What we do

ART ADVISORY & CURATION

von Goetz is an art advisory and curatorial studio that invests in our contemporary artists of the future.

We offer end-to-end curatorial services to help individual collectors, stately homes, brands, companies, galleries mount something truly spectacular. Our curatorial practice is rooted in emotional resonance, intellectual depth, and long-term commitment to artists.

Blending discretion, meticulous research, and fun into the work. We understand that collecting is a profoundly personal journey, and the relationships we cultivate with our clients and artists are unique.

Founder & Curator

LUCY VON GOETZ

Adviser, curator, gallerist.
Lucy runs contemporary art advisory and curatorial business, von Goetz. She works with private individuals & corporates to build unique standout collections.

She launched and ran her first contemporary art gallery, under her own name, in 2017 in a warehouse space in Brixton, London. Founded with a vision to invest in the artists of tomorrow, von Goetz fosters site-responsive, research-led, and experientially rich exhibitions.

von Goetz grew alongside and works with some stellar artists, such as Lydia Blakeley, Tereza Červeňová, Danielle Fretwell, George Rouy, Jill Tate, Xu Yang, Michaela Yearwood-Dan, Flora Yukhnovich.

Working across contexts, from domestic interiors, Brixton warehouses, to historic châteaux, creating encounters that are intimate, theatrical, and cross-cultural.

Whether in London or abroad, we are committed to curating with care, curiosity, and conviction; championing practices that speak to both the urgency of now and the richness of history.

Lucy is a Patron of the Royal Academy of Arts and the Serpentine Galleries. She holds degrees in English Literature and French.

AWITA Member.

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

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

info@vongoetz.uk 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!

Xu Yang’s 𝒞𝑒𝓃𝓉𝓇𝑒𝒻𝑜𝓁𝒹 (𝐼𝓃 𝓅𝑒𝓇𝓅𝑒𝓉𝓊𝓊𝓂 𝑒𝓉 𝓊𝓃𝓊𝓂 𝒹𝒾𝑒𝓂 / 𝐹𝑜𝓇𝑒𝓋𝑒𝓇 𝒶𝓃𝒹 𝑜𝓃𝑒 𝒹𝒶𝓎) in ‘Forget Me Not’, curated by Lucy von Goetz. Photography by Bater & Street.

Xu’s inclusion of the Asian hornet, a creature that devours bees (you see the bee attracted to the blossom higher on the picture plane) introduces a darker pulse to this lush composition. The burning candle and slow-moving snail evoke the vanitas still life, where material splendour is counterbalanced by symbols of decay and mortality. Xu’s work positions itself within a cross-cultural lineage of artistic meditation on time: a recognition that memory, like beauty, is both precious and precarious, poised perpetually on the edge of disappearance. Psalm 103:15 reminds us: “As for man, his days are as grass: as a flower of the field, so he flourisheth.” Xu’s art does not just catalogue vanitas; it probes whether art is a conquest of transience, or a profound acknowledgement of it.

𝒞𝑒𝓃𝓉𝓇𝑒𝒻𝑜𝓁𝒹 (𝐼𝓃 𝓅𝑒𝓇𝓅𝑒𝓉𝓊𝓊𝓂 𝑒𝓉 𝓊𝓃𝓊𝓂 𝒹𝒾𝑒𝓂 / 𝐹𝑜𝓇𝑒𝓋𝑒𝓇 𝒶𝓃𝒹 𝑜𝓃𝑒 𝒹𝒶𝓎)
2024 - 2025
Oil on linen
140 x 80cm

#RococoReimagined #momentomori #vongoetz #stilllife #XuYang #ForgetMeNot #XuYang_Art

Xu’s still-life wig compositions are what she calls “a portrait of an entire society.” 𝒞𝑒𝓃𝓉𝓇𝑒𝒻𝑜𝓁𝒹 (𝐼𝓃 𝓅𝑒𝓇𝓅𝑒𝓉𝓊𝓊𝓂 𝑒𝓉 𝓊𝓃𝓊𝓂 𝒹𝒾𝑒𝓂 / 𝐹𝑜𝓇𝑒𝓋𝑒𝓇 𝒶𝓃𝒹 𝑜𝓃𝑒 𝒹𝒶𝓎) is a moral and social landscape, mapping the intersecting forces of nature, culture, class, and gender.

The flowers, insects and nature in this composition evoke the Dutch Golden Age, particularly the luminous flower pieces of Rachel Ruysch.

Early Chinese flower painting during the Song Dynasty emphasised the symbolic resonance of botanical subjects. The plum blossom, for instance, represented resilience in adversity, blooming most vibrantly amid winter snow. These motifs, inherited through centuries of Chinese visual culture, resonate in Xu’s floral and fruit arrangement, where baby’s breath (purity), daisies (humility), and gooseberries (folkloric pursuit of happiness) fuse together her visual lexicon.

Details of - 𝒞𝑒𝓃𝓉𝓇𝑒𝒻𝑜𝓁𝒹 (𝐼𝓃 𝓅𝑒𝓇𝓅𝑒𝓉𝓊𝓊𝓂 𝑒𝓉 𝓊𝓃𝓊𝓂 𝒹𝒾𝑒𝓂 / 𝐹𝑜𝓇𝑒𝓋𝑒𝓇 𝒶𝓃𝒹 𝑜𝓃𝑒 𝒹𝒶𝓎)
2024 - 2025
Oil on linen
140 x 80cm

#RococoReimagined #momentomori #vongoetz #stilllife #XuYang #ForgetMeNot #XuYang_Art

Thank you, Halima Jibril for coming to Normandy to see and review ‘Forget Me Not’. What a brilliant piece about Xu Yang’s exhibition.

Link to full article is in the bio.

Final week to see!

Exhibition made possible with the kind permission of the Turgot family, thank you!

@h.alimaa
@_xu.yang_
@dazed
@chateaudelantheuil
@baterandstreet

Installation view of 𝒮𝒾𝒸 𝓉𝓇𝒶𝓃𝓈𝒾𝓉 𝑔𝓁𝑜𝓇𝒾𝒶 𝓂𝓊𝓃𝒹𝒾 / 𝒮𝑜 𝓅𝒶𝓈𝓈𝑒𝓈 𝓌𝑜𝓇𝓁𝒹𝓁𝓎 𝑔𝓁𝑜𝓇𝓎 and 𝐼𝓉 𝒾𝓈 𝓌𝑜𝓇𝓉𝒽 𝓃𝑜𝓉𝒽𝒾𝓃𝑔. 𝐼𝓉 𝒾𝓈 𝓌𝑜𝓇𝓉𝒽 𝑒𝓋𝑒𝓇𝓎𝓉𝒽𝒾𝓃𝑔. by Xu Yang at Chateau de Lantheuil.

Open Weds-Sun, 2.30 - 6.30pm

𝐹𝑜𝓇𝑔𝑒𝓉 𝑀𝑒 𝒩𝑜𝓉 | Xu Yang
Château de Lantheuil
Until 10 July

Image by Bater & Street @baterandstreet | Curated by Lucy von Goetz

#lucyvongoetz #XuYang #ForgetMeNot #momentomori #XuYang_Art

𝒮𝒾𝒸 𝓉𝓇𝒶𝓃𝓈𝒾𝓉 𝑔𝓁𝑜𝓇𝒾𝒶 𝓂𝓊𝓃𝒹𝒾 / 𝒮𝑜 𝓅𝒶𝓈𝓈𝑒𝓈 𝓌𝑜𝓇𝓁𝒹𝓁𝓎 𝑔𝓁𝑜𝓇𝓎, by Xu Yang sings between the gilded frames and soft Normandy light in 𝐹𝑜𝓇𝑔𝑒𝓉 𝑀𝑒 𝒩𝑜𝓉.

This painting symbolises the transience of earthly pleasures, and the inevitability of death and decay, even in the midst of life’s richest offerings. It draws on classical allegories and vanitas traditions, which remind viewers of life’s fleeting nature and the futility of indulgence without spiritual grounding.

These abundant ripe fruits from different cultures are at their prime, on the cusp of spoiling - they surround in a Baroque style wreath, a vast central emptiness of glowing gold, except for a single fly.

The fruits our like our own bodies and will not last, the fly waits. The placement of the fly in the centre injects memento mori into an otherwise vibrant composition. It hints that all things, even beauty and abundance, are fleeting.

Its placement in the centre draws focus and the gold background references religious and iconographic artworks where gold was used to symbolise the divine or the eternal.

On view at Château de Lantheuil until July 10.

𝒮𝒾𝒸 𝓉𝓇𝒶𝓃𝓈𝒾𝓉 𝑔𝓁𝑜𝓇𝒾𝒶 𝓂𝓊𝓃𝒹𝒾 / 𝒮𝑜 𝓅𝒶𝓈𝓈𝑒𝓈 𝓌𝑜𝓇𝓁𝒹𝓁𝓎 𝑔𝓁𝑜𝓇𝓎
2025
Oil on linen and 24k gold
50 x 45 cm

#lucyvongoetz #Rococo #momentomori #vongoetz #surrealism #XuYang #ForgetMeNot #XuYang_Art

This is one of the most important artworks in 𝐹𝑜𝓇𝑔𝑒𝓉 𝑀𝑒 𝒩𝑜𝓉

Xu Yang’s painting, 𝐼𝓉 𝒾𝓈 𝓌𝑜𝓇𝓉𝒽 𝓃𝑜𝓉𝒽𝒾𝓃𝑔. 𝐼𝓉 𝒾𝓈 𝓌𝑜𝓇𝓉𝒽 𝑒𝓋𝑒𝓇𝓎𝓉𝒽𝒾𝓃𝑔. encompasses the full conceptual depth and richness of this exhibition with that opulent subtlety that is so signature to Yang.

A few months ago Yang was speaking to me about what we leave behind when we die. Not just the legacy and memories but the objects that remain of us. Yang was saying that it is often pieces of jewellery and artworks that are kept and given to those still living.

We spoke about these mementos that function as a way of holding on to people and memories when they are gone.

The value that we can place in something is everything and nothing at the same time. This piece includes a lot of adornments and beautiful items, Yang places the gold finger at the bottom of the work to literally ‘point out’ the danger of placing value on the wrong things, this is King Midas’s finger - who was confronted with the dangerous reality of his desires. The blue morpho butterfly is a reminder that we have physical bodies and souls. Its vivid blue wings represent the vitality and presence of the physical body in the world. Its brief but brilliant life reflects the transience of physical existence.

Yang’s use of gold in this work moves us into a state of reflection.

𝐼𝓉 𝒾𝓈 𝓌𝑜𝓇𝓉𝒽 𝓃𝑜𝓉𝒽𝒾𝓃𝑔. 𝐼𝓉 𝒾𝓈 𝓌𝑜𝓇𝓉𝒽 𝑒𝓋𝑒𝓇𝓎𝓉𝒽𝒾𝓃𝑔.
2025
Oil on linen and 24k gold
50 x 45 cm

𝐹𝑜𝓇𝑔𝑒𝓉 𝑀𝑒 𝒩𝑜𝓉 | Xu Yang
Château de Lantheuil
12 June - 10 July
Weds-Sun

Images by Bater & Street @baterandstreet

#lucyvongoetz #XuYang #ForgetMeNot #XuYang_Art #chateaudelantheuil

Grace, my beautiful sister, was an artist, a creative, an original. A talented maker, full of imagination and the drive & passion to put her ideas into reality.

It is with the deepest sorrow that I put this here.

The current exhibition, Forget Me Not, planned long before any of this, is in her honour — as will any exhibition in the future.

The service to celebrate Grace’s life will be on Monday at noon. If anyone would like to join virtually, let me know.

Open today in Normandy, France | 14:30-18:30

𝐹𝑜𝓇𝑔𝑒𝓉 𝑀𝑒 𝒩𝑜𝓉 | Xu Yang
Château de Lantheuil
12 June - 10 July
Weds-Sun

𝒰𝓃𝓉𝒾𝓉𝓁𝑒𝒹 (𝒮𝑜𝒸𝒾𝑒𝓉𝓎 𝒫𝑜𝓇𝓉𝓇𝒶𝒾𝓉 - 𝐿𝑒 𝒫𝑜𝓊𝒻 𝒮𝑒𝓃𝓉𝒾𝓂𝑒𝓃𝓉𝒶𝓁)
2024 - 2025
Oil on linen
70 x 60 cm

Installation view by Bater & Street @baterandstreet

Part of Xu’s ‘Society Portrait’ series, 𝒰𝓃𝓉𝒾𝓉𝓁𝑒𝒹 (𝒮𝑜𝒸𝒾𝑒𝓉𝓎 𝒫𝑜𝓇𝓉𝓇𝒶𝒾𝓉 - 𝐿𝑒 𝒫𝑜𝓊𝒻 𝒮𝑒𝓃𝓉𝒾𝓂𝑒𝓃𝓉𝒶𝓁) features an elaborately adorned Chihuahua. This series was inspired by Andy Warhol’s society portraits, and within this Xu treated the painting of animals exactly as she would people.

The dog sits proudly on a sumptuous cushion, its tiny head crowned with a wig, inspired by one of the most sensational wig and hair styles of the 18th century – the pouf. Found among the women courtiers of Louis XVI and Marie Antoinette in France.

Xu’s subject is surrounded by fine fabric, and has a little Chinese opera mask on its collar.

𝒰𝓃𝓉𝒾𝓉𝓁𝑒𝒹 (𝒮𝑜𝒸𝒾𝑒𝓉𝓎 𝒫𝑜𝓇𝓉𝓇𝒶𝒾𝓉 - 𝐿𝑒 𝒫𝑜𝓊𝒻 𝒮𝑒𝓃𝓉𝒾𝓂𝑒𝓃𝓉𝒶𝓁)
2024 - 2025
Oil on linen
70 x 60 cm

𝐹𝑜𝓇𝑔𝑒𝓉 𝑀𝑒 𝒩𝑜𝓉
Château de Lantheuil
12 June - 10 July
Weds-Sun, 2.30 - 6.30pm

Images by Xu Yang. Courtesy of the artist.

#lucyvongoetz #XuYang #ForgetMeNot #XuYang_Art #vongoetz #chateaudelantheuil

www.vongoetz.uk

The doors of Château de Lantheuil are now open for, 𝐹𝑜𝓇𝑔𝑒𝓉 𝑀𝑒 𝒩𝑜𝓉

Xu Yang’s paintings and sculptures are settled into their new home, surrounded by centuries of history.

Thank you to everyone who joined us for the opening days, we couldn’t be more grateful for your support & enthusiasm.

The artwork pictured is:
𝒞𝑒𝓃𝓉𝓇𝑒𝒻𝑜𝓁𝒹 (𝒲𝑒 𝒶𝓇𝑒 𝒷𝑜𝓇𝓃 𝒶𝓁𝑜𝓃𝑒, 𝓌𝑒 𝒹𝒾𝑒 𝒶𝓁𝑜𝓃𝑒, 𝒶𝓃𝒹 𝒾𝓃 𝒷𝑒𝓉𝓌𝑒𝑒𝓃 𝓌𝑒 𝓈𝓅𝑒𝓃𝒹 𝑜𝓊𝓇 𝓉𝒾𝓂𝑒 𝓁𝑜𝑜𝓀𝒾𝓃𝑔)
2024-2025
Oil on linen
140 x 80 cm

This is one of Xu’s signature wig still-life compositions. Delicate forget-me-not flowers perch at the top, signifying the power of something seemingly small and the fragility of life. The weaving ivy leads us to a 𝒮𝑒𝓂𝓅𝑒𝓇 𝒜𝓊𝑔𝓊𝓈𝓉𝓊𝓈 tulip, the most in demand and expensive tulip during the Dutch Golden Age — referencing opulence and luxury. Much like the Dionysus grapes and life’s pleasures. A sitting Shrike is preparing attack on a near hatchling chick from the nest below. Predatory and violent nature exists within and alongside beauty. Lotus flowers spring upwards in the conquest of muddy waters - an offering of purity. The masculine Chinese opera mask looks on stoically, sweet strawberries bobbing temptingly.

Château de Lantheuil
12 June - 10 July
Weds-Sun, 2.30 - 6.30pm

Images by Bater & Street. Installation view, ‘Forget Me Not’ | Xu Yang. Courtesy of von Goetz.

#lucyvongoetz #XuYang #ForgetMeNot #XuYang_Art #vonGoetz

The flame petals of a tulip. The sitting shrike. The quiet humble wheat.

In two days, Xu Yang’s ‘Forget Me Not’ opens at Château de Lantheuil.

A reflection on memory, time, and legacy.

12 June - 10 July 2025
Wednesday - Sunday, 14:30 - 18:30

For more information please visit www.vongoetz.uk
Press: @sutton

Forget Me Not presents a lavish, reflective, and culturally layered exploration of memory, identity, and the tension between permanence and ephemerality.

Join us at the historic Château de Lantheuil, Normandy. Opening June 12, the exhibition unveils a new series of paintings, drawings, and sculptures by Xu Yang—inviting dialogue between East and West, past and present.

Save the date: 12 June – 10 July 2025

For more information please visit www.vongoetz.uk

Artist: @_xu.yang_
Image Photographers: @baterandstreet
Gallery: @_vongoetz
Curator: @lucyvongoetz
Location: @chateaudelantheuil
Host: @omgitseugenia
Press: @sutton

Forget Me Not • Xu Yang •

From 12 June to 10 July 2025 at Château de Lantheuil, presented by von Goetz.

Lucy von Goetz, Director of von Goetz & Curator of Forget Me Not, said “We are beyond excited to bring the exceptional work of Xu Yang to Lantheuil for her solo exhibition. Xu’s refined visual language, which merges the East and the West, the historic and the contemporary, the earthly and the surreal, is set to engage audiences in a dialogue with the castle’s storied past and its family art collection.”

This unique exhibition has been made possible by the kind personal permission of the Turgot family.

For more information please visit www.vongoetz.uk

Artist: @_xu.yang_
Gallery: @_vongoetz
Curator: @lucyvongoetz
Location: @chateaudelantheuil
Host: @omgitseugenia
Press: @sutton

Some installation views of our current exhibition in Battersea, ‘Enosis’ w/ @apsara.studio

Drawing upon the age-old act of commensality, Enosis takes its starting point as the tables, fruits, and rituals of union and sharing.

Bringing together fresh perspectives in contemporary painting and sculpture the exhibition gives a moment for pause. A repast that creates a hiatus in the day, the lighting of a candle lifting memories, lilies offering hope. These acts of communion and elemental union bring a togetherness lifted out of rhythmic time.

Thank you to our brilliant artists: @danielle.fretwell @ikeeabug @fraeulein_bath @felipesuzuki @garethcadwallader @marta_ravasi

Address: Apsara Studio & von Goetz
200 Battersea Park Road
SW11 4ND

Until: 27th April

Photography: James Retief (@james_retief)

von Goetz and Apsara Studio are excited to present Enosis, a new exhibition at our space on Battersea Park Road. Showcasing works by seven international artists—Johanna Bath, Gareth Cadwallader, Danielle Fretwell, Marta Ravasi, Felipe Suzuki, and Yijia Wu.

‘Enosis’ in its most simple expression, is from the Greek ‘henõsis’, meaning union. Drawing upon the age-old act of commensality, Enosis takes its starting point as the tables, fruits, and rituals of union and sharing.

Bringing together fresh perspectives in contemporary painting and sculpture the exhibition gives a moment for pause. A repast that creates a hiatus in the day, the lighting of a candle lifting memories, lilies offering hope. These acts of communion and elemental union bring a togetherness lifted out of rhythmic time.

The shared spaces and common ground of Enosis centralise the subjective experience, creating a discrete, intimate rendering of the image.

@apsara.studio @danielle.fretwell @_aliceamati @fraeulein_bath @garethcadwallader @marta_ravasi @felipesuzuki @ikeeabug

von Goetz is excited to announce Forget Me Not, a solo exhibition by Xu Yang, hosted at the Château de Lantheuil in Normandy, France, this summer.

For the exhibition, Xu Yang will develop a new body of work displayed throughout the Château, with themes of the Rococo and Asian culture.

Known for her sumptuous paintings, Xu will explore memories, legacy, and time. Her reimagined still-life paintings & intricate sculptures offer the viewer an array of intriguing symbols and narrative clues.

Placed within the context of Château de Lantheuil and its collection of portraiture and family heirlooms, Xu’s enigmatic paintings invite viewers to consider what a cultural legacy means today.

This unique exhibition has been made possible by the kind personal permission of the Turgot family.

For more information please visit www.vongoetz.uk

Artist: @_xu.yang_
Gallery: @_vongoetz
Curator: @lucyvongoetz
Location: @chateaudelantheuil
Host: @omgitseugenia
@eugeniadurandyartadvisory
Press: @sutton

Come and see ‘lasting echoes’ this week!

This is an intimate exhibition we have put on with @apsara.studio in our shared space in Battersea.

Thinking on ephemerality, landscape, and temporality. Bringing together four artists who explore shifts in our environment – works by Martine Poppe, Alina Vergnano and new commissions by Mark Jackson and Bregje Sliepenbeek. We will be there Saturday 14:00 - 17:00.

From left to right:

Martine Poppe, Pixel Pollution

Bregje Sliepenbeek, Lamenting Leaves

Mark Jackson, on newborough sands

Martine Poppe, How many strawberries are there in the Salt Sea

Alina Vergnano, Feelings Shape Forms

Installation view

von Goetz has a new base!

Collaborating with @apsara.studio headed up by @jenncellis you can find us in an old fireplace shop in Battersea, London.

To celebrate our new home we curated a hang of artworks around the themes of domesticity and the everyday.

von Goetz was excited to include the work of @tereza_cervenova and @jilltate_

An inquiry focused on the home and the everyday; interior places, recesses of the psyche, the hallways of the mind. A selection of artists considering the meanings of domestic space, exploring our understanding of intimacy and immensity, house and universe.

The home can function as a nest for dreaming, a shelter for imagining. The most fragile shell, the most delicate window, the most simple rendering.

Artworks also included by @annabloominghell, @dawn___ng, @macarenarojasstudio, André Derain, Yuko Mohri.

If you’d like to visit, please let us know. Additionally, if have an idea for a project or a collaboration, we welcome proposals, so please do reach out!

Image by @james_retief

New writing, ‘Terracotta Thresholds’ about the work of painter @jilltate_ is online (link in bio). Image: On the Edge, 2024, Oil on Wood, 150 x 120cm

‘Fork Rave’ & ‘Winds over neo’ by Lucas Dupuy (@lucas__dupuy) gouache on canvas. Part of the @__artandco charity auction. Ending 27th June.

‘Aspirational Equipment’ by Ben Edmunds (@bentedmunds), gloss paint and vinyl decals on wood with shock cords and carabiners, 40 x 55.5 cm. Part of the @__artandco charity online auction ➿

Bea Bonafini’s ‘Maenad Melt’, 100 x 200 cm, PVC, thread, paper, acrylic, beach glass and clay. Part of charity auction @__artandco - link in bio! (@beabonafini)

‘Looking out over irregular chimneys’ by artist Martine Poppe (@martinepoppe), 150 x 100 cm, oil on silk, 2019 👀

‘A place I’d like to be’ by artist Martine Poppe (@martinepoppe), 150 x 100 cm, oil on cotton, 2019. “Photography provides the entry point for the composition, however it is through painting that the content becomes isolated and unstable. Poppe’s use of the support as a frame places the plane of the painting in a liminal space, insisting neither on flatness or illusionistic space, rather a complex layering of the real and photoreal. The hazy palettes of her paintings enact distant memories; the mindful construction of a moment that has slipped from descriptive certainty, wherein objective truth is surrendered to interpretive suspense.” (©️ @vongoetzart & @oliver.morrisjones)

‘Good morning’ by Artist Martine Poppe (@martinepoppe), 160 x 110 cm, oil on polyester restoration fabric, 2019. Martine currently has a solo exhibition on view at @kristinhjellegjerde gallery 👌🏼

‘Putting my foot down’ - Harriet Bowman (@harrietbowman) at OUTPOST Gallery (@outpostgallery), 2018

Installation view of, ‘All Round-er (sad sale)’ by Harriet Bowman (@harrietbowman) exhibited in Spike Island 2018 (@spikeisland). Photography by Stuart Whipps

Harriet Bowman (@harrietbowman), detail of, ‘and the atoms began to freely pass to the larger body’ (2018), car seat, steel tubing, wet moulded leather hide. (Photography by Stuart Whipps)

Installation view of Bucolica - a solo presentation of works by Hannah Murgatroyd (@hannah_murgatroyd) ((📷 by Charles Best, courtesy of Draw Art Fair London))

‘Moving in the Bluish Light’ (Nov-Dec ‘18) a solo exhibition of Sola Olulode (@solaolulode)

Bea Bonafini’s ‘Shape-Shifting’ here photographed in the gallery @vongoetzart is now on view at @tjboulting gallery 59 Riding House Street as part of the ‘Subversive Stitch’ group exhibition, open until March 30th. (@beabonafini) 👀

Bea Bonafini’s ‘Shape-Shifting’, large scale commission for ‘Giotto’s Room’ last year. Bea Bonafini’s carpet tapestries can be said to invert the architecture of classical fresco painting, laying the image down underfoot and admitting the viewer as a narrative companion; to step into the composition of the work is to navigate the formal details of the piece—lines and colours, forms and fabrics—in addition to positioning oneself as a subject of and within the frame. This intimate encounter channels the spiritually charged environments of religious sites, whilst employing the image not as a hegemonic, totalitarian presence, but situates it as a common ground. The hierarchical structures of religious doctrine are flattened and given new life as a shared history and a unifying cultural architecture. (©️ @vongoetzart) (@beabonafini)

Pre wall days in the galleria with Rae Hicks & Jack Burton (@rae_hicks_on_gangs & @jackfrburton) part of The Story of Zebedee group exhibition last year 👀

Detail of Pablo de Laborde Lascaris’ (@pablo.lab) ‘Flama Reclinada II’ in Bronze
12 x 54 x 20 cm, part of the group exhibition curated by @miafaifa after the @fibraplatform residency in Colombia last year. Open today 10:00-14:00 👀

Maisie Cousins during the @fibraplatform Colombia residency. Works made during and after the residency are on view in the gallery for the final week this week. Thurs - Saturday 10:00-14:00 👀

Maisie Cousins for FiBRA Colombia 🇨🇴 (@maisiecousins) (@fibraplatform) This is the final week the show is open to the public, Thurs - Sat ✔️

Dan Coopey for FiBRA Colombia 🇨🇴 (@dancoopey) (@fibraplatform) Open today at @vongoetzart until 3pm ✔️

Untitled, Laurence Owen (@laurenceowen)
2019
Copperplate etching on paper, ceramic, wood, canvas.
82 x 27 x 8 cm (@fibraplatform)

Detail of Bea Bonafini’s ‘To the Sightless Knot’, 2019 (@beabonafini). Part of the @fibraplatform exhibition currently on view at @vongoetzart, curated by @miafaifa 👀 Open today until 2pm 🔝

Installation view of, ‘FiBRA’, 2019. Open this week Thurs - Sat 10am - 2pm ©️

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