https://www.facebook.com/1533545646891360/

Nicoletta Fiorucci Foundation, Flat 3, 8 Chelsea Embankment, London (2026)

11/08/2026

On 31st July, Raheel Khan presented a new iteration of a piece written for three tubas as part of the Performance By Series in public spaces curated by Ben Broome, which we are happy to support.

Khan responded to the cavernous acoustics of French Ordinary Court in London with tubas, the brass instrument with the lowest tonal range, performed by Hanna Mbuya, Stuart Beard, and Nathan Mansell. This marked the first time French Ordinary Court has hosted a performance, taking advantage of a City of London bylaw allowing non-amplified music in public space, reclaiming it for performance and sound.

Photos by Isabelle Offer.

Nicoletta Russo De Li Galli BEN BROOME Raheel Khan Isabelle Offer . Photographer .totale

04/08/2026

Congratulations to Ivan Cheng for ’16’, a new site-specific performance for AIR 2026: Figures in a Landscape in Aspen which we are happy to have supported.

Conceived as one of his emblematic “live situations for camera” in which the artist is continuously filmed in real time, the work staged a feedback loop between action and documentation, where gestures, speech, and incidental encounters are immediately translated into image. As in much of Cheng’s practice, the act of filming actively structures the performance more than simply recording it, producing a work that exists simultaneously as live event and circulating document.

Working across performance, video, and installation, Cheng has long developed scenarios that test how behavior is shaped under conditions of observation, choreography, and circulation. In recent years, he has been actively compressing and mixing these past video registrations of performances for his exhibitions, recently with Hard Drive 1 (Nicoletta Fiorucci Foundation, 2025) and Hard Drive 2 (MUDAM Luxembourg, 2026).

Cheng masquerades as a performance artist with a structural approach, deliberately using the tricks of theatrical address to deliver tightly scripted monologues glued together by improvised banter that breaks the fourth wall. He insists on the presence of a camera operator, almost like a choreographic tool to introduce a second-order address, splitting attention between the live audience and its mediated future one.

Ivan Cheng’s work is held in the Nicoletta Fiorucci Collection.

The performance was curated by Daniel Merritt, Chief Curator, and Stella Bottai, Senior Curator-at-Large, with Gemma Goette, Curatorial Assistant.

Aspen Art Museum Daniel Merritt Arvo Leo g00dandbad alexander iezzi .totale

Ivan Cheng, 16, 2026. Production still from AIR 2026: Figures in a Landscape, Aspen, Colorado. Garments: God & Bad. Camera: Arvo Leo, Will Sardinsky. Photo: Maria Baranova. Courtesy the artist and Aspen Art Museum

22/07/2026

Congratulations to Jasper Marsalis for ‘Still Life’ at Chisenhale, his first solo institutional show in the UK, which we are happy to have supported.

For this new commission, Marsalis presents a large-scale audiovisual installation that accesses and reworks public broadcast signals, raising questions of transmission and attention in the systems that govern how images and sounds reach us.

Still Life examines broadcast technologies not as neutral infrastructure but as a saturating presence, the scale and relentless immediacy of which continually reshapes the texture of attention itself. Centred on live imagery, each moment of the exhibition is unique, mirroring the perpetual present tense of the broadcast cultures it interrogates.

Nicoletta Russo De Li Galli Jas Per Chisenhale Gallery Tosia Leniarska Emalin .totale

Photos: Installation view, Chisenhale Gallery, London, 2026. Commissioned and produced by Chisenhale Gallery, London, in partnership with Midway Contemporary, Minneapolis. Credits: Mark Blower. Courtesy of the artist.

08/07/2026

Congratulations to Formafantasma for joining the Serpentine as Lead R&D Fellows, Ecology for a multi-year collaboration we are happy to have made possible.

The partnership strengthens Serpentine’s long-term commitment to embedding environmental thinking across its programme, operations, and organisational culture. Formafantasma, the research-based design studio led by Andrea Trimarchi and Simone Farresin, explores the environmental, historical, political, and social forces shaping contemporary design. Working across Serpentine’s programmes and systems, they will help develop new approaches to integrating ecological thinking into Serpentine’s day-to-day activities and long-term strategy.

Beginning in summer 2026, the appointment will span curatorial guidance, institutional advisory, and knowledge-building across exhibition-making, daily operations, resource use, labour, and Serpentine’s civic role. The collaboration will begin with an in-depth research phase to map Serpentine’s existing processes and systems, from curatorial practices to operational structures, identifying opportunities for ecological intervention and long-term change.

Nicoletta Russo De Li Galli Formafantasma Serpentine

07/07/2026

Congratulations to Tolia Astakishvili for her solo show ‘Figure of the Child’ at mumok in Vienna which includes works produced for ‘to love and devour’ at the Foundation in Venice.

In keeping with a recurring motif in the work of artist Tolia Astakhishvili, the artist’s first solo museum exhibition will proceed from the concept of the “figure of the child.” In this context, the child embodies both a high degree of intellectual and creative autonomy and a profound dependence on others. This concept becomes an exercise in imagination, exploring the possibilities and limits of empathy, grounded in the fact that we were all children once. In relation to spatial environments, scale, and precariousness, the child represents a state of being in which invisibility is often experienced with great immediacy and intensity. Accordingly, Tolia Astakhishvili focuses on the experience of art itself, extending it to movement and touch and breaking with the conventions of museum presentation. The notion of the “first encounter,” as children experience it when initially perceiving a phenomenon, serves here as a key to a new kind of experience.

With works by Vito Acconci, Zurab Astakhishvili, Aurel, Ştefan Bertalan, Karl Blossfeldt, Kaucyila Brooke, Veronica Brovall, Günter Brus, Elene Chantladze, James Ensor, Nan Goldin, Yaryna Fedoriv, Irma Gubeladze, Ull Hohn, Joe Jones, Paul Joostens, Louise Lawler, Charlotte Moorman & Nam June Paik, Dylan Peirce, Pablo Picasso, Charlotte Posenenske, Alexandra Ranner, James Richards, Irena Rosc, Medardo Rosso, Dieter Roth, Maka Sanadze, Stefan Wewerka, Heimo Zobernig.

Curated by Fatima Hellberg and Manuela Ammer

On view until 1 November 2026.

Tolia Astakishvili’s work is held in the Nicoletta Fiorucci Collection. In 2025 the artist inaugurated our new space in Venice with ‘to love and devour’ curated by Hans Ulrich Obrist.

Photos: olia Astakishvili Studio

01/07/2026

Congratulations to Alvaro Barrington for ‘92-01 ‘In Livin Color’ at Emalin, his third solo exhibition with the gallery.

This exhibition presents the artist’s new body of work that explores the impact of the crack co***ne epidemic on the Black community in the US during 1980s and 1990s. Through four unique environments, Barrington examines the rich cultural responses that emerged from this era and ways in which his community dealt with this condition through fashion, music, and other art forms.

On view until 15 August 2026 at Emalin’s Helmet Row gallery.

Alvaro Barrington’s work is held in the Nicoletta Fiorucci Collection.

Nicoletta Russo De Li Galli Alvaro Barrington Emalin

Photos: Arthur Gray, Stephen James

30/06/2026

« The machine comes from the church San Giovanni Crisostomo in Venice. In its previous life this machine was used to illuminate a painting installed in the church by Giovanni Bellini ‘Saints Christopher, Jerome and Louis of Toulouse’, 1513. Saint Christopher is the patron saint of travellers. Apparently, he was very tall and is often depicted carrying a child on his shoulder ensuring safe passage across water. When I started working in Venice ‘passage’ became a focus for how matter moves between the spiritual and material world. Where does a form get caught in the net of perception? How does it become visible? Much like the light turning on, it is through an offering. And what we offer becomes the means for illumination. »

5 Works by Lydia Ourahmane is on view in Venice.
Open: Friday, Saturday, Sunday, 11am - 6pm (in July and August).

17/06/2026

Last days to visit in London: ‘The stairway that separates my room from my memory’ - a collaborative exhibition with Courtauld MA Curating students 25/26 that brings together artists from the Nicoletta Fiorucci Collection alongside existing and newly commissioned works by other artists, authors, and filmmakers.

The presented works trace how home is carried across borders and reconstructed through sounds, memory, objects, and images. Landscapes, domestic spaces, and personal archives reveal cultural identity as fluid, provisional, and continually negotiated.

A publication accompanying the exhibition is available at the Foundation and has been produced in collaboration with Cheerio.

Curated by the Courtauld MA Curating Cohort in conversation with Giulia Civardi.

On view until 20 June
Thursday–Friday, 11 am–6 pm; Saturday, 1–5 pm

Flat 3, 8 Chelsea Embankment
SW3 4 LE London

Courtauld MA Curating Courtauld Research Forum Nicoletta Russo De Li Galli tommounapress

Installation views Jake Husband

12/06/2026

“My homes have always been a place where artists and friends gather and exchange ideas”. Nicoletta Fiorucci presents La Casa degli Artisti in Grasse, renovated by Architetti Artigiani Anonimi, on the Financial Times.

“With Italian architect Annarita Aversa she has renovated a second cream-coloured, three-storey building to become a guest house for artists. Now named La Casa Degli Artisti, artists-in-residence will live and work here for between two and four weeks at a time. Anthea Hamilton, Eduardo Navarro and Maria Loboda have been among the first to visit.

The attention lavished on the outdoors has made its way into the residence itself. “The idea was to bring the beauty of the Provençal garden into the house,” says Aversa, whose studio Architetti Artigiani Anonimi, with bases in Amalfi and Milan, is known for its modern interpretations of historic architecture. Here the aim was “reinforcing a sense of continuity between inside and out, and allowing the landscape to permeate the building”.

Several artworks have been introduced into the landscape too — pieces that Pejrone describes as “romantic choices rooted in memory and tradition” that will be changed over time to create “a living landscape of new arrivals”. Among them is Judith Hopf’s “Blade of Grass” — a single steel grass stem standing 2.5 metres high. There are also works from those first artist residents. Lithuanian sculptor Augustas Serapinas spent a week on the estate installing “House for Potatoes and Chamomile” (2025), a structure built from the salvaged beams of a rural Lithuanian house, repurposed as planters, and between which the title ingredients are planted.”

Read the full feature on the FT.

Nicoletta Russo De Li Galli Financial Times House & Home Architetti Artigiani Anonimi

11/06/2026

Congratulations to Nancy Lupo on her solo exhibition ‘Several Chickens Later’ at Spike Island, featuring the new work ‘The Enclosure’, co- produced with the Foundation. The work connects the exhibition with Lupo’s recent solo show, ‘Meow Meow Real Estate’, presented at the Foundation in London in 2026.

In her work, which encompasses sculpture, video, writing, sound, drawing, painting, performance and architecturally specific installation, Lupo reflects on how collective fantasies and emotions become embedded in form.

The exhibition at Spike Island prolongs the reverie and the longing for domesticity. It refuses a reality-check, and loops back into wistful illusion. Although the mirage is tired, its feeble flame still somehow persists. A corpus of newly commissioned sculptures, playing with the scale and industrial grandeur of Spike Island’s galleries, evokes the fragility of our endeavours, and the futility of our fantasies.

On view until 6 September 2026.

_nancy_lupa_ Spike Island Nicole Yip Nicoletta Russo De Li Galli .totale

Installation views courtesy Nancy Lupo and Spike Island

Nicoletta Fiorucci Foundation

11/08/2026

04/08/2026

22/07/2026

08/07/2026

07/07/2026

01/07/2026

30/06/2026

17/06/2026

12/06/2026

11/06/2026

Address

Website

Alerts

Contact The Organisation

Shortcuts

Featured

Share

Category

Listing takedown request