ARTZUID 2019, Amsterdam’s Sculpture Biennial, is now on and presents more than sixty sculptures and installations for free across the city of Amsterdam until the 15th of September .

Barry Flanagan’s ‘Large Nijinski on Anvil Point’ (2001) pictured here (photo by Berend Strik) can be seen alongside other artists including:  Auguste Rodin, César, Charlotte van Pallandt, Dan Graham, Daniel Göttin, David Altmejd, Dini Thomsen, Eja Siepman van den Berg, Elsa Tomkowiak, Erwin Wurm, Gabriel Lester, George Struikelblok, Gerda Maise, Gloria Friedmann, Hans van de Bovenkamp, Henk Visch, Irene Fortuyn, Ivan Cremer, Jan Fabre, Jaume Plensa, Jean Dubuffet, Jems Koko Bi, Jerzy Kedziora, Jésus Rafael Soto, Joel Shapiro, Johan Tahon, Judith Wiersema, Karel Appel, Klaas Gubbels, Lon Pennock, Marc Quinn, Matthew Monahan, Morgan Betz, Nancy Rubins, Nick Ervinck, Nic Jonk, Oliver Laric, PJ Roggeband, Roberto Barni, Sachi Miyachi, Sandro Chia, Theo Jansen, Tom Claassen, Tony Matelli, Wim Delvoye, Yoshitomo Nara, Yubi Kirindongo.

For more information visit


Exhibitions Closing Soon


Barry Flanagan, Solutions Imaginaires

Galerie Lelong Paris

15 March 2019 – 11 May 2019


Barry Flanagan Solutions Imaginaires closes on the 11th of May at Galerie LeLong. Flanagan had many connections to Paris, he was a life-long ‘pataphysican, a keen reader of Alfred Jarry, and had a flat there. Jarry defined ’pataphysics as the science of imaginary solutions, and the exhibition takes its title from the ’pataphyical nature of Flanagan’s work. It brings together works on paper from 1968 such as ‘Collage ’68’ (1968) (illustrated below) and the bronzes of 1980 to 2009, such as ‘Double Bell’ (1980) ‘Medium Monument’ (1996) and ‘Large Troubador’ (2004) (illustrated above).



The exhibition was organised in collaboration with the Estate of Barry Flanagan and the catalogue is available from the Galerie Lelong website with a text by Didier Semin.


Kip Gresham, The Art of Collaboration

The Heong Gallery

1 March – 19 May 2019



Flanagan’s ‘The Anatomy Class’ (2001) and ‘Jessica’ (2003) (illustrated) features in Kip Gresham The Art of Collaboration at the Heong Gallery, closing next week. It shows 40 years of work made by the master printmaker in collaboration with a huge group of artists including Flanagan, whom worked with and was a friend of Gresham’s since the early 1980’s. Information on the gallery website.

Bedales Benefit Auction

D COMO’D’Y (2001) Etching 26.5 x 22.5 cm (10.43 x 8.86 in) 16 of 16

Barry Flanagan’s etchings are included in a benefit auction supporting Bedales School, an independent boarding school in Hampshire. The three works, Composition with Salamander (2010), Reading (2010) and D COMO’D’Y, (2001) have been donated as part of the event. The Bedales school’s ethos is to nurture enquiry and individually in its students and the auction hopes to raise funds for new facilities including a new art studio, a design workshop and to provide a full Arts Scholarship for talented students in their final years. Flanagan’s son and daughter studied at Bedales and Flanagan was a keen supporter, with previous artworks donated to the school such as the sculpture [Field Day 1 Mirrored, 1988].

The auction ends at 10pm on 25th November 2014 more information on how to support can be found on the Paddle8 website.

‘Somethings Etruscan’

This little book was the result of collaboration between writer David Plante and artist Barry Flanagan. On a trip to Italy Barry visited a museum full of Etruscan artifacts where he made many drawings. These drawings formed the basis for the book. It was the intention for the Museum of Modern Art Oxford to publish it in 1974 when Flanagan had a drawing exhibition at the museum. The exhibition was the fullest survey of his drawings to date and included early schematic works, diagrams, drawings of dancers at the Ballet Rambert as well as drawings of the Etruscan artifacts and local landscape.

‘Silâns’ (1964-1965)

In September 2011 we launched the facsimile publication, Silâns (1964-1965). This is a complete republication in book form of the magazine produced by Barry Flanagan with fellow student Alistair Jackson and lecturer Rudy Leenders whilst he was a student at St Martins School of Art. They printed a total of sixteen issues between October 1964 and June 1965. Flanagan obtained the school’s administration staff’s agreement to use the cyclostyle machine on alternate Monday’s in term time. He turned out 50 copies an issue and recalled the circular action of the machine with a characteristic smile.