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Now open:

Luisa Lambri
Salvatore Emblema

23 May–1 August 2026

Thomas Dane Gallery
Via Francesco Crispi 69
Napoli

A text by Flaminia Gennari Santori accompanies the exhibition.

The exhibition at Thomas Dane Gallery coincides with presentations of works by both artists at Galleria Fonti in Naples, and Museo Emblema in Terzigno (NA).

Salvatore Emblema
Luisa Lambri

22 May–1 August 2026

Galleria Fonti
Via Chiaia 229
Napoli

Salvatore Emblema e Luisa Lambri

Private view: Saturday 23 May 2026, 11am–4pm
Exhibition dates: 23 May–18 September 2026

Museo Emblema
Via Salvatore Emblema 37
Terzigno (NA)

#LuisaLambri
#SalvatoreEmblema
@luisalambri
@museoemblema
@flaminia.gennari
@galleriafonti

Exhibition views, ‘Luisa Lambri Salvatore Emblema’, Thomas Dane Gallery, Naples, 2026. © the artists. Photos: M3 Studio.

Now open:

Luisa Lambri
Salvatore Emblema

23 May–1 August 2026

Thomas Dane Gallery
Via Francesco Crispi 69
Napoli

A text by Flaminia Gennari Santori accompanies the exhibition.

The exhibition at Thomas Dane Gallery coincides with presentations of works by both artists at Galleria Fonti in Naples, and Museo Emblema in Terzigno (NA).

Salvatore Emblema
Luisa Lambri

22 May–1 August 2026

Galleria Fonti
Via Chiaia 229
Napoli

Salvatore Emblema e Luisa Lambri

Private view: Saturday 23 May 2026, 11am–4pm
Exhibition dates: 23 May–18 September 2026

Museo Emblema
Via Salvatore Emblema 37
Terzigno (NA)

#LuisaLambri
#SalvatoreEmblema
@luisalambri
@museoemblema
@flaminia.gennari
@galleriafonti

Exhibition views, ‘Luisa Lambri Salvatore Emblema’, Thomas Dane Gallery, Naples, 2026. © the artists. Photos: M3 Studio.

Now open:

Luisa Lambri
Salvatore Emblema

23 May–1 August 2026

Thomas Dane Gallery
Via Francesco Crispi 69
Napoli

A text by Flaminia Gennari Santori accompanies the exhibition.

The exhibition at Thomas Dane Gallery coincides with presentations of works by both artists at Galleria Fonti in Naples, and Museo Emblema in Terzigno (NA).

Salvatore Emblema
Luisa Lambri

22 May–1 August 2026

Galleria Fonti
Via Chiaia 229
Napoli

Salvatore Emblema e Luisa Lambri

Private view: Saturday 23 May 2026, 11am–4pm
Exhibition dates: 23 May–18 September 2026

Museo Emblema
Via Salvatore Emblema 37
Terzigno (NA)

#LuisaLambri
#SalvatoreEmblema
@luisalambri
@museoemblema
@flaminia.gennari
@galleriafonti

Exhibition views, ‘Luisa Lambri Salvatore Emblema’, Thomas Dane Gallery, Naples, 2026. © the artists. Photos: M3 Studio.

Now open:

Luisa Lambri
Salvatore Emblema

23 May–1 August 2026

Thomas Dane Gallery
Via Francesco Crispi 69
Napoli

A text by Flaminia Gennari Santori accompanies the exhibition.

The exhibition at Thomas Dane Gallery coincides with presentations of works by both artists at Galleria Fonti in Naples, and Museo Emblema in Terzigno (NA).

Salvatore Emblema
Luisa Lambri

22 May–1 August 2026

Galleria Fonti
Via Chiaia 229
Napoli

Salvatore Emblema e Luisa Lambri

Private view: Saturday 23 May 2026, 11am–4pm
Exhibition dates: 23 May–18 September 2026

Museo Emblema
Via Salvatore Emblema 37
Terzigno (NA)

#LuisaLambri
#SalvatoreEmblema
@luisalambri
@museoemblema
@flaminia.gennari
@galleriafonti

Exhibition views, ‘Luisa Lambri Salvatore Emblema’, Thomas Dane Gallery, Naples, 2026. © the artists. Photos: M3 Studio.

Now open:

Luisa Lambri
Salvatore Emblema

23 May–1 August 2026

Thomas Dane Gallery
Via Francesco Crispi 69
Napoli

A text by Flaminia Gennari Santori accompanies the exhibition.

The exhibition at Thomas Dane Gallery coincides with presentations of works by both artists at Galleria Fonti in Naples, and Museo Emblema in Terzigno (NA).

Salvatore Emblema
Luisa Lambri

22 May–1 August 2026

Galleria Fonti
Via Chiaia 229
Napoli

Salvatore Emblema e Luisa Lambri

Private view: Saturday 23 May 2026, 11am–4pm
Exhibition dates: 23 May–18 September 2026

Museo Emblema
Via Salvatore Emblema 37
Terzigno (NA)

#LuisaLambri
#SalvatoreEmblema
@luisalambri
@museoemblema
@flaminia.gennari
@galleriafonti

Exhibition views, ‘Luisa Lambri Salvatore Emblema’, Thomas Dane Gallery, Naples, 2026. © the artists. Photos: M3 Studio.

Now open:

Luisa Lambri
Salvatore Emblema

23 May–1 August 2026

Thomas Dane Gallery
Via Francesco Crispi 69
Napoli

A text by Flaminia Gennari Santori accompanies the exhibition.

The exhibition at Thomas Dane Gallery coincides with presentations of works by both artists at Galleria Fonti in Naples, and Museo Emblema in Terzigno (NA).

Salvatore Emblema
Luisa Lambri

22 May–1 August 2026

Galleria Fonti
Via Chiaia 229
Napoli

Salvatore Emblema e Luisa Lambri

Private view: Saturday 23 May 2026, 11am–4pm
Exhibition dates: 23 May–18 September 2026

Museo Emblema
Via Salvatore Emblema 37
Terzigno (NA)

#LuisaLambri
#SalvatoreEmblema
@luisalambri
@museoemblema
@flaminia.gennari
@galleriafonti

Exhibition views, ‘Luisa Lambri Salvatore Emblema’, Thomas Dane Gallery, Naples, 2026. © the artists. Photos: M3 Studio.

Now open:

Luisa Lambri
Salvatore Emblema

23 May–1 August 2026

Thomas Dane Gallery
Via Francesco Crispi 69
Napoli

A text by Flaminia Gennari Santori accompanies the exhibition.

The exhibition at Thomas Dane Gallery coincides with presentations of works by both artists at Galleria Fonti in Naples, and Museo Emblema in Terzigno (NA).

Salvatore Emblema
Luisa Lambri

22 May–1 August 2026

Galleria Fonti
Via Chiaia 229
Napoli

Salvatore Emblema e Luisa Lambri

Private view: Saturday 23 May 2026, 11am–4pm
Exhibition dates: 23 May–18 September 2026

Museo Emblema
Via Salvatore Emblema 37
Terzigno (NA)

#LuisaLambri
#SalvatoreEmblema
@luisalambri
@museoemblema
@flaminia.gennari
@galleriafonti

Exhibition views, ‘Luisa Lambri Salvatore Emblema’, Thomas Dane Gallery, Naples, 2026. © the artists. Photos: M3 Studio.

Catherine Opie, ‘Elijah, David, Elton and Zachary’, 2025, currently on view at the National Portrait Gallery in London.

This newly commissioned portrait by Catherine Opie of singer, pianist, composer and philanthropist Sir Elton John and his family—his husband, David Furnish, and sons, Zachary and Elijah—is the first Furnish-John family portrait to go on public display, and the first to enter a national collection. It forms part of a series of interventions across the NPG’s Collection galleries that coincide with the current exhibition ‘Catherine Opie: To Be Seen’ which ends next week, and will remain on display after the exhibition closes, hanging as part of the contemporary Collection galleries.

Made possible through the support of iArtis, the portrait is a celebration of Sir Elton John’s life and career, as well as his dedication to LGBTQ+ visibility and representation.

‘Catherine Opie: To Be Seen’

FINAL WEEK: ends Sunday 31 May 2026

National Portrait Gallery
St Martin’s Place
London
WC2H 0HE

#CatherineOpie
#ToBeSeen
#NationalPortraitGallery
@csopie
@catherineopiestudio
@eltonjohn
@davidfurnish
@nationalportraitgallery

Images: Catherine Opie, ‘Elijah, David, Elton and Zachary’, 2025 © Catherine Opie; Installation view, National Portrait Gallery, London, 2026. Photo: National Portrait Gallery, London.

Catherine Opie, ‘Elijah, David, Elton and Zachary’, 2025, currently on view at the National Portrait Gallery in London.

This newly commissioned portrait by Catherine Opie of singer, pianist, composer and philanthropist Sir Elton John and his family—his husband, David Furnish, and sons, Zachary and Elijah—is the first Furnish-John family portrait to go on public display, and the first to enter a national collection. It forms part of a series of interventions across the NPG’s Collection galleries that coincide with the current exhibition ‘Catherine Opie: To Be Seen’ which ends next week, and will remain on display after the exhibition closes, hanging as part of the contemporary Collection galleries.

Made possible through the support of iArtis, the portrait is a celebration of Sir Elton John’s life and career, as well as his dedication to LGBTQ+ visibility and representation.

‘Catherine Opie: To Be Seen’

FINAL WEEK: ends Sunday 31 May 2026

National Portrait Gallery
St Martin’s Place
London
WC2H 0HE

#CatherineOpie
#ToBeSeen
#NationalPortraitGallery
@csopie
@catherineopiestudio
@eltonjohn
@davidfurnish
@nationalportraitgallery

Images: Catherine Opie, ‘Elijah, David, Elton and Zachary’, 2025 © Catherine Opie; Installation view, National Portrait Gallery, London, 2026. Photo: National Portrait Gallery, London.

We are pleased to announce Thomas Dane Gallery has successfully qualified as an Active Member for 2025-26 with Gallery Climate Coalition. To achieve Active status we demonstrated that our organisation had implemented environmentally responsible best practice in line with GCC guidance.

Active Membership is not a certification of sustainability nor a claim that we are doing things perfectly but a commitment to assess, report and reduce our impact, setting targets in line with the science, taking any actions we can and working out other solutions. We encourage all of our peers and colleagues to visit the Gallery Climate Coalition page or website to learn more about the initiative and how to get involved.

#GCCActiveMember
#GCC
#GalleryClimateCoalition
@galleryclimatecoalition

Anya Gallaccio at Gunton Park, Norfolk, opens Sunday 5 July 2026.

Thomas Dane Gallery is delighted to present a new off-site project by Anya Gallaccio, set within the landscape of the historic 1,000-acre deer park in Gunton, Norfolk. Following on from her acclaimed museum presentation at Turner Contemporary, Margate in 2024, this new exhibition will shift focus on to Gallaccio’s work in nature, presenting monumental and ephemeral works only possible outside of the confines of a typical museum or gallery setting, alongside intimate works made with temporal and decaying materials.

Gunton Park is an historic estate near Cromer, North Norfolk, established in the 18th century, known for its landscaped parkland, deer herd, and the renowned pub and restaurant The Gunton Arms. Guests are invited to visit the exhibition (by appointment) and the pub, which also offers rooms and is home to works by other artists both indoors and in the surrounding grounds.

Anya Gallaccio
Gunton Park, Norfolk

By appointment: Sunday 5 July–Sunday 13 September 2026

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

The exhibition is a short walk from the Gunton Arms pub and is installed indoors and outdoors in the park.

#AnyaGallaccio
#GuntonPark
@anyagallaccio

Image: Anya Gallaccio, ‘begin again to the summoning birds’, 2005. Mount Stuart Trust, Isle of Bute, Scotland © Anya Gallaccio.

Find photographs by Catherine Opie throughout the National Portrait Gallery as you explore the collection galleries.

Alongside her current exhibition, ‘To Be Seen’, these interventions place Opie's works in dialogue with the museum’s permanent collection, probing further into ideas of representation, reflecting on the figures most commonly portrayed in art, and those who go unseen.

‘Catherine Opie: To Be Seen’

5 March–31 May 2026

National Portrait Gallery
St Martin’s Place
London
WC2H 0HE

#CatherineOpie
#ToBeSeen
#NationalPortraitGallery
@csopie
@catherineopiestudio
@nationalportraitgallery

Images: Catherine Opie, 'Guillermo & Joaquin', 2013; ‘Lynette', 2017; ‘Isaac', 2017; ‘David', 2017; 'Divinity Fudge’, 1997; 'Ron Athey’, 1994; 'Justin Bond', 1993; 'Raelyn Gallina', 1994. Installation views, National Portrait Gallery, London, 2026 © Catherine Opie. Photos: National Portrait Gallery, London.

Find photographs by Catherine Opie throughout the National Portrait Gallery as you explore the collection galleries.

Alongside her current exhibition, ‘To Be Seen’, these interventions place Opie's works in dialogue with the museum’s permanent collection, probing further into ideas of representation, reflecting on the figures most commonly portrayed in art, and those who go unseen.

‘Catherine Opie: To Be Seen’

5 March–31 May 2026

National Portrait Gallery
St Martin’s Place
London
WC2H 0HE

#CatherineOpie
#ToBeSeen
#NationalPortraitGallery
@csopie
@catherineopiestudio
@nationalportraitgallery

Images: Catherine Opie, 'Guillermo & Joaquin', 2013; ‘Lynette', 2017; ‘Isaac', 2017; ‘David', 2017; 'Divinity Fudge’, 1997; 'Ron Athey’, 1994; 'Justin Bond', 1993; 'Raelyn Gallina', 1994. Installation views, National Portrait Gallery, London, 2026 © Catherine Opie. Photos: National Portrait Gallery, London.

Find photographs by Catherine Opie throughout the National Portrait Gallery as you explore the collection galleries.

Alongside her current exhibition, ‘To Be Seen’, these interventions place Opie's works in dialogue with the museum’s permanent collection, probing further into ideas of representation, reflecting on the figures most commonly portrayed in art, and those who go unseen.

‘Catherine Opie: To Be Seen’

5 March–31 May 2026

National Portrait Gallery
St Martin’s Place
London
WC2H 0HE

#CatherineOpie
#ToBeSeen
#NationalPortraitGallery
@csopie
@catherineopiestudio
@nationalportraitgallery

Images: Catherine Opie, 'Guillermo & Joaquin', 2013; ‘Lynette', 2017; ‘Isaac', 2017; ‘David', 2017; 'Divinity Fudge’, 1997; 'Ron Athey’, 1994; 'Justin Bond', 1993; 'Raelyn Gallina', 1994. Installation views, National Portrait Gallery, London, 2026 © Catherine Opie. Photos: National Portrait Gallery, London.

Find photographs by Catherine Opie throughout the National Portrait Gallery as you explore the collection galleries.

Alongside her current exhibition, ‘To Be Seen’, these interventions place Opie's works in dialogue with the museum’s permanent collection, probing further into ideas of representation, reflecting on the figures most commonly portrayed in art, and those who go unseen.

‘Catherine Opie: To Be Seen’

5 March–31 May 2026

National Portrait Gallery
St Martin’s Place
London
WC2H 0HE

#CatherineOpie
#ToBeSeen
#NationalPortraitGallery
@csopie
@catherineopiestudio
@nationalportraitgallery

Images: Catherine Opie, 'Guillermo & Joaquin', 2013; ‘Lynette', 2017; ‘Isaac', 2017; ‘David', 2017; 'Divinity Fudge’, 1997; 'Ron Athey’, 1994; 'Justin Bond', 1993; 'Raelyn Gallina', 1994. Installation views, National Portrait Gallery, London, 2026 © Catherine Opie. Photos: National Portrait Gallery, London.

Find photographs by Catherine Opie throughout the National Portrait Gallery as you explore the collection galleries.

Alongside her current exhibition, ‘To Be Seen’, these interventions place Opie's works in dialogue with the museum’s permanent collection, probing further into ideas of representation, reflecting on the figures most commonly portrayed in art, and those who go unseen.

‘Catherine Opie: To Be Seen’

5 March–31 May 2026

National Portrait Gallery
St Martin’s Place
London
WC2H 0HE

#CatherineOpie
#ToBeSeen
#NationalPortraitGallery
@csopie
@catherineopiestudio
@nationalportraitgallery

Images: Catherine Opie, 'Guillermo & Joaquin', 2013; ‘Lynette', 2017; ‘Isaac', 2017; ‘David', 2017; 'Divinity Fudge’, 1997; 'Ron Athey’, 1994; 'Justin Bond', 1993; 'Raelyn Gallina', 1994. Installation views, National Portrait Gallery, London, 2026 © Catherine Opie. Photos: National Portrait Gallery, London.

Find photographs by Catherine Opie throughout the National Portrait Gallery as you explore the collection galleries.

Alongside her current exhibition, ‘To Be Seen’, these interventions place Opie's works in dialogue with the museum’s permanent collection, probing further into ideas of representation, reflecting on the figures most commonly portrayed in art, and those who go unseen.

‘Catherine Opie: To Be Seen’

5 March–31 May 2026

National Portrait Gallery
St Martin’s Place
London
WC2H 0HE

#CatherineOpie
#ToBeSeen
#NationalPortraitGallery
@csopie
@catherineopiestudio
@nationalportraitgallery

Images: Catherine Opie, 'Guillermo & Joaquin', 2013; ‘Lynette', 2017; ‘Isaac', 2017; ‘David', 2017; 'Divinity Fudge’, 1997; 'Ron Athey’, 1994; 'Justin Bond', 1993; 'Raelyn Gallina', 1994. Installation views, National Portrait Gallery, London, 2026 © Catherine Opie. Photos: National Portrait Gallery, London.

Igshaan Adams reflects on movement, memory and experimentation in his practice, as he introduces his current exhibition ‘Between Then and Now’ at Mudam, Luxembourg.

Throughout the exhibition, weaving, dance and touch become interconnected forms of expression, inviting visitors into a more intimate encounter with the work.

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

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

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

Artworks © Igshaan Adams. Video: @instant.prod/Mudam Luxembourg.

Dana Schutz, ‘Blind Boat’, 2024: a new sculpture commission for Kistefos.

Created specifically for the sculpture park at Kistefos, ‘Blind Boat’ is a monumental bronze sculpture representing a significant development in Schutz’s practice. This ambitious new work is her first public sculpture, and the first at this scale, standing seven metres tall and nine metres in length, and weighing more than 12 tonnes.

Long-recognised as one of the most distinctive painters of her generation, Schutz began making sculptures in 2018. These works are first modelled in clay before being cast in bronze, with raw, tactile surfaces that bear the trace of the artist’s hand. ‘Blind Boat’ demonstrates Schutz’s unique ability to construct dynamic constellations of forms and figures. The sculpture depicts a boat carrying three characters, surrounded by elements such as a stylised sun, hollowed-out eyeballs, and a carrion bird holding a pupil in its beak. The figures in the boat are either blind or one-eyed, evoking the Cyclopes of Greek mythology. The central figure holds their companion’s eyeball aloft as a guiding light.

At Kistefos, the sculpture is situated in dialogue with the surrounding landscape and the waterfall behind it. The continuous sound of rushing water enhances the work’s sensory qualities, creating an interplay between the solidity of cast bronze and the perception of a dynamic sculpture in motion.

Dana Schutz
‘Blind Boat’, 2024

Kistefos Museum
Kistefossveien 24
Jevnaker
Norway

#DanaSchutz
#Kistefos
@kistefos

Images: Dana Schutz, ‘Blind Boat’, 2024, Kistefos Museum, Jevnaker, Norway. © Dana Schutz. Photos: Einar Aslaksen.

Dana Schutz, ‘Blind Boat’, 2024: a new sculpture commission for Kistefos.

Created specifically for the sculpture park at Kistefos, ‘Blind Boat’ is a monumental bronze sculpture representing a significant development in Schutz’s practice. This ambitious new work is her first public sculpture, and the first at this scale, standing seven metres tall and nine metres in length, and weighing more than 12 tonnes.

Long-recognised as one of the most distinctive painters of her generation, Schutz began making sculptures in 2018. These works are first modelled in clay before being cast in bronze, with raw, tactile surfaces that bear the trace of the artist’s hand. ‘Blind Boat’ demonstrates Schutz’s unique ability to construct dynamic constellations of forms and figures. The sculpture depicts a boat carrying three characters, surrounded by elements such as a stylised sun, hollowed-out eyeballs, and a carrion bird holding a pupil in its beak. The figures in the boat are either blind or one-eyed, evoking the Cyclopes of Greek mythology. The central figure holds their companion’s eyeball aloft as a guiding light.

At Kistefos, the sculpture is situated in dialogue with the surrounding landscape and the waterfall behind it. The continuous sound of rushing water enhances the work’s sensory qualities, creating an interplay between the solidity of cast bronze and the perception of a dynamic sculpture in motion.

Dana Schutz
‘Blind Boat’, 2024

Kistefos Museum
Kistefossveien 24
Jevnaker
Norway

#DanaSchutz
#Kistefos
@kistefos

Images: Dana Schutz, ‘Blind Boat’, 2024, Kistefos Museum, Jevnaker, Norway. © Dana Schutz. Photos: Einar Aslaksen.

Dana Schutz, ‘Blind Boat’, 2024: a new sculpture commission for Kistefos.

Created specifically for the sculpture park at Kistefos, ‘Blind Boat’ is a monumental bronze sculpture representing a significant development in Schutz’s practice. This ambitious new work is her first public sculpture, and the first at this scale, standing seven metres tall and nine metres in length, and weighing more than 12 tonnes.

Long-recognised as one of the most distinctive painters of her generation, Schutz began making sculptures in 2018. These works are first modelled in clay before being cast in bronze, with raw, tactile surfaces that bear the trace of the artist’s hand. ‘Blind Boat’ demonstrates Schutz’s unique ability to construct dynamic constellations of forms and figures. The sculpture depicts a boat carrying three characters, surrounded by elements such as a stylised sun, hollowed-out eyeballs, and a carrion bird holding a pupil in its beak. The figures in the boat are either blind or one-eyed, evoking the Cyclopes of Greek mythology. The central figure holds their companion’s eyeball aloft as a guiding light.

At Kistefos, the sculpture is situated in dialogue with the surrounding landscape and the waterfall behind it. The continuous sound of rushing water enhances the work’s sensory qualities, creating an interplay between the solidity of cast bronze and the perception of a dynamic sculpture in motion.

Dana Schutz
‘Blind Boat’, 2024

Kistefos Museum
Kistefossveien 24
Jevnaker
Norway

#DanaSchutz
#Kistefos
@kistefos

Images: Dana Schutz, ‘Blind Boat’, 2024, Kistefos Museum, Jevnaker, Norway. © Dana Schutz. Photos: Einar Aslaksen.

Dana Schutz, ‘Blind Boat’, 2024: a new sculpture commission for Kistefos.

Created specifically for the sculpture park at Kistefos, ‘Blind Boat’ is a monumental bronze sculpture representing a significant development in Schutz’s practice. This ambitious new work is her first public sculpture, and the first at this scale, standing seven metres tall and nine metres in length, and weighing more than 12 tonnes.

Long-recognised as one of the most distinctive painters of her generation, Schutz began making sculptures in 2018. These works are first modelled in clay before being cast in bronze, with raw, tactile surfaces that bear the trace of the artist’s hand. ‘Blind Boat’ demonstrates Schutz’s unique ability to construct dynamic constellations of forms and figures. The sculpture depicts a boat carrying three characters, surrounded by elements such as a stylised sun, hollowed-out eyeballs, and a carrion bird holding a pupil in its beak. The figures in the boat are either blind or one-eyed, evoking the Cyclopes of Greek mythology. The central figure holds their companion’s eyeball aloft as a guiding light.

At Kistefos, the sculpture is situated in dialogue with the surrounding landscape and the waterfall behind it. The continuous sound of rushing water enhances the work’s sensory qualities, creating an interplay between the solidity of cast bronze and the perception of a dynamic sculpture in motion.

Dana Schutz
‘Blind Boat’, 2024

Kistefos Museum
Kistefossveien 24
Jevnaker
Norway

#DanaSchutz
#Kistefos
@kistefos

Images: Dana Schutz, ‘Blind Boat’, 2024, Kistefos Museum, Jevnaker, Norway. © Dana Schutz. Photos: Einar Aslaksen.

Reminder:

Luisa Lambri
Salvatore Emblema

Private view: Friday 22 May 2026, 5–8pm
Exhibition dates: 23 May–1 August 2026

Thomas Dane Gallery
Via Francesco Crispi 69
Napoli

A text by Flaminia Gennari Santori will accompany the exhibition.

The exhibition at Thomas Dane Gallery will coincide with presentations of works by both artists at Galleria Fonti in Naples, and Museo Emblema in Terzigno (NA).

Salvatore Emblema
Luisa Lambri

Private view: Friday 22 May 2026, 5–8pm
Exhibition dates: 22 May–1 August 2026

Galleria Fonti
Via Chiaia 229
Napoli

Salvatore Emblema e Luisa Lambri

Private view: Saturday 23 May 2026, 11am–4pm
Exhibition dates: 23 May–18 September 2026

Museo Emblema
Via Salvatore Emblema 37
Terzigno (NA)

#LuisaLambri
#SalvatoreEmblema
@luisalambri
@museoemblema
@galleriafonti

Image: Luisa Lambri, ‘Untitled (Senza Titolo / Nuovo Spazio; Senza Titolo / Ricerca Sullo Spazio, # 03)’, 2026. Artwork © Salvatore Emblema. © Luisa Lambri.

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

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

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

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

Curated by Lekha Hileman.

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

5 May–1 November 2026

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

#IgshaanAdams
#GuggenheimBilbao
@igshaan.adams
@museoguggenheim

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

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

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

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

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

Curated by Lekha Hileman.

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

5 May–1 November 2026

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

#IgshaanAdams
#GuggenheimBilbao
@igshaan.adams
@museoguggenheim

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

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

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

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

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

Curated by Lekha Hileman.

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

5 May–1 November 2026

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

#IgshaanAdams
#GuggenheimBilbao
@igshaan.adams
@museoguggenheim

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

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

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

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

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

Curated by Lekha Hileman.

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

5 May–1 November 2026

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

#IgshaanAdams
#GuggenheimBilbao
@igshaan.adams
@museoguggenheim

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

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

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

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

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

Curated by Lekha Hileman.

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

5 May–1 November 2026

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

#IgshaanAdams
#GuggenheimBilbao
@igshaan.adams
@museoguggenheim

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

‘Barbara Kasten: Post-Abstraction’ now open at Zachęta — Narodowa Galeria Sztuki, Warsaw. Exhibition continues until 7 June 2026.

The first comprehensive exhibition of the artist’s work in this region of Europe, the presentation includes around 100 works in various media, as well as a site-specific intervention in the museum’s stairwell.

The exhibition highlights an important connection to the region for Kasten who, as a Fulbright-Hays scholarship holder in the early 1970s, worked with sculptor Magdalena Abakanowicz at the State Higher School of Fine Arts (now the University of Arts) in Poznań. This formative experience working in textile would go on to influence Kasten’s enduring practice, exploring the relationship between object, space, and light through photography and installation.

Curated by Agnieszka Pindera.

Barbara Kasten
‘Post-Abstraction’

13 March–7 June 2026

Zachęta — Narodowa Galeria Sztuki
Plac Małachowskiego 3
Warsaw

#BarbaraKasten
#Zachęta
@kastenstudios
@galeria_zacheta

Exhibition views, Barbara Kasten, ‘Post-abstraction’, Zachęta — Narodowa Galeria Sztuki, Warsaw, 2026 © Barbara Kasten. Photos: Maciej Landsberg / Zachęta archive.

‘Barbara Kasten: Post-Abstraction’ now open at Zachęta — Narodowa Galeria Sztuki, Warsaw. Exhibition continues until 7 June 2026.

The first comprehensive exhibition of the artist’s work in this region of Europe, the presentation includes around 100 works in various media, as well as a site-specific intervention in the museum’s stairwell.

The exhibition highlights an important connection to the region for Kasten who, as a Fulbright-Hays scholarship holder in the early 1970s, worked with sculptor Magdalena Abakanowicz at the State Higher School of Fine Arts (now the University of Arts) in Poznań. This formative experience working in textile would go on to influence Kasten’s enduring practice, exploring the relationship between object, space, and light through photography and installation.

Curated by Agnieszka Pindera.

Barbara Kasten
‘Post-Abstraction’

13 March–7 June 2026

Zachęta — Narodowa Galeria Sztuki
Plac Małachowskiego 3
Warsaw

#BarbaraKasten
#Zachęta
@kastenstudios
@galeria_zacheta

Exhibition views, Barbara Kasten, ‘Post-abstraction’, Zachęta — Narodowa Galeria Sztuki, Warsaw, 2026 © Barbara Kasten. Photos: Maciej Landsberg / Zachęta archive.

‘Barbara Kasten: Post-Abstraction’ now open at Zachęta — Narodowa Galeria Sztuki, Warsaw. Exhibition continues until 7 June 2026.

The first comprehensive exhibition of the artist’s work in this region of Europe, the presentation includes around 100 works in various media, as well as a site-specific intervention in the museum’s stairwell.

The exhibition highlights an important connection to the region for Kasten who, as a Fulbright-Hays scholarship holder in the early 1970s, worked with sculptor Magdalena Abakanowicz at the State Higher School of Fine Arts (now the University of Arts) in Poznań. This formative experience working in textile would go on to influence Kasten’s enduring practice, exploring the relationship between object, space, and light through photography and installation.

Curated by Agnieszka Pindera.

Barbara Kasten
‘Post-Abstraction’

13 March–7 June 2026

Zachęta — Narodowa Galeria Sztuki
Plac Małachowskiego 3
Warsaw

#BarbaraKasten
#Zachęta
@kastenstudios
@galeria_zacheta

Exhibition views, Barbara Kasten, ‘Post-abstraction’, Zachęta — Narodowa Galeria Sztuki, Warsaw, 2026 © Barbara Kasten. Photos: Maciej Landsberg / Zachęta archive.

‘Barbara Kasten: Post-Abstraction’ now open at Zachęta — Narodowa Galeria Sztuki, Warsaw. Exhibition continues until 7 June 2026.

The first comprehensive exhibition of the artist’s work in this region of Europe, the presentation includes around 100 works in various media, as well as a site-specific intervention in the museum’s stairwell.

The exhibition highlights an important connection to the region for Kasten who, as a Fulbright-Hays scholarship holder in the early 1970s, worked with sculptor Magdalena Abakanowicz at the State Higher School of Fine Arts (now the University of Arts) in Poznań. This formative experience working in textile would go on to influence Kasten’s enduring practice, exploring the relationship between object, space, and light through photography and installation.

Curated by Agnieszka Pindera.

Barbara Kasten
‘Post-Abstraction’

13 March–7 June 2026

Zachęta — Narodowa Galeria Sztuki
Plac Małachowskiego 3
Warsaw

#BarbaraKasten
#Zachęta
@kastenstudios
@galeria_zacheta

Exhibition views, Barbara Kasten, ‘Post-abstraction’, Zachęta — Narodowa Galeria Sztuki, Warsaw, 2026 © Barbara Kasten. Photos: Maciej Landsberg / Zachęta archive.

‘Barbara Kasten: Post-Abstraction’ now open at Zachęta — Narodowa Galeria Sztuki, Warsaw. Exhibition continues until 7 June 2026.

The first comprehensive exhibition of the artist’s work in this region of Europe, the presentation includes around 100 works in various media, as well as a site-specific intervention in the museum’s stairwell.

The exhibition highlights an important connection to the region for Kasten who, as a Fulbright-Hays scholarship holder in the early 1970s, worked with sculptor Magdalena Abakanowicz at the State Higher School of Fine Arts (now the University of Arts) in Poznań. This formative experience working in textile would go on to influence Kasten’s enduring practice, exploring the relationship between object, space, and light through photography and installation.

Curated by Agnieszka Pindera.

Barbara Kasten
‘Post-Abstraction’

13 March–7 June 2026

Zachęta — Narodowa Galeria Sztuki
Plac Małachowskiego 3
Warsaw

#BarbaraKasten
#Zachęta
@kastenstudios
@galeria_zacheta

Exhibition views, Barbara Kasten, ‘Post-abstraction’, Zachęta — Narodowa Galeria Sztuki, Warsaw, 2026 © Barbara Kasten. Photos: Maciej Landsberg / Zachęta archive.

‘Barbara Kasten: Post-Abstraction’ now open at Zachęta — Narodowa Galeria Sztuki, Warsaw. Exhibition continues until 7 June 2026.

The first comprehensive exhibition of the artist’s work in this region of Europe, the presentation includes around 100 works in various media, as well as a site-specific intervention in the museum’s stairwell.

The exhibition highlights an important connection to the region for Kasten who, as a Fulbright-Hays scholarship holder in the early 1970s, worked with sculptor Magdalena Abakanowicz at the State Higher School of Fine Arts (now the University of Arts) in Poznań. This formative experience working in textile would go on to influence Kasten’s enduring practice, exploring the relationship between object, space, and light through photography and installation.

Curated by Agnieszka Pindera.

Barbara Kasten
‘Post-Abstraction’

13 March–7 June 2026

Zachęta — Narodowa Galeria Sztuki
Plac Małachowskiego 3
Warsaw

#BarbaraKasten
#Zachęta
@kastenstudios
@galeria_zacheta

Exhibition views, Barbara Kasten, ‘Post-abstraction’, Zachęta — Narodowa Galeria Sztuki, Warsaw, 2026 © Barbara Kasten. Photos: Maciej Landsberg / Zachęta archive.

‘Barbara Kasten: Post-Abstraction’ now open at Zachęta — Narodowa Galeria Sztuki, Warsaw. Exhibition continues until 7 June 2026.

The first comprehensive exhibition of the artist’s work in this region of Europe, the presentation includes around 100 works in various media, as well as a site-specific intervention in the museum’s stairwell.

The exhibition highlights an important connection to the region for Kasten who, as a Fulbright-Hays scholarship holder in the early 1970s, worked with sculptor Magdalena Abakanowicz at the State Higher School of Fine Arts (now the University of Arts) in Poznań. This formative experience working in textile would go on to influence Kasten’s enduring practice, exploring the relationship between object, space, and light through photography and installation.

Curated by Agnieszka Pindera.

Barbara Kasten
‘Post-Abstraction’

13 March–7 June 2026

Zachęta — Narodowa Galeria Sztuki
Plac Małachowskiego 3
Warsaw

#BarbaraKasten
#Zachęta
@kastenstudios
@galeria_zacheta

Exhibition views, Barbara Kasten, ‘Post-abstraction’, Zachęta — Narodowa Galeria Sztuki, Warsaw, 2026 © Barbara Kasten. Photos: Maciej Landsberg / Zachęta archive.

‘Barbara Kasten: Post-Abstraction’ now open at Zachęta — Narodowa Galeria Sztuki, Warsaw. Exhibition continues until 7 June 2026.

The first comprehensive exhibition of the artist’s work in this region of Europe, the presentation includes around 100 works in various media, as well as a site-specific intervention in the museum’s stairwell.

The exhibition highlights an important connection to the region for Kasten who, as a Fulbright-Hays scholarship holder in the early 1970s, worked with sculptor Magdalena Abakanowicz at the State Higher School of Fine Arts (now the University of Arts) in Poznań. This formative experience working in textile would go on to influence Kasten’s enduring practice, exploring the relationship between object, space, and light through photography and installation.

Curated by Agnieszka Pindera.

Barbara Kasten
‘Post-Abstraction’

13 March–7 June 2026

Zachęta — Narodowa Galeria Sztuki
Plac Małachowskiego 3
Warsaw

#BarbaraKasten
#Zachęta
@kastenstudios
@galeria_zacheta

Exhibition views, Barbara Kasten, ‘Post-abstraction’, Zachęta — Narodowa Galeria Sztuki, Warsaw, 2026 © Barbara Kasten. Photos: Maciej Landsberg / Zachęta archive.

‘Barbara Kasten: Post-Abstraction’ now open at Zachęta — Narodowa Galeria Sztuki, Warsaw. Exhibition continues until 7 June 2026.

The first comprehensive exhibition of the artist’s work in this region of Europe, the presentation includes around 100 works in various media, as well as a site-specific intervention in the museum’s stairwell.

The exhibition highlights an important connection to the region for Kasten who, as a Fulbright-Hays scholarship holder in the early 1970s, worked with sculptor Magdalena Abakanowicz at the State Higher School of Fine Arts (now the University of Arts) in Poznań. This formative experience working in textile would go on to influence Kasten’s enduring practice, exploring the relationship between object, space, and light through photography and installation.

Curated by Agnieszka Pindera.

Barbara Kasten
‘Post-Abstraction’

13 March–7 June 2026

Zachęta — Narodowa Galeria Sztuki
Plac Małachowskiego 3
Warsaw

#BarbaraKasten
#Zachęta
@kastenstudios
@galeria_zacheta

Exhibition views, Barbara Kasten, ‘Post-abstraction’, Zachęta — Narodowa Galeria Sztuki, Warsaw, 2026 © Barbara Kasten. Photos: Maciej Landsberg / Zachęta archive.

‘Barbara Kasten: Post-Abstraction’ now open at Zachęta — Narodowa Galeria Sztuki, Warsaw. Exhibition continues until 7 June 2026.

The first comprehensive exhibition of the artist’s work in this region of Europe, the presentation includes around 100 works in various media, as well as a site-specific intervention in the museum’s stairwell.

The exhibition highlights an important connection to the region for Kasten who, as a Fulbright-Hays scholarship holder in the early 1970s, worked with sculptor Magdalena Abakanowicz at the State Higher School of Fine Arts (now the University of Arts) in Poznań. This formative experience working in textile would go on to influence Kasten’s enduring practice, exploring the relationship between object, space, and light through photography and installation.

Curated by Agnieszka Pindera.

Barbara Kasten
‘Post-Abstraction’

13 March–7 June 2026

Zachęta — Narodowa Galeria Sztuki
Plac Małachowskiego 3
Warsaw

#BarbaraKasten
#Zachęta
@kastenstudios
@galeria_zacheta

Exhibition views, Barbara Kasten, ‘Post-abstraction’, Zachęta — Narodowa Galeria Sztuki, Warsaw, 2026 © Barbara Kasten. Photos: Maciej Landsberg / Zachęta archive.

‘Barbara Kasten: Post-Abstraction’ now open at Zachęta — Narodowa Galeria Sztuki, Warsaw. Exhibition continues until 7 June 2026.

The first comprehensive exhibition of the artist’s work in this region of Europe, the presentation includes around 100 works in various media, as well as a site-specific intervention in the museum’s stairwell.

The exhibition highlights an important connection to the region for Kasten who, as a Fulbright-Hays scholarship holder in the early 1970s, worked with sculptor Magdalena Abakanowicz at the State Higher School of Fine Arts (now the University of Arts) in Poznań. This formative experience working in textile would go on to influence Kasten’s enduring practice, exploring the relationship between object, space, and light through photography and installation.

Curated by Agnieszka Pindera.

Barbara Kasten
‘Post-Abstraction’

13 March–7 June 2026

Zachęta — Narodowa Galeria Sztuki
Plac Małachowskiego 3
Warsaw

#BarbaraKasten
#Zachęta
@kastenstudios
@galeria_zacheta

Exhibition views, Barbara Kasten, ‘Post-abstraction’, Zachęta — Narodowa Galeria Sztuki, Warsaw, 2026 © Barbara Kasten. Photos: Maciej Landsberg / Zachęta archive.

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.