von Goetz

We will be hosting a talk before the opening of 𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨 >>> Curator, Lucy von Goetz will be in conversation with artists, Max Bainbridge, Anna Blom, and Martine Poppe. Spaces are very limited and on a first come basis, please RSVP to [email protected] if you wish to attend. Thursday 21st May 12:00 - 13:30 *The event will be filmed. 𝙈𝙖𝙭 𝘽𝙖𝙞𝙣𝙗𝙧𝙞𝙙𝙜𝙚 (b. London) Spanning a material language of wood and metal Bainbridge’s work seeks a grounded presence in the physicality of the sculpted object through his enduring relationship to the natural body of the tree. By working with trees that have fallen where they once grew, his sculptures are a direct and intimate connection to land and place. By shifting the narrative from strength and fertility to that of vulnerability and mortality, each sculpture offers a different lament on what it means to be human, to exist within a fragile and ever-changing ecosystem. 𝘼𝙣𝙣𝙖 𝘽𝙡𝙤𝙢 (b. Sweden) lives and works in London. Her painting and installation-based practice is a diaristic response to her own environment. It deconstructs the fragile details, the physical and psychological components, of the everyday landscape resulting in observational portraiture. Using collected objects, matter, white noise and writing, poured into unstretched canvas on site of investigation to enhance time and place of production. 𝙈𝙖𝙧𝙩𝙞𝙣𝙚 𝙋𝙤𝙥𝙥𝙚 (b. Norway) Poppe’s artistic practice revolves around exploring themes of climate change, ecofeminism, and gender tropes. She pushes the envelope of photorealism beyond the domain of the literal with measured, scalloped brushwork that allows the paintings to be read as abstract compositions. Poppe paints on what she calls “the underskirts of the Old Masters,” using the same specialised fabric that conservators use for restoring fragile Renaissance paintings. Although this translucent fabric may appear delicate, it is designed to be strong and durable. By using it as the support for her paintings, Poppe affirms the power of quiet resiliency as an alternative to more overt representations of strength in art.

von Goetz is excited to announce our next exhibition: Opening 31 May, 𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨 will bring together 16 contemporary artists from around the world at a scenic estate one hour from London. Its title inspired by the 2012 film, ‘The Place Beyond the Pines’ which deals with the burden of legacy. This exhibition draws on Carl Jung’s theory of the tension of opposites as a way to think about how contemporary art negotiates the relationship between psyche and place. For Jung transformation does not arise through the resolution of contradictions, but through their sustained co-presence. Consciousness itself emerges from the dynamic tension between oppositional forces: interior and exterior, instinct and intellect, memory and perception. The pines with their erectness, rootedness, and shedding become emblems of this condition. They hold the ground and reach for the visible and invisible in a single form. Evergreen. 𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨 asks what it means to move through contradiction as a condition of being. We are between trees, between histories, between bodies, between ways of knowing. This “between” is not a lack, but a fruitful space. Artists: @forestandfound @fraeulein_bath @alicjabiala @annabloominghell @salvatoreluciofiorello @laviniaharrington @beatricehasellmccosh @leejinhanlee @callumharveyartist @henryhudson_bk @jemima_moore_ @tereza_cervenova @martinepoppe @jilltate_ @ikeeabug @_xu.yang_ Curator: @lucyvongoetz

Opening to the public 31 May, 𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨 brings together 17 contemporary artists at the historic Crowsley Park. In trying to understand anything, we look for a ‘way in’. What is the entry point to allow further unravelling? The way in here, is between. This exhibition situates itself at the intersection of inner and outer worlds, of psyche and ecology. Dissociation thrives on the denial of death that began with mythologies of immortality and is culminating in Silicon Valley’s lurid and lucrative dreams of redesigning human nature, of downloading the mind onto disembodied machines and reducing the soul to a datum. The technosphere has started to overlay the ecosphere. Glen Slater in his book, ‘Jung vs Borg’ writes; “It is the psyche that contains the pursuit of the angelic, the claims of the animal body, and the structures and dynamics that join the two. It is the psyche that generates and insists upon the symbolic expressions of culture, which are often based on the transformative and aspirational power of ordinary, even elemental, things — mountains and rivers, suns and moons, fire and rain — thereby reminding us of the inextricable bond between mind and world.” Art supposes that beauty is not an exception - is not in despite of - but is the basis for an order.   Art does not imitate nature, it imitates a creation, sometimes to propose an alternative world, sometimes to amplify, to confirm, to make social the brief hope offered by nature.   Art is an organised response to what nature allows us to glimpse occasionally. Art sets out to transform the potential recognition into an unceasing one. It proclaims man in the hope of receiving a surer reply… the transcendental face of art is always a form of prayer. Jung saw natural life as the nourishing soil of the soul. Artists: @forestandfound @fraeulein_bath @alicjabiala @annabloominghell @salvatoreluciofiorello @laviniaharrington @beatricehasellmccosh @leejinhanlee @callumharveyartist @henryhudson_bk @jemima_moore_ @tereza_cervenova @martinepoppe @jilltate_ @ikeeabug @_xu.yang_ @jessiemstevenson Image ‘Winter Rose’ Johanna Bath, photo @baterandstreet

Opening next month >>> 𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨 Art, Nature and the Transcendent Function Drawing on Carl Jung’s concept of the tension of opposites the dynamic interplay that gives rise to consciousness and meaning. The artists represented approach landscape not as a backdrop for human experience, but as a field of relational forces that condition both thought and being. For Jung, psychological wholeness emerges not from resolving opposites but from holding them in productive tension. This curatorial proposition reframes the act of engaging with land and environment as a psychological encounter. The pines, with their verticality, their rootedness and their continual shedding, become emblems of this condition. The pines hold the ground and reach skyward; they are visible and hidden in a single form. Artists: @forestandfound @fraeulein_bath @alicjabiala @annabloominghell @salvatoreluciofiorello @laviniaharrington @beatricehasellmccosh @leejinhanlee @callumharveyartist @henryhudson_bk @jemima_moore_ @tereza_cervenova @martinepoppe @jessiemstevenson @jilltate_ @ikeeabug @_xu.yang_

Anna Jermolaewa represented Austria in the 2024 Venice Biennale. When something sticks with you for some two years or more you must ask yourself why. Jermolaewa’s work encompasses the beauty that can be found in simplification, the ability to distil something enormous into something tiny. Along with their artistic potency, Anna Jermolaewa’s works possess poetry and humour. […] Ludwig Wittgenstein left us a sentence that fits the sentiment of Jermolaewa’s works: “Where others pass by, I stop.” Jermolaewa’s art is, in the vein of Wittgenstein, a manual for awareness and sharpening of the senses. Art can keep, retain, and honour what went missing or got lost in the torrents of time.   All this has nothing to do with nostalgia but a lot with reflection, attentiveness, vigilant perception, and the ability to reinterpret. Everything can get a new meaning: the ballet used for censorship, the X-ray film recycled as a music storage medium, the colour of a flower that stands for a political revolution.   The connotations, codes, symbols, mysterious meanings are the things of life - we have to decipher them. [Full article on our website]

Dawn Ng looking wonderful at a recent project in London.

Xu Yang looking splendid in London, part of our recent work for a private residence. @_xu.yang_

Install view of one of our projects in London for a private residence. It was such a joy to work on this one.

A recent curation and install project we worked on in London. Thank you @baterandstreet for capturing these beautiful works.

Nostalgia (Dumplings) By Xu Yang £800 each [email protected] to enquire 2024-2025 Glazed stoneware 8 x 11.5 cm (various) 19/26 available, all unique sculptures Xu Yang’s ceramic dumpling sculptures playfully blur the boundaries between art, craft, and everyday ritual. Each hand-formed dumpling captures a moment of tenderness and humour. These sumptuous little sculptures are a homage to domestic gestures of care, repetition, and cultural memory. Glazed with delicate translucency, their surfaces hold the quiet intimacy of touch: fingerprints, folds, and the soft suggestion of filling beneath the skin. These works transform a humble, familiar form into an object of contemplation. Whether gathered in groups or displayed singly, they invite a meditation on nourishment, belonging, and the shared language of food, family, and community. As Xu recently said; “In something as intimate as the fingerprints of my mother on a sealed dumpling, I see an entire family and community. In something as delicate as the blue petals of a forget-me-not, I see the precariousness of time. And in something as enduring as gold, I see the power of legacy”. @_xu.yang_

A look back at “Forget Me Not,” which closed in July. Grateful to everyone who visited and to the team who made it happen. @_xu.yang_ @chateaudelantheuil @baterandstreet

…For Tereza Červeňová, photography begins in a sunlit moment, a fleeting alignment of light and form, a shimmer of time suspended. Then comes the darkroom, the alchemical counterpoint: film wound, paper curved in her hands, gestures repeated until the image takes shape. “Analogue material is very fragile, yet it is rich in tones and densities,” she reflects. “It needs care and gentleness. The alchemy stored within the print turns a moment in time into ephemeral eternity; the light that gives photography its life also makes it slowly perish.”  … Her latest body of work explores the invisible violence of domestic abuse through self-portraits, vernacular scenes, and fragments of speech. These sit in contrast to narratives that are often reduced to statistics or broad statements. This is part of what gives her practice its urgency. Červeňová encourages conversations that often remain unspoken: domestic abuse, loneliness, belonging, the subtle negotiations of power and care within families and partnerships. Sensitivity, in her work, is a refusal to look away at the aftermath. New article about @tereza_cervenova by @rosieclemhen on our website now!