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MARLENE DUMAS
Cycladic Blues, 2020The ancient Cycladic culture flourished in the islands of the Aegean from c. 3300 to 1100 BCE. Their art is characterized by marble figurines, most commonly a single full-length female figure with arms folded across the front. Apart from a sharply-defined nose, the faces are a smooth blank. The enigmatic antiquities speak to us in the same timeless language as Dumas' contemporary works.
This painting echoes the ancient sculptures, imparting just enough information to describe a human face.
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TACITA DEAN
Wake, 2000A tempestuous scene depicting a stormy sea, 'Wake' is Tacita Dean's intuitive, gestural maelstrom that brilliantly conveys the impression of a crashing wave. Rapidly yet masterfully executed with chalk on blackboard, the contrast between black and white heightens the forceful effect.
Dean creates the form of the wave with the most economical of means, leaving the majority of the blackboard untouched. In many parts, she has simply smudged the chalk to invoke the sea spray or the direction of the rolling wave, which is surrounded by words such as 'rain', 'wake' and 'pissing down'. Rather like acting directions from the world of film and theatre, they are used as choreography.
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THOMAS SCHÜTTE
Bishop, 2026Thomas Schütte’s multifaceted practice offers a profound reflection on themes of cultural memory, existential struggle, and the fraught power of monuments and memorials. Working in a variety of mediums, including sculpture, architecture, printmaking, and drawing, Schütte constructs real and invented forms that range from fantastical creatures and towering abstractions of humanoids, to imposing busts of famous, forgotten, or anonymous figures.
‘Bishop’ is an imposing hieratic figure which comes from a series of characters who seem to exist somewhere between royal and religious, threatening and benevolent.
Schütte will have a major solo exhibition at K21, Düsseldorf, 14 November 2026–11 April 2027.
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DAYANITA SINGH
Red Bath, 2026This work emerges from Dayanita Singh’s long-term interest in the paper archive, and its associated archivist care takers. She came across these huge bundles of fabric-wrapped documents while visiting a friend in Uttar Pradesh, India and was struck by their unusual positioning across a row of old metal bathtubs. Accumulating dust, these documents are of indeterminate age and their contents unknown.
Dayanita Singh’s current solo presentation ‘Archivio’ is at the Archivio di Stato di Venezia, Italy until 31 July 2026, travelling to Rome, Turin and Delhi, India. The exhibition presents fifteen new ‘architectural pillars’ and the work ‘Red Bath’ 2026. -
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MAŁGORZATA MIRGA-TAS,
Mother and Child, 2026The work of Romani artist, educator, and activist Małgorzata Mirga-Tas addresses anti-Roma stereotypes and engages in building an affirmative iconography of Roma communities. Her work depicts everyday life: relationships, alliances and shared activities. Mirga-Tas’s vibrant textile collages are created from materials and fabrics collected from family and friends, which imbues them with a life of their own and a corresponding immediacy. Patchworks made of curtains, jewellery, shirts, and sheets, are sewn together to form so-called 'microcarriers' of history, just as resulting images revise macro perspectives.
The artist found this depiction of a Roman mother and daughter during her research and has set them here in a beautiful mountain landscape.
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SHILPA GUPTA
100 Handdrawn Maps of India, 2019Begun in 2008, Shilpa Gupta’s ongoing series '100 Hand-drawn Maps' explores the vagaries of discrete national geographies. The work begins with a request: a hundred people from a given country are asked to draw from memory its outline.
These collected sets are differently compiled – in some, the drawings are traced onto one another to become a single, layered image; in others, they are traced into a book later set before a table fan, its directed breeze paging through the various renditions.
“It’s only when you see these shifts and alterations in the drawings that they evoke an emotional resonance,” Gupta says. “This brings forth a certain disparity between private and public memory, between the officially sanctioned cartography and the informal mental image one holds of their country.”
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