Round

Images & videos from the opening days of @artscollectivenn 1 - The Northampton Rooms with furniture by @iamfods 2 - Breaker, 2026 3 - We Used to be Friends Kiosk 4 - Revelee by Delia Gonzalez & Gavin Russom. Video by @assumevividastrofocus 5 - This love is too much for me, 2025 6 - 🪩 7 - This love is too much for me, 2025 8 - After we had made love, we lay together under the sun for an hour, our salty bodies burning in the sand, 2025 9 & 10 - The day after the opening 11 - Power for the People, 1972 @rosefinnkelcey Thank you to everyone that made this possible. I’ll try update this as a list. For now, most importantly thank you to everyone at @artscollectivenn past and present, especially @emermaryg 🪄✨

Bulverhythe 76 @mackintoshlane_ Individual works—Sunsets & Sailboats: 1. Beachy Head (after Fry), 2026 Acrylic & pencil on scenic canvas, polyester rain cover, vintage velvet flowers, thread, ash dowel 245 × 160 cm 
2. Club XXXS, Summer ’24, 2026 Acrylic & pencil on scenic canvas, ash dowel 170 × 205 cm

3. Cruising Sunsets (after Torres), 2025 Acrylic & pencil on scenic canvas, ash dowel 205 × 170 cm

4. Thin Ice, 2026 Aluminium beers cans Dimensions variable

5. The Break (after Kelly), 2026 Acrylic & pencil on scenic canvas, ash dowel 180 × 117 cm

6. Arrangement #3 (for Derek), 2026 Vintage faux flowers, digitally printed canvas, tissue paper Dimensions variable

7-9. Low Tide (for Jarman), 2026 Acrylic & pencil on scenic canvas, polyester rain cover, vintage velvet flowers, thread, dried eucalyptus leaves, ribbon, ash dowel 204 × 180 cm 📸 @studio_adamson Thanks again, for everything @annnahigggins @d.j.noonan

Bulverhythe 76 @mackintoshlane_ 11.04.26 – 12.04.26 Documentation link in bio Thank you to everyone who came out. It was lovely to see you all. So many folks I’d not seen since before the 🦠 Special thanks to @annnahigggins & @d.j.noonan for the invite, trust and incredible support. With support of @theelephanttrust 💐 📸 by @studio_adamson

2016 - Test Object #5 Tidying the studio I came across this in storage. It’s one of the prototype vessels made for my exhibition at RIBA. I’ve not too much to say about this right now. I do like this pot though. Time for it to be outside the box. Giles Round, ‘We Live in the Office’, Architecture Gallery, RIBA, London (2016) From e-flux: ‘We Live in the Office’, a commission by artist Giles Round (b. 1976), takes its cue from Andrea Branzi’s publication ‘Weak and Diffuse Modernity’ (2006). The exhibition sets out to explore a series of tensions in the buildings that surround us through representations of the façade found in the RIBA Collections. By turning the Architecture Gallery at RIBA into a production studio and shop, Round unravels how frontages betray function and how expressive pieces of architecture are preserved, collected and even purchased today. Through a series of transformations within and beyond the gallery, Round further detaches façades from their built structures as he translates the imagery of the front elevation into hand-painted murals and onto familiar homeware items. Unexecuted pre-fab structures flank the gallery perimeter in the form of a wallpaper frieze and abstracted versions of historical façades by architects such as Venturi Scott Brown, Jane Drew and Bertold Lubetkin are hand-painted onto ceramic objects. Round turns buildings into objects and objects into buildings as the individually decorated items over the course of the exhibition will forms a new sculptural city-scape in miniature within the Architecture Gallery. Collectively, these transformations speak of the challenges that occur in designing or repurposing structural elements intended to both conceal and communicate. In so doing, they cause us to question the hidden functions that define our deceptive urban landscape today. #architetcure #art #ceramics The design is based on a John Piper’s sheet metal caryatids intended to be incorporated into Edward James’s house in West Dean.

Finally. So so late—I know… #2020 Still holding out some vague hope that someday the Brighton CCA book will be published. Meanwhile, I figured it nice to make available the text—by the incredible Rebecca Heald—so I self-published a small book. Available via link in stories or write me somehow #selfpublishing who’d’ve thought? Giles Round, ‘Untitled, circa 1994’, Brighton CCA, Brighton 18 January - 7 March 2020 Publication: 48pp. Text: Rebecca Heald Design: Giles Round Cover: Recycled uncoated 300 gsm Interior: Recycled uncoated 135 gsm Size: 148mm × 191mm Binding: Perfect

🐡📚 ‘The Shape of a Circle in the Mind of a Fish’ is a major publication gathering work from over 100 contributors in the arts, humanities, and sciences. This collection, edited by @luciapietroiusti_ @filipaaaaaaaaaaa , explores animal, plant, fungal, and machine consciousness; interspecies communication; and more-than-human perspectives. Marking a significant milestone in Serpentine’s long-term research project of the same name—initiated in 2018—the publication brings together years of inquiry into non-human ways of knowing and being. London launch Monday 27 Oct, 6-9pm, join us for an evening of talks, performances and screenings
RCA Battersea. Tickets via Serpentine website - DM for link
 🖨️ @serpentineuk @hatjecantzverlag 📗📖📸 Laila Kaletta 💕 📹 Giles Round As part of his long-term project, ‘The Art Direction of the Noguchi Museum’ (2018-ongoing), artist Giles Round has been in residence with Serpentine’s General Ecology project. This included the art direction of every edition of ‘The Shape of a Circle in the Mind of a Fish’, inclusive of a suite of graphic identities developed with marbling techniques, as well as low-impact spatial design elements, including the light design for ‘The Shape of a Circle in the Mind of a Fish with Plants’ at EartH Hackney; a graphic suite of wayfinding panels for ‘The Shape of a Circle in the Mind of a Fish: we have never been one’ at Ambika P3, Marylebone, as well as the graphic design of the project’s publication. Publication: 100 contributors, 408 pages, designed by myself, printed on Condat Matt Perigord, 130 g/m2 and Alga Carta Bianco, 120 g/m2, turns out pretty much the same size as ‘River Cafe Book Green’, paperback edition, not intentional 😂 

It’s been such a great pleasure to be artist in residence of the General Ecology project – 8 years, 6-and-a-half symposiums/festivals, 3 countries, bridging 1 pandemic – thank you so so much to everyone who made this time so special. Thank you Filipa and Lucia so so much. ❤️🌈✨

Year 4 - HAPPY BIRTHDAY HOFFMAN 🐾🪄✨ 1 🎨 @alessandro.raho 2 💻 @apple 3⛳️ @hastingsadventuregolf 4 🌴 @goatledge 5 📦 @collected.fictions 6 🕶️ @delawarr 7 🍽️ @marleybonesdogdining 8 🛋️ @wmorrisandco 9 🖌️ @hempton @flatland_projects 10 🪑 @selkieseafoodbar 11 🏖️ St Leonards on Sea 12 🚕 @exeterphoenixgallery 13 🍺 @the_jolly_fisherman 14 🥣 @wedgwood 15 📚 @princessa_mangione_iii_ #bemorehoffman 🌈✨🐾🐕🦴

HOFFMAN SAYS FIX - 🗳️ The Northampton Rooms designed by Giles Round have only gone got shortlisted for a people’s vote flooring award. Let’s win this! 🪄✨🐾 #bemorehoffman @nncontemporaryart @emermaryg

Exeter Contemporary Open 2025, Exeter Phoenix, UK It was such a pleasure to be part of this year’s open. So lovely to attend the opening. Thank you to everyone involved. It was wonderful to see some of the works I’d made for my show ‘Collected Fictions’ @collected.fictions be displayed perfectly in a @exeterphoenixgallery Works on show: ‘Backdrop - Act 1: ‘Collected Fictions’. Stage Direction: bookshop in Corsica designed by Don Bachardy whilst mildly stoned from brownies made following the legendary Alice B Toklas recipe. He’d recently been thinking about James Baldwin, David Hockney, John Minton, Martin Wong and the cover of Barbara Mennel’s study of ‘Mädchen in Uniform’’, 2024 Acrylic and pencil on scenic canvas 253 × 277cm (in 2 parts) ‘Nocturnes for the King of Naples, 1978, (Paperback) 2024’, 03.08.24 Pencil & watercolour on cotton paper 260 × 180mm ‘Comet in Moominland, 1959, (Special collectors’ hardback edition)’, 10.08.24 Pencil & watercolour on cotton paper ‘The Alice B. Toklas Cookbook, 1961 (paperback)’, 2024 Pencil & watercolour on cotton paper 260 × 180mm Exeter Contemporary Open is an annual exhibition, selected from hundreds of entries, submitted by artists from across the UK. This year’s shortlist showcases the work of fourteen contemporary visual artists who work across painting, sculpture, photography and video.

ARTISTS: Helen Acklam | Stacey Allan | Chris Alton | Yiduo Cheng | Andy Cluer | Mani Kambo | Kenji Lim | Giles Round | Divya Sharma | Nancy Singh | Ross Taylor | Sophie Wake | Charlotte Warne Thomas | Lily Wei

SELECTED BY: @harrietrcooper @remi_rana_allen @mattburrows3 

12.09.2025 - 01.11.2025

OPEN: Monday to Saturday, 10am–5.30pm

EXETER PHOENIX GALLERY
Exeter Phoenix
Bradninch Place
Gandy Street
Exeter
EX4 3LS
 Photographs 1-4: @ddoommmmoorree

This Sunday… Northampton 🪩✨ ‘We Used to be Friends’ Bar A participatory performance and installation by #GilesRound ‘We Used To Be Friends’ #Bar is a new participatory public artwork and pop-up bar installation by artist Giles Round, commissioned as part of #NNContemporaryArt’s transformation of 24 Guildhall Road. Situated beneath a pink neon declaration of fading intimacy, the bar channels a #queer intervention into spaces coded by heteronormative nostalgia. At the heart of the project is a live, embodied performance of the character Gunther the bleached-blond barista from the 1990s sitcom Friends recast here as a tragicomic archetype. The mise-en-scene reclaims the marginal figure from exclusion and longing relocating him from the Central Perk coffeehouse to a hybrid reception-bar at the entrance of The Northampton Rooms. As both artist and designer of the newly commissioned Northampton Rooms, Round presents We Used To Be Friends as a critique of how public and social spaces are shaped by dominant cultural scripts that often marginalize queer affect. Reimagining the kiosk as a site of conviviality and alienation, Round invites audiences to inhabit a zone where local architecture, memory, and performance blur. The project debuts during NN Nights, NN Contemporary Art’s late-night trail of installations, happenings, and sonic experiments across Northampton town centre. The bar will function both as an installation and as a working service point, complete with beer from #QueerBrewing on sale for the duration of the event. 4-9pm 31 August 2025 24 Guildhall Road Northampton NN1 1DF Beer from @queerbrewing ❤️❤️❤️ COME OUT! 🪄✨🌈 Yes - we mean you 🤩

7 years in the making. I’ve still not an actual copy but I did get to Luckenwalde to be with them and their friends. It has been such a great pleasure to be artist in residence of the General Ecology project – 8 years, 6-and-a-half symposiums/festivals, 3 countries, bridging 1 pandemic – thank you so so much to everyone who made this time so special. Publication: 100 contributors, 408 pages, designed by myself, printed on Condat Matt Perigord, 130 g/m2 and Alga Carta Bianco, 120 g/m2, turns out pretty much the same size as ‘River Cafe Book Green’, paperback edition, not intentional 😂 Thanks you @filipaaaaaaaaaaa @luciapietroiusti_ so so much. ❤️🌈✨ From my pages an excerpt from the text about my work… Imagine in italics: How does it sound in the courtyard when the wind rustles the leaves in the trees?
 Giles Round’s ‘The Art Direction of the Noguchi Museum’ (2018–ongoing) is titled after Isamu Noguchi’s (1904–1988) eponymous museum, which the artist created and designed to present his own work. It takes Noguchi’s dilution of boundaries between artistic disciplines as a reference for a medium and a practice, conceived as a whole. Direction is conceived of as a vector, a perspective, a line of fugue, an atmosphere and a tone given to a whole research and body of work. It considers context, history, necessities and setting as correlated entities that determine the ways in which a project is approached, developed and cared for. Round’s ongoing exploration enquires into the role of the artist as an integral part of institutional and design teams, and of society’s infrastructures and organisations at large. Rethinking and actualising Noguchi’s creative spirit and the questions that drove his practice, ‘The Art Direction’ considers space, form, environment, mood and purpose as equally fundamental coordinates for an artistic outcome… Published by @serpentineuk @hatjecantzverlag 🐡📓❤️✨

The 36th Ljubljana Biennale of Graphic Arts opens today. To celebrate, I figured I’d share some images from a decade ago, when we were all new to Instagram and mainly posted low res images of folks hanging out, record covers, and out of focus fruits. I was invited to be part of the #biennale #exhibition and to create an exhibition celebrating the biennale’s history on its 60th year. The resulting exhibition—sort of solo show, sort of group show, sort of immersive experience—to quote Yasmin, sort of “tutti-frutti mega-mix”–titled ‘Ljubljana, 1955’. It was wild. ‘Ljubljana, 1955’, a part of ‘Over you/you’, curated by @nicolaleesm Titled after the city and the year of the first instalment, the exhibition presented 98 archived works from the collections of @mglcljubljana and @mgplusmsum dating from 1955 to 1999, during which the biennial operated using an open submission format.

For Ljubljana, 1955, Round has combined his interest in appropriation and exhibition design to adapt certain display traditions common to public exhibitions. Interpretation panels, title graphics, exhibition design, as well as particular styles of placing and hanging works, are conventions that the #artist intervenes with, in an atypical fashion. The space is broken up by a soft architecture of cotton curtains printed with a series of photographs of a technical team preparing the 1969 edition of the biennial. These images, found by Round in #ModernaGalerija Photographic Archive, are the only known #photographs that picture the people responsible for the working on the exhibition, and depict technicians laying out and sorting through selected #prints, placing them between glass panels. In front of these enlarged halftone images, a selection of collection works float, suspended by wires from aluminium tracks. 
 Works by: Giles Round and Cally Spooner

________ 
Works courtesy the artists, Moderna Galerija, and MGLC 
Photography: Jaka Babnik