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Bernard Piffaretti | Painting & Caption | 2 October - 14 November 2026
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Recent posts
Grace Ndiritu's 'Children's Climate Choir' performing at the Schouwburg Kortrijk in Belgium 🎶
The choir is one part of a much larger project focusing on ecology called 'The Last Days of Ancient Sunlight' involving art, interior design and performative works with the local community.
“'The Children's Climate Choir' is a long-term project where young people meet weekly to sing old and new protest songs focused on ecology, care, and future thinking. By occasionally performing for an audience, they bring the strategy of enlivening the building to life: the building is filled with their voices and energy, causing the theatre to literally resonate. In this way, the choir builds a sustainable relationship between children and the theatre, allowing new generations to feel at home in this 'healing' space." - Grace Ndiritu
Children's Climate Choir
Concept by @theofficialgracendiritu
Conducted by @glorieuxdiederik and @rebeccahaffner_music
Song Credits
Lyrics by @theofficialgracendiritu
Music by @dimitriandreasmusic and @glorieuxdiederik
Vocals by @rebeccahaffner_music
©️ 2026 Children's Climate Choir
07 Nov 2026
Grace Ndiritu’s new permanent public art commission opens today! 🎭
After three years in development, the ambitious new permanent art project ‘The Last Days of Ancient Sunlight’ is now installed at the theatre and arts space Schouwburg Kortrijk in Belgium.
The project focuses on ecology, spirituality and the healing of institutional spaces in which Ndiritu’s holistic approach to architecture, programming, and education mutually reinforce each other. These artworks include multiple neons, window vinyls from paintings, curtains and flags; as well as collaborating with WIT Architecten on the interior design for the entire site, including both the public and workers areas.
This continues Ndiritu’s methodology of seeing “architecture as a type of spiritual technology”. This concept allows the possibility of using ‘healing’ as a type of institutional critique to create holistic spaces for the well being of the staff and the public. For Schouwburg Kortrijk in particular Ndiritu wanted to create a type of ‘cultural spa’ for the public, as a place for people to slow down and feel at home.
Woven into her thinking was the key idea of the theatre being a democratic place. This is expressed through Ndiritu’s insistence that the workers area should be as beautiful, high quality and ambitious in its design and its artworks as the public facing areas.
For the grand reopening, Grace Ndiritu is also launching a series of long term initiatives which she has designed specifically for the City theatre.
@theofficialgracendiritu
@schouwburg_kortrijk
04 Nov 2026
Dawn Ng's site-responsive commission is part of the exhibition TERRA in Burgundy, France 🪻
Installed at the historic Hospices de Beaune, 'Fools Rush In' (2026) is an ongoing study of time's influence on mark-making, where composite rocks of frozen pigments are allowed to melt and sink through stacks of Chinese rice paper.
The dissolving pigments form soft islands on paper, evoking imagery of breath, clouds, islands and flowers, which first blossom and then disappear as they move deeper. For Beaune, these successive moments have been digitally compressed and seamed into twin panoramic works, which converge in speed of blur. Here, chronological layers of colour rush toward one another, collapsing hours of melting into a single visual field.
On view until 15th November 2026
Conceived as a journey through historic sites in Beaune, Burgundy, the fourth edition of TERRA is led by Artistic Director Jenn Ellis and Executive Director Milena Berman and invites the public to discover site-responsive works curated in dialogue with history, architecture, and the surrounding landscape.
Images courtesy of James Retief and TERRA
@dawn___ng
@terraexhibition
@apsara.studio
@hautescotes
@jenncellis
@milenaberman
03 Nov 2026
What happens when we speak to the land – and listen to what it has to say?
Join artist Marcus Coates @marcus_coates_ in direct conversation with local soil, exploring ideas of soil identity, health, exploitation and community.
Audience members will be able to join the conversation and see what happens when we relate to the world around us in new ways.
Continue the conversation with a shared-table feast at @coquina.hastings with seasonal dishes reflecting the best of land and sea, including pork, apple and hazelnut terrine, and grilled hake with wild mushrooms and sage.
Come alone or with friends and make new connections over art and food.
📅 Wednesday 11 November, 6pm–9pm
🔗 Book your tickets on our website
Marcus Coates is an artist. He works across performance, sculpture, photography and video installation, testing actual and perceived boundaries with individuals, communities and with other species. New ways of relating are proposed and often put into practice. His approach is often functional with a social and ecological impact in mind. Marcus has collaborated with people from a wide range of disciplines including anthropologists, ornithologists, wildlife sound recordists, choreographers, politicians, psychiatrists, palliative care consultants, musicians, and primatologists. He is represented by Kate MacGarry, London @katemacgarry
Image 1: Marcus Coates, Sea Mammal
01 Nov 2026
Lisa Milroy's painting 'Dip' (2018) features in "Stop The Machine!" at Mrac Occitanie in Sérignan, France 👙
On view until 7 March 2027
Curated by Fabrice Bousteau, the exhibition unfolds across the entire museum, exploring how the works of 250 artists engage in dialogue, complement each other, or confront one another in a free-flowing, labyrinthine journey through eras, practices, generations, and origins.
@lisa_milroy
@mracserignan @fracoccitaniemontpellier
📸 Lisa Milroy, 'Dip', 2018, oil and acrylic on canvas, 218 x 276 cm.
Installation images. Courtesy Mrac Occitanie. Photos: Aurélien Mole
28 Oct 2026
Goshka Macuga's tapestry 'The Letter' (2011) is included in the exhibition 'Technologies of Peace: Art and Transition in Contemporary Europe (1989–2026)' at the Irish Museum of Modern Art, Dublin 🕊
On view until 9 May 2027
The exhibition explores the concept and tools of peace, and how they are deployed through an artistic lens. It draws parallels between Ireland’s complex political history with those of its European counterparts that have had similar trajectories in transitioning from post-conflict into democratic states of peace and stability.
Macuga's tapestry reenacts Tadeusz Kantor’s 1967 performance in which postmen carried a giant letter through Warsaw to Foksal Gallery. In this updated version, Macuga’s letter is addressed to Zachęta National Gallery of Art, bearing stamps of Lech Wałesa, a political figure associated with Poland’s democratic transformation after 1989. In doing so, she points to the exchange between the gallery and public in the context of a free, democratic country.
@gonogo.space
@immaireland
📸 Goshka Macuga, 'The Letter', 2011, wool tapestry, 370 x 1132 cm.
Installation view, IMMA 2026. Photo: Ros Kavanagh.
27 Oct 2026
Final day to see Aimée Parrott works currently on show @post_fair 🍁
Please note that the fair will close at 1pm today.
Post-Fair
Booth 3
74 Rue du Temple
📸 Aimée Parrott, 'Forming', 2026, monotype and acrylic on cotton, 41 x 56 cm
Aimée Parrott, 'The great storm (1987)', 2026, monotype and acrylic on cotton, 56 x 91 cm
@aimeeparrott
@post_fair
24 Oct 2026
Aimée Parrott's work 'Time held me green and dying' is on view at Post-Fair in Paris 🍃
Parrott's work sits on the edge of representation with fluid, natural forms of both microscopic and cosmic scales. Titled after a line from Dylan Thomas' poem 'Fern Hill', this work embraces the vitality of life in the context of human mortality. Borne by the initial mono-printing process, rhythmic and physical gestures intermingle with thread marks and vibrant splashes of green and yellow.
Post-Fair
Booth 3
74 Rue du Temple
Open until Saturday 24 October, 11am-7pm
📸 Aimée Parrott, 'Time held me green and dying', 2026, monotype and acrylic on cotton, 32 x 42 cm (framed).
Installation view. Photo: Nicola Morittu
@aimeeparrott
@post_fair
22 Oct 2026
Bernard Piffaretti's exhibition, ‘Painting & Caption’, continues at the gallery until 14 November 2026
Open Tuesday – Saturday, 11am – 5pm
Since 1986 Piffaretti has committed his practice to the ‘duplication method’, abstract paintings that appear to be two identical halves split through the vertical axis. Closer inspection reveals moments of differentiation: the inclination of the brushstrokes, the number of drips, the weight of the hue.
While the duplication method is a statement of conceptual rigour, it also draws attention to the gestural qualities of the paintings; the matching sides encourage us to examine the subtle nuances between the two halves. However, the paintings must always be understood as elements of a whole. One side does not attempt to copy or imitate the other, rather establishes the notions of temporality and of the act of looking.
“The painting will in the end never represent anything, it will present painting, it will represent itself in its intimacy and its difference.” - Bernard Piffaretti
📸 Bernard Piffaretti, 'Untitled', 1987, acrylic on canvas, 245 x 195 cm.
Installation image. Photos: Angus Mill.
21 Oct 2026
We’re at Post-Fair in Paris this week, with a solo presentation of paintings by Aimée Parrott.
Working across painting, printmaking and drawing, Parrott explores transformation, connectivity and exchange, creating works that move between abstraction and representation through fluid gestures, recurring forms and references to the natural world.
Visit us at Booth 3, 74 rue du Temple.
19–24 October
Monday 19 October: open now until 8pm today
Tuesday 20 – Saturday 24 October: 11am-7pm
Kate MacGarry | Booth 3
📸: installation view, photo: Nicola Morittu
19 Oct 2026
Frieze London final day! 🍂
Exploring time through melting pigment, Dawn Ng's new paintings are created by breaking a 20-kilogram ice block over a wooden panel. Layered with pigment and sand, the colours accumulate and swirl, suggesting topography and geological landscapes. Through this process, the artist captures the ephemerality of time in material form, exploring impermanence, entropy and cycles of transformation.
Booth C3
14 - 18 October
📸 Dawn Ng, 'Light Leaving Land', 2026, acrylic paint, dye, ink and sand on wood, 122 x 122 x 5 cm (framed)
Installation view, Kate MacGarry at Frieze London 2026, Booth C3. Photos: Angus Mill.
@friezeofficial
@dawn___ng
18 Oct 2026
Rio Kobayashi’s new works feature on our Frieze booth this year🪑
‘Bosa Bosa Chair 11’ saw Kobayashi repair an antique oak swivel chair and decorate it with mini black and white brushes tied together with blue and red thread. The effect is part mohawk, part crazed broom. ‘Bosa Bosa’ means ‘messy hair’ in Japanese. ‘I liked the idea of repairing and transforming an old chair while adding something like hair to it. Messy hair creates a particular sense of attachment – it can make you want to take care of someone or something.’ Kobayashi has also carved away parts of the chair, removing the dark varnish finish to reveal the raw wood beneath, and punching two holes in the backrest. - Francesca Perry, ‘The best furniture on show at Frieze London’, Wallpaper*
Booth C3
14 - 18 October
📸 Rio Kobayashi, ‘Specimen Table’, elm, cherry and walnut wood, steel structure, glass top, 198 x 96 x 77 cm
Rio Kobayashi, ‘Bosa Bosa Chair 11’, 2026, wood, boar bristle hair, leather, 94 x 72 x 56 cm
@riokobayashi_d
@friezeofficial
17 Oct 2026
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