The Modern Institute

The Modern Institute The Modern Institute is a contemporary visual art gallery founded in Glasgow in 1997.

Dike Blair
Dirk Bell
Martin Boyce
Julia Chiang
Jeremy Deller
Alex Dordoy
Duggie Fields
Urs Fischer
Kim Fisher
Luke Fowler
Martino Gamper
Marco Giordano
Henrik Håkansson
Mark Handforth
Thomas Houseago
Richard Hughes
William E. Jones
Chris Johanson
Andrew Kerr
Liz Larner
Jim Lambie
Victoria Morton
Scott Myles
Nicolas Party
Toby Paterson
Simon Periton
Manfred Pernice
Walter Price
Mary Redmond
Eva Ro

thschild
Monika Sosnowska
Simon Starling
Katja Strunz
Tony Swain
Spencer Sweeney
Joanne Tatham & Tom O’Sullivan
Pádraig Timoney
Sue Tompkins
Hayley Tompkins
Cathy Wilkes
Michael Wilkinson
Richard Wright
Gregor Wright

Kim Bohie Bohie Kim/김보희 TOWARDS: There Was Light is on view at Gallery Hyundai Gallery Hyundai, Seoul.“That a still ...
08/09/2026

Kim Bohie Bohie Kim/김보희 TOWARDS: There Was Light is on view at Gallery Hyundai Gallery Hyundai, Seoul.

“That a still surface can hold yesterday, today, tomorrow at once; that here, there, and elsewhere can meet in the same moment; that different times and spaces can unfold together on a single, fixed plane—it still fills me with wonder.” — Kim Bohie, July 2026

The exhibition title TOWARDS: There Was Light alludes to the moment of creation when light first emerges from darkness and the world begins to take form. It resonates with Kim’s lifelong gratitude and reverence for nature, while extending beyond spiritual symbolism to describe a fundamental condition of her painting: light enables her to perceive change and time in the natural world and to translate those perceptions into pictorial form. Just as light allows the colours and forms of the world to become visible, Kim’s paintings begin with sustained attention to nature as it changes from one moment to the next.

In this sense, “There Was Light” refers not only to the light by which the world becomes visible, but also metaphorically to that which summons the artist’s lived and remembered experience into the present tense of painting, drawing disparate times and spaces into a single pictorial landscape.

Pictured:


Towards, 2026
Colour on canvas
162.2 x 130.3 cm

'First day back in the studio for the force of nature that is Tony Swain. He came through the fire of an extensive, trau...
08/09/2026

'First day back in the studio for the force of nature that is Tony Swain. He came through the fire of an extensive, traumatic brain injury, life-saving neuro surgery, 3 months in the Queen Elizabeth University Hospital, Glasgow; learned how to talk and walk again. His unparalleled and inimitable painting abilities somehow remain, as does his dexterity on the guitar. This is a testament to NHS Scotland, the world-class QEUH Neurological Institute, NRU Art in Hospital and living proof of how the power of art and music build a resilient brain. Thank you to all the brilliant doctors, nurses, physios, therapists, family and friends who helped bring him back. We'll have a big celebration at his solo exhibition The Modern Institute in November. Photos by great friend and artist, the lovely Raydale Dower' – Karla Black

We couldn't be happier to see Tony back in good health and in the studio following a difficult year. We're also delighted to announce that he will open a solo show at The Modern Institute, Osborne Street this November. Hope to see you all there!

Images:

(1-2) Tony Swain in the studio, 2026 (3) Tony Swain, Blatant Ghost, 2025, Acrylic and pieced newspaper on board, 166 x 114 cm (4) Tony Swain, Nobody Ahead, 2022 (detail), Acrylic on pieced newspaper, 80.5 x 88 cm (5) Tony Swain, Three Quarters of Now, 2023, Acrylic on pieced newspaper, 65 x 65 cm (6) Tony Swain, A cure, a sea, 2023, Acrylic and pieced newspaper on board, 155 x 167.3 x 3.2 cm (7) Tony Swain, Untitled, 2022 (detail), Acrylic on pieced newspaper, 63.5 x 83.3 cm (8) Tony Swain, Vigilance in Store, 2023, Acrylic on pieced newspaper, 35 x 65 cm (9) Tony Swain, Page, not one gap, 2022, Acrylic, pieced newspaper, honeycomb cardboard packaging on board, 233 x 170.3 x 3.5 cm (10) Tony Swain, Acres Centred, 2022 (detail), Acrylic and pieced newspaper on board, 155.2 x 243.3 x 3.5 cm

'Fiume (2026) has a clearly stated architectural element, present to degrees in other paintings. A thick grey border, li...
07/09/2026

'Fiume (2026) has a clearly stated architectural element, present to degrees in other paintings. A thick grey border, like a doorway, surrounding a pale taupe field. A sinuous, dry-brushed event passes through it. It looks like what a whisper sounds like. The lower fourth of the rectangle is belted by a toothpaste aqua band, framed by narrow bars at either end, resembling the Venetian flood guards Morton has often photographed.

Morton demonstrates that abstraction always carries a narrative of its creation. The parts of the painting shift, coalesce, and sometimes contradict but their openness reveals their construction. The small paintings – thicker, denser – serve like bouillon for the lighter broth of the larger ones. They hold feeling and though it’s improvised, it’s controlled.' – Joe Fyfe, Victoria Morton’s Plentitude, 2026.

Victoria Morton's 'Hitting The Lift' closed this Saturday. Thank you to everyone that visited the exhibition.

Pictured:

(1, 4) , Installation view 'Hitting The Lift', The Modern Institute, Osborne Street, 2026 (2) Victoria Morton, Vita Minerals, 2026, Acrylic, oil and aluminium on linen, 21.5 x 26.7 x 2.5 cm (3) Victoria Morton, Haberdasher, 2025, Oil on patchwork linen, 51 x 35.5 x 2 cm (5) Victoria Morton, Fiume, 2026, Oil acrylic and coloured gesso on linen, 190 x 130 x 3 cm

07/09/2026

'I love working with colour. Colour is a very important part of my practice. I have all those different colors in my studio, and I have this constant conversation with them. Working with colours when you paint, this is like even the most extreme way of being completely intuitive.' – Nicolas Party
⁠
This summer the Louisiana Channel ⁠visited Nicolas Party in his New York studio⁠. The full portrait is available on the @ louisianachannel YouTube channel and website.
⁠
'Nicolas Party⁠
Art Makes Us Be Human'⁠
⁠Duration 17:09 min.⁠
Produced by Louisiana Channel, 2026
⁠
@ nicolasparty

Wishing Kim Fisher a Happy Birthday! Kim FisherKim works across photography, printmaking and installation, responding to...
30/08/2026

Wishing Kim Fisher a Happy Birthday! Kim Fisher

Kim works across photography, printmaking and installation, responding to her adopted city of Los Angeles – tracking its culture, weather, and architecture, as well as their disorienting effects. Collage is key part of her process, and she uses sources ranging from her own photographs to clippings from newspapers and magazines to shapes from remembered and imagined places. In recent works, Kim has responded to these ideas with the construction of stucco and concrete surfaces which she then casts in aqua resin from latex moulds. These are then painted and mounted on supports covered in linen stretched on the bias and hand-dyed by the artist.

Pictured:

(1) , Snake, 2025, Oil on aqua resin, dyed linen on panel, 101.6 x 86 x 6 cm (2) Kim Fisher (3, 5) Installation view ‘Roots and Tourist’, The Modern Institute, Bricks Space, 2025 (4) Kim Fisher, Horizon, 2025, Oil on aqua resin, dyed linen on panel. 79 x 80.5 x 6 cm (6) Installation view ‘Wrong Number’, with Florian Morlat, Gattopardo, Los Angeles, 2023 (7) Kim Fisher, Reading Girl (El Matador), 2022, Oil on aluminum on dyed linen on panel, 50.8 x 59.7 cm (8) Kim Fisher, Benedict Canyon, 2019, Collaged inkjet printed paper, 243.8 x 579.1 cm (9) Kim Fisher, Ripplewich, 2018, Oil and aluminium collaged hand printed screen prints, 106.7 x 243.8 x 3.2 cm

Eva Rothschild evarothschild 'The Void Presses The Wall' is on view at the Fruitmarket Fruitmarket, Edinburgh until 11 O...
29/08/2026

Eva Rothschild evarothschild 'The Void Presses The Wall' is on view at the Fruitmarket Fruitmarket, Edinburgh until 11 October 2026.

Now based in London, Rothschild spent formative years in Scotland – she served as a committee member at Transmission Gallery in Glasgow for three years in the mid-1990s, between a BA at the University of Ulster and an MA at Goldsmith’s (London). Her work returns to Scotland in this celebratory and welcoming exhibition, which extends across all three of Fruitmarket’s exhibition spaces – Lower Gallery, Upper Gallery and Warehouse.

In the Upper Gallery, the black rubber lines of Cursive (2026) and Shorthand (2026) scrawl across the walls, while Hangouts (2018) and Sphinx (Night) (2026) dominate the floor, bringing together multiple black shapes and textures, treating the colour as a material in its own right. As Rothschild has said, ‘Black defines the space a sculpture occupies, and in its different surfaces, matt or glossy, it can be deployed to create illusions of depth and reflectivity.’ This is most apparent in The Folded Eye (2026), which moves from two to three dimensional through the stretching of the sculptural plane.

Images:

(1-2) Installation view 'The Void Presses The Wall', Fruitmarket, Edinburgh, 2026 (3) , Folded Eye, 2026 (detail), Stainless steel, Approx 310 x 40 x 50 cm

Liz Larner will present her first institutional exhibition in the UK at Camden Art Centre Camden Art Centre this autumn....
28/08/2026

Liz Larner will present her first institutional exhibition in the UK at Camden Art Centre Camden Art Centre this autumn.

Opening 11 September, the exhibition proposes alternatives to humanity’s current path through the Anthropocene, addressing the need for something organic, nurturing, experienced, alive and continually becoming.

Pictured:

, Marthe, 2019

Happy Birthday Vikki! Victoria Morton's practice has encompassed painting, sculptural assemblages, photography, and sou...
24/08/2026

Happy Birthday Vikki!

Victoria Morton's practice has encompassed painting, sculptural assemblages, photography, and sound. Her recent paintings vary in scale, opacity, colour and spatiality, each distinctly painted composition has been developed with a degree of intricacy and intuition. Influenced by musical composition, colour perception, everyday life alongside personal narratives, historical and cultural references, Morton’s works explore a continuously unfolding visual, spatial and psychological experience.

Her current exhibition 'Hitting The Lift' at The Modern Institute's Osborne Street gallery is on view until 5 September 2026.

Picutred:

, Installation view 'Hitting The Lift', The Modern Institute, Osborne Street, 2026
Victoria Morton, Hitting The Lift, 2026, Acrylic on canvas with aluminium frame, 153 x 214 x 2 cm
Victoria Morton, Installation view ‘Switch Track’, Glasgow School of Art, Glasgow, 2025
Victoria Morton, The Daughter Cell, 2018, Oil on canvas, 190 x 180.5 x 3.7 cm
Victoria Morton, Installation view ‘Vetrina’, Jessica Silverman Gallery, San Francisco, 2024
Victoria Morton, Ventilatore, 2024, Acrylic on linen, 56 x 41 x 2 cm
Victoria Morton, Cycles, 2024, Oil on linen, 210 x 170 x 3.5 cm
Victoria Morton, Installation view ‘SLEEP LINE’, The Modern Institute, Bricks Space, 2021
Victoria Morton, Horizons, 2021, Oil and acrylic on canvas, 200 x 220 x 3.5 cm

Tomorrow is the final day to visit David Wojnarowicz 'some day this will all be crumbling ruins' at our Carlton Place ga...
20/08/2026

Tomorrow is the final day to visit David Wojnarowicz 'some day this will all be crumbling ruins' at our Carlton Place gallery.

📍48 Carlton Place, G5 9TW
Friday 21 August, 11am–6pm

Pictured:

David Wojnarowicz, Untitled (David and John Hall at Christadora), 1981, Black and white photograph, 36.4 x 43 cm framed
David Wojnarowicz, Untitled (Map Wasp) from 'America: Heads of Family, Heads of State', 1991, paper mache, 30.5 x 44.5 x 10.2 cm
David Wojnarowicz, Good Morning America, Export News, 1984, Acrylic, spray and collage on paper, 148 x 207.2 cm framed
David Wojnarowicz, Untitled (Blindfolded N**e), 1981, Gelatin silver print, Image: 20.3 x 20.3 cm, 8 x 8 in, 37.6 x 38.7 cm framed

This autumn, Monika Sosnowska presents a major exhibition, Weight of Matter, at South London Gallery South London Galler...
20/08/2026

This autumn, Monika Sosnowska presents a major exhibition, Weight of Matter, at South London Gallery South London Gallery.

Sosnowska is renowned for her monumental sculptures that transform familiar architectural elements into gravity-defying forms. Working with steel, concrete and other industrial materials, she twists, bends and compresses structures to explore the physical and psychological impact of architecture.

Spanning the Main Gallery and two floors of the Fire Station, Weight of Matter will feature large-scale site-specific installations alongside rarely seen paper maquettes, offering an insight into the artist's process. Responding directly to the SLG's architecture, the exhibition invites visitors to experience the built environment in entirely new ways.

Monika Sosnowska: Weight of Matter
10 September – 22 November 2026

Images:

Monika Sosnowska, Rebar 12, 2017. Installation view of Structural Exercises, Hauser & Wirth London, 2018
Top: Monika Sosnowska, Wallpaper II, 2024, Bottom: Monika Sosnowska, Cloud, 2024
Monika Sosnowska, Ballerina, 2024

Address

14-20 Osborne Street
Glasgow
G15QN

Opening Hours

Tuesday 10am - 6pm
Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm
Saturday 12pm - 5pm

Telephone

+441412483711

Website

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