Focusing on her rarely seen work from Warsaw, Stories from the Life presents the paintings and drawings of Franciszka Themerson during her time as a student, followed by her drawings of 1933.
Harriet Pozanasky’s multi-disciplinary exhibition Pin Up explores themes of female subjectivity, desire and autonomy through painting, drawing and sound.
Ulrike Müller’s Beside Myself explores her fascination with the production and manufacturing of things through tales, images, patterns and materials produced in good quality by small 20th Century facilities.
Jaki Irvine works across video, installation, photography, music composition, and writing to explore the complex ways we imagine ourselves and the world around us. For Irvine, this process has both philosophical and political dimensions. She weaves real events into films and videos that reflect on the fragmented, mysterious and often absurd nature of the human […]
‘Crackers for Lorelei’ presents a series of colourful oil paintings. The exhibition is supported with a grant from Culture Ireland.
Alia Ahmad’s vibrant, expressionistic paintings draw inspiration from memories and observations of her native Riyadh; informed by local textiles, poetry, calligraphy, digital graphics and the rich diversity of the surrounding industrialised desert landscape and plant life.
Sue and Terry Atkinson's exhibition combines drawings and paintings with a prescient relationship to current geopolitical events. The work of both artists have focussed on overtly radical subject matter since the 1960s, with the potency of their work becoming stronger over time.
Ella Kruglyanskaya's show 'Shadows' will assemble a group of new paintings that explore the nature of artistic influence and the enduring conversation about the future of painting. Kruglyanskaya’s monograph, Too Much, has been published to coincide with this exhibtion.
Claudia Pagès Rabal’s practice intertwines words, bodies, music, and movement. Five Defence Towers, a new moving image commission, tells a tale of surveillance, control, settlement, and refuge across five acts.
Daria Blum works across video, music, text, photography, installation and performance. This show is based on her reflections on the role of the live performer, and her own attempts at deflecting and withdrawing from the audience’s gaze and attention.
Debjani Banerjee’s exhibition, Jalsaghar, is an intricate exploration of identity, culture, and heritage. The exhibition navigates themes of cultural migration and the evolving nature of identity.
In her exhibition, The Book of Flowers, Agnieszka Polska uses cinematic storytelling and affective technologies, to address the perpetually negotiated relationship between human and technology. She examines the processes that mutually influence and legitimate this relationship in language, history and consciousness.
In Navigator, Divine Southgate-Smith magnifies archival photographs to the point of dissolution. It is an exhibition about movement – the movement of history, memory, and ideas across time.
The Opening of a Crisp Packet is a show about storytelling and an installation of new ceramic works by Alma Berrow.
This show is presentation of new works by Alison Watt, timed to coincide with her solo exhibition at Pitzhanger Manor & Gallery, London. Watt’s still life paintings are distinguished by a deft realism informed by perception, memory, and art historical research.
Birch’s paintings examine the unseen forces that shape aural and tactile perception. Youn’s kinetic sculptures confront the tension between pleasure and discomfort, using devices like massagers to examine the relation of function and desire.
The Silent Game, is an exhibition by Elena Gaul, which takes inspiration from a chessboard, with paintings setting the rhythm of the game. Balancing between structure and expression, Gaul’s work invites viewers to pause, observe, and perhaps discover their own move in the game of shapes and colours.
Jacqueline Poncelet's, exhibition spans fifty years of work in, this, that and the other. It brings together Poncelet’s early sculptural ceramics, large-scale drawings, and small paintings from the 1970-1980s, with recent watercolours, tracing a continuous dialogue between material, process, and pattern across diverse media.
Kristina Chan's work oscillates between photography and printmaking and the science – and artistry – behind mark-making. Fascinated by the relationship between these two processes, Chan explores their ties to site-specificity and truth, to memory, time and space in Habitable Climes.
What the Water Gave Them showcases new paintings and animations by Cecilia Reeve that delve into themes of submersion, ritual, and renewal.