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Tristan und Isolde, Met Opera, NYC, March/April 2026. At nearly 16 metres, the Met’s square gold proscenium is the tallest in any opera house. Tristan and Isolde are known as the ‘Mount Everest’ of operatic roles, requiring barely-achievable feats of vocal power and stamina. The first production in 1860 was abandoned after 70 rehearsals as ‘un-performable’. In our interpretation, directed by Yuval Sharon, the soprano Lise Davidsen and tenor Michael Spyres walk onto the stage before the music starts, dressed in simple contemporary clothes: two ordinary humans, about to set about the monumental challenge of producing 4 hours of some of the most transcendent music ever composed. The tools they require to tell the mythic story are laid out before them on a simple table: a knife, a jug, a bottle. As they lift each object, it’s relayed cinematically onto a vast projected surface that fills the entire gilded frame. The water they pour into a simple jug transforms into a tempestuous ocean. Shifting apertures within the projected waves reveal the characters now in costume within a ship’s compartments. As Isolde lifts a knife from the table it becomes a vast angled performance space for the singers within the projected film, a freeze frame of her fateful decision not to kill Tristan. The sculpture is a kind of musical instrument: each performance area is designed to amplify the singers’ voices. Act 3, the most challenging for the tenor, is designed as a megaphone shaped tunnel, at once a metaphor for the space between life and death which Tristan inhabits during this final act, and a practical means of giving his voice additional volume over the orchestra. Conducted by Yannik Nézat Séguin, Costumes by Clint Ramos, Lighting John Torres, Video by Ruth Hogben and Jason H Thompson, Choreographer Annie B Parson, Senior Associate Designer Claudia Fragoso, fabricated by Hudson Scenic. Yuval and I are now deep in preparations for the Met’s Ring Cycle with Lise Davidsen for the 2027/2028 season, and Wagner’s Flying Dutchman, opening on the lake at Bregenz Festival Opera in 2028.
6,256 likes · 118 comments · 16 Jul 2026
Tristan und Isolde, Met Opera, NYC, March/April 2026. At nearly 16 metres, the Met’s square gold proscenium is the tallest in any opera house. Tristan and Isolde are known as the ‘Mount Everest’ of operatic roles, requiring barely-achievable feats of vocal power and stamina. The first production in 1860 was abandoned after 70 rehearsals as ‘un-performable’. In our interpretation, directed by Yuval Sharon, the soprano Lise Davidsen and tenor Michael Spyres walk onto the stage before the music starts, dressed in simple contemporary clothes: two ordinary humans, about to set about the monumental challenge of producing 4 hours of some of the most transcendent music ever composed. The tools they require to tell the mythic story are laid out before them on a simple table: a knife, a jug, a bottle. As they lift each object, it’s relayed cinematically onto a vast projected surface that fills the entire gilded frame. The water they pour into a simple jug transforms into a tempestuous ocean. Shifting apertures within the projected waves reveal the characters now in costume within a ship’s compartments. As Isolde lifts a knife from the table it becomes a vast angled performance space for the singers within the projected film, a freeze frame of her fateful decision not to kill Tristan. The sculpture is a kind of musical instrument: each performance area is designed to amplify the singers’ voices. Act 3, the most challenging for the tenor, is designed as a megaphone shaped tunnel, at once a metaphor for the space between life and death which Tristan inhabits during this final act, and a practical means of giving his voice additional volume over the orchestra. Conducted by Yannik Nézat Séguin, Costumes by Clint Ramos, Lighting John Torres, Video by Ruth Hogben and Jason H Thompson, Choreographer Annie B Parson, Senior Associate Designer Claudia Fragoso, fabricated by Hudson Scenic. Yuval and I are now deep in preparations for the Met’s Ring Cycle with Lise Davidsen for the 2027/2028 season, and Wagner’s Flying Dutchman, opening on the lake at Bregenz Festival Opera in 2028.
24.4K likes · 183 comments · 16 Jul 2026
Richard Wagner’s opera Tristan und Isolde, Met Opera, NYC, March/April 2026. At nearly 16 metres, the Met’s square gold proscenium is the tallest in any opera house. Tristan and Isolde are known as the ‘Mount Everest’ of operatic roles, requiring barely-achievable feats of vocal power and stamina. The first production in 1860 was abandoned after 70 rehearsals as ‘un-performable’. In our interpretation, directed by Yuval Sharon, the soprano Lise Davidsen and tenor Michael Spyres walk onto the stage before the music starts, dressed in simple contemporary clothes: two ordinary humans, about to set about the monumental challenge of producing 4 hours of some of the most transcendent music ever composed. The tools they require to tell the mythic story are laid out before them on a simple table: a knife, a jug, a bottle. As they lift each object, it’s relayed cinematically onto a vast projected surface that fills the entire gilded frame. The water they pour into a simple jug transforms into a tempestuous ocean. Shifting apertures within the projected waves reveal the characters now in costume within a ship’s compartments. As Isolde lifts a knife from the table it becomes a vast angled performance space for the singers within the projected film, a freeze frame of her fateful decision not to kill Tristan. The sculpture is a kind of musical instrument: each performance area is designed to amplify the singers’ voices. Act 3, the most challenging for the tenor, is designed as a megaphone shaped tunnel, at once a metaphor for the space between life and death which Tristan inhabits during this final act, and a practical means of giving his voice additional volume over the orchestra. Conducted by Yannik Nézat Séguin, Costumes by Clint Ramos, Lighting John Torres, Video by Ruth Hogben and Jason H Thompson, Choreographer Annie B Parson, Senior Associate Designer Claudia Fragoso, fabricated by Hudson Scenic. Yuval and I are now deep in preparations for the Met’s Ring Cycle with Lise Davidsen for the 2027/2028 season, and Wagner’s Flying Dutchman, opening on the lake at Bregenz Festival Opera in 2028.
3,314 likes · 32 comments · 16 Jul 2026
Sou O Otro do Otro
I am the Other’s Other
A monographic exhibition of 6 large scale installations at Casa Bradesco Gallery, São Paulo, Brazil. Now extended until 27 September 2026.
This is the largest exhibition of my installation work, curated by Marcello Dantas, it spans 1500 square metres with 1500-2000 visitors per day, 100,000 so far. It traces parallel lines of enquiry that I have been pursuing over the past decade through 6 large scale installations and is the gallery’s third major exhibition following Anish Kapoor and Eva Jospin. Visitors enter An Infinite Library, a projection-mapped library of 4000 books, which opens into a shimmering glass edition of MirrorMaze, through which they find their way into a house-shaped 25 metre deep edition of Come Home Again, a choral installation of drawings of endangered species, a new narrative light installation, A Line of Light, and Co-Imagine, a 24 metre long collective portrait drawing table. Having contributed their own pencil drawing, visitors take a piece of the exhibition, one of my sketches, home with them from a new edition of Screenshare which comprises 360 of my sketchbooks illuminated by a projection of the choreographer Dam Van Huynh dancing with the shadow of his 17 years younger self.
New editions of these and other installations will be presented in the first retrospective exhibition of my work in Asia at Futura Seoul, Korea, opening on 20 August 2026. An edition of Screenshare is also included in Second Nature, a group show by Superblue at NMACC Mumbai, India, open now until 10 January 2027, and in my solo show Take Me Home, curated by the architect Ma Yansong, and now part of the permanent collection at his magnificent new museum Shenzhen Bay Culture Park.
Links in bio
4,493 likes · 105 comments · 14 Jul 2026
Sou O Otro do Otro
I am the Other’s Other
A monographic exhibition of 6 large scale installations at Casa Bradesco Gallery, São Paulo, Brazil. Now extended until 27 September 2026.
This is the largest exhibition of my installation work to date, curated by Marcello Dantas, it spans 1500 square metres with 1500-2000 visitors per day, 100,000 so far. It traces parallel lines of enquiry that I have been pursuing over the past decade through 6 large scale installations and is the gallery’s third major exhibition following Anish Kapoor and Eva Jospin. Visitors enter An Infinite Library, a projection-mapped library of 4000 books, which opens into a shimmering glass edition of MirrorMaze, through which they find their way into a house-shaped 25 metre deep edition of Come Home Again, a choral installation of drawings of endangered species, a new narrative light installation, A Line of Light, and Co-Imagine, a 24 metre long collective portrait drawing table. Having contributed their own pencil drawing, visitors take a piece of the exhibition, one of my sketches, home with them from a new edition of Screenshare which comprises 360 of my sketchbooks illuminated by a projection of the choreographer Dam Van Huynh dancing with the shadow of his 17 years younger self.
New editions of these and other installations will be presented in the first retrospective exhibition of my work in Asia at Futura Seoul, Korea, opening on 20 August 2026. An edition of Screenshare is also included in Second Nature, a group show by Superblue at NMACC Mumbai, India, open now until 10 January 2027, and in my solo show Take Me Home, curated by the architect Ma Yansong, and now part of the permanent collection at his magnificent new museum Shenzhen Bay Culture Park.
Links in bio
1,187 likes · 30 comments · 14 Jul 2026
Sou O Otro do Otro
I am the Other’s Other
A monographic exhibition of 6 large scale installations at Casa Bradesco Gallery, São Paulo, Brazil. Now extended until 27 September 2026.
This is the largest exhibition of my installation work to date, curated by Marcello Dantas, it spans 1500 square metres with 1500-2000 visitors per day, 100,000 so far. It traces parallel lines of enquiry that I have been pursuing over the past decade through 6 large scale installations and is the gallery’s third major exhibition following Anish Kapoor and Eva Jospin. Visitors enter An Infinite Library, a projection-mapped library of 4000 books, which opens into a shimmering glass edition of MirrorMaze, through which they find their way into a house-shaped 25 metre deep edition of Come Home Again, a choral installation of drawings of endangered species, a new narrative light installation, A Line of Light, and Co-Imagine, a 24 metre long collective portrait drawing table. Having contributed their own pencil drawing, visitors take a piece of the exhibition, one of my sketches, home with them from a new edition of Screenshare which comprises 360 of my sketchbooks illuminated by a projection of the choreographer Dam Van Huynh dancing with the shadow of his 17 years younger self.
New editions of these and other installations will be presented in the first retrospective exhibition of my work in Asia at Futura Seoul, Korea, opening on 20 August 2026. An edition of Screenshare is also included in Second Nature, a group show by Superblue at NMACC Mumbai, India, open now until 10 January 2027, and in my solo show Take Me Home, curated by the architect Ma Yansong, and now part of the permanent collection at his magnificent new museum Shenzhen Bay Culture Park.
Links in bio
6,040 likes · 113 comments · 14 Jul 2026
Have you ever wanted to see yourself in the National Portrait Gallery?
Es Devlin introduces a new evolving digital artwork on display in the History Makers Gallery.
A collective portrait of the nation that invites you to be part of it...to participate take a photograph of your face on the dedicated site on Google Arts & Culture where it will be transformed into an animated digital portrait, using a tool stylistically directed on Devlin’s charcoal and chalk drawings.
At the click of a button, you can submit your portrait to instantly become part of the National Portrait. Every participant can also download a unique digital edition of their portrait.
This artwork was developed with and sponsored by Google Arts and Culture.
Find it now on display in the History Makers Now Gallery until 27 October.
🎥 Google Arts & Culture
3,667 likes · 70 comments · 15 May 2026
A National Portrait for the National Portrait Gallery.
Thursday 14 May - 27 October 2026
at The National Portrait Gallery, St Martin’s Place, London WC2H 0HE
A National Portrait for the National Portrait Gallery is a portrait of us - a portrait that keeps redrawing itself every time someone joins it. Everyone over 18 in the UK can become a co-author of the work and receive a unique digital portrait of themselves. Each portrait is produced by an image generation model we have been researching and developing for 3 years, using all the chalk and charcoal portraits I’ve made to guide its style of mark making. Please come and be a co-author of A National Portrait for the National Portrait Gallery.
You can also join the National Portrait and download your unique digital portrait wherever you are in the UK from Thursday 14 May, even if you can’t be physically present at the gallery. Link in bio
I will be leading a number of portrait drawing workshops - the first two are tomorrow - please join us if you can, free to all, no need to book, free drawing materials provided.
Thursday 14 May at 15.00-15.45 and 15.45-16.30
at The National Portrait Gallery, St Martin’s Place, London WC2H 0HE
“The National Portrait Gallery belongs to us. It’s the largest collection of portraits in the world with over 220,000 artworks that form part of our cultural commons. It is a mirror of us: it reflects who we’ve been and who we are becoming. Now everyone present in every part of the UK can become a co-author of A National Portrait and watch as their face etches itself into a collective artwork exhibited at the National Portrait Gallery. The portrait can hold all of us, together, whatever our backgrounds and beliefs, constantly redrawing itself to include each new participant. It explores national identity as a continuous process of collective imagination.”
Es Devlin. Link in bio
809 likes · 13 comments · 13 May 2026
A National Portrait for the National Portrait Gallery.
Thursday 14 May - 27 October 2026
at The National Portrait Gallery, St Martin’s Place, London WC2H 0HE
A National Portrait for the National Portrait Gallery is a portrait of us - a portrait that keeps redrawing itself every time someone joins it. Everyone over 18 in the UK can become a co-author of the work and receive a unique digital portrait of themselves. Each portrait is produced by an image generation model we have been researching and developing for 3 years, using all the chalk and charcoal portraits I’ve made to guide its style of mark making. Please come and be a co-author of A National Portrait for the National Portrait Gallery.
You can also join the National Portrait and download your unique digital portrait wherever you are in the UK from Thursday 14 May, even if you can’t be physically present at the gallery. Link in bio
I will be leading a number of portrait drawing workshops - the first two are tomorrow - please join us if you can, free to all, no need to book, free drawing materials provided.
Thursday 14 May at 15.00-15.45 and 15.45-16.30
at The National Portrait Gallery, St Martin’s Place, London WC2H 0HE
“The National Portrait Gallery belongs to us. It’s the largest collection of portraits in the world with over 220,000 artworks that form part of our cultural commons. It is a mirror of us: it reflects who we’ve been and who we are becoming. Now everyone present in every part of the UK can become a co-author of A National Portrait and watch as their face etches itself into a collective artwork exhibited at the National Portrait Gallery. The portrait can hold all of us, together, whatever our backgrounds and beliefs, constantly redrawing itself to include each new participant. It explores national identity as a continuous process of collective imagination.”
Es Devlin. Link in Bio
1,514 likes · 33 comments · 13 May 2026
CONGREGATION
A choral installation at PAC NYC
On Now until 4th January
Free / pay what you want - book your slot at PAC NYC site - link in bio
Perelman Arts Center, 251 Fulton St, NYC,
next to World Trade Center Memorial
Between April and August 2024 I made chalk and charcoal drawings of 50 strangers.
I knew only their first name, and nothing else about them, except that at some point in their life, they had to seek refuge, and they sought it here, in London. We did not speak for the first 45 minutes of the drawing session. We listened to Max Richter’s Four Seasons. A face to face encounter, unmediated by language. Emmanuel Levinas wrote: ‘the human face ordains and orders us; it’s first commandment is : thou shalt not kill”.
After 45 minutes they told me their stories, how they travelled to London, sometimes decades ago as a small child, sometimes months ago on a small boat.
We translated the drawings into a 24’ tall installation, projection-mapped with a choreographic sequence made in collaboration with Botis Seva, Joshua Shanny Wynter, Evie Gurney and Ruth Hogben. As a synonym for ‘refugee’ we used the phrase ‘those who bring their gifts to London’. Each sitter became a co-author of the work, guiding me how to paint their gift within the empty box they held on their lap.
First shown at St Mary le Strand church in collaboration with The Courtauld, Kings College London and UNHCR last year, and curated by Ekow Eshun, the installation is now open until January 4th at PAC NYC, Perelman Arts Center, 251 Fulton St, NYC. It has found new resonance at this charged site adjacent to the World Trade Center memorial.
Underscore composed by Polyphonia
Projection by Ruth Hogben and Treatment Studio with VYV
Supported by Bloomberg Philanthropies
The co-authors full stories can be found at Bloomberg Connects - link in bio
And there’s a BBC short doc about the making of the work - link in bio
2,287 likes · 57 comments · 12 Dec 2025
CONGREGATION
A choral installation at PAC NYC
On Now until 4th January
Free / pay what you want - book your slot at PAC NYC site - link in bio
Perelman Arts Center, 251 Fulton St, NYC,
next to World Trade Center Memorial
Between April and August 2024 I made chalk and charcoal drawings of 50 strangers.
I knew only their first name, and nothing else about them, except that at some point in their life, they had to seek refuge, and they sought it here, in London. We did not speak for the first 45 minutes of the drawing session. We listened to Max Richter’s Four Seasons. A face to face encounter, unmediated by language. Emmanuel Levinas wrote: ‘the human face ordains and orders us; it’s first commandment is : thou shalt not kill”.
After 45 minutes they told me their stories, how they travelled to London, sometimes decades ago as a small child, sometimes months ago on a small boat.
We translated the drawings into a 24’ tall installation, projection-mapped with a choreographic sequence made in collaboration with Botis Seva, Joshua Shanny Wynter, Evie Gurney and Ruth Hogben. The poet JJ Bola contributed to the voiceover. As a synonym for ‘refugee’ we used the phrase ‘those who bring their gifts to London’. Each sitter became a co-author of the work, guiding me how to paint their gift within the empty box they held on their lap.
First shown at St Mary le Strand church in collaboration with The Courtauld, Kings College London and UNHCR last year, and curated by Ekow Eshun, the installation is now open until January 4th at PAC NYC, Perelman Arts Center, 251 Fulton St, NYC. It has found new resonance at this charged site adjacent to the World Trade Center memorial.
Underscore composed by Polyphonia
Projection by Ruth Hogben and Treatment Studio with VYV
Supported by Bloomberg Philanthropies
The co-authors full stories can be found at Bloomberg Connects - link in bio
And there’s a BBC short doc about the making of the work - link in bio
2,108 likes · 42 comments · 12 Dec 2025
CONGREGATION
A choral installation at PAC NYC
On Now until 4th January
Free / pay what you want - book your slot at PAC NYC site - link in bio
Perelman Arts Center, 251 Fulton St, NYC,
next to World Trade Center Memorial
Between April and August 2024 I made chalk and charcoal drawings of 50 strangers.
I knew only their first name, and nothing else about them, except that at some point in their life, they had to seek refuge, and they sought it here, in London. We did not speak for the first 45 minutes of the drawing session. We listened to Max Richter’s Four Seasons. A face to face encounter, unmediated by language. Emmanuel Levinas wrote: ‘the human face ordains and orders us; it’s first commandment is : thou shalt not kill”.
After 45 minutes they told me their stories, how they travelled to London, sometimes decades ago as a small child, sometimes months ago on a small boat.
We translated the drawings into a 24’ tall installation, projection-mapped with a choreographic sequence made in collaboration with Botis Seva, Joshua Shanny Wynter, Evie Gurney and Ruth Hogben. As a synonym for ‘refugee’ we used the phrase ‘those who bring their gifts to London’. Each sitter became a co-author of the work, guiding me how to paint their gift within the empty box they held on their lap.
First shown at St Mary le Strand church in collaboration with The Courtauld, Kings College London and UNHCR last year, and curated by Ekow Eshun, the installation is now open until January 4th at PAC NYC, Perelman Arts Center, 251 Fulton St, NYC. It has found new resonance at this charged site adjacent to the World Trade Center memorial.
Underscore composed by Polyphonia
Projection by Ruth Hogben and Treatment Studio with VYV
Supported by Bloomberg Philanthropies
The co-authors full stories can be found at Bloomberg Connects - link in bio
And there’s a BBC short doc about the making of the work - link in bio
1,764 likes · 17 comments · 12 Dec 2025
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