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    Lisson Gallery Reveals May Opening Date, Programming for First New York Space

    A rendering of Lisson Gallery New York.COURTESY STUDIOMDA

    A rendering of Lisson Gallery New York.

    COURTESY STUDIOMDA

    Nearly two years after first announcing plans to open a gallery space in New York’s Chelsea neighborhood—right under the world-famous High Line—the London-based Lisson Gallery revealed an opening date, the architectural renderings, and the space’s programming for 2016 at a press conference at The Standard in the Meatpacking District. Lisson Gallery New York is officially set to opening on May 3, right in the middle of Frieze, with a show of new work by the Cuban-born artist Carmen Herrera (who, incidentally, turns 101 that month).

    “It has been a long-held ambition of Lisson Gallery to consolidate our presence in New York with a permanent exhibition space,” Alex Logsdail, the international director of Lisson Gallery (and son of founder Nicholas Logsdail) who will over see operations in New York, said in a release. “By adding to the two existing locations in London and one in Milan, Lisson Gallery New York gives our current roster of 51 artists another key platform to realize their ambitious projects and engage with new collectors, critics and curators, as well as the public.”

    In addition to the show of 20 new works by Herrera—which will coincide with her solo exhibition at the Whitney, a quick stroll down the High Line—the gallery revealed the shows that will run the rest of the year: John Akomfrah on July 1, Ryan Gander on September 16, and Ai Weiwei on November 1.

    Lission first planted a flag on U.S. soil when it opened an office at 241 Eldridge Street on the Lower East Side in 2012. It was run but the Alex Logsdail, who had previously done stints at Deitch Projects and Team Gallery.

    During the presentation and lunch in the High Line Room at The Standard, architect Markus Dochantschi—whose founded studioMDA, the firm that designed the new Lisson space alongside Studio Christian Wassmann—noted that the view behind him of the Hudson included the pier that was supposed to dock the the RMS Titanic, which, unlike Lisson Gallery, never completed the journey from England to New York.

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