Gagosian, Grosvenor Hill, London

16/07/2026

Nathaniel Mary Quinn has been commissioned to create artwork for the cover of the Rolling Stones’ latest studio album, "Foreign Tongues." In this video, he speaks about the work:

Listen to the new album Foreign Tongues out now: https://rollingsto...

15/07/2026

This video tours "TILL DEATH DO US PART," an exhibition of new works by Sterling Ruby, currently on view at Gagosian, rue de Castiglione, Paris. This suite of collages and cast bronze sculptures continues Ruby’s use of flowers as both raw and iconographic material.

The most evocative examples of this tête-à-tête are the subtly emotive gestures of the bound flowers, which imply a more complex relationship: marriage. Flowers have been positioned in distinctive stances mimicking those of wedding portraits in which two bodies are posed together in a rigid commitment—“till death do us part.” Relationships remain central as Ruby refers to seventeenth-century Flemish and Dutch still-life painting, in which domestic arrangements carry a wide range of symbolism: https://on.gagosian.com/4gw2Ri7
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Installation video, "Sterling Ruby: TILL DEATH DO US PART," Gagosian, rue de Castiglione, Paris, June 12–October 3, 2026. Artwork © Sterling Ruby. Video: Pushpin Films

15/07/2026

"Richard Avedon: Hollywood"—a presentation of more than 150 photographs spanning Avedon’s career of over half a century and including some of his most iconic portraits alongside rarely seen images—opens at Gagosian, Beverly Hills, on November 4. The exhibition is curated by the Richard Avedon Foundation.

With subjects including actors, directors, writers, producers, composers, and those who inspired its narratives, Avedon’s photographs embody both the allure and the power dynamics of Hollywood: https://on.gagosian.com/4frFd5l
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Richard Avedon, "Academy Awards, Clint Eastwood, Al Pacino, Sharon Stone, Los Angeles, March 29, 1993" © The Richard Avedon Foundation

14/07/2026

Join us from 6 to 8pm today, July 14, for the opening of “Interlude of Joy,” an exhibition of new paintings by Helen Marden, at Gagosian, 541 West 24th Street, New York. The exhibition introduces Marden’s largest works to date, including her first paintings in a triptych format.

In these paintings, Marden incorporates natural objects, such as shells, sea glass, feathers as emblems of beauty, protection, and flight, and artifacts of everyday life. These applied elements also evoke the practices of artists who are important to her, and the inspiration that her husband, Brice, found in the patterns of seashells when creating his calligraphic “Shell Studies”: https://on.gagosian.com/3PYSbxM
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Helen Marden, “Joy,” 2026 © Helen Marden/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

11/07/2026

The first exhibition dedicated to Tetsuya Ishida's work in France is on view at Gagosian, rue de Ponthieu, Paris, through July 31. Ishida (1973–2005) came of age during Japan’s “lost decade” of the 1990s, an era that saw a severe, long-lasting recession accompanied by social challenges and economic displacement that significantly affected his generation.

The scenarios in his vivid, hyper-detailed paintings address those travails, their absurdities resonating on both psychological and sociological levels. Isolated and desperate, many of Ishida's protagonists face bizarre, dreamlike situations and are often subject to mechanical or animalistic metamorphoses: https://on.gagosian.com/4buWjgf
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Installation view, "Tetsuya Ishida," Gagosian, rue de Ponthieu, Paris, June 10–July 31, 2025. Artwork © Tetsuya Ishida Estate. Photo: Thomas Lannes

09/07/2026

An exhibition featuring sixteen of Simon Hantaï’s "dernier atelier" (“the last studio”) paintings of 1982–85, curated by Anne Baldassari, opens at Gagosian in Gstaad today, July 9. The point of origin for the show and its catalogue was Baldassari’s extensive original research into a body of iconic photographic portraits of Hantaï at work, taken by his close friend Édouard Boubat (1923–1999) at the artist’s own request.

Hantaï stapled many of the paintings atop one another in a studio installation that Baldassari deconstructs in her writing with stratigraphical precision, noting that Hantaï spent the interval from 1960 to 1982 “seeking, as Po***ck had, to attain a boundlessness of painting via the continuous expansion of its formats. Now, by ‘padding’ the walls of the last studio with layers of painting-upon-painting, he seems to have achieved boundlessness via depth": https://on.gagosian.com/3SQt1lU
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Simon Hantaï with his "last studio" paintings, rue Georges Braque, Paris, 1985 © ADAGP/Succession Édouard Boubat. Artwork © Archives Simon Hantaï/ADAGP, Paris. Photo: Édouard Boubat

09/07/2026

"Magic is sometimes very close to nothing at all," an exhibition of works by Douglas Gordon, opens on Thursday, July 16, at Gagosian, Beverly Hills. Join us from 6 to 8pm for the opening reception!

The exhibition is centered on "Zidane: A 21st Century Portrait" (2006), a double-screen film produced in collaboration with Philippe Parreno that follows legendary French footballer Zinédine Zidane over the course of a single match (the presentation’s title quotes the subject’s final line in the film). Shot on seventeen cameras, it follows Zidane in real time over the course of a match between his Spanish club Real Madrid and Villarreal at the Santiago Bernabéu Stadium in Madrid on April 23, 2005: https://on.gagosian.com/4p9tcVy
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Stills from Douglas Gordon and Philippe Parreno's film "Zidane: A 21st Century Portrait" (2006). Artwork © Studio lost but found/VG Bild-Kunst, Bonn, Germany 2026 and © Philippe Parreno

07/07/2026

"Simon Hantaï: the last studio" opens at Gagosian, Gstaad, on July 9. Curated by Anne Baldassari, the exhibition features sixteen of Hantaï’s "dernier atelier" ("the last studio") paintings of 1982–85. Hantaï was the originator of the "pliage" ("folding") technique, in which a canvas is crumpled and knotted, painted over, then spread out to reveal alternations between pigment and reserve.

The point of origin for the exhibition and its catalogue was Baldassari’s extensive original research into a body of iconic photographic portraits of Hantaï at work, taken by his close friend Édouard Boubat (1923–1999) at the artist’s own request: https://on.gagosian.com/4vfWfbg
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Simon Hantaï, "Sans titre" ("Untitled"), 1984 © Archives Simon Hantaï/ADAGP, Paris. Photo: Bertrand Huet

06/07/2026

Gagosian is pleased to announce "Waterfall," an exhibition of new works by Jennifer Guidi, opening on September 3 at Gagosian, rue de Ponthieu, Paris.

Guidi draws inspiration for this body of work from places she has experienced and imagined, expressing her meditations on the natural world and inner landscapes through vibrant colors and forms. “We can all relate to the feeling of being in nature,” Guidi notes, “walking on the beach, looking at a sunset, and knowing that this world is much larger than we are. I’m trying to gather all of that, take what I can from it, and put it onto canvas." https://on.gagosian.com/4vhhYjf
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Jennifer Guidi, "The Eternal Cascade," 2026 © Jennifer Guidi. Photo: Brica Wilcox

05/07/2026

This video captures Michael Craig-Martin with his immersive installation "Music" (2026) at Hï Ibiza’s digital art gallery, which is located on the nightclub’s rooftop terrace. Commissioned by the London-based public art platform W1 Curates, the work features music-related images created by Craig-Martin over the last twenty years, presented in an animated sequence across a series of large-scale LED screens as a site-specific experience.

The initiative is a collaboration between nightlife and entertainment company the Night League and W1 Curates. "Music" will be on view from July 6 to 12 and is free with admission to the club: https://on.gagosian.com/4oXfN2E
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Michael Craig-Martin with his immersive installation "Music" (2026), Hï Ibiza, Spain, July 6–12, 2026. Artwork © Michael Craig-Martin. Video footage: W1 Curates