Lisson

Artwork proposals by Kelly Akashi, Ryan Gander and Laure Prouvost are among the submissions under consideration for the seventh and eighth Plinth commissions for the High Line in New York City, with the selected commissions due to be installed in 2029 and 2030.

Kelly Akashi presents 'Double Negative', a 25-foot-tall sculpture made of two laser-cut Cor-Ten steel doilies. A doily is a domestic textile often associated with care and labor. By translating this delicate, fragile lace pattern into heavy industrial steel at a massive scale, the artist forces a domestic, private history into a very public, imposing space.

Ryan Gander's 'Time Piece (for everyone, everywhere, forever)', a two-part installation features a large, double-sided digital clock displaying 88:88 in fluorescent yellow, with a flashing colon that marks passing seconds. Modeled after commercial signage, the installation presents time as something measured, experienced, and observed rather than precisely fixed.

Laure Prouvost's 'DREAMING OF NO MORE FRONT TEARS' is a seven-armed figure in terrazzo, composed of fragments that form a collective body. Each arm symbolizes a gesture—holding a clementine, a flag, an infant, and glowing glass anemones—linking care, protest, and connection. Openings at the bottom reveal intimate scenes within the figure. The work reimagines monumentality as softness, multiplicity, and shared presence.

🔗 Explore more here: https://lissongallery.visitlink.me/s_SPWB

Shown here: Renderings courtesy of the artists

Now open, Lisson London is pleased to introduce a group exhibition of works by artists from its international programme, including Dana Awartani, Rodney Graham, Peter Joseph, Anish Kapoor, Wael Shawky, Hiroshi Sugimoto, Tunga, and Masaomi Yasunaga – united by their collision of the past and present.

The exhibition derives its name from Hiroshi Sugimoto’s acclaimed series, Past Presence, where masterworks are transformed into reflections on cultural continuity, memory and time. Two pieces from the series are highlighted, preceding the artist’s forthcoming solo show at Lisson New York and the reopening of the Hirshhorn Museum Sculpture Garden later this year.

🗓️ On view through 5 September at 27 Bell Street, London

🔗 Explore the exhibition here: https://lissongallery.visitlink.me/mGP1ow

Shown here: Installation view of ‘Past Presence’, 6 August – 5 September 2026 © The artists; Courtesy Lisson

On July 28, Lucy Raven and Deantoni Parks presented a film-performance of Raven's Murderers Bar (2025) as part of AIR 2026: Figures in a Landscape.

Staged in a high alpine meadow at T-Lazy-7 Ranch in the Roaring Fork Valley, the performance marks the first outdoor presentation of the film, projected vertically on a monumental curved screen set among the aspens, framed by the expansive backdrop of Pyramid Peak.

Murderers Bar is the final installment in Raven’s The Drumfire (2021–25), a series of moving-image works that explore infrastructural systems and the dynamics of changing material states as matter warps and transforms under pressure. The work centers on the largest dam removal in US history, which followed decades of sustained advocacy by Tribal Nations including the Yurok, Karuk, Klamath, and the Shasta Indian Nation, and is part of a broader river restoration effort to revive threatened Chinook and Coho salmon habitats.

🔗 Explore here: https://lissongallery.visitlink.me/_pbLjd

Shown here: Lucy Raven and Deantoni Parks, Murderers Bar, 2026. Performance still from AIR 2026: Figures in a Landscape, Aspen, Colorado. Photo: Maria Baranova. Courtesy the artist and Aspen Art Museum

From 9 October 2026 – 10 January 2027, Nottingham Contemporary is proud to present the first UK institutional solo exhibition of the late British artist Sarah Cunningham (1993-2024, UK).

The exhibition marks a deeply meaningful homecoming: the return of the artist’s work to the city where she was born and raised.

Cunningham sought out the essential and the alive through her imaginary wildernesses and fluid forest-scapes, taking inspiration from the speculative landscapes of science fiction literature, art history, ecology and personal references.

This exhibition will be the largest exhibition to date of Cunningham's works, bringing together earlier paintings and never-before-seen bodies of work from her studio. The exhibition will seek to not just present Cunningham's work in a fixed state but will rather attempt to open the portals held by the painting’s edge, allowing the colour, motion and sounds of these other worlds to flow out into an immersive viewing experience.

🔗 Explore here: https://lissongallery.visitlink.me/BjMxwb

Image: Sarah Cunningham, Via Lucis, 2023, Oil on canvas, Overall: 180 x 270 x 4 cm, Overall: 70 ⅞ x 106 ¼ x 1 ⅝ in © Sarah Cunningham, Courtesy Lisson

Until 20 September 2026, Ryan Gander's 'One Hundred Things Twice' at Salzburger Kunstverein presents an inventory of possible realities, things that can be rethought again and again.

The exhibition unfolds through pairs, echoes, near-coincidences and subtle shifts. Classical logic teaches us that everything either is or is not: a body is either here or there, a statement either true or false. Yet Gander's practice has long been dedicated to the moments when such certainty begins to waver. His works dwell in the space before meaning settles, asking what happens when a thing resists being defined by a single description.

🔗 Explore more here: https://lissongallery.visitlink.me/YZutTv

Images: Exhibition view, One Hundred Things Twice, Ryan Gander, Salzburger Kunstverein. Commissioned and produced by Salzburger Kunstverein. Curated by Mirela Baciak

Goodwood Art Foundation has unveiled the first outdoor installation in Europe by the renowned Brazilian artist Hélio Oiticica, introducing a boldly coloured, maze-like structure to the 70-acre landscape.

Magic Square #3 (1978/2026) is an open-air architectural labyrinth made from brightly coloured painted walls, occupying a footprint measuring 15 x 15 x 5 metres. Embodying the artist’s radical vision to make art participatory and inclusive, it is designed to be walked through and explored, enabling visitors to encounter vivid planes of colour that shift under the changing natural light.

Located on the edge of the Foundation’s woodland with views towards the Sussex coast, the sculptural installation is on long-term loan to Goodwood Art Foundation, having been meticulously constructed according to the late artist’s instructions.

🔗 Explore more here: https://lissongallery.visitlink.me/aMZgBt

Shown here: Hélio Oiticica, Magic Square #3 (1978/2026). Installed at Goodwood Art Foundation, UK © César and Claudio Oiticica. Courtesy Lisson. Photography by Maria Bell.