Nine shows are confirmed for the next eighteen months — three running now, three opening in the new year, and a rolling archive display drawn from the foundry's own photographic collection.
Use the filters to see what is open today, what is coming, or what has already closed — everything stays online with full image sets afterwards.
Open now
Nine years of ceramic and graphite work by Ilse Hartmann, shown together for the first time alongside a new four-channel sound piece recorded in her Berlin studio at first light.
Open now
Six painters asking what landscape means once every landscape has already been photographed. Mara Okonjo, Peter Vale, Ana Reyes, Dario Reyes and two invited guests.
Open now
A rotating display of forty years of gallery editions, plus a working press where visitors can watch a two-colour screenprint being pulled every Saturday at 14:00.
From 09 Jan
Drawn entirely from the building's own archive — glass negatives, casting moulds, wage books and technical drawings from the years this floor made iron rather than art.
From 06 Feb
Mara Okonjo's largest canvases to date, painted wet-into-wet over three years. The full Drift series is shown in sequence for the first time, with her notebooks alongside.
From 13 Mar
New sculpture from Ana Reyes in cast aluminium, plaster and found river material — a quiet, dense room of objects that each weigh under two kilograms.
Closed
Eleven artists working with duration — video, woven cloth and long-exposure painting. Closed but archived in full, with the exhibition film available on request.
Closed
The first survey of Vale's board paintings, tracing fourteen years of surfaces built up, sanded back and built up again. Fully documented in the gallery archive.
Closed
Our annual open submission, judged this year by the gallery's curatorial team. 480 entries, 38 works on the walls, and the purchase prize going to Dario Reyes.
Hartmann fires her stoneware to 1280°C, which gives the glaze a surface that behaves differently at every hour of the day. In the lower hall we bring general light down to 80 lux and let narrow spots do the rest — the pieces reveal themselves slowly rather than all at once.
That decision is why the room takes fifteen minutes to read properly. We built seating into the far wall and ask visitors to use it.
Installation photography is taken by our in-house team in the first week of every show and left online permanently.
No. General admission is free and unbooked, every day we're open. Ticketed entry only applies to opening previews, talks and private viewings — those go on sale roughly three weeks ahead through the Visit page.
Yes. All four halls are family-friendly and we run a free activity trail each weekend with a printed sheet from the front desk. The sound installation in After the Noise has some loud passages — headphones are available if anyone would prefer them.
Handheld photography without flash or tripod is welcome in every hall. A small number of loaned works are marked "no photography" at the artist's request — the label will tell you, and a steward can always advise.
All four halls, the print room and the café are step-free, with two lifts serving every level. Accessible toilets are on the ground and second floors, and a limited number of wheelchairs and stools can be borrowed free of charge at the entrance.
Most visitors spend around ninety minutes across all four halls. If you only have forty minutes, start in Hall B with After the Noise, then take the stairs to Hall A for Second Nature — that's the strongest route through the building.
Preview evenings include a walk-through with the curator, first access to editions, and the café open late. Places are limited to ninety.
Join a Preview Evening