Thaddaeus Ropac

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Thaddaeus Ropac

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International contemporary art gallery
(854)

Paris Marais : 7 rue Debelleyme 75003 Paris
+33 (0)1 42 72 99 00
Tue - Sat : 10:00 am - 7:00 pm

Paris Pantin : 69 ave. du Général Leclerc 93500 Pantin
Tue - Sat : 10:00 am - 7:00 pm
(closed during summer until September 5th)

Salzburg : Mirabellplatz 2, 5020 Salzburg
+43 662 881 393
Mo - Fri : 10:00 am - 6:00 pm
Sat : 10:00 am - 6:00 pm

London: 37 Dover Street, London W1S 4NJ
Tues-Sat: 10:00 am - 6:00 pm

24/09/2026

The Louvre Museum presents ‘Les Hôtes du Louvre’, a two-person exhibition by Elizabeth Peyton and Kader Attia

For two years, Peyton and Attia had studios on the museum premises, where they created, conversed with museum personnel, and engaged with the public. For ‘Les Hôtes du Louvre’, the two now share the temporary exhibition space in Salle de la Chapelle, where the results of their respective sojourns in the museum are on display. Peyton presents paintings and drawings: a mix of reinterpretations of works from the Louvre, which she has been creating since her early years as an artist, as well as representations of historic and contemporary subjects.

‘The Louvre, with its unparalleled collection and inspiring architecture, is an unbroken conversation between the past, the present, and the future [...] I find endless inspiration in the sculptures, objects, and paintings from all the collections that have taken me on journeys, ignited my imagination, enriched my reading, and deepened my connection to the grand history of human expression.’ — Elizabeth Peyton

Visit the exhibition at , Paris, until 14 December 2026.

Images: 1 & 3. Elizabeth Peyton, The Solemn Entry of Louis XIV 1667, 2016. Oil on board. 35.9 x 28.3 x 3.8 cm. 2. Elizabeth Peyton in the Department of Paintings, Musee du Louvre. 2026. © Musee du Louvre. Photo: Olivier Ouadah.

22/09/2026

‘For me, the paintings are not meant simply to represent something. Ideally, they contain something. These are charged images. They’re archetypes, floating images that through time, they keep finding themselves in different shape and form, and I’m able to capture them and materialise them.’ — Ali Banisadr

Spanning paintings, sculpture and pastels, ‘Talisman’ at Thaddaeus Ropac Paris Marais brings together the central languages of Ali Banisadr’s practice: densely orchestrated pictorial worlds, archetypal figures, symbolic fragments and charged objects that seem to carry memory across time.

Talismans are loaded objects: vessels of protection, transformation and transmission. For Banisadr, imagery can operate in the same way. The enigmatic hieroglyphs and hybrids that hide among the artist’s gestural passages of paint are conceived and developed in the crucible of his sketchbook, through an intuitive process whereby he progressively distils ideas down to their most compact possible visual representation.

Watch the full interview at ropac.net.

On view until 10 October 2026.

Video by Lewis Fleury

21/09/2026

‘Night Sonnets’, Raqib Shaw’s first solo exhibition in the UK in over a decade, is now open at Compton Verney in Warwickshire.⁠

Bringing together a cycle of nocturnal paintings and tapestry, the exhibition invites us to consider our relationship with the night through never before seen works in which the interplay of light – moonlight, blazing firelight and reflected glow – and shadow reveals and conceals psychologically charged landscapes populated by figures, animals and imaginary creatures.

Moonlight has long shaped how Shaw thinks, filtered through memories of the moonlit saffron fields of his boyhood home Kashmir, where ‘nights were dense with stories’, and diverse cultural references including his love of poetry and the verses of The Nightingale of Kashmir, Habba Khatoon, his affinity with the ‘Moon King’ Ludwig II of Bavaria and opera.

Visit the exhibition at Compton Verney until 21 February 2027.

Raqib Shaw

Images: Raqib Shaw, Night Sonnets, installation views and details, 2026. Photos: © Compton Verney and Jamie Woodley

18/09/2026

Now open at Thaddaeus Ropac in Milan: Leoncillo, Perché più bruci

Traversing four decades of the Italian sculptor’s career, ‘Perché più bruci’ is Leoncillo’s first solo exhibition with the gallery and the first chapter of a trilogy dedicated to his work.

‘Because with [clay] a new organicity is possible. The organicity of what grows and is alive [...] Because ceramics, precisely, can give more than any other material those visible, almost tactile conditions through which a state of mind is expressed.’ — Leoncillo

On view until 14 November 2026.

Developed in collaboration with the Leoncillo Foundation and curated by Lorenzo Fiorucci, Alberto Salvadori and Azalea Seratoni.

Fondazione Leoncillo ETS

Images: 1, 3 & 5. Leoncillo, Perché più bruci, installation views, Thaddaeus Ropac Milan, 2026. Photos: Roberto Marossi. 2. Amanti antichi, 1965 (detail). Semi-refractory terracotta and glazes. 76.5 × 173.7 × 42.2 cm (30.12 × 68.39 × 16.62 in). 4. Taglio rosso, 1964 (detail). Stoneware and glazes. 82 × 50 × 20 cm (32.28 × 19.69 × 7.87 in).

15/09/2026

Now open in New York: Tom Sachs, “31 Rue Cambon”

Installed at Sachs’s long-time SoHo studio, 31 Rue Cambon transforms the artist’s workspace into a fully immersive Chanel boutique populated entirely by hand-fabricated re-creations of the house’s iconic suits, accessories, furnishings, jewellery, packaging and retail displays. Constructed from found materials such as plywood, acrylic, cardboard and tape, using the ethics of bricolage - the French concept of creation and problem solving using readily available materials, often repurposed or borrowed - “31 Rue Cambon” re-imagines one of fashion’s most recognisable brands as a meditation on authorship, value, labour, envy and the cultural machinery of luxury.

On view until 10 October 2026
Thursday & Friday, 6—8pm
Saturday, 1–6pm

Tom Sachs

Images: Tom Sachs, “31 Rue Cambon” © 2026 Tom Sachs Studio. All rights reserved.

14/09/2026

Part 1: ‘Like Music in the Blood’ at Thaddaeus Ropac in London

Working across painting and sculpture, the eight contemporary artists featured in this exhibition figure the body through strategies of omission, displacement, projection and abstraction. Like a language privately known and felt, they explore selfhood as something carried beneath the skin, fractured in its translation from inner experience to material form.

In this video, Benjamin Orlow, Kira Freije, Suleman Aqeel Khilji and Annabell Burger, an art historian & curator collaborating with Galli, discuss their practices and the works on view. Part 2 will focus on the work of Emil Sands, Hannah Quinlan and Rosie Hastings, Tanoa Sasraku and Tiona Nekkia McClodden.

Visit the exhibition until 1 October 2026.

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Video by

13/09/2026

On view at Gustav-Lübcke-Museum Hamm, Germany: Daniel Richter x George Grosz, Krieg und Konfitüre

The exhibition brings two of Germany’s most important artists together to examine the social upheavals and political tensions of the past and present. This cross-generational dialogue explores pervasive questions of social responsibility, perceptions of crises and forms of artistic protest, thereby highlighting a fundamental sentiment of our time: the coexistence of war and the joys of everyday life, of stress and consumerism, of social division and aesthetic overwhelm.

George Grosz (1893–1959) dissected the moral and political abysses of the Weimar Republic with a razor-sharp graphic language. Daniel Richter (b. 1962), who first encountered Grosz’s work in school, addresses social conflicts such as violence, migration and capitalism in large-format, expressive visual worlds that are less about accusing than about making the ambivalence and multi-optionality of the present tangible.

Visit the exhibition at Gustav-Lübcke-Museum Hamm until 21 February 2027

Images: Daniel Richter, Billiards at Half-Past Nine, 2001. Lacquer paint and oil on canvas. 260 x 375 cm. Kunsthalle zu Kiel © VG Bild-Kunst, Bonn 2026.

12/09/2026

Two iconic works by Ron Mueck from the collections of ARoS and Museum Voorlinden have swapped places.

Ron Mueck’s ‘Boy’ (1999) is now on view in ‘Celebrating the Icons of Art’, marking Voorlinden’s 10th anniversary. Created in 1999, the work took Mueck eight months to progress from a 40 cm high clay maquette to the present almost five metre high sculpture cast in glass fibre. Adorned with delicate veins and hair follicles, the hyperrealism seen on the surface of the skin makes the boy at once a living and compelling presence and yet alien and unreal. His crouching posture draws inspiration from the Australian aborigines, vigilantly scanning the plain for game.

Visit ‘Boy’ (1999) at Museum Voorlinden until 7 March 2027 and ‘Couple Under an Umbrella’ (2013) at ARoS until 27 August 2027.

Images: Ron Mueck, Boy (1999) in ‘Celebrating the Icons of Art’ at Voorlinden. ARoS Collection, c/o Pictoright Amsterdam, 2026 | photo: © Antoine van Kaam.

11/09/2026

Join us next week at Thaddaeus Ropac Milan for the opening of ‘Leoncillo. Perché più bruci’, the Italian sculptor’s first solo exhibition with the gallery and the first chapter of a trilogy dedicated to his work.

Tracing Leoncillo’s sustained engagement with clay as a vital vehicle for the expressive ambitions of modern art, the exhibition brings together sculptures and works on paper which traverse the four decades of his career.

‘Because with [clay] a new organicity is possible. The organicity of what grows and is alive [...] Because ceramics, precisely, can give more than any other material those visible, almost tactile conditions through which a state of mind is expressed.’ — Leoncillo

Developed in collaboration with the Leoncillo Foundation and curated by Lorenzo Fiorucci, Alberto Salvadori and Azalea Seratoni.

Opening Wednesday 16 September, 6.30—8.30pm.

Video by Markus Huber

09/09/2026

On view at the Centro de Arte Hortensia Herrero in València, Spain: Anselm Kiefer

Occupying six galleries, the exhibition brings together a total of 11 works by Anselm Kiefer, four of which belong to the permanent collection. The works on view allow visitors to delve into the artist’s monumental and material universe, where history, landscape, and mythology intertwine with references to literature, music, and nature. Through surfaces laden with layers, textures, and materials, the he constructs images of great symbolic intensity inspired by classical myths, poems by authors such as Baudelaire, Walther von der Vogelweideand Rilke, and musical compositions such as Schubert’s ‘Der Tod und das Mädchen’ (‘Death and the Maiden’).

Visit the exhibition at Centro de Arte Hortensia Herrero - CAHH until 25 October 2026.

Images: Anselm Kiefer, installation views, Centro de Arte Hortensia Herrero, 2026. Photos: Nastassia Tarusava.

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