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Find us at Booth 342 at @tefaf New York on view through 19 May.

Lisson presents a dual-artist presentation that brings together two of the most influential figures in contemporary art: Tony Cragg and Sean Scully.

The presentation centers on two works from Cragg’s Incident series, one realized in Corten steel and the other in polished stainless steel, each articulating the series’ signature upright, anthropomorphic form. Through a rigorous process of carving and construction, these sculptures dissolve boundaries between interior and exterior, mass and void. While the Corten work emphasizes material density and a grounded, matte presence, the stainless-steel counterpart activates the surface through shifting reflections, heightening a sense of movement and optical fluidity.

In dialogue, Sean Scully presents two new paintings from his Wall of Light series—one on canvas and one on copper—alongside a beautiful new Landline work entitled, La Mer (2026). Born in Dublin in 1945 and raised in London, Scully moved to New York in 1975, where he played a pivotal role in shifting American abstraction beyond the reduced vocabulary of Minimalism toward a more emotional and natural mode. Drawing on a wide range of influences, his work synthesizes transatlantic traditions into a visual language that is both structured and deeply expressive.

🗓️ Booth 342 from 15 – 19 May

📍Park Avenue Armory, New York

🔗 Explore our presentation via the link in bio

Images: Installation view, Lisson Gallery’s TEFAF NY booth, 15 – 19 May 2026. © Courtesy Lisson Gallery, Photography by Dawn Blackman

#TEFAF #TEFAFNewYork #Lisson #TonyCragg #SeanScully

Find us at Booth 342 at @tefaf New York on view through 19 May.

Lisson presents a dual-artist presentation that brings together two of the most influential figures in contemporary art: Tony Cragg and Sean Scully.

The presentation centers on two works from Cragg’s Incident series, one realized in Corten steel and the other in polished stainless steel, each articulating the series’ signature upright, anthropomorphic form. Through a rigorous process of carving and construction, these sculptures dissolve boundaries between interior and exterior, mass and void. While the Corten work emphasizes material density and a grounded, matte presence, the stainless-steel counterpart activates the surface through shifting reflections, heightening a sense of movement and optical fluidity.

In dialogue, Sean Scully presents two new paintings from his Wall of Light series—one on canvas and one on copper—alongside a beautiful new Landline work entitled, La Mer (2026). Born in Dublin in 1945 and raised in London, Scully moved to New York in 1975, where he played a pivotal role in shifting American abstraction beyond the reduced vocabulary of Minimalism toward a more emotional and natural mode. Drawing on a wide range of influences, his work synthesizes transatlantic traditions into a visual language that is both structured and deeply expressive.

🗓️ Booth 342 from 15 – 19 May

📍Park Avenue Armory, New York

🔗 Explore our presentation via the link in bio

Images: Installation view, Lisson Gallery’s TEFAF NY booth, 15 – 19 May 2026. © Courtesy Lisson Gallery, Photography by Dawn Blackman

#TEFAF #TEFAFNewYork #Lisson #TonyCragg #SeanScully

Find us at Booth 342 at @tefaf New York on view through 19 May.

Lisson presents a dual-artist presentation that brings together two of the most influential figures in contemporary art: Tony Cragg and Sean Scully.

The presentation centers on two works from Cragg’s Incident series, one realized in Corten steel and the other in polished stainless steel, each articulating the series’ signature upright, anthropomorphic form. Through a rigorous process of carving and construction, these sculptures dissolve boundaries between interior and exterior, mass and void. While the Corten work emphasizes material density and a grounded, matte presence, the stainless-steel counterpart activates the surface through shifting reflections, heightening a sense of movement and optical fluidity.

In dialogue, Sean Scully presents two new paintings from his Wall of Light series—one on canvas and one on copper—alongside a beautiful new Landline work entitled, La Mer (2026). Born in Dublin in 1945 and raised in London, Scully moved to New York in 1975, where he played a pivotal role in shifting American abstraction beyond the reduced vocabulary of Minimalism toward a more emotional and natural mode. Drawing on a wide range of influences, his work synthesizes transatlantic traditions into a visual language that is both structured and deeply expressive.

🗓️ Booth 342 from 15 – 19 May

📍Park Avenue Armory, New York

🔗 Explore our presentation via the link in bio

Images: Installation view, Lisson Gallery’s TEFAF NY booth, 15 – 19 May 2026. © Courtesy Lisson Gallery, Photography by Dawn Blackman

#TEFAF #TEFAFNewYork #Lisson #TonyCragg #SeanScully

Find us at Booth 342 at @tefaf New York on view through 19 May.

Lisson presents a dual-artist presentation that brings together two of the most influential figures in contemporary art: Tony Cragg and Sean Scully.

The presentation centers on two works from Cragg’s Incident series, one realized in Corten steel and the other in polished stainless steel, each articulating the series’ signature upright, anthropomorphic form. Through a rigorous process of carving and construction, these sculptures dissolve boundaries between interior and exterior, mass and void. While the Corten work emphasizes material density and a grounded, matte presence, the stainless-steel counterpart activates the surface through shifting reflections, heightening a sense of movement and optical fluidity.

In dialogue, Sean Scully presents two new paintings from his Wall of Light series—one on canvas and one on copper—alongside a beautiful new Landline work entitled, La Mer (2026). Born in Dublin in 1945 and raised in London, Scully moved to New York in 1975, where he played a pivotal role in shifting American abstraction beyond the reduced vocabulary of Minimalism toward a more emotional and natural mode. Drawing on a wide range of influences, his work synthesizes transatlantic traditions into a visual language that is both structured and deeply expressive.

🗓️ Booth 342 from 15 – 19 May

📍Park Avenue Armory, New York

🔗 Explore our presentation via the link in bio

Images: Installation view, Lisson Gallery’s TEFAF NY booth, 15 – 19 May 2026. © Courtesy Lisson Gallery, Photography by Dawn Blackman

#TEFAF #TEFAFNewYork #Lisson #TonyCragg #SeanScully

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

On Saturday 16 May, the @diaartfoundation Spring Benefit celebrates Hélio Oiticica and the recent displays at Dia Beacon.

Oiticica was a groundbreaking visual artist and theorist whose diverse practice spanned sculpture, drawing, painting, installation, and performance. At the center of the exhibition is ‘Grande Núcleo’ (Grand Nucleus, 1960-63), a large-scale installation that stands out as one of Oiticica’s most engaging environments. Further breaking with the two-dimensional boundaries of the earlier series represented at Dia Beacon, ‘Grande Núcleo’ was created as a complex structure of rectangular panels painted in a vibrant spectrum, from bright yellow to deep orange, and arranged in a dynamic grid of varying angles and heights. Here, the viewer’s corporeal presence, movement, and perception of time and space become integral to the work, actively shaping the relational dynamics of its surroundings.

🗓️ Now on long-term view

🔗 Explore via the link in bio.

Shown here: Installation views of Hélio Oiticica, ‘Grande Núcleo (Grand Nucleus)’, 1960-63, at Dia Art Foundation, New York © César and Claudio Oiticica, Projeto Hélio Oiticica. Photo: On White Wall

#DiaArtFoundation #DiaBeacon #HélioOiticica

On Saturday 16 May, the @diaartfoundation Spring Benefit celebrates Hélio Oiticica and the recent displays at Dia Beacon.

Oiticica was a groundbreaking visual artist and theorist whose diverse practice spanned sculpture, drawing, painting, installation, and performance. At the center of the exhibition is ‘Grande Núcleo’ (Grand Nucleus, 1960-63), a large-scale installation that stands out as one of Oiticica’s most engaging environments. Further breaking with the two-dimensional boundaries of the earlier series represented at Dia Beacon, ‘Grande Núcleo’ was created as a complex structure of rectangular panels painted in a vibrant spectrum, from bright yellow to deep orange, and arranged in a dynamic grid of varying angles and heights. Here, the viewer’s corporeal presence, movement, and perception of time and space become integral to the work, actively shaping the relational dynamics of its surroundings.

🗓️ Now on long-term view

🔗 Explore via the link in bio.

Shown here: Installation views of Hélio Oiticica, ‘Grande Núcleo (Grand Nucleus)’, 1960-63, at Dia Art Foundation, New York © César and Claudio Oiticica, Projeto Hélio Oiticica. Photo: On White Wall

#DiaArtFoundation #DiaBeacon #HélioOiticica

On Saturday 16 May, the @diaartfoundation Spring Benefit celebrates Hélio Oiticica and the recent displays at Dia Beacon.

Oiticica was a groundbreaking visual artist and theorist whose diverse practice spanned sculpture, drawing, painting, installation, and performance. At the center of the exhibition is ‘Grande Núcleo’ (Grand Nucleus, 1960-63), a large-scale installation that stands out as one of Oiticica’s most engaging environments. Further breaking with the two-dimensional boundaries of the earlier series represented at Dia Beacon, ‘Grande Núcleo’ was created as a complex structure of rectangular panels painted in a vibrant spectrum, from bright yellow to deep orange, and arranged in a dynamic grid of varying angles and heights. Here, the viewer’s corporeal presence, movement, and perception of time and space become integral to the work, actively shaping the relational dynamics of its surroundings.

🗓️ Now on long-term view

🔗 Explore via the link in bio.

Shown here: Installation views of Hélio Oiticica, ‘Grande Núcleo (Grand Nucleus)’, 1960-63, at Dia Art Foundation, New York © César and Claudio Oiticica, Projeto Hélio Oiticica. Photo: On White Wall

#DiaArtFoundation #DiaBeacon #HélioOiticica

Now open, 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 (@tarinimalik), 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.

🗓️ On view through 25 July at 504 West 24th Street

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 © Estate of Huguette Caland, Courtesy Lisson

#HuguetteCaland #Lisson #LissonNewYork

Now open, 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 (@tarinimalik), 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.

🗓️ On view through 25 July at 504 West 24th Street

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 © Estate of Huguette Caland, Courtesy Lisson

#HuguetteCaland #Lisson #LissonNewYork

Now open, 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 (@tarinimalik), 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.

🗓️ On view through 25 July at 504 West 24th Street

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 © Estate of Huguette Caland, Courtesy Lisson

#HuguetteCaland #Lisson #LissonNewYork

Now open, 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 (@tarinimalik), 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.

🗓️ On view through 25 July at 504 West 24th Street

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 © Estate of Huguette Caland, Courtesy Lisson

#HuguetteCaland #Lisson #LissonNewYork

Now open, 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 (@tarinimalik), 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.

🗓️ On view through 25 July at 504 West 24th Street

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 © Estate of Huguette Caland, Courtesy Lisson

#HuguetteCaland #Lisson #LissonNewYork

Now open, 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 (@tarinimalik), 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.

🗓️ On view through 25 July at 504 West 24th Street

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 © Estate of Huguette Caland, Courtesy Lisson

#HuguetteCaland #Lisson #LissonNewYork

Now open, 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 (@tarinimalik), 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.

🗓️ On view through 25 July at 504 West 24th Street

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 © Estate of Huguette Caland, Courtesy Lisson

#HuguetteCaland #Lisson #LissonNewYork

Now open, 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 (@tarinimalik), 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.

🗓️ On view through 25 July at 504 West 24th Street

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 © Estate of Huguette Caland, Courtesy Lisson

#HuguetteCaland #Lisson #LissonNewYork

Now open, 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 (@tarinimalik), 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.

🗓️ On view through 25 July at 504 West 24th Street

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 © Estate of Huguette Caland, Courtesy Lisson

#HuguetteCaland #Lisson #LissonNewYork

Now open, 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 (@tarinimalik), 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.

🗓️ On view through 25 July at 504 West 24th Street

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 © Estate of Huguette Caland, Courtesy Lisson

#HuguetteCaland #Lisson #LissonNewYork

Now open at Lisson New York, Kelly Akashi (@citizenbong) presents ‘Heirloom’.

Across bronze, Corten steel, flame-worked glass, and carved stone, Akashi approaches sculpture as a site where loss can be registered without resolution. These materials do not conceal rupture but sustain it, allowing traces of erosion, oxidation, and transformation to remain visible.

At the center of the exhibition stands an enlarged rendering of an inherited stone ring once worn by the artist. Expanded to a monumental scale and retaining the rough surface of the original, the object shifts between bodily intimacy and geological presence. Its altered proportion speaks to the way grief reshapes perception, enlarging what is absent until it exceeds the capacity to contain it. The sculpture does not function as a replacement. Instead, it stages a confrontation with weight, both literal and psychological, as something carried forward.

🗓️ On view through 25 July at 508 West 24th St

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Kelly Akashi: Heirloom,’ Lisson, New York, 13 May – 25 July 2026 © Kelly Akashi, Courtesy Lisson

#KellyAkashi #Lisson #LissonNewYork

Now open at Lisson New York, Kelly Akashi (@citizenbong) presents ‘Heirloom’.

Across bronze, Corten steel, flame-worked glass, and carved stone, Akashi approaches sculpture as a site where loss can be registered without resolution. These materials do not conceal rupture but sustain it, allowing traces of erosion, oxidation, and transformation to remain visible.

At the center of the exhibition stands an enlarged rendering of an inherited stone ring once worn by the artist. Expanded to a monumental scale and retaining the rough surface of the original, the object shifts between bodily intimacy and geological presence. Its altered proportion speaks to the way grief reshapes perception, enlarging what is absent until it exceeds the capacity to contain it. The sculpture does not function as a replacement. Instead, it stages a confrontation with weight, both literal and psychological, as something carried forward.

🗓️ On view through 25 July at 508 West 24th St

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Kelly Akashi: Heirloom,’ Lisson, New York, 13 May – 25 July 2026 © Kelly Akashi, Courtesy Lisson

#KellyAkashi #Lisson #LissonNewYork

Now open at Lisson New York, Kelly Akashi (@citizenbong) presents ‘Heirloom’.

Across bronze, Corten steel, flame-worked glass, and carved stone, Akashi approaches sculpture as a site where loss can be registered without resolution. These materials do not conceal rupture but sustain it, allowing traces of erosion, oxidation, and transformation to remain visible.

At the center of the exhibition stands an enlarged rendering of an inherited stone ring once worn by the artist. Expanded to a monumental scale and retaining the rough surface of the original, the object shifts between bodily intimacy and geological presence. Its altered proportion speaks to the way grief reshapes perception, enlarging what is absent until it exceeds the capacity to contain it. The sculpture does not function as a replacement. Instead, it stages a confrontation with weight, both literal and psychological, as something carried forward.

🗓️ On view through 25 July at 508 West 24th St

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Kelly Akashi: Heirloom,’ Lisson, New York, 13 May – 25 July 2026 © Kelly Akashi, Courtesy Lisson

#KellyAkashi #Lisson #LissonNewYork

Now open at Lisson New York, Kelly Akashi (@citizenbong) presents ‘Heirloom’.

Across bronze, Corten steel, flame-worked glass, and carved stone, Akashi approaches sculpture as a site where loss can be registered without resolution. These materials do not conceal rupture but sustain it, allowing traces of erosion, oxidation, and transformation to remain visible.

At the center of the exhibition stands an enlarged rendering of an inherited stone ring once worn by the artist. Expanded to a monumental scale and retaining the rough surface of the original, the object shifts between bodily intimacy and geological presence. Its altered proportion speaks to the way grief reshapes perception, enlarging what is absent until it exceeds the capacity to contain it. The sculpture does not function as a replacement. Instead, it stages a confrontation with weight, both literal and psychological, as something carried forward.

🗓️ On view through 25 July at 508 West 24th St

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Kelly Akashi: Heirloom,’ Lisson, New York, 13 May – 25 July 2026 © Kelly Akashi, Courtesy Lisson

#KellyAkashi #Lisson #LissonNewYork

Now open at Lisson New York, Kelly Akashi (@citizenbong) presents ‘Heirloom’.

Across bronze, Corten steel, flame-worked glass, and carved stone, Akashi approaches sculpture as a site where loss can be registered without resolution. These materials do not conceal rupture but sustain it, allowing traces of erosion, oxidation, and transformation to remain visible.

At the center of the exhibition stands an enlarged rendering of an inherited stone ring once worn by the artist. Expanded to a monumental scale and retaining the rough surface of the original, the object shifts between bodily intimacy and geological presence. Its altered proportion speaks to the way grief reshapes perception, enlarging what is absent until it exceeds the capacity to contain it. The sculpture does not function as a replacement. Instead, it stages a confrontation with weight, both literal and psychological, as something carried forward.

🗓️ On view through 25 July at 508 West 24th St

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Kelly Akashi: Heirloom,’ Lisson, New York, 13 May – 25 July 2026 © Kelly Akashi, Courtesy Lisson

#KellyAkashi #Lisson #LissonNewYork

Now open at Lisson New York, Kelly Akashi (@citizenbong) presents ‘Heirloom’.

Across bronze, Corten steel, flame-worked glass, and carved stone, Akashi approaches sculpture as a site where loss can be registered without resolution. These materials do not conceal rupture but sustain it, allowing traces of erosion, oxidation, and transformation to remain visible.

At the center of the exhibition stands an enlarged rendering of an inherited stone ring once worn by the artist. Expanded to a monumental scale and retaining the rough surface of the original, the object shifts between bodily intimacy and geological presence. Its altered proportion speaks to the way grief reshapes perception, enlarging what is absent until it exceeds the capacity to contain it. The sculpture does not function as a replacement. Instead, it stages a confrontation with weight, both literal and psychological, as something carried forward.

🗓️ On view through 25 July at 508 West 24th St

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Kelly Akashi: Heirloom,’ Lisson, New York, 13 May – 25 July 2026 © Kelly Akashi, Courtesy Lisson

#KellyAkashi #Lisson #LissonNewYork

Now open at Lisson New York, Kelly Akashi (@citizenbong) presents ‘Heirloom’.

Across bronze, Corten steel, flame-worked glass, and carved stone, Akashi approaches sculpture as a site where loss can be registered without resolution. These materials do not conceal rupture but sustain it, allowing traces of erosion, oxidation, and transformation to remain visible.

At the center of the exhibition stands an enlarged rendering of an inherited stone ring once worn by the artist. Expanded to a monumental scale and retaining the rough surface of the original, the object shifts between bodily intimacy and geological presence. Its altered proportion speaks to the way grief reshapes perception, enlarging what is absent until it exceeds the capacity to contain it. The sculpture does not function as a replacement. Instead, it stages a confrontation with weight, both literal and psychological, as something carried forward.

🗓️ On view through 25 July at 508 West 24th St

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Kelly Akashi: Heirloom,’ Lisson, New York, 13 May – 25 July 2026 © Kelly Akashi, Courtesy Lisson

#KellyAkashi #Lisson #LissonNewYork

Now open at Lisson New York, Kelly Akashi (@citizenbong) presents ‘Heirloom’.

Across bronze, Corten steel, flame-worked glass, and carved stone, Akashi approaches sculpture as a site where loss can be registered without resolution. These materials do not conceal rupture but sustain it, allowing traces of erosion, oxidation, and transformation to remain visible.

At the center of the exhibition stands an enlarged rendering of an inherited stone ring once worn by the artist. Expanded to a monumental scale and retaining the rough surface of the original, the object shifts between bodily intimacy and geological presence. Its altered proportion speaks to the way grief reshapes perception, enlarging what is absent until it exceeds the capacity to contain it. The sculpture does not function as a replacement. Instead, it stages a confrontation with weight, both literal and psychological, as something carried forward.

🗓️ On view through 25 July at 508 West 24th St

🔗 Explore the show via the link in our bio.

Shown here: Exhibition view of ‘Kelly Akashi: Heirloom,’ Lisson, New York, 13 May – 25 July 2026 © Kelly Akashi, Courtesy Lisson

#KellyAkashi #Lisson #LissonNewYork

On Sunday 17 May, Tony Cragg and Sean Scully will be in conversation at @tefaf New York.

Working across sculpture and painting, Cragg and Scully have each developed a distinctive visual language shaped by material exploration, form, and abstraction. Bringing their work into dialogue highlights a shared commitment to process, space, and abstraction across different mediums. The discussion offers a unique opportunity to explore how these two distinct creative voices intersect within contemporary art.

This talk is presented in partnership with Apollo Magazine and moderated by Ed Behrens, Editor at Apollo.

🗓️ Sunday 17 May, 3PM – 4PM EDT

📍Veterans Room, TEFAF New York, Park Avenue Armory

🔗 Book tickets via the link in bio

Images:

Portrait of Tony Cragg, Photo by David Kaluza, 2007, Courtesy the Artist and Lisson Gallery

Portrait of Sean Scully at Philadelphia Museum of Art © Sean Scully, Courtesy the Artist, Photography by Joseph Hu

#TEFAF #TEFAFNewYork #Lisson #TonyCragg #SeanScully

On Sunday 17 May, Tony Cragg and Sean Scully will be in conversation at @tefaf New York.

Working across sculpture and painting, Cragg and Scully have each developed a distinctive visual language shaped by material exploration, form, and abstraction. Bringing their work into dialogue highlights a shared commitment to process, space, and abstraction across different mediums. The discussion offers a unique opportunity to explore how these two distinct creative voices intersect within contemporary art.

This talk is presented in partnership with Apollo Magazine and moderated by Ed Behrens, Editor at Apollo.

🗓️ Sunday 17 May, 3PM – 4PM EDT

📍Veterans Room, TEFAF New York, Park Avenue Armory

🔗 Book tickets via the link in bio

Images:

Portrait of Tony Cragg, Photo by David Kaluza, 2007, Courtesy the Artist and Lisson Gallery

Portrait of Sean Scully at Philadelphia Museum of Art © Sean Scully, Courtesy the Artist, Photography by Joseph Hu

#TEFAF #TEFAFNewYork #Lisson #TonyCragg #SeanScully

This week, for his first solo exhibition with Lisson in Shanghai, Li Ran presents a series of new and recent works that highlight the evolving direction of his painting practice, marked by a deepened focus on material painterliness and pictorial storytelling.

Influenced by pre-modernist traditions, including Western European Symbolism, Post-Impressionism, Soviet Revolutionary Romanticism, and modern Chinese satirical cartoons, Li draws inspiration not only from the visual heritage of these movements but also from the multidisciplinary activities of their practitioners, spanning literature, poetry, music, education, publishing, and painting. His own practice is similarly interdisciplinary, extending across installation, performance, writing, video, and painting, and often incorporating archival photographs, staged imagery, vocal imitation, and sound performance.

🗓️ 16 May – 4 July 2026 at 2/F, 27 Huqiu Road

🔗 Explore via the link in our bio.

Image: Li Ran, Becoming Wild, 2025, Oil on linen, 170 x 140 x 4.5 cm, 66 7/8 x 55 1/8 x 1 3/4 in © Li Ran, Courtesy Lisson Gallery

#LiRan #Lisson #LissonShanghai

This week, for his first solo exhibition with Lisson in Shanghai, Li Ran presents a series of new and recent works that highlight the evolving direction of his painting practice, marked by a deepened focus on material painterliness and pictorial storytelling.

Influenced by pre-modernist traditions, including Western European Symbolism, Post-Impressionism, Soviet Revolutionary Romanticism, and modern Chinese satirical cartoons, Li draws inspiration not only from the visual heritage of these movements but also from the multidisciplinary activities of their practitioners, spanning literature, poetry, music, education, publishing, and painting. His own practice is similarly interdisciplinary, extending across installation, performance, writing, video, and painting, and often incorporating archival photographs, staged imagery, vocal imitation, and sound performance.

🗓️ 16 May – 4 July 2026 at 2/F, 27 Huqiu Road

🔗 Explore via the link in our bio.

Image: Li Ran, Becoming Wild, 2025, Oil on linen, 170 x 140 x 4.5 cm, 66 7/8 x 55 1/8 x 1 3/4 in © Li Ran, Courtesy Lisson Gallery

#LiRan #Lisson #LissonShanghai

This week in New York, Kelly Akashi presents ‘Heirloom’, a new body of work that builds on her pivotal 2025 presentation in Los Angeles.

Over the last year, Akashi has tended to the land and cultivated a garden where her home and studio once stood. This act of care becomes central to the exhibition, not as restoration but as a practice of attending to what persists. In Heirloom, organic forms drawn from that site reappear as bronze roses, irises, and branches. Directly cast into metal, these elements become relics and resilient markers of domesticity and care. They recall gestures of preservation that attempt to memorialize, even as their original context has vanished. The works hold a tension between endurance and fragility, suggesting memory as something reconstituted in order to be claimed.

🗓️ Opening Wednesday 13 May, 6-8pm at 508 West 24th St

🔗 Explore the show via the link in our bio.

Shown here: Kelly Akashi, Witness (Highview, Altadena), 2025, Lost-wax and burn-out cast bronze, 175.3 x 12.7 x 10.2 cm, 69 x 5 x 4 in © Kelly Akashi, Courtesy Lisson Gallery

@citizenbong #KellyAkashi #Lisson #LissonNewYork

Lisson is pleased to return to @tefaf New York with a dual-artist presentation that brings together two of the most influential figures in contemporary art: Tony Cragg and Sean Scully.

Spanning sculpture and painting, the presentation foregrounds new and recent works that explore the expressive potential of material, structure, and abstraction, while reflecting each artist’s decades-long commitment to rethinking the language of form.

🗓️ Booth 342 from 15 – 19 May

📍Park Avenue Armory, New York, USA

🔗 Explore our presentation at the link in bio.

©Sean Scully ©Tony Cragg, Courtesy Lisson Gallery

#TEFAF #TEFAFNewYork #Lisson #TonyCragg #SeanScully

At @lisson_gallery in Los Angeles, "Host" marks Liu Xiaodong's first exhibition in the city — and, for the first time in his career, a sustained focus on a single subject: a Detroit-based tattoo artist and medieval battle reenactor who becomes a window into the city's underground communities. Painted on-site through a Midwestern midwinter, the works move between combat and domesticity, tracing the forms of armor — literal and figurative — that both define and protect the individuals who inhabit any city. Explore the standout exhibition on Artsy at the link in our bio.⁠
•⁠
Liu Xiaodong , John in his Armor (戴着铁甲的John), 2025 ⁠
Oil on canvas ⁠
100.3 x 84.8 x 5.1 cm ⁠
39 1/2 x 33 3/8 x 2 in ⁠
© Liu Xiaodong, Courtesy Lisson Gallery⁠
⁠
Liu Xiaodong, Body, 2026 ⁠
Oil on canvas ⁠
150 x 140 x 5 cm ⁠
59 x 55 1/8 x 2 in ⁠
© Liu Xiaodong, Courtesy Lisson Gallery⁠
⁠
Liu Xiaodong, John in his Armor (戴着铁甲的John), 2025 ⁠
Oil on canvas ⁠
100.3 x 84.8 x 5.1 cm ⁠
39 1/2 x 33 3/8 x 2 in ⁠
© Liu Xiaodong, Courtesy Lisson Gallery⁠

At @lisson_gallery in Los Angeles, "Host" marks Liu Xiaodong's first exhibition in the city — and, for the first time in his career, a sustained focus on a single subject: a Detroit-based tattoo artist and medieval battle reenactor who becomes a window into the city's underground communities. Painted on-site through a Midwestern midwinter, the works move between combat and domesticity, tracing the forms of armor — literal and figurative — that both define and protect the individuals who inhabit any city. Explore the standout exhibition on Artsy at the link in our bio.⁠
•⁠
Liu Xiaodong , John in his Armor (戴着铁甲的John), 2025 ⁠
Oil on canvas ⁠
100.3 x 84.8 x 5.1 cm ⁠
39 1/2 x 33 3/8 x 2 in ⁠
© Liu Xiaodong, Courtesy Lisson Gallery⁠
⁠
Liu Xiaodong, Body, 2026 ⁠
Oil on canvas ⁠
150 x 140 x 5 cm ⁠
59 x 55 1/8 x 2 in ⁠
© Liu Xiaodong, Courtesy Lisson Gallery⁠
⁠
Liu Xiaodong, John in his Armor (戴着铁甲的John), 2025 ⁠
Oil on canvas ⁠
100.3 x 84.8 x 5.1 cm ⁠
39 1/2 x 33 3/8 x 2 in ⁠
© Liu Xiaodong, Courtesy Lisson Gallery⁠

At @lisson_gallery in Los Angeles, "Host" marks Liu Xiaodong's first exhibition in the city — and, for the first time in his career, a sustained focus on a single subject: a Detroit-based tattoo artist and medieval battle reenactor who becomes a window into the city's underground communities. Painted on-site through a Midwestern midwinter, the works move between combat and domesticity, tracing the forms of armor — literal and figurative — that both define and protect the individuals who inhabit any city. Explore the standout exhibition on Artsy at the link in our bio.⁠
•⁠
Liu Xiaodong , John in his Armor (戴着铁甲的John), 2025 ⁠
Oil on canvas ⁠
100.3 x 84.8 x 5.1 cm ⁠
39 1/2 x 33 3/8 x 2 in ⁠
© Liu Xiaodong, Courtesy Lisson Gallery⁠
⁠
Liu Xiaodong, Body, 2026 ⁠
Oil on canvas ⁠
150 x 140 x 5 cm ⁠
59 x 55 1/8 x 2 in ⁠
© Liu Xiaodong, Courtesy Lisson Gallery⁠
⁠
Liu Xiaodong, John in his Armor (戴着铁甲的John), 2025 ⁠
Oil on canvas ⁠
100.3 x 84.8 x 5.1 cm ⁠
39 1/2 x 33 3/8 x 2 in ⁠
© Liu Xiaodong, Courtesy Lisson Gallery⁠

‘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