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

We are delighted to be presenting works by Hayley Tompkins at Art Basel this week.Tompkins creates works that extend pai...
17/06/2026

We are delighted to be presenting works by Hayley Tompkins at Art Basel this week.

Tompkins creates works that extend painting into the world of objects. Containers, things we sit on, lean into and wear become carriers of colour and texture, reminders of touch, of human scale, of familiarity. Tompkins describes this impulse as a desire “to create a familiar feeling, a commonality, or a way to join with people.” In this way her objects ground the practice in the ordinary, and open space for connection.

On view until 21 June, at booth R3.

Pictured:

(1-2) Hayley Tompkins, Collar III, 2025, Acrylic, Found Object, 22.5 x 27 x 4 cm (2-4) Hayley Tompkins, Collar II, 2025, Acrylic, Found Object, 22.5 x 27 x 4 cm

Hayley Tompkins

Art Basel

Osama Al Rayyan & Kelly TissotCity SALTS Kunstverein SALTS | down by the river | up on the mountain15 June – 11 Septembe...
17/06/2026

Osama Al Rayyan & Kelly Tissot
City SALTS Kunstverein SALTS | down by the river | up on the mountain

15 June – 11 September 2026
Opening reception: 18 June 2026, 6 – 10pm

Syrian-French, Basel-based artist couple Osama Al Rayyan and Kelly Tissot’s Marvelous Persona transforms the City SALTS Garage into a site-specific installation. Marking their first exhibition as a duo, the project brings together newly produced collaborative works and unfolds as a fragmented narrative shaped by the artists‘ distinct practices. Through sculptures, drawings, and digital prints, framed by a unifying exhibition architecture, Marvelous Persona materialises a fictional character emerging from the intersection of the artists‘ universes, blurring the boundaries between dream and reality.

Pictured:

(2-4) Osama Al Rayyan, Untitled, 2026, Oil on canvas, 80 x 62 cm

Jim Lambie’s ‘Zobop’ 1999, is on view as part of ‘Feeling Colour’, a collaborative exhibition between the City of Como ...
17/06/2026

Jim Lambie’s ‘Zobop’ 1999, is on view as part of ‘Feeling Colour’, a collaborative exhibition between the City of Como and Tate.

The exhibition runs until 27 September alongside works by JMW Turner from Tate's collection.

For more information visit the Musei Civici di Como page Musei Civici Como

Image: © Jim Lambie. Courtesy the Artist, The Municipality of Como and Tate London
Photo: Bettina Musatti

We are delighted to be presenting work by Andrew Kerr at Art Basel.Andrew Kerr’s practice has generally been understood ...
16/06/2026

We are delighted to be presenting work by Andrew Kerr at Art Basel.

Andrew Kerr’s practice has generally been understood as one rooted in the hermetic space of the studio, with the artist returning to a modest set of painterly materials – ready to be tried and tested again. Paintings on paper have been a focus over recent years, in size and theme related to the tradition of easel painting – from Georges Braque to Prunella Clough and Raoul de Keyser. These lyrical works depict relationships between shapes and colours organised in relatively shallow pictorial space. Their enigmatic final forms can resemble vessels, emblems, still lifes or landscapes.

On view until 21 June, 2026 at Booth R3.

Pictured:

Andrew Kerr, Placeholder for new Basel piece, 2026, Acrylic on paper, 63 x 3.1 x 63 cm, 24 3/4 x 1 1/4 x 24 3/4 in

Art Basel

We are delighted to be presenting an installation by Cathy Wilkes, first shown in the British Pavilion at the 58th Inter...
16/06/2026

We are delighted to be presenting an installation by Cathy Wilkes, first shown in the British Pavilion at the 58th International Art Exhibition - La Biennale di Venezia – 2019, at Art Basel.

'Dear Viewer/ Daor Breathnóir

My creations will occupy six rooms.

The smallest particle of suffering is the object, and I, the subject who acts upon the object, am every atom unfolding from the womb. An atom here among us and another atom in a far away galaxy are inseparable epitomes of the same.

I solemnise and dignify the ghosts of interference which proceed from their origin and whip themselves up before me. I observe, they nucleate and propagate. If I could disappear, how fluid, how graceful and unending, how undisturbed and unpredictable would be the changing patterns thereabout.

On both the left and on the right there is nothing worth seeing and nothing worth hearing. I return home to wait in place and draw forth what is yet to come.'

– Cathy Wilkes

Pictured:

(1-5) Cathy Wilkes, Siege of the Romanovs, 2019-2026, Mixed Media, Dimensions variable

Art Basel

We are delighted to be presenting work by Anne Collier at Art Basel.Anne Collier's Filter works expand upon her earlier ...
16/06/2026

We are delighted to be presenting work by Anne Collier at Art Basel.

Anne Collier's Filter works expand upon her earlier series, and like them are based on imagery sourced from American romance comic books published between the 1950s and the 1980s. Exclusively marketed to an adolescent female readership, the comic books’ cliched narratives seemed designed to reinforce the notion of a subservient and eternally suffering female subject.

These works expand upon her ongoing consideration of the analogue photographic process and the mechanics at play in the production of images. After shooting and printing a greatly enlarged detail of an image of a crying woman from a comic book, Collier then applies a Kodak Color Print Viewing Filter on top of these photographic prints, to create a series of ‘frames’ around the recurring or repeated images. The Kodak Color Print Viewing Filter Kit was a pre-digital technical device designed to assist with colour correction when making photographic prints in the darkroom. Collier’s resultant works depict sequential images that suggest a liminal space somewhere between the photographic and the cinematic: between a still and a moving image. In self-consciously foregrounding the photographic process, and through her privileging of seriality, framing, cropping, and chromatic shifts Anne Collier makes evident the manipulations inherent to the medium of photography and, ultimately, to the instability of images themselves.

On view until 21 June, 2026 at Booth R3.

Pictured:

Anne Collier, Filter #4 (Cyan), 2021, C-print, Print Size: 150.6 x 121.2 cm, 59 1/4 x 47 3/4 in, Frame size: 153 x 123.6 x 4.5 cm, 60 1/4 x 48 5/8 x 1 3/4 in

Art Basel

We are delighted to be presenting work by Liz Larner at Art Basel this week.Over the last two decades, Liz Larner has sh...
15/06/2026

We are delighted to be presenting work by Liz Larner at Art Basel this week.

Over the last two decades, Liz Larner has shown a consistent interest in fragility, material experimentation and the natural world in the anthropocene era throughout her career. ‘In all of her syntagma she loveth not to go on common paths’ (2025) part of a recent series of works by the artist which consider the beauty of different types of stone and geological formations. These often incorporate various different natural pigments, stone deposits and minerals – some of which were used in ancient ceramic production. The environmental factors of their making, including humidity and temperature, effect the eventual forms of each of these pieces. As a result, they often comprise various fractures, breaks and textured effects.

On view June 16 – 21, 2026 at Booth R3.

Pictured:

Liz Larner, In all of her syntagma she loveth not to go on common paths, 2025, Clay, ceramic glaze, colored glass, Muntz brass, brass, 71.8 x 108.3 x 30.8 cm, 28 1/4 x 42 5/8 x 12 1/8 in

Art Basel

Cathy Wilkes' exhibition is on view at our Aird's Lane gallery.Come and visit me in a million yearsAt the curfew an alar...
15/06/2026

Cathy Wilkes' exhibition is on view at our Aird's Lane gallery.

Come and visit me in a million years
At the curfew an alarm will sound
Over the rough field there’s a clear sky in the darkness
I will recognise you when you come to the door

Glasgow International

We are delighted to be presenting work by France-Lise McGurn at Art Basel.Fluid shapes and figures echo and repeat acros...
15/06/2026

We are delighted to be presenting work by France-Lise McGurn at Art Basel.

Fluid shapes and figures echo and repeat across McGurn’s works speaking to a collapse of time and the recurrent movements of quotidian cycles – day to night, sober to drunk, turned-off to turned-on. Phone numbers, titles and other words are also scrawled down the sides of her works and across their painted surfaces. These resemble shopping lists, the cursive on a CD or tape, a message noted down while on the phone, or a joke in a toilet cubicle. These writings speak to the everyday, un-precious but romantic atmosphere of the paintings.

On view June 16 – 21, 2026 at Booth R3.

Pictured:

France-Lise McGurn, Cowboys, 2026, Oil and marker on canvas, 180 x 160 cm, 70 7/8 x 63 in


Art Basel

The piers located on the Hudson River waterfront of Lower West Side Manhattan were vital to David Wojnarowicz’s friendsh...
15/06/2026

The piers located on the Hudson River waterfront of Lower West Side Manhattan were vital to David Wojnarowicz’s friendships, politics, writing, sexual life and art practice – if they can be separated. Across the 70s and early 80s, these spaces were appropriated by the city’s q***r underground, becoming a popular cruising spot and space for creativity in dilapidated ruins of Manhattan’s maritime industrial past. Homophobic legislation at a national and municipal level, aggressively enforced in the lead up to New York’s World Fair (1964-65), along with the collapse of the harbour economy created the conditions for the occupation of these now emptied zones, not safe but somewhat further away from the homophobic gaze of the law.

The former Ward Line building on Pier 34 was of particular importance, initially offering a new space to experiment and share large-scale painted murals with close friends, including Mike Bidlo, Luis Frangella and Peter Hujar, in the early 80s. Following a full-scale occupation of the space by artists instigated by Wojnarowicz and Bidlo in summer 1983, it become a mainstay of the art scene, replete with artworks by Ruth Kligman, Luis Frangella and David Finn, documented by Hujar and Andreas Sterzing. For one of his contributions, Wojnarowicz threw seeds onto the debris and fallen plaster of its empty rooms, allowing grass to grow in the ruins. All of this activity didn’t escape notice from the city authorities and it was demolished the following year.

David Wojnarowicz 'some day this will all be crumbling ruins' is currently on view at our Carlton Place gallery.

Pictured:

Peter Hujar
Canal Street Piers: David Wojnarowicz working on Krazy Kat Comic on Wall, 1983
Vintage gelatin silver print
39.1 x 39.1 cm framed

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

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