Angela Bulloch in 'YBA&BEYOND: British Art in the 90s from the Tate Collection' →

Angela Bulloch
February 11 – May 11, 2026 | The National Art Center, Tokyo

Angela Bulloch
West Ham - Sculpture for Football Songs, 1998
4 belisha beacons, 4 light bulbs and light control unit
166 x 300 cm
Collection of Tate, London

Angela Bulloch's 'West Ham – Sculpture for Football Songs' (1998) is featured in YBA&BEYOND: British Art in the 90s from the Tate Collection at The National Art Center in Tokyo.

This exhibition explores the dynamic evolution of British art from the late 1980s to the early 2000s. After going through the Thatcher era (1979-1990), a charged and uncertain social climate gave rise to a new generation of artists who challenged traditional norms and embraced bold, experimental practices. Many of the newer generation of artists who came to prominence in the 1990s were referred to in the art and popular media under the title Young British Artists (YBAs). Alongside other artists active at the time, these artists explored themes such as popular culture, personal identity, and shifting social structures.

'West Ham – Sculpture for Football Songs' is one of many works by Bulloch that are activated or altered in some way by the presence of gallery visitors.

Bulloch has made a number of works using Belisha beacons, which are more commonly used to illuminate pedestrian crossings. Here they are linked to a microphone in the gallery space and respond to sound, which initiates a sequence of flashing lights. The colors of the lights reflect the colors of the West Ham football strip, and the work’s title suggests that football anthems are a particularly appropriate trigger to speed up the light display. The unpredictable interactive element of this work is typical of Bulloch’s practice.

In 1997, Bulloch stated that she is interested in acknowledging the viewer’s role as an active participant in co-producing her works, saying that in her practice "the viewer is a collaborator in the sense that she defines, perceives the meaning in her own terms. This would happen anyway with any work, provided there is a viewer. What I try to do is make the fact of interpretation, understanding or perceiving part of purpose of the work itself."
(Angela Bulloch in Bussel 1997, p. 31)

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Angela Bulloch, Ann Veronica Janssens & Philippe Parreno in 'Winter 2026' →

Angela Bulloch, Ann Veronica Janssens, & Philippe Parreno
January 20 – February 28, 2026 | Esther Schipper, Berlin

Philippe Parreno
The Crawler, 2024
Concrete tiles and base, steel track, glass shell, sensors, motors, lights, cables, computer
Steel pole: 300 x 91 x 103 cm
Glass shell: 68 x 37 x 28 cm

Over four decades ago, Gil Scott-Heron observed that – “politically, and philosophically, and psychologically” – there was only one prevailing season, “the season of ice”; words that, without doubt, mirror the current atmosphere. While the winter solstice promises the gradual return of light, days remain swayed in darkness for weeks on end. Though tiresome, this long night opens a space for introspection, even spurs the fire in one’s belly. Winter, for Scott-Heron, signified a state of frozen aspiration and inspiration. Yet this bitter condition provoked a moody, by now iconic, song that he liked to perform seasoned with a grain of salt. In this vein, and uncovering the creative underbelly of such chilled times, the works on view navigate the uncanny and the cosmic across decades, centuries, even millennials. They draw on a fossilized, charred, or blurred past and envision smart, weird, or weirdly rosy nurseries of the future; their aesthetics converge at a dense point of thick materiality and precise formal execution. Light fractures the exhibition space, transforming it into a chiaroscuro landscape suffused by shadow and spotlight. 

Winter 2026 brings together works by Saâdane Afif, Rosa Barba, Angela Bulloch, Julius von Bismarck, Martin Boyce, Etienne Chambaud, Thomas Demand, Ryan Gander, Dominique Gonzalez-Foerster, Pierre Huyghe, Ann Veronica Janssens, Lee Bae, Sojourner Truth Parsons, Philippe Parreno, Anri Sala, and Anicka Yi. 

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Angella Bulloch, Rirkrit Tiravanija, and Philippe Parreno in '1+1. The relational years' →

Angella Bulloch, Rirkrit Tiravanija, Philippe Parreno
October 29, 2025 - March 1, 2026 | MAXXI National Museum of 21st Century Arts, Rome

Britto Arts Trust, Pakghor (The social kitchen), 2025 / OPAVIVARÁ!, namoita, 2014

1+1. The relational years is the first major retrospective dedicated to the Relational Art movement—three decades after its inception—curated by internationally renowned critic and curator Nicolas Bourriaud.

In the 1990s, a new generation of artists revolutionized the discourse of art by opening it up to human relationships, exploring the collective sphere, and using social practices, conviviality, interaction, groups, and communities as both materials and tools of research. The concept of Relational Aesthetics, theorized by Bourriaud in 1998, is now recognized as one of the major artistic movements of the new millennium, with its artists acclaimed worldwide: Vanessa Beecroft, Maurizio Cattelan, Dominique Gonzalez-Foerster, Carsten Höller, Pierre Huyghe, Philippe Parreno, and Rirkrit Tiravanija, to name just a few.

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Angela Bulloch in Die Linie at Heidi Horten Collection, Vienna →

Angela Bulloch
September 19 - March 8, 2026 | Heidi Horten Collection, Vienna

The exhibition Die Linie explores the line as a fundamental element of the visual arts. Moving between subjective gesture and constructive precision, it takes on countless roles: it structures surfaces and defines form, traces contours and boundaries, separates and connects. It documents time and space, describes reality, creates illusion, and captures the imaginary. In the infinite variety of its concepts, functions, and material forms, the line has much to reveal—about its time, its artists, and their concerns.

Starting from the classical medium of drawing, the exhibition examines the line’s potential to create artistic worlds and to respond, through art, to the world we live in. The focus lies on contemporary positions that transcend traditional genre boundaries, expanding the line into space and presenting it as a medium for reflecting on social and political realities.

Angela Bulloch is featured alongside Pierre Alechinsky, Karel Appel, Kader Attia, Jean-Michel Basquiat, Pierre Bismuth, Rosemarie Castoro, Christo und Jeanne-Claude, Marie Cool Fabio Balducci, Carola Dertnig, Marcel Duchamp, Fred Eerdekens, Amy Feldman, Dan Flavin, Lucio Fontana, Günther Förg, Lucian Freud, Gego (Gertrud Goldschmidt), Antony Gormley, Keith Haring, Alexej Jawlensky, Donald Judd, Birgit Jürgenssen, Reena Saini Kallat, Wassily Kandinsky, Žilvinas Kempinas, Kiluanji Kia Henda, Paul Klee, Gustav Klimt, Edgar Knoop, Joseph Kosuth, Brigitte Kowanz, Edward Krasiński, Alfred Kubin, Roy Lichtenstein, Constantin Luser, Piero Manzoni, Agnes Martin, Henri Matisse, Vera Molnár, François Morellet, Nick Oberthaler, Helga Philipp, Pablo Picasso, Giulia Piscitelli, Sigmar Polke, Jackson Pollock, Dieter Roth, Fred Sandback, Sonia Sanoja, Egon Schiele, Chiharu Shiota, Cy Twombly, Franz West, Andy Warhol.

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Angela Bulloch in Network Paris Abstraction-Création 1931–1937 at Arp Museum Bahnhof Rolandseck →

Angela Bulloch
July 5, 2025 – January 11, 2026 | Arp Museum Bahnhof Rolandseck

Angela Bulloch, Heavy Metal Stack of Five: Sky Frame, 2024
© Courtesy of the artist & Esther Schipper, Berlin, Paris, Seoul, Photo: Andrea Rossetti

Between 1931 and 1937, an international network based in Paris fought against fascism for the freedom of art: the group Abstraction-Création, whose fluctuating membership numbered as many as ninety, including Jean Arp and Sophie Taeuber-Arp, Alexander Calder, Barbara Hepworth, and Piet Mondrian. This is the first exhibition on this pioneering association of artists since the 1970s.

As a center of the avant-garde, Paris became a last refuge as nationalist movements spread to every part of Europe. Since there was virtually no market for abstract art, the members of Abstraction-Création were forced to create their own organizational structures independent of the salons and galleries. This multigenerational, liberal, progressive, and visionary group set about uniting all the different strands of nonobjective art. The whole spectrum is on display in this exhibition, from rigid compositions and Purist grids to vibrant, organic-looking forms at play. And seven contemporary artists from around the world demonstrate that the topic is as timely as ever.

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In Dialogue: Angela Bulloch, Richard Deacon, Janice Kerbel, Pae White and Jim Amberson →

Angela Bulloch and Pae White | STPI Creative Workshop & Gallery, Singapore

Artists in the exhibition New Releases Old Friends, Angela Bulloch, Richard Deacon, Janice Kerbel, and Pae White, come together for a panel discussion at STPI Creative Workshop & Gallery moderated by Jim Amberson.

New Releases Old Friends spotlights new facets of their respective practices, with fresh works by Bulloch, Kerbel and Rehberger premiering in Singapore alongside earlier works by Deacon and White – all developed in close collaboration with STPI’s Creative Workshop during their residencies with the esteemed Visting Artists Programme (VAP).

Find more information on the exhibition here.

Sylvie Fleury & Angela Bulloch: THE ART OF SURVIVAL / BABY DOLL SALOON →

Angela Bulloch
May 3 - July 26, 2025 | Mehdi Chouakri, Charlottenburg

At the heart of the intuitive and almost experimental collaboration between Sylvie Fleury and Angela Bulloch—now brought together in the exhibition THE ART OF SURVIVAL / BABY DOLL SALOON in Charlottenburg—are a series of firework performances the artists staged in London (1993), Dijon (1994), and Berlin (1999). Rather than bursting into color across the sky, the fireworks in these works seemed to explode within the space itself. Soot marks left behind on white walls bore witness to the pyrotechnic interventions. These attacks on the interior—long symbolically charged as the realm of the domestic and confined— can be read as a casual yet sharp critique of a visual tradition that, for centuries, has placed women within enclosed, private settings: from Vermeer’s The Lacemaker (c. 1670), to the impressionist paintings of Berthe Morisot, to Edgar Degas’ Woman Ironing (1887). along with focused group presentations of painting, sculpture, photography, and ceramics.

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Angela Bulloch, Jack Goldstein, & Rirkrit Tiravanija in Drawing, Painting, Sculpture, Photography, Film, Video, Sound / The Ringier Collection 1995 – 2025, curated by Beatrix Ruf & Wade Guyton →

Rirkrit Tiravanija
April 13 – October 5, 2025 | The Langen Foundation, Neuss

In Drawing, Painting, Sculpture, Photography, Film, Video, Sound the Langen Foundation in Neuss presents an extensive selection of works from the Swiss Ringier Collection, marking its first major exhibition in Germany. Curated by Beatrix Ruf and artist Wade Guyton, the exhibition features approximately 500 works, offering an overview of one of the most relevant collections of contemporary art. Spanning works from the late 1960s to the present day, it documents Michael Ringier’s 30 years as a collector and key developments in the art world.

Together, these pieces form a rich and layered portrait of Michael Ringier, a Swiss publisher and media entrepreneur, whose collection of art is deeply intertwined with his personal and professional life, as well as the identity of Ringier, a media company active in 19 countries across Europe and Africa. Since 1997, the company has invited international artists to design its annual reports, granting them complete creative freedom. These collaborations have resulted in creative and intelligent explorations of the role of a media publisher today and its engagement with audiences. Renowned artists including Fischli/Weiss, Maurizio Cattelan, and Sylvie Fleury have contributed to these reports, as has Wade Guyton, whose report featured a one-to-one reproduction of one of his paintings printed in high-resolution detail across hundreds of pages. When compiled, these pages recreate the work in its original dimensions.

The exhibition's subversive title highlights how traditional artistic media continues to inspire new interpretations—both by challenging their conventional boundaries and through intentional artistic ambiguity. Drawing, Painting, Sculpture, Photography, Film, Video, Sound re-examines the expectations surrounding what defines a medium and how it shapes our perception. The connection to a global media company like Ringier is evident: from its beginnings in publishing and printing to its evolution into a digitized and diversified corporation, the company has been shaping the relationship between content and medium for over 190 years. Wade Guyton, too, challenges the concept of the medium of painting—whether through his large-format printed works or the strategic use of digital technologies, he questions what a medium can be and how it shapes the art it conveys.

Through these explorations, the exhibition invites viewers to see the collection not merely as a compilation of works but as a dynamic narrative that constantly opens up new perspectives. This approach reflects Michael Ringier’s view of art as a living, integral part of both his entrepreneurial and cultural engagement.

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Angela Bulloch in Raging Planet curated by Connor Hirst at Newport Street Gallery, London →

Angela Bulloch
March 28 – August 31, 2025 | Newport Street Gallery, London

Angela Bulloch, Chain B 3:1:52:4, 2002. Three DMX modules, one black box, waxed birchwood, printed aluminium panel, white glass, diffusion foil, assorted black cables, RGB lighting system, DMX controller; Each: 20.1 x 20.1 x 20.1 in (510 x 510 x 510 mm). Photographed by Prudence Cuming Associates Ltd. © Angela Bulloch.

Curated by Connor Hirst, Raging Planet features works by Angela Bulloch, Roger Hiorns, Oliver Marsden, Hwang Samyong, Bosco Sodi, and Keith Tyson. Spanning three galleries, the show explores different ways artists engage with the natural world through paintings, sculptures, and installations.

Raging Planet highlights the use of texture and materiality across various works. Roger Hiorns showcases sculptures and paintings encrusted with copper sulphate crystals. His work often uses unconventional materials like industrial objects and organic substances. Bosco Sodi’s large-scale paintings incorporate sawdust, pigment, and other natural materials, creating surfaces that resemble weathered landscapes. Keith Tyson’s works, in which paint and chemicals react on acid-primed aluminium panels, highlight the unpredictable forces of nature. Angela Bulloch’s multimedia works, including her ‘pixel boxes’ and interactive sound installations, investigate the relationship between science, technology, and nature.

The exhibition has been arranged in association with HENI, and is accompanied by a fully illustrated catalogue.

Raging Planet is presented alongside The Power and the Glory, an exhibition that pairs historical archive photography from the atomic age with a collection of rare scholars’ rocks.

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Anri Sala and Angela Bulloch at Esther Schipper’s New Space in Berlin

Angela Bulloch | ArtFuse | by Tina Sauerlaender

ANGELA-BULLOCH-2-700x413.jpg

Angela Bulloch’s show Heavy Metal Body and Anri Sala’s first solo exhibition with the gallery Take Over also inaugurate the gallery’s new space at Potsdamer Strasse 81E in Berlin, Germany, and opened concurrently with Gallery Weekend Berlin 2017.

Three new sculptures by Angela Bulloch which expand the body of work that Angela Bulloch has been developing since 2014, will be presented in a space adjacent to the main exhibition area. Each of the sculptures offers a distinct rhythm created by the variations in shape, size and color of its elements. The surface of the vertically assembled rhomboid shapes, painted in a combination of light, bright or dark colors, creates an optical illusion of pushing and pulling planes. Conceived within a digital imaging program, each stacked rhombus appears distinct while at the same time relating to the others. From one side the irregular aspect dominates, while from another the impression of a certain totemic regularity prevails. By using contemporary technology to transpose Euclidian geometry into a three-dimensional sphere, the artist conjures up sculptures in a weightless space, allowing virtuality and reality to coexist. (Full Article)