• KATE MACGARRY

    LONDON

     

    The gallery was founded by Kate MacGarry in 2002 in East London, where some of our represented artists, including Goshka Macuga (Poland), Francis Upritchard (New Zealand), Ben Rivers (UK) and Dr Lakra (Mexico) had their first commercial gallery exhibition. Our current gallery space, originally designed by architect Tony Fretton, is close by on Old Nichol Street where we present six exhibitions a year. The gallery participates in international art fairs including Art Basel (Galleries) and Frieze London where we have presented solo projects since 2010. The gallery represents 23 emerging and established artists; most recently adding The Estate of J.B. Blunk (USA), Laura Gannon (Ireland), Samson Kambalu (Malawi) and Bernard Piffaretti (France) to the roster.

     

    For further details on the artworks offered for sale by Kate MacGarry in the Eye Viewing Room please make an enquiry below.

     

  • Renee So, Eye Bench I and II, 2020
     
    Renee So, Eye Bench I and II, 2020
    Wool, steel, plywood, foam
    50 x 120 x 50 cm.
    Price: £16,000 (plus any applicable taxes)

     
    Renee So was born in Hong Kong in 1974 and grew up in Melbourne, Australia. She lives and works in London. So's work spans numerous traditional craft trechniques including ceramics, hand-woven textiles and furniture that refer specifically to representations of the female figure in prehistoric cultures. She bestows monumental grandeur and caricatural qualities to the figures in her works, which weave together a pattern of cross-cultural references. Her fictional personas borrow from ancient ritual masks, military and aristocratic portraiture.
     
    Renee So’s work has recently been the subject of solo exhibitions at De La Warr Pavilion, Bexhill on Sea, UK, 2019-2020 and Henry Moore Institute, Leeds, UK, 2019. In 2020 she featured in Goldsmiths CCA's exhibition ‘Transparent Things’. Other exhibitions include ‘One Day, Something Happens: Paintings Of People’ (curated by Jennifer Higgie), The Arts Council Collection, Leeds Art Gallery, Leeds, 2015; ‘A Conspiracy of Detail’, Mackintosh Museum, Glasgow School of Art, Glasgow, 2013; ‘Newspeak: British Art Now’, Saatchi Gallery, London, and The State Hermitage Museum, St Petersburg, Russia, 2010/2011.

    Exhibitions:
    London, Goldsmiths CCA, ‘Transparent Things’, 2020.
     
  • Bernard Piffaretti (b.1955), Untitled, 2019. Kate MacGarry
     
    Laura Gannon (b. 1972), The Glass House, 2021
    Iridescent acrylic on linen
    178 x 72 cm.
    Price: £ 8,000 (plus any applicable taxes)
     
    Laura Gannon was born 1972 in Galway, Ireland, she lives and works in London. Gannon's work oscillates between drawing, sculpture, painting and film. Recent works include abstract drawings made with metallic ink on linen. The linen has been subjected to multiple processes to reveal its corporeality: folding, bending, wrinkling suggesting their raw physicality and directness. Gannon's films mark a parallel to her sculptural drawings with their articulation of temporality, light, space and the act of looking; intimate portraits of distinctive architectural buildings.
     
    Solo exhibitions include ‘Silver House’, Visual Carlow, Ireland, 2019; ‘Espace Croisé’, Centre d'Art Contemporain, France, 2016; Silver House, Uillinn and West Cork Arts Centre, Ireland, 2015. Group shows include Andersen's Contemporary, Copenhagen, May 2018, ‘Show Window’, Kate MacGarry, London, 2016; ‘Folly: Art After Architecture’, Glucksman Gallery, Cork, 2014; ‘A House of Leaves’, David Roberts Art Foundation, London, 2013. ‘A House in Cap-Martin’ was included in Customary Beauty, Mor-Charpentier, Paris, 2011; ‘Silver House’ was screened as part of the Official Selection Milano Design Film Festival, 2017.
  • Renee So, Eye Bench I and II, 2020

     
    Goshka Macuga, Alix Strachey, 2019
    Silicone
    39 x 23 x 37 cm.
    Edition of 5 plus 2 artist's proofs
    Price on application
     
    Goshka Macuga was born in 1967 in Warsaw, Poland and lives and works in London. Her practice is based on historical and archival research, which informs her installations, sculptures, tapestries, and collages. As an artist she simultaneously assumes the role of a curator, historian, and designer. Macuga questions historiography, political structures, and the pressing issues of our time. Over the past years, Macuga has created a series of large-scale tapestries that weave her ideas in assembly mind maps, presentations, and panoramic scenes. Macuga takes up the historical medium of Gobelin tapestries, a portable textile often emblazoned with political messages. Her new series of tapestries are woven in 3-D so that the viewers themselves become part of the scenario.
     
    In 2019, Macuga conceived ‘What Was I?’ a post-apocalyptic exhibition at Prada Rong Zhai, Shanghai. She has had solo exhibitions at New Museum, NY; Fondazione Prada, Milan; Schinkel Pavilion, Berlin; MCA Chicago; Whitechapel Gallery, London; Tate Britain; Kunsthalle Basel; and the Walker Arts Centre, Minneapolis. She was included in Documenta 2012 and nominated for the Turner Prize in 2008.
     

     
  • Patricia Trieb (b.1979), Red Asturias Variation , 2019. Kate MacGarry

     

    Goshka Macuga (b. 1967), Madame Helena Blavatsky, 2020
    Silicone (Edition 1 of 5 plus 2 APs)
    Height: 51 cm.; Length: 19 cm.; Width: 25 cm.
    Price: £11,000 (plus any applicable taxes)

     

    Goshka Macuga was born in 1967 in Warsaw, Poland and lives and works in London. Her practice is based on historical and archival research, which informs her installations, sculptures, tapestries, and collages. As an artist she simultaneously assumes the role of a curator, historian, and designer. Macuga questions historiography, political structures, and the pressing issues of our time. Over the past years, Macuga has created a series of large-scale tapestries that weave her ideas in assembly mind maps, presentations, and panoramic scenes. Macuga takes up the historical medium of Gobelin tapestries, a portable textile often emblazoned with political messages. Her new series of tapestries are woven in 3-D so that the viewers themselves become part of the scenario.

     

    In 2019, Macuga conceived ‘What Was I?’ a post-apocalyptic exhibition at Prada Rong Zhai, Shanghai. She has had solo exhibitions at New Museum, NY; Fondazione Prada, Milan; Schinkel Pavilion, Berlin; MCA Chicago; Whitechapel Gallery, London; Tate Britain; Kunsthalle Basel; and the Walker Arts Centre, Minneapolis. She was included in Documenta 2012 and nominated for the Turner Prize in 2008.

     

    Exhibitions:
    London, The Contemporary Art Society, ‘The Contemporary Art Society at Mount Street’, 2021.
     

     

  • Rose Finn-Kelcey (b. 1945 – d. 2014, Untitled: Boxing Glove and Bubble #1, c. 1970 / 2019

     
    Rose Finn-Kelcey (b. 1945 – d. 2014, Untitled: Boxing Glove and Bubble #1, c. 1970 / 2019
    Archival fibre print (Edition 1 of 5)
    11.5 x 8 cm. (unframed)
    33.5 x 38 x 3 cm. (framed)
    Price: £10,000 (plus any applicable taxes)

     
    Rose Finn-Kelcey (1945-2014) lived and worked in London. She first came to prominence in the early 1970s as an artist central to the emerging communities of performance and Feminist art in the UK. The nature of Finn-Kelcey's work is diverse, both in form and subject matter. She offers humour as a point of access into her work, allowing a wide audience to consider topics as varied as life, death and spirituality communicated with depth and profundity.
     
    Exhibitions include Bureau De Change, Tate Britain, 2019; Dhaka Art Summit 18, Bangladesh, 2018; ‘Rose Finn- Kelcey: Life, Belief and Beyond’, Modern Art Oxford, 2017; ‘It Is Just A Beginning’, National Gallery of Modern and Contemporary Art, Rome, 2018; ‘Sculptors' Papers from the Henry Moore Institute Archive’, Whitechapel Art Gallery, 2015; ‘Keywords: Art, Culture & Society in 1980s Britain’, Tate Liverpool, 2014.

    Her work has been included in group exhibitions at Tate Britain, permanent collection re-hang, London, 2014; ‘Modern British Sculpture’, The Royal Academy of Art, London, 2011; ‘Live in your Head: Concept and Experiment in Britain 1965-75’, Whitechapel Gallery, London, 2000; ‘Young British Artists Part 2’, The Saatchi Gallery, London, 1993; Documenta IX, Kassel, Germany, 1992; ‘Out of Actions: Between Performance and the Object 1949-1979’, Museum of Contemporary Art, Los Angeles, 1998; New Museum of Contemporary Art, New York, 1987.
     
    Exhibitions:
    London, Kate MacGarry, ‘Rose Finn-Kelcey’, 2020.
     
     

     

    Patricia Trieb (b.1979), Red Asturias Variation , 2019. Kate MacGarry

     
    Rose Finn-Kelcey, Untitled: Boxing Glove and Bubble #2, c. 1970 / 2019
    Archival fibre print (Edition 1 of 5)
    11.5 x 8 cm. (unframed)
    33.5 x 38 x 3 cm. (framed)
    Price: £10,000 (plus any applicable taxes)
     
    Rose Finn-Kelcey (1945-2014) lived and worked in London. She first came to prominence in the early 1970s as an artist central to the emerging communities of performance and Feminist art in the UK. The nature of Finn-Kelcey's work is diverse, both in form and subject matter. She offers humour as a point of access into her work, allowing a wide audience to consider topics as varied as life, death and spirituality communicated with depth and profundity.
     
    Exhibitions include Bureau De Change, Tate Britain, 2019; Dhaka Art Summit 18, Bangladesh, 2018; ‘Rose Finn- Kelcey: Life, Belief and Beyond’, Modern Art Oxford, 2017; ‘It Is Just A Beginning’, National Gallery of Modern and Contemporary Art, Rome, 2018; ‘Sculptors' Papers from the Henry Moore Institute Archive’, Whitechapel Art Gallery, 2015; ‘Keywords: Art, Culture & Society in 1980s Britain’, Tate Liverpool, 2014.

    Her work has been included in group exhibitions at Tate Britain, permanent collection re-hang, London, 2014; ‘Modern British Sculpture’, The Royal Academy of Art, London, 2011; ‘Live in your Head: Concept and Experiment in Britain 1965-75’, Whitechapel Gallery, London, 2000; ‘Young British Artists Part 2’, The Saatchi Gallery, London, 1993; Documenta IX, Kassel, Germany, 1992; ‘Out of Actions: Between Performance and the Object 1949-1979’, Museum of Contemporary Art, Los Angeles, 1998; New Museum of Contemporary Art, New York, 1987.
     
    Exhibitions:
    London, Kate MacGarry, ‘Rose Finn-Kelcey’, 2020.

     

     

     

    Patricia Trieb (b.1979), Red Asturias Variation , 2019. Kate MacGarry

     
    Rose Finn-Kelcey, Untitled: Boxing Glove and Bubble #3, c. 1970 / 2019
    Archival fibre print (Edition 1 of 5)
    11.5 x 8 cm. (unframed)
    33.5 x 38 x 3 cm. (framed)
    Price: £10,000 (plus any applicable taxes)
     
    Rose Finn-Kelcey (1945-2014) lived and worked in London. She first came to prominence in the early 1970s as an artist central to the emerging communities of performance and Feminist art in the UK. The nature of Finn-Kelcey's work is diverse, both in form and subject matter. She offers humour as a point of access into her work, allowing a wide audience to consider topics as varied as life, death and spirituality communicated with depth and profundity.
     
    Exhibitions include Bureau De Change, Tate Britain, 2019; Dhaka Art Summit 18, Bangladesh, 2018; ‘Rose Finn- Kelcey: Life, Belief and Beyond’, Modern Art Oxford, 2017; ‘It Is Just A Beginning’, National Gallery of Modern and Contemporary Art, Rome, 2018; ‘Sculptors' Papers from the Henry Moore Institute Archive’, Whitechapel Art Gallery, 2015; ‘Keywords: Art, Culture & Society in 1980s Britain’, Tate Liverpool, 2014.

    Her work has been included in group exhibitions at Tate Britain, permanent collection re-hang, London, 2014; ‘Modern British Sculpture’, The Royal Academy of Art, London, 2011; ‘Live in your Head: Concept and Experiment in Britain 1965-75’, Whitechapel Gallery, London, 2000; ‘Young British Artists Part 2’, The Saatchi Gallery, London, 1993; Documenta IX, Kassel, Germany, 1992; ‘Out of Actions: Between Performance and the Object 1949-1979’, Museum of Contemporary Art, Los Angeles, 1998; New Museum of Contemporary Art, New York, 1987.
     
    Exhibitions:
    London, Kate MacGarry, ‘Rose Finn-Kelcey’, 2020.
     
     
     

     

    Patricia Trieb (b.1979), Red Asturias Variation , 2019. Kate MacGarry

     
    Rose Finn-Kelcey, Untitled: Boxing Glove and Bubble #4, c. 1970 / 2019
    Archival fibre print (Edition 1 of 5)
    11.5 x 8 cm. (unframed)
    33.5 x 38 x 3 cm. (framed)
    Price: £10,000 (plus any applicable taxes)
     
    Rose Finn-Kelcey (1945-2014) lived and worked in London. She first came to prominence in the early 1970s as an artist central to the emerging communities of performance and Feminist art in the UK. The nature of Finn-Kelcey's work is diverse, both in form and subject matter. She offers humour as a point of access into her work, allowing a wide audience to consider topics as varied as life, death and spirituality communicated with depth and profundity.
     
    Exhibitions include Bureau De Change, Tate Britain, 2019; Dhaka Art Summit 18, Bangladesh, 2018; ‘Rose Finn- Kelcey: Life, Belief and Beyond’, Modern Art Oxford, 2017; ‘It Is Just A Beginning’, National Gallery of Modern and Contemporary Art, Rome, 2018; ‘Sculptors' Papers from the Henry Moore Institute Archive’, Whitechapel Art Gallery, 2015; ‘Keywords: Art, Culture & Society in 1980s Britain’, Tate Liverpool, 2014.

    Her work has been included in group exhibitions at Tate Britain, permanent collection re-hang, London, 2014; ‘Modern British Sculpture’, The Royal Academy of Art, London, 2011; ‘Live in your Head: Concept and Experiment in Britain 1965-75’, Whitechapel Gallery, London, 2000; ‘Young British Artists Part 2’, The Saatchi Gallery, London, 1993; Documenta IX, Kassel, Germany, 1992; ‘Out of Actions: Between Performance and the Object 1949-1979’, Museum of Contemporary Art, Los Angeles, 1998; New Museum of Contemporary Art, New York, 1987.
     
    Exhibitions:
    London, Kate MacGarry, ‘Rose Finn-Kelcey’, 2020.
     
     
     

     

    Patricia Trieb (b.1979), Red Asturias Variation , 2019. Kate MacGarry

     

    Goshka Macuga, Alix Strachey, 2019

    Silicone

    39 x 23 x 37 cm.

    Edition of 5 plus 2 artist's proofs

    Price on application

     

    Goshka Macuga was born in 1967 in Warsaw, Poland and lives and works in London. Her practice is based on historical and archival research, which informs her installations, sculptures, tapestries, and collages. As an artist she simultaneously assumes the role of a curator, historian, and designer. Macuga questions historiography, political structures, and the pressing issues of our time. Over the past years, Macuga has created a series of large-scale tapestries that weave her ideas in assembly mind maps, presentations, and panoramic scenes. Macuga takes up the historical medium of Gobelin tapestries, a portable textile often emblazoned with political messages. Her new series of tapestries are woven in 3-D so that the viewers themselves become part of the scenario.

     

    In 2019, Macuga conceived ‘What Was I?’ a post-apocalyptic exhibition at Prada Rong Zhai, Shanghai. She has had solo exhibitions at New Museum, NY; Fondazione Prada, Milan; Schinkel Pavilion, Berlin; MCA Chicago; Whitechapel Gallery, London; Tate Britain; Kunsthalle Basel; and the Walker Arts Centre, Minneapolis. She was included in Documenta 2012 and nominated for the Turner Prize in 2008.