Lisson Street: Lucy Raven | Richard Long | John Latham
6 December 2025 – 31 January 2026 | 67 Lisson Street, London
Coinciding with Lucy Raven’s major institutional exhibition at the Barbican’s Curve Gallery, Lisson Street presents a season of exhibitions bringing together the work of Lucy Raven, Richard Long, and John Latham, united by shared yet distinct engagements with landscape, material, and time.
Raven’s presentation, Depositions, extends the conceptual and material concerns of her film Murderers Bar (2025), which explores the largest dam removal project in North American history, through a series of luminous, translucent panels formed from sand, mud, cement, salt water, and debris sourced from the same Californian landscapes she filmed.
Created through a rigorous process of pressure and release, these works emerged from controlled studio-scale floods and simulated dam breaches staged within a steel-and-wood channel lined with silk, leaving behind sedimentary traces that register gravity, collapse, and movement as stratified imprints.
Initially developed as experimental environments for the film’s underwater sequences, the Depositions function as autonomous records of geological transformation, oscillating between landscape painting, drawing, and performative documentation, while also subtly invoking proto-photographic burial images and historical depictions of the Deposition of Christ.
A three-channel video, Dam Breach LIC (2024), shown upstairs, documents the material processes behind these works, capturing the flow of mud and water as it inscribes itself onto fabric later stretched and suspended on metallic armatures.
Following its Barbican presentation, Lucy Raven: Rounds will travel to the Institute of Contemporary Art/Boston in May 2026, while Murderers Bar remains on view at The Power Plant, Toronto, until 22 March 2026.
Alongside Raven, Richard Long presents works that reflect over five decades of walking as an artistic practice, pairing the wall-based text Dustlines (1995), which recounts a ritual journey along the historic Camino Real beside the Rio Grande, with Driftwood Line (1983), a sculpture composed of found timber.
Together, these works evoke an ephemeral, self-erasing engagement with landscape in which conceptual art, land art, and performance converge through the simple yet profound act of walking, while raw matter from the River Avon brings the physical residue of the natural world into the gallery space.
Completing the exhibition, John Latham’s works draw on his long-standing fascination with the red shale mounds near Edinburgh—industrial remnants of hydrocarbon extraction that he envisioned as a monumental reclining female form known as Niddrie Woman.
His sculptural series The N-U Niddrie Heart (1991), composed of glass, sand, and embedded books, forms the symbolic core of this imagined body, operating both as a meditation on ecological survival and as a tribute to Latham’s efforts to preserve this site, with each material embodying a different temporal scale of decay, erosion, or permanence.
Together, these presentations inaugurate the Lisson Street programme Landscope, a season that departs from conventional exhibition cycles to explore diverse artistic relationships with landscape through memory, history, literature, and material process, positioning Lisson Street as a dynamic platform for contemporary art’s evolving dialogues with the natural world.
