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AMOCA Dialogues Wales: New Voices from the Museum Collection.
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A warm thank you to all participating artists, visitors, and friends of art that joined us for opening of AMOCA Dialogues: New Voices from the Museum Collection. The exhibition reflects the museum’s long-term vision: to build a collection that expands representation, deepens dialogue, and situates Wales within an international contemporary art conversation. Bringing together intergenerational practices across painting, sculpture, and material experimentation, the exhibition foregrounds artists whose work interrogates figuration, abstraction, identity, and the politics of the body. Portraiture becomes psychological terrain. Material becomes language. Scale becomes presence. Rather than framing representation as a temporary theme, AMOCA positions this exhibition as an institutional commitment; a declaration of how the museum intends to collect, exhibit, and engage over time. The exhibition features internationally acclaimed artists, including: Cristina BanBan, Kinga Bartis, Math Bass, Julie Beaufils, Lynda Benglis, Merikokeb Berhanu, Sara Berman, Darcy Brenna, Pia Camil, Cristina Canale, Saskia Colwell, Kim Dacres, Bernadette Despujols, Lunita-July Dorn, Simone Haack, Heidi Hahn, Aurel Haize Odogbo, Connie Harrison, Donna Huanca, Anna Kristine Hvid Petersen, Vera Iliatova, Ewa Juszkiewicz, Hayv Kahraman, Soli Kiani, Sally Kindberg, Maria Klabin, Chantal Khoury, Julia Kowalska, Conny Maier, Jessie Makinson, Yassi Mazandi, Cristina de Miguel, Jesse Mockrin, Bridget Mullen, Cecilia de Nisco, Paulina Olowska, Katherina Olschbaur, Elizabeth Peyton, Shani Rhys James, Elsa Rouy, Angela Santana, AnnLeda Shapiro, Constance Tenvik, Issy Wood, Rachel Zhang, Anna Zimmerman, Autumn Wallace and Sixten Sandra Österberg. #amocawales Photo @dewitannattlloyd by @amocawales
AMOCA Dialogues: New Voices from the Museum Collection AMOCA Dialogues: New Voices from the Museum Collection reflects the museum’s long-term vision: to build a collection that expands representation, deepens dialogue, and situates Wales within an international contemporary art conversation. Bringing together intergenerational practices across painting, sculpture, and material experimentation, the exhibition foregrounds artists whose work interrogates figuration, abstraction, identity, and the politics of the body. Portraiture becomes psychological terrain. Material becomes language. Scale becomes presence. Rather than framing representation as a temporary theme, AMOCA positions this exhibition as an institutional commitment; a declaration of how the museum intends to collect, exhibit, and engage over time. The exhibition features internationally acclaimed artists, including: Cristina BanBan, Kinga Bartis, Math Bass, Julie Beaufils, Lynda Benglis, Merikokeb Berhanu, Sara Berman, Darcy Brenna, Pia Camil, Cristina Canale, Saskia Colwell, Kim Dacres, Bernadette Despujols, Lunita-July Dorn, Simone Haack, Heidi Hahn, Aurel Haize Odogbo, Connie Harrison, Donna Huanca, Anna Kristine Hvid Petersen, Vera Iliatova, Ewa Juszkiewicz, Hayv Kahraman, Soli Kiani, Sally Kindberg, Maria Klabin, Chantal Khoury, Julia Kowalska, Conny Maier, Jessie Makinson, Yassi Mazandi, Cristina de Miguel, Jesse Mockrin, Bridget Mullen, Cecilia de Nisco, Paulina Olowska, Katherina Olschbaur, Elizabeth Peyton, Shani Rhys James, Elsa Rouy, Angela Santana, AnnLeda Shapiro, Constance Tenvik, Issy Wood, Rachel Zhang, Anna Zimmerman, Autumn Wallace and Sixten Sandra Österberg. #amocawales Photo @dewitannattlloyd by @amocawales
We are open to the public! AMOCA Dialogues: New Voices from the Museum Collection April 15-19 Open Daily 11AM-6PM AMOCA Dialogues: New Voices from the Museum Collection reflects the museum’s long-term vision: to build a collection that expands representation, deepens dialogue, and situates Wales within an international contemporary art conversation. Bringing together intergenerational practices across painting, sculpture, and material experimentation, the exhibition foregrounds artists whose work interrogates figuration, abstraction, identity, and the politics of the body. Portraiture becomes psychological terrain. Material becomes language. Scale becomes presence. Rather than framing representation as a temporary theme, AMOCA positions this exhibition as an institutional commitment; a declaration of how the museum intends to collect, exhibit, and engage over time. The exhibition features internationally acclaimed artists, including: Cristina BanBan, Kinga Bartis, Math Bass, Julie Beaufils, Lynda Benglis, Merikokeb Berhanu, Sara Berman, Darcy Brenna, Pia Camil, Cristina Canale, Saskia Colwell, Kim Dacres, Bernadette Despujols, Lunita-July Dorn, Simone Haack, Heidi Hahn, Aurel Haize Odogbo, Connie Harrison, Donna Huanca, Anna Kristine Hvid Petersen, Vera Iliatova, Ewa Juszkiewicz, Hayv Kahraman, Soli Kiani, Sally Kindberg, Maria Klabin, Chantal Khoury, Julia Kowalska, Conny Maier, Jessie Makinson, Yassi Mazandi, Cristina de Miguel, Jesse Mockrin, Bridget Mullen, Cecilia de Nisco, Paulina Olowska, Katherina Olschbaur, Elizabeth Peyton, Shani Rhys James, Elsa Rouy, Angela Santana, AnnLeda Shapiro, Constance Tenvik, Issy Wood, Rachel Zhang, Anna Zimmerman, Autumn Wallace and Sixten Sandra Österberg. #amocawales by @amocawales
Inspiration from friends of AMOCA: Tschabalala Self @tschabalalaself @petzelgallery . . . 🎥 @ottoohle by @amocawales
Inspiration from friends of AMOCA: studio view of nee work by Antwan Horfee @haunted_horfee Big format painted in Berlin 🚀 #antwanhorfee #artiststudio #artlovers #amocawales by @amocawales
Inspiration from friends of AMOCA; we love this @kerryjamesmarshall_ Untitled, 2024 Acrylic on PVC panel in artist’s frame 36 3/4 × 30 3/4 × 2 3/4 inches (93.3 × 78.1 × 7 cm) © Kerry James Marshall #kerryjamesmarshall #art #artist #americanartist #amocawales by @amocawales
News from friends of AMOCA: Simone Haack is showing at CFHILL in Stockholm, Sweden Les Fruits du Mal⁠ October 16 – November 13⁠ Riddargatan 13⁠ ⁠ Opening hours⁠ Tue–Fri 12–5 PM⁠ Sat 12–4 PM⁠ ⁠ CFHILL is delighted to introduce Berlin-based artist Simone Haack (b. 1978, Germany) with her solo exhibition Les Fruits du mal. Moving between realism and the imagined, Haack creates a world where familiar forms become strange and the boundaries between bodies, objects and landscapes begin to dissolve. Through still lifes, portraits, landscapes and abstract paintings, she explores identity, desire and the psychological states beneath the visible. Drawing inspiration from dreams and the unexpected, her paintings invite us into a captivating world where beauty meets the uncanny, and reality gives way to imagination.⁠ ⁠ @cfhillofficial #CFHILL @haacksimone #simonehaack #contemporaryart #amocawales by @amocawales
News from friends of AMOCA: Ewa Juszkiewicz Now open in Rome, “AURA. Valentino Garavani – Ewa Juszkiewicz” brings together Valentino’s haute couture and Juszkiewicz’s paintings at PM23 – Fondazione Valentino Garavani e Giancarlo Giammetti. Juszkiewicz revisits the conventions of European female portraiture, preserving elaborate dresses and formal poses while replacing faces with folds of fabric, arrangements of hair, flowers and foliage. Her paintings unsettle the images they draw upon, questioning how women have been represented and the ideals of beauty imposed upon them. Alongside Valentino’s creations, these works invite a closer look at the expressive possibilities of clothing. Pleats, volume, colour and ornament shape the figure and influence how we read it. Metamorphosis connects the two practices, revealing how much a change in material or silhouette can alter an image. On view 18 October 2026–21 February 2027 at PM23, Rome. Shared via @alminerecheditions, where a selection of the artist’s limited-edition prints and books is also available. Pictured: Ewa Juszkiewicz, Untitled (after Jan Adam Kruseman), 2020. Oil on canvas, 220 × 160 cm. © Ewa Juszkiewicz #EwaJuszkiewicz #ValentinoGaravani #AMOCAWalws #Painting #ArtAndFashion by @amocawales
Inspiration from friends of AMOCA: Fabric, rope and concrete carry the weight of lived experience in Soli Kiani’s work. Born in Shiraz and based in Vienna, @solikiani explores repression, bodily autonomy and the struggle for self-determination, drawing on her own experience and the political realities of Iran. For “Hope Moves History Towards Freedom”, she brings these concerns into the Gothic interior of the Dominikanerkirche in Krems. Tall sculptures occupy the nave, their bound forms suggesting human bodies under pressure. Works bear the names of people killed during protests in Iran, preserving individual identities within a larger history of resistance. Kiani’s handling of materials is central to their impact. Fabric associated with clothing and protection becomes rigid; ropes bind and constrict. Alongside these sculptures, drawings on canvas address intimacy, vulnerability and women’s freedom to determine how their bodies are seen. The exhibition gives space to both remembrance and the continuing demand for freedom. Curated by @florian.steininger.1 Presented by @kunsthalle.krems at the Dominikanerkirche, Krems. On view until 26 October 2026. Photos: @kunstdokumentationcom #SoliKiani #KunsthalleKrems #ContemporaryArt #Sculpture #amocawales by @amocawales
News from friends of AMOCA: Laura Footes @laurafootes @friezeofficial London opens this week and I am very proud to be sharing some new work with @carlfreedmangallery on booth A28 alongside our incredible roster of artists. In general my work is about dysfunction, examined through a bodily, psychological or societal lens. This year I created a suite of paintings that explore power. Men who think they’re above the law - because they are, they never see justice. They forget they are flesh like the people they destroy but flesh will enact its own justice as nature comes for us all ”Natural Causes” oil on canvas 170x190cm #laurafootes #frieze #london #amocawales by @amocawales
News from friends of AMOCA: Issy Wood’s Self-Portraits is now open at London’s @nationalportraitgallery, inaugurating Artist Focus, a new programme dedicated to contemporary artists exploring the possibilities of portraiture. An artist represented in AMOCA’s collection, Wood brings a distinctive psychological charge to painting. Her imagery draws on personal archives, social media, auction catalogues and advertising, moving between faces, possessions and the objects through which we construct our identities. This presentation turns the attention towards Wood herself. Eleven self-portraits, seven never previously exhibited publicly, bring together an intimate strand of her practice that began in 2020. Through tight cropping, masking and distortion, Wood controls how much of herself becomes visible. Humour sits alongside vulnerability; the face becomes a place where recognition and concealment meet. For the artist, these paintings can serve as substitutes for photographs of herself, giving the painted image a particular personal purpose. Seen in this way, the works suggest that self-portraiture can be as much about protecting one’s privacy as revealing an identity. In a culture where faces circulate constantly, Wood makes the distinction between being seen and being known feel especially relevant. Congratulations to @isywod, @carlos_ishikawa, @flavia_fffff, @veneklasengallery and everyone involved. Issy Wood: Self-Portraits National Portrait Gallery, London Room 32, Floor 1 9 October 2026–28 February 2027 Free admission #issywood #nationalportraitgallery #amocawales by @amocawales
Inspiration from friends of AMOCA: Bridget Mullen ’Who Needs Muscles If Nothing is Heavy?’ Across the exhibition, visual devices either facilitate embodiment or create a barrier. Staggered panels disrupt the rectangle and call attention to the artifice of the painting, while brick walls, pipes, bars, veins, blinds, mortar, and strands of hair function as passageways, blockages, or frames. Mullen’s paintings begin as abstractions, with formal codes prioritized over narrative. Nothing is sketched beforehand. Shapes, negative spaces, and errant marks are repurposed as figures, and structures emerge according to the conditions established by the composition. Mutation becomes a sympathetic evolutionary response, allowing her to arrive at forms of understanding through the act of making and looking. At @nazariancurcio #bridgetmullen @bridgemullen #nazariancurcio #contemporaryart #amocawales by @amocawales

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