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.

Henry Hudson pushes painting until it’s winking at geology. The scagliola works; pigmented plaster layered on canvas, sealed with beeswax feel like “fossilised postcards”, in Hudson’s own words.

Turner’s dissolutions and Monet’s light watch over them.

In a Jungian sense the work’s unruly materiality performs the return of what painting often represses; its bodily, impasto substrate.

Book an appointment to see 𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨

On view until 27th June

info@vongoetz.uk

Jin Han Lee’s painting, ‘Where We Meet’ was partly influenced by the artist’s reading of Tolstoy’s novel, ’Resurrection’.

Tolstoy’s story centres around a Prince seeking spiritual redemption for a past sin. The work explores the collision and eventual reconciliation between past and present selves.

At the centre of the painting a bright yellow pane opens like a sanctuary, a contained zone of warmth and stability. Lee depicts the meeting of two personas (past and present) in this section. In contrast the area outside this space signifies the tension of an unreconciled self, with a sense of danger, where gestures become more volatile. Lee weaves the work inwards to that brilliant sun of self-integration and peace.

“There are many faiths, but the spirit is one — in me, and in you, and in him. So that if everyone believes himself, all will be united; everyone be himself and all will be as one.” – Tolstoy

Photography: @baterandstreet

Yijia Wu’s work positions “home” as an uncertain construct, made and unmade through everyday objects. Fallen Pear is carved from alabaster alongside a delicately cast metal spoon as its stem.

The work plays with a Chinese cultural taboo in which the act of “sharing a pear” (分梨, fēn lí) is avoided because it is a homophone for “separation” or “parting” (分离, fēn lí). Within this linguistic overlap, a simple gesture - cutting and sharing fruit - becomes symbolically charged, carrying the potential to fracture relationships.

Wu transforms the pear into a firm, indivisible form that resists the act it culturally prohibits. This sculpture shows the desire for connection and the inevitability of distance, a profound expression of enduring attachment.

On view as part of 𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨 until 27th June.

info@vongoetz.uk

𝒞𝑒𝓃𝓉𝓇𝑒𝒻𝑜𝓁𝒹 (𝐻𝑜𝓌 𝓁𝑜𝓃𝑔 𝒾𝓈 𝓉𝒽𝑒 𝒻𝓁𝑒𝑒𝓉 𝑜𝒻 𝑜𝓃𝑒 𝓁𝒾𝒻𝑒𝓉𝒾𝓂𝑒?) one of Xu Yang’s intricate still life paintings, offers us identity as theatre and shrine.

Emerging from a deep engagement with Chinese mythology, Rococo excess, and the coded language of objects, Xu’s painting operates as psychic tableau.

At the base of the still life sits the hulu vessel, a traditional Chinese vase associated with fortune and spiritual containment. These vases were historically imagined as a vessel for immortals and divine elixirs. Xu transforms it into a container of psychic inheritance, placing upon its lower bulb an opulent Dutch still life of lobster, lemons, bread and wine: symbols of abundance and extravagance that stand in tension with the quieter ethics embodied in the wheat and farmer painted above and inverted.

On view as part of 𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨 until 27th June.

Imagery - @baterandstreet

Recent write up of the exhibition, 𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨 in Salon Privé Magazine.

We will be open this Saturday, 13th June from 1-4pm. Otherwise do reach out to book an appointment.

info@vongoetz.uk

Link to article in bio

Installation view, 𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨.

Max Bainbridge, ‘Hallowed’ (left)

The artist’s monumental sculpture, ‘Hallowed’ is a mighty section of horse chestnut tree that Bainbridge has hollowed out by hand. He describes this process as “coring”. A painstakingly physical mission, the work retains the original footprint of the fallen tree and becomes a sort of skin. This act of removal is inherently symbolic for Bainbridge, to see what is inside something, what is underneath, to extract the within.

This presence of absence makes me think of saudade. A Portuguese word used to describe a profound longing for something absent. It is one of those almost untranslatable words. It is not entirely negative, Portuguese writer, Manuel de Melo describes it as, “a pleasure you suffer, an ailment you enjoy.”

—

Beatrice Hasell-McCosh, ‘Daisies and Alliums’ (right)

In ‘Daisies and Alliums’, delicate washes of watercolour show an imagined garden in a state of quiet attentiveness. The work’s pale greens, muted violets and soft yellows seem to breathe across the paper.

Photography - @Baterandstreet

On view until 27th June.

Thank you to everyone who came to support the opening weekend of 𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨.

We are open by appointment only until 27th June. Get in touch! info@vongoetz.uk

Installation view of ‘Whisper into the Void’ by Anna Blom (left) and ‘Serendipity in the Air’ by Jessie Stevenson (right). Photography by Bater and Street.

@annabloominghell
@jessiemstevenson
@baterandstreet

Opening to the public 31 May, 𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨 brings together 17 contemporary artists at the historic Crowsley Park.

In trying to understand anything, we look for a ‘way in’. What is the entry point to allow further unravelling? The way in here, is between.

This exhibition situates itself at the intersection of inner and outer worlds, of psyche and ecology.

Dissociation thrives on the denial of death that began with mythologies of immortality and is culminating in Silicon Valley’s lurid and lucrative dreams of redesigning human nature, of downloading the mind onto disembodied machines and reducing the soul to a datum. The technosphere has started to overlay the ecosphere.

Glen Slater in his book, ‘Jung vs Borg’ writes; “It is the psyche that contains the pursuit of the angelic, the claims of the animal body, and the structures and dynamics that join the two. It is the psyche that generates and insists upon the symbolic expressions of culture, which are often based on the transformative and aspirational power of ordinary, even elemental, things — mountains and rivers, suns and moons, fire and rain — thereby reminding us of the inextricable bond between mind and world.”

Art supposes that beauty is not an exception - is not in despite of - but is the basis for an order.

Art does not imitate nature, it imitates a creation, sometimes to propose an alternative world, sometimes to amplify, to confirm, to make social the brief hope offered by nature.

Art is an organised response to what nature allows us to glimpse occasionally. Art sets out to transform the potential recognition into an unceasing one. It proclaims man in the hope of receiving a surer reply… the transcendental face of art is always a form of prayer.

Jung saw natural life as the nourishing soil of the soul.

Artists: @forestandfound @fraeulein_bath @alicjabiala @annabloominghell @salvatoreluciofiorello @laviniaharrington @beatricehasellmccosh @leejinhanlee @callumharveyartist @henryhudson_bk @jemima_moore_ @tereza_cervenova @martinepoppe @jilltate_ @ikeeabug @_xu.yang_ @jessiemstevenson

Image ‘Winter Rose’ Johanna Bath, photo @baterandstreet

Opening next month >>>

𝘼 𝙋𝙡𝙖𝙘𝙚 𝘽𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙋𝙞𝙣𝙚𝙨

Art, Nature and the Transcendent Function

Drawing on Carl Jung’s concept of the tension of opposites the dynamic interplay that gives rise to consciousness and meaning. The artists represented approach landscape not as a backdrop for human experience, but as a field of relational forces that condition both thought and being.

For Jung, psychological wholeness emerges not from resolving opposites but from holding them in productive tension. This curatorial proposition reframes the act of engaging with land and environment as a psychological encounter.

The pines, with their verticality, their rootedness and their continual shedding, become emblems of this condition. The pines hold the ground and reach skyward; they are visible and hidden in a single form.

Artists: @forestandfound @fraeulein_bath @alicjabiala @annabloominghell @salvatoreluciofiorello @laviniaharrington @beatricehasellmccosh @leejinhanlee @callumharveyartist @henryhudson_bk @jemima_moore_ @tereza_cervenova @martinepoppe @jessiemstevenson @jilltate_ @ikeeabug @_xu.yang_

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

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