Edel Assanti

21/05/2025

We’re pleased to announce ‘Lost Property’ – Jenkin van Zyl’s major new solo presentation at ARoS Aarhus Art Museum in Denmark.

Commissioned for the museum’s new subterranean Salling Gallery, ‘Lost Property’ transforms the space into a surreal bureaucratic dreamscape, where protagonists are confronted by their doppelgängers in an endless loop of identity, transformation and unravelling.

Crafted with van Zyl’s signature blend of film, performance and immersive installation, the exhibition invites viewers to spiral into a lavender-hued limbo of spectacle, simulation, and q***r world-building.

On view at ARoS Aarhus Art Museum until 6 April 2026.

24/04/2025

We are delighted to announce Edel Assanti’s representation of Si On, following her second exhibition with the gallery 'Soft Armour, Heavy Bones'.

Si On’s multidisciplinary practice unfolds through an intuitive, daily process of creation, encompassing painting, sculpture, and installation. Her works are built up through a process of repetitive material layering, combining traditional techniques with an eclectic range of found objects and unconventional media.

Within these richly textured compositions, Si On’s characters exist in vibrantly hypnotic landscapes that mirror their protagonists’ transcendent states. Despite the otherworldly aesthetic of her work, Si On’s subjects are universal human emotions, often focusing on extreme psychological states and their underlying triggers: personal trauma, sociocultural tension and political unrest.

Her hallucinant world is characterised by methodically balanced forces: innocence invaded by darkness; decay held at bay by beauty; brutality countered by primitive justice; and pain overcome by humour. Through this tense equilibrium, Si On visualises the way in which, in her own words: "Life experiences shape our identities, as we carry memories, hopes, scars, and traumas that accumulate over time, revealing the complex aspects of our humanity."

📸 Photo: Ian Moon Studio.

11/04/2025

Si On’s sculpture '40 Years Now' (2018-2021) is featured in her solo exhibition 'Soft Armour, Heavy Bones', currently on view at the gallery.

This towering bronze and mixed-media candelabra reflects on themes of aging, identity, and transformation. The use of metal plungers as pedestals – tools traditionally used to clear blockages – introduces a sense of absurdity and struggle, serving as metaphors for the challenges and transitions that accompany life’s journey.

By incorporating her own hair and personal belongings, the artist creates a direct connection to her lived experiences: "Using my own hair and accessories creates a direct connection to my experiences. Mineral stones symbolize endurance, contrasting with the decaying, organic forms."

📸 Photo: Tom Carter.

10/04/2025

We are delighted to announce Noémie Goudal's institutional solo exhibition, 'Tilt', at The Dock in Leitrim, Ireland, opening on 10 May.

Bringing together new and recent works across sculpture, film and photography, the exhibition features Goudal’s single-channel film 'Supra Strata' (2024), created for the Prix Marcel Duchamp, alongside her 'Terrella' sculptures (2023) and 'Rocks' installation (2024).

Goudal constructs illusionistic interventions in the landscape, captured through photography, film and sound. Deploying scenography and staging devices, she expands photography beyond its conventional parameters into immersive installations, informed by her interest in paleoclimatology. While human temporality does not align with the 'deep time' of geological processes, she seeks to visualise the effort that goes into making the landscape.

'Tilt' is curated by Mary Conlon and Linda Shevlin. Learn more about the exhibition: https://www.thedock.ie/exhibitions/tilt

📸 Noémie Goudal, 'Supra Strata' 2024, behind the scenes.

Noémie Goudal Studio ́mieGoudal

03/04/2025

Lonnie Holley is featured in The New York Times, highlighting his fifth studio album 'Tonky’. Recently released, 'Tonky' incorporates jazz, blues, hip-hop and electronic music, with contributions from Isaac Brock of Modest Mouse, the singer-songwriter Jesca Hoop, and the rappers Open Mike Eagle and Billy Woods. Like its predecessor, 2023’s 'Oh Me Oh My', 'Tonky' was made with the assistance of producer and multi-instrumentalist Jacknife Lee.

"Recording Holley is akin to trying to capture that lightning in a bottle, and his music represents a devotion to the very act of creation. The same could be said of his artwork. He’s making it constantly. The trick is figuring out what to do with it."

Link to the article: https://tinyurl.com/bdcr7n8s

The artist and musician, now 75, represents a devotion to the act of creation. His new LP “Tonky,” which incorporates jazz, blues, hip-hop and electronic music, is due this month.

27/03/2025

Tonight: All welcome to the opening reception of Si On’s solo exhibition, 'Soft Armour, Heavy Bones' at Edel Assanti, 6-8 pm.

Si On’s works are developed through a deeply intuitive practice of daily creation, working in a vibrant palette across painting, sculpture and installation. Works are built up in a process of repetitive material layering, using traditional techniques alongside the incorporation of all manner of objects and mediums. This practice is emblematic of Si On’s belief in art as a space in which superficial distraction must be peeled away to allow unseen dynamics to come into focus.

'Soft Armour, Heavy Bones' unfolds across three rooms, each populated by defiant female protagonists roaming hypnotically swirling landscapes. An ecosystem of animated objects and natural forces is instilled with a morally unstable character, at times nourishing Si On’s antiheroines, elsewhere threatening to ingest them altogether, decentring her human subjects: "I believe that every form – human, animal, or even inanimate objects like stones and dust – possesses spirit and value. I honour even the smallest elements of the world, recognising our interconnectedness."

📸 Photo: Tom Carter.

26/03/2025

Join us tomorrow, from 6-8pm, for the opening reception of 'Soft Armour, Heavy Bones', Si On’s second exhibition at the gallery.

Comprising recent paintings and sculptures, the show follows the artist’s acclaimed 2024 solo exhibition, 'There Is Neither The Beginning Nor An End', at GGM2 in Poland.

'Soft Armour, Heavy Bones' offers a deeply personal meditation on the discovery of selfhood within the context of the many contradictions that define the human experience: "Each piece serves as a reminder of our fragile yet resilient nature, highlighting that we are constantly evolving, often in conflict with ourselves, yet still holding onto hope. It’s a celebration of what makes us human, in all our fractured, imperfect strength."

📸 Portrait of the artist.

21/03/2025

📣 Save the date: 'Si On: Soft Armour, Heavy Bones' opens at Edel Assanti on Thursday 27 March.

Si On’s artworks are developed through a deeply intuitive practice of daily creation, working in a vibrant palette across painting, sculpture and installation. They are built up in a process of repetitive material layering, using traditional techniques alongside the incorporation of all manner of objects and mediums. This practice is emblematic of Si On’s belief in art as a space in which superficial distractions must be peeled away to allow unseen dynamics to come into focus.

'Soft Armour, Heavy Bones' unfolds across three rooms, each populated by defiant female protagonists roaming hypnotically swirling landscapes. An ecosystem of animated objects and natural forces is instilled with a morally unstable character, at times nourishing Si On’s antiheroines, elsewhere threatening to ingest them altogether, decentring her human subjects: "I believe that every form – human, animal, or even inanimate objects like stones and dust – possesses spirit and value. I honour even the smallest elements of the world, recognising our interconnectedness."

Si On’s hallucinant world is characterised by methodically balanced forces: innocence invaded by darkness; decay held at bay by beauty; brutality countered by primitive justice; and pain overcome by humour. Through this tense equilibrium, Si On visualises the way in which, in her own words: "Life experiences shape our identities, as we carry memories, hopes, scars, and traumas that accumulate over time, revealing the complex aspects of our humanity."

🗓️ Opening reception | Thursday 27 March, 6-8pm.

📸 Si On, 'Master of Puppets', 2025.

15/03/2025

Emmanuel van der Auwera’s latest video installation, 'Your voice is always there cutting through the darkness' (2024), is included in 'Each Place Its Own Mind', closing today.

Expanding on van der Auwera’s investigation into hyper-realistic visual technology, the work explores AI-driven affective dependency and the growing phenomenon of bot companionship.

Through a series of filters, we observe a semi-holographic film divided into two interconnected segments: a glitchy, AI-generated video of flocks of birds flying over a lake is interspersed with highly realistic avatars reciting authentic testimonies of people who fell in love with AI chatbots. This imagery is overlaid with the voice of Caryn AI, a digital girlfriend bot, narrating conversations that touch on the complexities of parasocial relationships and digital loneliness.

📸 Photo: Tom Carter.

Harlan Levey Projects

13/03/2025

Final few days to visit 'Each Place Its Own Mind', closing this Saturday. Featured in the show are two paintings by Aboriginal Australian artist Yukultji Napangati.

Napangati grew up living a seminomadic lifestyle in the Gibson Desert, Western Australia, until 1984, when at the age of fourteen, she and her family group were sighted by settler Australians and reunited with their Pintupi kin at the newly established community of Kiwirrkura.

She began painting for Papunya Tula Artists in 1996. Minimalist in palette and formally abstract, her works are rooted in ancestral knowledge, narratives, and histories passed down from her mother and grandmother. Her singular approach to mark-making utilises a repeated pattern of interconnected lines and dots that consume her canvases and generate the illusion of movement.

📸 Photo: Tom Carter.

Salon 94

07/03/2025

"There are forms of life that will survive us, how can we take them as our guides or companions to understand how to navigate our own futures?" — Marguerite Humeau

'The Brewer' (2023) is part of Humeau’s series of sculptures 'Guardian', taking the form of totems, queens, and goddesses. These figures appear alien and unexpected, yet carry textures and forms familiar from nature. For the artist, they are speculative forms that might exist in the distant future, a regenerated world after the decomposition of our own.

The ripples on the totem's glass body and wooden base may recall the gills of a mushroom. Inside, the sculpture harbours prized elements and products of the natural world, including honey, venom, yeast and Termitomyces cultures, as though it were a time capsule offering the key to ecological regeneration.

'The Brewer' is featured in the group exhibition 'Each Place Its Own Mind', closing on 15 March.

📸 Photo: Tom Carter.

White Cube

06/03/2025

Anna Hulačová has incorporated beekeeping into her artistic practice for over a decade. Featured in the exhibition 'Each Place Its Own Mind' her concrete busts, 'Dialog: Bugonia V' (2024), house honeycomb interiors constructed by bees during the swarming season.

Intertwining mythology, history, and environmental concerns, Hulačová’s sculptures explore the ecological and symbolic significance of bees – revered across cultures as conduits between the natural and divine. The work's title references the myth of 'bugonia', an ancient belief that bees could emerge from the bodies of sacrificed animals, as a transforming spirit strengthening the bond between the living and the dead.

Embodying the deep-rooted interconnection between our two species, these sculptures evoke a hybrid organism, whilst symbolising the permeable nature of body and consciousness.

📸 Photo: Tom Carter.

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