Lisson Gallery is a contemporary art gallery that represents and exhibits a range of artists and their works. It operates locations in London, New York, Los Angeles, Shanghai, and Beijing.

Lisson Gallery

Lisson Gallery | 9,546 followers on LinkedIn. Lisson Gallery is one of the most influential and longest-running international contemporary art galleries in the world | Lisson Gallery is one of the most influential and longest-running international contemporary art galleries in the world. Today the gallery supports and promotes the work of more than 70 international artists across spaces in London, New York, Los Angeles, Shanghai and Beijing. Established in 1967 by Nicholas Logsdail, Lisson Gallery pioneered the early careers of important Minimal and Conceptual artists such as Art &amp; Language, Carl Andre, Daniel Buren, Donald Judd, John Latham, Sol LeWitt, Richard Long and Robert Ryman among many others.

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Last chance to see 'Yu Hong: Islands of the Mind' on view at Lisson Gallery London through Saturday 30 November. Yu Hong presents a series of large-scale new acrylic-on-canvas paintings. Inspired by Arnold Böcklin’s Island of the Dead (1880-1901), this suite of paintings expands on the body of work unveiled in Yu Hong’s solo exhibition at the SCAD Museum of Art, Savannah in 2023, and follows her first major exhibition in Europe, where she transformed the Chiesetta della Misericordia in Venice through a series of new works, organised by The Asian Art Initiative of the Guggenheim Museum, New York. For this presentation, Yu Hong focuses on the concept of psychological landscapes, with each painting embodying an emotion or experience that unites us all: be it love, expectation, survival, oblivion or repose. In each of these works we witness the complexity of these experiences; the light with the dark. 🗓️ On through Saturday 30 November at 27 Bell Street, London Plan your visit here https://lnkd.in/eMxRkGPu

Next week, Lisson Gallery returns to Art Basel Miami Beach for its 2024 edition. The presentation highlights new painting, sculpture, photography and textile works by artists across the roster, as well as a selection of important historical pieces, including works by Kelly Akashi, Olga de Amaral, Cory Arcangel, Tony Cragg, Carmen Herrera, Oliver Lee Jackson, Josh Kline, Anish Kapoor, Lee Ufan, Leiko Ikemura, Sean Scully, Tunga, Hiroshi Sugimoto, and more. Explore: https://lnkd.in/eUm2DQGc Shown here: Anish Kapoor, Cobalt Blue over Silver Satin, 2024, Aluminium, paint, 213 x 213 x 33 cm, 83 7/8 x 83 7/8 x 13 in © Anish Kapoor, Courtesy Lisson Gallery

'Hiroshi Sugimoto: Form is Emptiness, Emptiness is Form' is now open at Lisson Los Angeles. The presentation showcases Sugimoto’s investigation of the visible and invisible world through the forms of photography, architecture, sculpture and the written word. At its core is the American debut of Brush Impression, Heart Sutra (2023), accompanied by iconic photographs from the artist’s Sea of Buddha series and a new mathematical model based on Kuen’s Surface. Surrounding the monumental piece are seven works from Sugimoto’s Sea of Buddha series, six individual photographs and one large-scale central figure, capturing the Buddha statues from the revered Sanjūsangen-dō shrine in Kyoto. Also in the gallery will be a new mathematical model, an extension of Sugimoto’s ongoing fascination with form and perception. In this work, the artist transforms mathematical equations for Kuen’s Surface into a tangible object made of pure stainless steel. 🗓️ On through 11 January 2025. Explore here: https://lnkd.in/eDV_Hybr

From 23 November in Beijing: Lisson Gallery is pleased to present the group exhibition 'Another Tongue of Mine' showcasing a series of paintings and video works by Li Ran, Liu Xiaodong, Laure Prouvost, Wael Shawky, and Shen Xin, exploring how the symbols and systems of language fundamentally shape our perception of the world, creating endless transformations in speaking, translating, listening, contemplation or even silence. This exhibition is curated by Beijing-based curator and researcher Yang Beichen. The exhibition derives its title from a prose of the same title by Chinese writer Wang Meng, where he recounts his experience of learning Uyghur in Xinjiang during the 1960s. Wang regards language as a medium that bridges narratives and understanding between oneself and others. Through narration, learning, and listening, the image of the other is constructed, outlining the boundaries or touching upon the possibility of coexistence. Language is not a neutral, objective vessel; once filtered through it, consciousness and beliefs shadow every linguistic act and narrative. 📍On view from 23 November at 4/F, Building D7, Yard No.3, Jinhang East Road Explore here: https://lnkd.in/evm6b5-v

There are just a few days remaining to see Yu Hong's major Venice exhibition 'Another One Bites the Dust' at the Chiesetta della Misericordia in Cannaregio. Yu Hong's first major exhibition in Europe features a suite of figurative and narrative paintings that respond to the architectural and cultural context of the church. The exhibition’s centerpiece is a ten-part painting, Walking through Life \(2019–22\), suspended in a semicircle in the choir. Progressing from left to right, each arched panel depicts a scene of different physical stages of life as conditioned and contorted by social norms, gender roles, and political realities. The exhibition takes place concurrently with the 60th International Art Exhibition – @labiennale di Venezia, and is curated by Dr. Alexandra Munroe, Senior Curator at Large, Global Arts, Solomon R. Guggenheim Museum and Foundation. On view through 24 November https://lnkd.in/e-cP8Ai9

Tonight in Los Angeles: 'Hiroshi Sugimoto: Form is Emptiness, Emptiness is Form' opens at Lisson Gallery. The presentation, titled 'Form is Emptiness, Emptiness is Form', showcases Sugimoto’s investigation of the visible and invisible world through the forms of photography, architecture, sculpture and the written word. At its core is the American debut of 'Brush Impression, Heart Sutra' (2023), accompanied by iconic photographs from the artist’s Sea of Buddha series and a new mathematical model based on Kuen’s Surface. The exhibition’s title, 'Form is Emptiness, Emptiness is Form', is a direct quote from the Heart Sutra and refers to the transient nature of all things – nothing has inherent substance or permanence and form is no other than emptiness as emptiness is no other than form. 📍Opening at 1037 N. Sycamore Ave, 6–8pm. Explore here: https://lnkd.in/eU6WTkfA Image: Hiroshi Sugimoto, Sea of Buddha 019, 1995, Gelatin-silver print, 152.4 x 182.6 x 7.6 cm, 60 x 71 7/8 x 3 in, Framed: 152.4 x 182.2 x 7.6 cm, Framed: 60 x 71 3/4 x 3 in © Hiroshi Sugimoto, courtesy Lisson Gallery. Photography by Dawn Blackman

The Gallery of Modern Art, Glasgow presents John Akomfrah’s 'Mimesis: African Soldier', a film installation presented across three screens, which reflects on the experience of soldiers from across the Commonwealth in World War 1. The work aims to highlight the significant contribution of over six million African, Caribbean and South Asian people from across former colonies who fought, served, and died in the war. 'Mimesis: African Soldier' is shown across three screens, which allow us to see different perspectives and narratives at the same time. The screens display archival footage and reimagined contemporary views of historical military experiences alongside still life scenes, with flowing water running over objects, flags and photographs related to the soldiers. 🗓️ On view through 31 August 2025. Explore here: https://lnkd.in/ea7juP2n Shown here: John Akomfrah 'Mimesis: African Soldier', 2018 Installed at the Gallery of Modern Art (GoMA), Glasgow, October 2024 © Smoking Dogs Films; Courtesy Smoking Dogs Films and Glasgow Life Museums. Photo: Matthew Barnes. Co-commissioned by 14-18 NOW, New Art Exchange, Nottingham and Smoking Dogs Films. With additional production support from Sharjah Art Foundation.

Until 8 December, Fondazione Furla presents the solo exhibition 'Kelly Akashi: Converging Figures'. This is the first exhibition dedicated to the artist by an Italian institution, the project presents a series of new productions specifically conceived to dialogue with the spaces and the collection of the museum. Attracted to materials such as glass, wax and bronze, Kelly Akashi shapes them into forms that reproduce natural elements such as plants, flowers, shells or parts of her body, recording their physiological changes and the passage of time. Juxtaposed in poetic compositions that often appear fragile and precious, these familiar and at the same time alienating forms explore existential questions, encouraging us to look at things from a different, broader and less anthropocentric perspective. The project that Akashi imagined for Furla Series revolves around the concept and phenomenon of “reflection”, explored through a visionary path that winds through the permanent collection, creating a dialogue and synergy with the architecture and masterpieces of the museum. Explore here: https://lnkd.in/ex7dsPCw Image: Installation view of the exhibition promoted by Fondazione Furla and GAM – Galleria d’Arte Moderna, Milan. Ph. Andrea Rossetti. Courtesy Fondazione Furla.

On 15 November in Los Angeles, Lisson Gallery is pleased to open 'Hiroshi Sugimoto: Form is Emptiness, Emptiness is Form'. The presentation showcases Sugimoto’s investigation of the visible and invisible world through the forms of photography, architecture, sculpture and the written word. At its core is the American debut of 'Brush Impression, Heart Sutra' (2023), accompanied by iconic photographs from the artist’s 'Sea of Buddha' series and a new mathematical model based on Kuen’s Surface. Upon entering the space, visitors are immediately introduced to the rear side of a large-scale, curved wall, constructed of exposed lumber and visible studs, providing a contrasting and tactile introduction to the 288 unique gelatin prints of Kanji characters hung on its opposing side. 🗓️ Opening 15 November, 6–8pm at 1037 N. Sycamore Ave. Explore: https://lnkd.in/e734jRP2 Shown here: Detail of Hiroshi Sugimoto, Brush Impression, Heart Sutra, 2023, 288 unique gelatin-silver prints, Overall dimensions variable © Hiroshi Sugimoto, courtesy Lisson Gallery

Continuing in New York, Sean Scully’s exhibition explores his breakthrough bodies of work, incorporating loans of historic pieces from the early 1980s. They include a legendary, 11-panel work entitled Backs and Fronts, which was last exhibited in New York at MoMA PS1 in 1982, a year after it was made. Seven such constructions from this period, all made at the Duane Street studio, are included in this show, marking a significant break from Scully’s earlier, tighter striped canvases, as well as from the strictures of mainstream, hard-edged Minimalist painting of the 1970s. A tripartite work, Araby (1981), named after a short story by James Joyce, represents a midway point between his use of masking-taped lines and the removal of such aids in favor of more fluid gestures, leading Scully to describe this piece as being “in a fight with itself.” This move, towards a freer, rougher and more architectural series, enabled him, as the artist has said himself, to slice and cut through the staid field of abstract art and allowed these works to literally “stand up for themselves”. Explore here https://lnkd.in/eTh7RxSk

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