Between Then and Now’

10 February–16 August 2026

Mudam Luxembourg
Musée d’Art Moderne Grand-Duc Jean
3, Park Dräi Eechelen
Luxembourg

#IgshaanAdams
#BetweenThenAndNow
#Mudam
#MudamLuxembourg
@igshaan.adams
@mudamlux

Exhibition views, Igshaan Adams, ‘Between Then and Now’, Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, 2026. © Igshaan Adams. Photos: Marc Domage © Mudam Luxembourg.

Igshaan Adams, ‘Between Then and Now,’ at Mudam Luxembourg. Exhibition continues until Sunday 16 August 2026.

Conceived as a woven timeline of the artist’s work, the exhibition begins with an expansive installation of textile swatches, where visitors are invited to immerse themselves in Adams’s studio environment by touching them. His signature tapestries and ‘cloud’ sculptures are presented alongside his dance prints, shown here for the first time as a large-scale environment.

Organised by Mudam Luxembourg – Musée d'Art Moderne Grand-Duc Jean and the Hepworth Wakefield in collaboration with ARoS Aarhus Kunstmuseum.

Igshaan Adams
‘Between Then and Now’

10 February–16 August 2026

Mudam Luxembourg
Musée d’Art Moderne Grand-Duc Jean
3, Park Dräi Eechelen
Luxembourg

#IgshaanAdams
#BetweenThenAndNow
#Mudam
#MudamLuxembourg
@igshaan.adams
@mudamlux

Exhibition views, Igshaan Adams, ‘Between Then and Now’, Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, 2026. © Igshaan Adams. Photos: Marc Domage © Mudam Luxembourg.

Igshaan Adams, ‘Between Then and Now,’ at Mudam Luxembourg. Exhibition continues until Sunday 16 August 2026.

Conceived as a woven timeline of the artist’s work, the exhibition begins with an expansive installation of textile swatches, where visitors are invited to immerse themselves in Adams’s studio environment by touching them. His signature tapestries and ‘cloud’ sculptures are presented alongside his dance prints, shown here for the first time as a large-scale environment.

Organised by Mudam Luxembourg – Musée d'Art Moderne Grand-Duc Jean and the Hepworth Wakefield in collaboration with ARoS Aarhus Kunstmuseum.

Igshaan Adams
‘Between Then and Now’

10 February–16 August 2026

Mudam Luxembourg
Musée d’Art Moderne Grand-Duc Jean
3, Park Dräi Eechelen
Luxembourg

#IgshaanAdams
#BetweenThenAndNow
#Mudam
#MudamLuxembourg
@igshaan.adams
@mudamlux

Exhibition views, Igshaan Adams, ‘Between Then and Now’, Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, 2026. © Igshaan Adams. Photos: Marc Domage © Mudam Luxembourg.

Igshaan Adams, ‘Between Then and Now,’ at Mudam Luxembourg. Exhibition continues until Sunday 16 August 2026.

Conceived as a woven timeline of the artist’s work, the exhibition begins with an expansive installation of textile swatches, where visitors are invited to immerse themselves in Adams’s studio environment by touching them. His signature tapestries and ‘cloud’ sculptures are presented alongside his dance prints, shown here for the first time as a large-scale environment.

Organised by Mudam Luxembourg – Musée d'Art Moderne Grand-Duc Jean and the Hepworth Wakefield in collaboration with ARoS Aarhus Kunstmuseum.

Igshaan Adams
‘Between Then and Now’

10 February–16 August 2026

Mudam Luxembourg
Musée d’Art Moderne Grand-Duc Jean
3, Park Dräi Eechelen
Luxembourg

#IgshaanAdams
#BetweenThenAndNow
#Mudam
#MudamLuxembourg
@igshaan.adams
@mudamlux

Exhibition views, Igshaan Adams, ‘Between Then and Now’, Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, 2026. © Igshaan Adams. Photos: Marc Domage © Mudam Luxembourg.

Igshaan Adams, ‘Between Then and Now,’ at Mudam Luxembourg. Exhibition continues until Sunday 16 August 2026.

Conceived as a woven timeline of the artist’s work, the exhibition begins with an expansive installation of textile swatches, where visitors are invited to immerse themselves in Adams’s studio environment by touching them. His signature tapestries and ‘cloud’ sculptures are presented alongside his dance prints, shown here for the first time as a large-scale environment.

Organised by Mudam Luxembourg – Musée d'Art Moderne Grand-Duc Jean and the Hepworth Wakefield in collaboration with ARoS Aarhus Kunstmuseum.

Igshaan Adams
‘Between Then and Now’

10 February–16 August 2026

Mudam Luxembourg
Musée d’Art Moderne Grand-Duc Jean
3, Park Dräi Eechelen
Luxembourg

#IgshaanAdams
#BetweenThenAndNow
#Mudam
#MudamLuxembourg
@igshaan.adams
@mudamlux

Exhibition views, Igshaan Adams, ‘Between Then and Now’, Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, 2026. © Igshaan Adams. Photos: Marc Domage © Mudam Luxembourg.

Works by Claudio Parmiggiani in ‘Atlante’, at Thomas Dane Gallery in Naples.

Over a decade from 1964 onwards, Claudio Parmiggiani made a number of sculptures and collages using globes which he later called his “geographic work.” He cut one globe in half and combined it with a pair of shoes (‘Deserto’, 1964), squeezed a cheap inflatable one into a bottling jar (‘Globo’, 1968) and covered yet another one with black and white calfskin for the sculpture ‘Pellemondo’ (1968).

In the late 1960s, hundreds of millions of people had been captivated by photographs of the earth viewed from space, such as the iconic ‘Earthrise’ image from Apollo 8 as it orbited the moon in December 1968. Planet earth looked serene from space, silhouetted by the darkness of the cosmos. Back on the ground, the world was convulsed by massive social upheaval. In response Parmiggiani asked his friend Luigi Ghirri to take photographs of a crumpled plastic globe. Six images of the deformed sphere were brought together in an edition titled ‘Atlante’, published in 1970, challenging centuries-old conventions of cartography together with the world view it had been instrumental in shaping.

‘Atlante’
Curated by James Lingwood

3 February–5 May 2026

Thomas Dane Gallery
Via Francesco Crispi, 69
Napoli

#ClaudioParmiggiani
@james.lingwood

Images: Claudio Parmiggiani, ‘Globo’, 1968; ‘Atlante’, 1970, exhibition view, ‘Atlante’, Thomas Dane Gallery, Naples, 2026. Photo: M3 Studio; Claudio Parmiggiani, ‘Globo’, 1968 © Claudio Parmiggiani. Courtesy Archivio Claudio Parmiggiani and Bortolami Gallery, New York.

Works by Claudio Parmiggiani in ‘Atlante’, at Thomas Dane Gallery in Naples.

Over a decade from 1964 onwards, Claudio Parmiggiani made a number of sculptures and collages using globes which he later called his “geographic work.” He cut one globe in half and combined it with a pair of shoes (‘Deserto’, 1964), squeezed a cheap inflatable one into a bottling jar (‘Globo’, 1968) and covered yet another one with black and white calfskin for the sculpture ‘Pellemondo’ (1968).

In the late 1960s, hundreds of millions of people had been captivated by photographs of the earth viewed from space, such as the iconic ‘Earthrise’ image from Apollo 8 as it orbited the moon in December 1968. Planet earth looked serene from space, silhouetted by the darkness of the cosmos. Back on the ground, the world was convulsed by massive social upheaval. In response Parmiggiani asked his friend Luigi Ghirri to take photographs of a crumpled plastic globe. Six images of the deformed sphere were brought together in an edition titled ‘Atlante’, published in 1970, challenging centuries-old conventions of cartography together with the world view it had been instrumental in shaping.

‘Atlante’
Curated by James Lingwood

3 February–5 May 2026

Thomas Dane Gallery
Via Francesco Crispi, 69
Napoli

#ClaudioParmiggiani
@james.lingwood

Images: Claudio Parmiggiani, ‘Globo’, 1968; ‘Atlante’, 1970, exhibition view, ‘Atlante’, Thomas Dane Gallery, Naples, 2026. Photo: M3 Studio; Claudio Parmiggiani, ‘Globo’, 1968 © Claudio Parmiggiani. Courtesy Archivio Claudio Parmiggiani and Bortolami Gallery, New York.

A new commission by Dana Schutz for Kistefos in Norway will be unveiled on Saturday 9 May 2026.

For this season’s sculpture commission, Schutz has created ‘Blind Boat’: a monumental sculptural group developed
specifically for the sculpture park at Kistefos. The work marks her first outdoor sculpture at this scale, and signals a
striking new direction in her practice.

Dana Schutz, ‘Blind Boat’ will be unveiled as part of the season opening at Kistefos.

#DanaSchutz
@kistefos

Images: Dana Schutz portrait. Photo: Jason Schmidt; Dana Schutz, ‘The Medium’, 2024; ‘The Optometrists’, 2024 © Dana Schutz. Photos: Stephen Arnold; Exhibition view, Dana Schutz, ‘One Big Animal’ , Thomas Dane Gallery, London,
2025. Photo: Ben Westoby / Fine Art Documentation.

A new commission by Dana Schutz for Kistefos in Norway will be unveiled on Saturday 9 May 2026.

For this season’s sculpture commission, Schutz has created ‘Blind Boat’: a monumental sculptural group developed
specifically for the sculpture park at Kistefos. The work marks her first outdoor sculpture at this scale, and signals a
striking new direction in her practice.

Dana Schutz, ‘Blind Boat’ will be unveiled as part of the season opening at Kistefos.

#DanaSchutz
@kistefos

Images: Dana Schutz portrait. Photo: Jason Schmidt; Dana Schutz, ‘The Medium’, 2024; ‘The Optometrists’, 2024 © Dana Schutz. Photos: Stephen Arnold; Exhibition view, Dana Schutz, ‘One Big Animal’ , Thomas Dane Gallery, London,
2025. Photo: Ben Westoby / Fine Art Documentation.

A new commission by Dana Schutz for Kistefos in Norway will be unveiled on Saturday 9 May 2026.

For this season’s sculpture commission, Schutz has created ‘Blind Boat’: a monumental sculptural group developed
specifically for the sculpture park at Kistefos. The work marks her first outdoor sculpture at this scale, and signals a
striking new direction in her practice.

Dana Schutz, ‘Blind Boat’ will be unveiled as part of the season opening at Kistefos.

#DanaSchutz
@kistefos

Images: Dana Schutz portrait. Photo: Jason Schmidt; Dana Schutz, ‘The Medium’, 2024; ‘The Optometrists’, 2024 © Dana Schutz. Photos: Stephen Arnold; Exhibition view, Dana Schutz, ‘One Big Animal’ , Thomas Dane Gallery, London,
2025. Photo: Ben Westoby / Fine Art Documentation.

A new commission by Dana Schutz for Kistefos in Norway will be unveiled on Saturday 9 May 2026.

For this season’s sculpture commission, Schutz has created ‘Blind Boat’: a monumental sculptural group developed
specifically for the sculpture park at Kistefos. The work marks her first outdoor sculpture at this scale, and signals a
striking new direction in her practice.

Dana Schutz, ‘Blind Boat’ will be unveiled as part of the season opening at Kistefos.

#DanaSchutz
@kistefos

Images: Dana Schutz portrait. Photo: Jason Schmidt; Dana Schutz, ‘The Medium’, 2024; ‘The Optometrists’, 2024 © Dana Schutz. Photos: Stephen Arnold; Exhibition view, Dana Schutz, ‘One Big Animal’ , Thomas Dane Gallery, London,
2025. Photo: Ben Westoby / Fine Art Documentation.

A new limited edition print by Anya Gallaccio for Counter Editions is available now. ‘Waxing Star’ (2026) is Gallaccio’s first collaboration with Counter Editions.

Created through an intensive, process‑driven collaboration that began with the artist’s long‑standing fascination with historic apple imagery, the print offers a rare moment of stillness within a practice rooted in transformation. Beginning with a series of studio photographs of individual apples, Gallaccio worked closely with the Counter Editions studio team to build a composition. The final work combines inkjet underlayers with hand‑applied, pigmented varnishes, and ground pastel mixed into the surface. The result is a subtly intricate print that foregrounds the handmade, with each impression carrying its own character and the tactile presence of the artist’s process.

Anya Gallaccio
‘Waxing Star’, 2026
Edition of 40
Inkjet with 5 layers of screen printed varnish and 12 layers of pigment suspended in varnish, on Hahnemuhle Photorag Ultra Smooth 305gsm paper
77 x 61 cm
Signed, dated and numbered by the artist

For more information and to purchase the edition, go to the link in bio.

#AnyaGallaccio
#CounterEditions
@anyagallaccio
@countereditions

Images: Anya Gallaccio. ‘Waxing Star’, 2026 © Anya Gallaccio. Photos: Counter Editions.

A new limited edition print by Anya Gallaccio for Counter Editions is available now. ‘Waxing Star’ (2026) is Gallaccio’s first collaboration with Counter Editions.

Created through an intensive, process‑driven collaboration that began with the artist’s long‑standing fascination with historic apple imagery, the print offers a rare moment of stillness within a practice rooted in transformation. Beginning with a series of studio photographs of individual apples, Gallaccio worked closely with the Counter Editions studio team to build a composition. The final work combines inkjet underlayers with hand‑applied, pigmented varnishes, and ground pastel mixed into the surface. The result is a subtly intricate print that foregrounds the handmade, with each impression carrying its own character and the tactile presence of the artist’s process.

Anya Gallaccio
‘Waxing Star’, 2026
Edition of 40
Inkjet with 5 layers of screen printed varnish and 12 layers of pigment suspended in varnish, on Hahnemuhle Photorag Ultra Smooth 305gsm paper
77 x 61 cm
Signed, dated and numbered by the artist

For more information and to purchase the edition, go to the link in bio.

#AnyaGallaccio
#CounterEditions
@anyagallaccio
@countereditions

Images: Anya Gallaccio. ‘Waxing Star’, 2026 © Anya Gallaccio. Photos: Counter Editions.

A new limited edition print by Anya Gallaccio for Counter Editions is available now. ‘Waxing Star’ (2026) is Gallaccio’s first collaboration with Counter Editions.

Created through an intensive, process‑driven collaboration that began with the artist’s long‑standing fascination with historic apple imagery, the print offers a rare moment of stillness within a practice rooted in transformation. Beginning with a series of studio photographs of individual apples, Gallaccio worked closely with the Counter Editions studio team to build a composition. The final work combines inkjet underlayers with hand‑applied, pigmented varnishes, and ground pastel mixed into the surface. The result is a subtly intricate print that foregrounds the handmade, with each impression carrying its own character and the tactile presence of the artist’s process.

Anya Gallaccio
‘Waxing Star’, 2026
Edition of 40
Inkjet with 5 layers of screen printed varnish and 12 layers of pigment suspended in varnish, on Hahnemuhle Photorag Ultra Smooth 305gsm paper
77 x 61 cm
Signed, dated and numbered by the artist

For more information and to purchase the edition, go to the link in bio.

#AnyaGallaccio
#CounterEditions
@anyagallaccio
@countereditions

Images: Anya Gallaccio. ‘Waxing Star’, 2026 © Anya Gallaccio. Photos: Counter Editions.

A new limited edition print by Anya Gallaccio for Counter Editions is available now. ‘Waxing Star’ (2026) is Gallaccio’s first collaboration with Counter Editions.

Created through an intensive, process‑driven collaboration that began with the artist’s long‑standing fascination with historic apple imagery, the print offers a rare moment of stillness within a practice rooted in transformation. Beginning with a series of studio photographs of individual apples, Gallaccio worked closely with the Counter Editions studio team to build a composition. The final work combines inkjet underlayers with hand‑applied, pigmented varnishes, and ground pastel mixed into the surface. The result is a subtly intricate print that foregrounds the handmade, with each impression carrying its own character and the tactile presence of the artist’s process.

Anya Gallaccio
‘Waxing Star’, 2026
Edition of 40
Inkjet with 5 layers of screen printed varnish and 12 layers of pigment suspended in varnish, on Hahnemuhle Photorag Ultra Smooth 305gsm paper
77 x 61 cm
Signed, dated and numbered by the artist

For more information and to purchase the edition, go to the link in bio.

#AnyaGallaccio
#CounterEditions
@anyagallaccio
@countereditions

Images: Anya Gallaccio. ‘Waxing Star’, 2026 © Anya Gallaccio. Photos: Counter Editions.

A new limited edition print by Anya Gallaccio for Counter Editions is available now. ‘Waxing Star’ (2026) is Gallaccio’s first collaboration with Counter Editions.

Created through an intensive, process‑driven collaboration that began with the artist’s long‑standing fascination with historic apple imagery, the print offers a rare moment of stillness within a practice rooted in transformation. Beginning with a series of studio photographs of individual apples, Gallaccio worked closely with the Counter Editions studio team to build a composition. The final work combines inkjet underlayers with hand‑applied, pigmented varnishes, and ground pastel mixed into the surface. The result is a subtly intricate print that foregrounds the handmade, with each impression carrying its own character and the tactile presence of the artist’s process.

Anya Gallaccio
‘Waxing Star’, 2026
Edition of 40
Inkjet with 5 layers of screen printed varnish and 12 layers of pigment suspended in varnish, on Hahnemuhle Photorag Ultra Smooth 305gsm paper
77 x 61 cm
Signed, dated and numbered by the artist

For more information and to purchase the edition, go to the link in bio.

#AnyaGallaccio
#CounterEditions
@anyagallaccio
@countereditions

Images: Anya Gallaccio. ‘Waxing Star’, 2026 © Anya Gallaccio. Photos: Counter Editions.

A new limited edition print by Anya Gallaccio for Counter Editions is available now. ‘Waxing Star’ (2026) is Gallaccio’s first collaboration with Counter Editions.

Created through an intensive, process‑driven collaboration that began with the artist’s long‑standing fascination with historic apple imagery, the print offers a rare moment of stillness within a practice rooted in transformation. Beginning with a series of studio photographs of individual apples, Gallaccio worked closely with the Counter Editions studio team to build a composition. The final work combines inkjet underlayers with hand‑applied, pigmented varnishes, and ground pastel mixed into the surface. The result is a subtly intricate print that foregrounds the handmade, with each impression carrying its own character and the tactile presence of the artist’s process.

Anya Gallaccio
‘Waxing Star’, 2026
Edition of 40
Inkjet with 5 layers of screen printed varnish and 12 layers of pigment suspended in varnish, on Hahnemuhle Photorag Ultra Smooth 305gsm paper
77 x 61 cm
Signed, dated and numbered by the artist

For more information and to purchase the edition, go to the link in bio.

#AnyaGallaccio
#CounterEditions
@anyagallaccio
@countereditions

Images: Anya Gallaccio. ‘Waxing Star’, 2026 © Anya Gallaccio. Photos: Counter Editions.

Musei Civici di Reggio Emilia presents ‘Luigi Ghirri: A series of dreams’ at the Palazzo dei Musei, opening tonight, Thursday 30 April 2026, 7.00pm.

The exhibition, which includes previously unseen material, explores what Ghirri called the “strange and mysterious relationship between sound and image,” focussing on the fundamental role of music in constructing his vision as an artist: from his passion for Bob Dylan to his deep friendship with Lucio Dalla, his extensive record collection and the numerous references to music in his writings.

A soundscape by musician Iosonouncane, ‘Oltre quei monti il mare’, is featured one section of the exhibition, establishing a dialogue between Ghirri's “ecology of the gaze” and R. Murray Schafer's “acoustic ecology,” bringing together sound and visual landscapes.

A series of original audio recordings, curated by Giulia Cavaliere, also accompanies the exhibition, featuring insights, dialogues, and interviews with artists such as Angela Baraldi, Gianni Morandi, and Luca Carboni.

Exhibition curated by Ilaria Campioli and Andrea Tinterri.

‘Luigi Ghirri: A series of dreams’
Paesaggi visivi e paesaggi sonori’

30 April 2026–28 February 2027

Opening: Thursday 30 April, 7.00pm; Inauguration at 7.30pm

Palazzo dei Musei
Via Spallanzani, 1
42121 Reggio Emilia
Italy

#LuigiGhirri
@fondazioneluigighirri
@museicivicire
@culturareggioemilia

Image: Luigi Ghirri, ‘Modena’, 1979 © Estate of Luigi Ghirri.

Igshaan Adams, ‘Keeping Light’ (2025) in ‘Atlante’ at Thomas Dane Gallery in Naples.

Last chance to see: exhibition ends Tuesday 5 May.

‘Atlante’
Curated by James Lingwood

3 February–5 May 2026

Thomas Dane Gallery
Via Francesco Crispi, 69
Napoli

@igshaan.adams
@james.lingwood

Artwork © Igshaan Adams. Video: M3 Studio.

Tatiana Trouvé, ‘11- 01- 2026 TT’, 2026 in ‘Atlante’, at Thomas Dane Gallery in Naples.

A haphazard tangle of lines disrupts the geometric forms in another new drawing by Trouvé, ‘11-01-2026 TT’. The title refers to the date the drawing was completed and to the origins of the strands of hair dropped on to the canvas over which Trouvé has attached tracing paper before accentuating some of the lines with pencil. The triangular forms in the drawing could reference signs on a topographic map indicating high points on land or depths in the ocean, over which the lines trace their errant currents.

‘Atlante’
Curated by James Lingwood

3 February–5 May 2026

Thomas Dane Gallery
Via Francesco Crispi, 69
Napoli

@tatianatrouve
@james.lingwood

Images: Tatiana Trouvé, ‘11- 01- 2026 TT’, 2026 © Tatiana Trouvé. Courtesy the artist, Gagosian and Xavier Hufkens. Photo: Florian Kleinefenn; Exhibition view, ‘Atlante’, Thomas Dane Gallery, Naples, 2026. Photo: M3 Studio.

Tatiana Trouvé, ‘11- 01- 2026 TT’, 2026 in ‘Atlante’, at Thomas Dane Gallery in Naples.

A haphazard tangle of lines disrupts the geometric forms in another new drawing by Trouvé, ‘11-01-2026 TT’. The title refers to the date the drawing was completed and to the origins of the strands of hair dropped on to the canvas over which Trouvé has attached tracing paper before accentuating some of the lines with pencil. The triangular forms in the drawing could reference signs on a topographic map indicating high points on land or depths in the ocean, over which the lines trace their errant currents.

‘Atlante’
Curated by James Lingwood

3 February–5 May 2026

Thomas Dane Gallery
Via Francesco Crispi, 69
Napoli

@tatianatrouve
@james.lingwood

Images: Tatiana Trouvé, ‘11- 01- 2026 TT’, 2026 © Tatiana Trouvé. Courtesy the artist, Gagosian and Xavier Hufkens. Photo: Florian Kleinefenn; Exhibition view, ‘Atlante’, Thomas Dane Gallery, Naples, 2026. Photo: M3 Studio.

Works by Tatiana Trouvé in ‘Atlante’, at Thomas Dane Gallery in Naples.

Trouvé begins the drawings in her series ‘Les dessouvenus’ (the word refers to a Breton term for the ‘unremembered’) by embracing an element of chance. She applies bleach to coloured paper to create accidental, amorphous forms. Like the stains on walls or ashes from fires that Leonardo da Vinci suggested artists might look at for inspiration, Trouvé takes the forms on the paper as a ground over which to draw forms with ink, linseed oil, coloured pencil and mica (to add an occasional copper element to the surface) that amplify the volatile origins of the work. Building worlds that are as elusive and as vivid as dreams, Trouvé’s drawings oscillate between form and formlessness, between emerging and dissolving states.

In a recent drawing from the ‘Les dessouvenus’ series, the perfect sphere of the moon, perhaps reflected on the surface of water, appears as a witness to some momentous, possibly cataclysmic event; an underwater eruption or all-engulfing fire. Geometric lines radiate from the epicentre of the drawing, taking soundings of the turbulence. In these drawings, Trouvé charts not so much a place as a state of being, where interior and exterior fold into one another and boundaries dissolve.

‘Atlante’
Curated by James Lingwood

3 February–5 May 2026

Thomas Dane Gallery
Via Francesco Crispi, 69
Napoli

@tatianatrouve
@james.lingwood

Images: Tatiana Trouvé, ‘Untitled, from the series Les dessouvenus’, 2025; ‘Untitled, from the series Les dessouvenus’, 2026 © Tatiana Trouvé. Courtesy the artist, Gagosian and Xavier Hufkens. Photos: Florian Kleinefenn; Exhibition views, ‘Atlante’, Thomas Dane Gallery, Naples, 2026. Photos: M3 Studio.

Works by Tatiana Trouvé in ‘Atlante’, at Thomas Dane Gallery in Naples.

Trouvé begins the drawings in her series ‘Les dessouvenus’ (the word refers to a Breton term for the ‘unremembered’) by embracing an element of chance. She applies bleach to coloured paper to create accidental, amorphous forms. Like the stains on walls or ashes from fires that Leonardo da Vinci suggested artists might look at for inspiration, Trouvé takes the forms on the paper as a ground over which to draw forms with ink, linseed oil, coloured pencil and mica (to add an occasional copper element to the surface) that amplify the volatile origins of the work. Building worlds that are as elusive and as vivid as dreams, Trouvé’s drawings oscillate between form and formlessness, between emerging and dissolving states.

In a recent drawing from the ‘Les dessouvenus’ series, the perfect sphere of the moon, perhaps reflected on the surface of water, appears as a witness to some momentous, possibly cataclysmic event; an underwater eruption or all-engulfing fire. Geometric lines radiate from the epicentre of the drawing, taking soundings of the turbulence. In these drawings, Trouvé charts not so much a place as a state of being, where interior and exterior fold into one another and boundaries dissolve.

‘Atlante’
Curated by James Lingwood

3 February–5 May 2026

Thomas Dane Gallery
Via Francesco Crispi, 69
Napoli

@tatianatrouve
@james.lingwood

Images: Tatiana Trouvé, ‘Untitled, from the series Les dessouvenus’, 2025; ‘Untitled, from the series Les dessouvenus’, 2026 © Tatiana Trouvé. Courtesy the artist, Gagosian and Xavier Hufkens. Photos: Florian Kleinefenn; Exhibition views, ‘Atlante’, Thomas Dane Gallery, Naples, 2026. Photos: M3 Studio.

Works by Tatiana Trouvé in ‘Atlante’, at Thomas Dane Gallery in Naples.

Trouvé begins the drawings in her series ‘Les dessouvenus’ (the word refers to a Breton term for the ‘unremembered’) by embracing an element of chance. She applies bleach to coloured paper to create accidental, amorphous forms. Like the stains on walls or ashes from fires that Leonardo da Vinci suggested artists might look at for inspiration, Trouvé takes the forms on the paper as a ground over which to draw forms with ink, linseed oil, coloured pencil and mica (to add an occasional copper element to the surface) that amplify the volatile origins of the work. Building worlds that are as elusive and as vivid as dreams, Trouvé’s drawings oscillate between form and formlessness, between emerging and dissolving states.

In a recent drawing from the ‘Les dessouvenus’ series, the perfect sphere of the moon, perhaps reflected on the surface of water, appears as a witness to some momentous, possibly cataclysmic event; an underwater eruption or all-engulfing fire. Geometric lines radiate from the epicentre of the drawing, taking soundings of the turbulence. In these drawings, Trouvé charts not so much a place as a state of being, where interior and exterior fold into one another and boundaries dissolve.

‘Atlante’
Curated by James Lingwood

3 February–5 May 2026

Thomas Dane Gallery
Via Francesco Crispi, 69
Napoli

@tatianatrouve
@james.lingwood

Images: Tatiana Trouvé, ‘Untitled, from the series Les dessouvenus’, 2025; ‘Untitled, from the series Les dessouvenus’, 2026 © Tatiana Trouvé. Courtesy the artist, Gagosian and Xavier Hufkens. Photos: Florian Kleinefenn; Exhibition views, ‘Atlante’, Thomas Dane Gallery, Naples, 2026. Photos: M3 Studio.

Works by Tatiana Trouvé in ‘Atlante’, at Thomas Dane Gallery in Naples.

Trouvé begins the drawings in her series ‘Les dessouvenus’ (the word refers to a Breton term for the ‘unremembered’) by embracing an element of chance. She applies bleach to coloured paper to create accidental, amorphous forms. Like the stains on walls or ashes from fires that Leonardo da Vinci suggested artists might look at for inspiration, Trouvé takes the forms on the paper as a ground over which to draw forms with ink, linseed oil, coloured pencil and mica (to add an occasional copper element to the surface) that amplify the volatile origins of the work. Building worlds that are as elusive and as vivid as dreams, Trouvé’s drawings oscillate between form and formlessness, between emerging and dissolving states.

In a recent drawing from the ‘Les dessouvenus’ series, the perfect sphere of the moon, perhaps reflected on the surface of water, appears as a witness to some momentous, possibly cataclysmic event; an underwater eruption or all-engulfing fire. Geometric lines radiate from the epicentre of the drawing, taking soundings of the turbulence. In these drawings, Trouvé charts not so much a place as a state of being, where interior and exterior fold into one another and boundaries dissolve.

‘Atlante’
Curated by James Lingwood

3 February–5 May 2026

Thomas Dane Gallery
Via Francesco Crispi, 69
Napoli

@tatianatrouve
@james.lingwood

Images: Tatiana Trouvé, ‘Untitled, from the series Les dessouvenus’, 2025; ‘Untitled, from the series Les dessouvenus’, 2026 © Tatiana Trouvé. Courtesy the artist, Gagosian and Xavier Hufkens. Photos: Florian Kleinefenn; Exhibition views, ‘Atlante’, Thomas Dane Gallery, Naples, 2026. Photos: M3 Studio.

‘in situ: Igshaan Adams. Unsettling Dust: The Body’s Archive’ opens next week at Guggenheim Museum Bilbao.

Adams’ work brings together performance, weaving, sculpture and installation to explore and unsettle racial, sexual and religious boundaries. Born in Bonteheuwel, a suburb of Cape Town, South Africa, he draws on his lived experience to create works that function as palimpsests, where personal histories are layered, obscured and reinscribed. Densely crafted and materially rich, they draw together cultural and spiritual references that trace both intimate memory and wider socio-political realities. As Adams has said, “I am interested in the personal stories recorded on the surface. What is recorded is not necessarily always a factual account but can be what is imagined, a combination of myth-making and meaning-making.”

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

Curated by Lekha Hileman.

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

5 May–1 November 2026

Opening Talks: Igshaan Adams, Monday 4 May, 6.00pm

Performance: Garage Dance Ensemble and Talk with Igshaan Adams, Tuesday 5 May, 6.30pm

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

For more information and to book tickets, go to the link in bio.

#IgshaanAdams
#GuggenheimBilbao
@igshaan.adams
@museoguggenheim

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

Jimmy Robert performs James Lee Byars, ‘The Mile-Long Paper Walk’ at Bourse de Commerce, Paris. Wednesday 29 April 2026, 7.30pm.

Programmed to accompany the current exhibition, ‘Clair-obscur’, this will be the first performance of the work in Europe, and the second time Robert has participated, following a 2014 activation at MoMA in New York.

Throughout his career, James Lee Byars (1932–1997) created a body of performance work that forms a fundamental part of his oeuvre. ‘The Mile-Long Paper Walk’ is the first ‘performable object’ conceived by the artist, taking the form of a folding ruler made of sheets of Japanese paper. Fully unfolded, it forms a 152-metre-long line that seems to extend to infinity. The work was first activated by American choreographer Lucinda Childs in the atrium of the Carnegie Museum of Art in Pittsburgh in 1965, but remained largely unknown for many years.

James Lee Byars, ‘The Mile-Long Paper Walk’
Performed by Jimmy Robert

Wednesday 29 April 2026, 7.30pm

Rotunda
Bourse de Commerce — Pinault Collection
2 rue de Viarmes
75001 Paris

#JimmyRobert
#JamesLeeByars
#BoursedeCommerce
@jimmyvaleryrobert
@boursedecommerce

Photo: Roberto Salomone.

Works by Luigi Ghirri in ‘Atlante’, at Thomas Dane Gallery in Naples.

In 1970 Ghirri had decided to give up his job as a surveyor, spending time out ‘in the field’ mapping and measuring spaces and places, so he could focus fully on his photography. Three years later he made his own ‘Atlante’ (1973).

To make the work, he turned to the pages of the atlas he had at home. Using a macro lens, he zoomed in on pages of the atlas, taking increasingly close-up details of deserts, mountain ranges, oceans and archipelagos. Lines marking borders, meridians and parallels, and numbers indicating heights and depths become detached from geography. A mapped and measured world progressively unravels as the images move away from representation. Of this poetic subversion of cartography he wrote, “I endeavoured to carry out a journey in a place which effaces the journey itself – because, within the atlas, all possible journeys are already described, all itineraries already traced.”

Ghirri thought of his work as a ‘journey through images’. He framed his project through the idea of the ‘open work’, grouping and sequencing images to generate a multiplicity of reflections and associations. ‘Atlante’ is both one of the most tightly framed of his works and one of the most open, its free-floating signifiers inciting a drift towards reverie and the pleasures of “the journey across the map” which he considered “one of the most natural gestures of the mind, from childhood onwards.”

‘Atlante’
Curated by James Lingwood

3 February–5 May 2026

Thomas Dane Gallery
Via Francesco Crispi, 69
Napoli

@fondazioneluigighirri
@james.lingwood

Images: Luigi Ghirri, ‘Modena’, 1973; ‘Modena’, 1973 © The Estate of Luigi Ghirri; Exhibition view, ‘Atlante’, Thomas Dane Gallery, Naples, 2026. Photo: M3 Studio.

Works by Luigi Ghirri in ‘Atlante’, at Thomas Dane Gallery in Naples.

In 1970 Ghirri had decided to give up his job as a surveyor, spending time out ‘in the field’ mapping and measuring spaces and places, so he could focus fully on his photography. Three years later he made his own ‘Atlante’ (1973).

To make the work, he turned to the pages of the atlas he had at home. Using a macro lens, he zoomed in on pages of the atlas, taking increasingly close-up details of deserts, mountain ranges, oceans and archipelagos. Lines marking borders, meridians and parallels, and numbers indicating heights and depths become detached from geography. A mapped and measured world progressively unravels as the images move away from representation. Of this poetic subversion of cartography he wrote, “I endeavoured to carry out a journey in a place which effaces the journey itself – because, within the atlas, all possible journeys are already described, all itineraries already traced.”

Ghirri thought of his work as a ‘journey through images’. He framed his project through the idea of the ‘open work’, grouping and sequencing images to generate a multiplicity of reflections and associations. ‘Atlante’ is both one of the most tightly framed of his works and one of the most open, its free-floating signifiers inciting a drift towards reverie and the pleasures of “the journey across the map” which he considered “one of the most natural gestures of the mind, from childhood onwards.”

‘Atlante’
Curated by James Lingwood

3 February–5 May 2026

Thomas Dane Gallery
Via Francesco Crispi, 69
Napoli

@fondazioneluigighirri
@james.lingwood

Images: Luigi Ghirri, ‘Modena’, 1973; ‘Modena’, 1973 © The Estate of Luigi Ghirri; Exhibition view, ‘Atlante’, Thomas Dane Gallery, Naples, 2026. Photo: M3 Studio.

Works by Luigi Ghirri in ‘Atlante’, at Thomas Dane Gallery in Naples.

In 1970 Ghirri had decided to give up his job as a surveyor, spending time out ‘in the field’ mapping and measuring spaces and places, so he could focus fully on his photography. Three years later he made his own ‘Atlante’ (1973).

To make the work, he turned to the pages of the atlas he had at home. Using a macro lens, he zoomed in on pages of the atlas, taking increasingly close-up details of deserts, mountain ranges, oceans and archipelagos. Lines marking borders, meridians and parallels, and numbers indicating heights and depths become detached from geography. A mapped and measured world progressively unravels as the images move away from representation. Of this poetic subversion of cartography he wrote, “I endeavoured to carry out a journey in a place which effaces the journey itself – because, within the atlas, all possible journeys are already described, all itineraries already traced.”

Ghirri thought of his work as a ‘journey through images’. He framed his project through the idea of the ‘open work’, grouping and sequencing images to generate a multiplicity of reflections and associations. ‘Atlante’ is both one of the most tightly framed of his works and one of the most open, its free-floating signifiers inciting a drift towards reverie and the pleasures of “the journey across the map” which he considered “one of the most natural gestures of the mind, from childhood onwards.”

‘Atlante’
Curated by James Lingwood

3 February–5 May 2026

Thomas Dane Gallery
Via Francesco Crispi, 69
Napoli

@fondazioneluigighirri
@james.lingwood

Images: Luigi Ghirri, ‘Modena’, 1973; ‘Modena’, 1973 © The Estate of Luigi Ghirri; Exhibition view, ‘Atlante’, Thomas Dane Gallery, Naples, 2026. Photo: M3 Studio.

To coincide with the current exhibition at Thomas Dane Gallery in London, co-curators Alessio Bolzoni and Luca Guadagnino present ‘Luigi Ghirri Felicità’, published by MACK.

The book features a sequence of both never-before-seen and iconic photographs offering an idiosyncratic path through Ghirri’s works, moving from wry images of discarded magazine cuttings and details of materials, to domestic spaces and images from Ghirri’s travels around Italy and beyond. These disparate works resonantly piece together various elements and themes in the artist’s practice. Three essays by Ghirri punctuate the book – ‘The Open Work’, ‘The Impossible Landscape’, and ‘House, Bridge, Gate’.

‘Luigi Ghirri Felicità’, 2026
By Alessio Bolzoni and Luca Guadagnino
Published by MACK
Linen hardcover
21 x 24 cm, 120 pages
Bilingual edition (English and Italian)

Luigi Ghirri, ‘Felicità’, curated by Alessio Bolzoni and Luca Guadagnino, continues at Thomas Dane Gallery in London, until Saturday 9 May 2026.

#LuigiGhirri
#Felicita
#FondazioneLuigiGhirri
#AlessioBolzoni
#LucaGuadagnino
@fondazioneluigighirri
@alessiobolzoni
@mack_publishing

To coincide with the current exhibition at Thomas Dane Gallery in London, co-curators Alessio Bolzoni and Luca Guadagnino present ‘Luigi Ghirri Felicità’, published by MACK.

The book features a sequence of both never-before-seen and iconic photographs offering an idiosyncratic path through Ghirri’s works, moving from wry images of discarded magazine cuttings and details of materials, to domestic spaces and images from Ghirri’s travels around Italy and beyond. These disparate works resonantly piece together various elements and themes in the artist’s practice. Three essays by Ghirri punctuate the book – ‘The Open Work’, ‘The Impossible Landscape’, and ‘House, Bridge, Gate’.

‘Luigi Ghirri Felicità’, 2026
By Alessio Bolzoni and Luca Guadagnino
Published by MACK
Linen hardcover
21 x 24 cm, 120 pages
Bilingual edition (English and Italian)

Luigi Ghirri, ‘Felicità’, curated by Alessio Bolzoni and Luca Guadagnino, continues at Thomas Dane Gallery in London, until Saturday 9 May 2026.

#LuigiGhirri
#Felicita
#FondazioneLuigiGhirri
#AlessioBolzoni
#LucaGuadagnino
@fondazioneluigighirri
@alessiobolzoni
@mack_publishing

To coincide with the current exhibition at Thomas Dane Gallery in London, co-curators Alessio Bolzoni and Luca Guadagnino present ‘Luigi Ghirri Felicità’, published by MACK.

The book features a sequence of both never-before-seen and iconic photographs offering an idiosyncratic path through Ghirri’s works, moving from wry images of discarded magazine cuttings and details of materials, to domestic spaces and images from Ghirri’s travels around Italy and beyond. These disparate works resonantly piece together various elements and themes in the artist’s practice. Three essays by Ghirri punctuate the book – ‘The Open Work’, ‘The Impossible Landscape’, and ‘House, Bridge, Gate’.

‘Luigi Ghirri Felicità’, 2026
By Alessio Bolzoni and Luca Guadagnino
Published by MACK
Linen hardcover
21 x 24 cm, 120 pages
Bilingual edition (English and Italian)

Luigi Ghirri, ‘Felicità’, curated by Alessio Bolzoni and Luca Guadagnino, continues at Thomas Dane Gallery in London, until Saturday 9 May 2026.

#LuigiGhirri
#Felicita
#FondazioneLuigiGhirri
#AlessioBolzoni
#LucaGuadagnino
@fondazioneluigighirri
@alessiobolzoni
@mack_publishing

To coincide with the current exhibition at Thomas Dane Gallery in London, co-curators Alessio Bolzoni and Luca Guadagnino present ‘Luigi Ghirri Felicità’, published by MACK.

The book features a sequence of both never-before-seen and iconic photographs offering an idiosyncratic path through Ghirri’s works, moving from wry images of discarded magazine cuttings and details of materials, to domestic spaces and images from Ghirri’s travels around Italy and beyond. These disparate works resonantly piece together various elements and themes in the artist’s practice. Three essays by Ghirri punctuate the book – ‘The Open Work’, ‘The Impossible Landscape’, and ‘House, Bridge, Gate’.

‘Luigi Ghirri Felicità’, 2026
By Alessio Bolzoni and Luca Guadagnino
Published by MACK
Linen hardcover
21 x 24 cm, 120 pages
Bilingual edition (English and Italian)

Luigi Ghirri, ‘Felicità’, curated by Alessio Bolzoni and Luca Guadagnino, continues at Thomas Dane Gallery in London, until Saturday 9 May 2026.

#LuigiGhirri
#Felicita
#FondazioneLuigiGhirri
#AlessioBolzoni
#LucaGuadagnino
@fondazioneluigighirri
@alessiobolzoni
@mack_publishing