Anya Gallaccio

Anya Gallaccio 1963

Lives in London. Works in London, UK, San Diego USA.
Represented by:

Annet Gelink Gallery

Anya Gallaccio often incorporates organic material in her work such as fruit, vegetables, plants, ice, and sand. Often these materials change during the course of the exhibition. Once they have left the artist's atelier nature takes over control. Flowers wither, grass grows, ice melts, fruit rots. In other works the natural course of transformation is stopped. Sprouting potatoes and broad bean pods, branches and whole tree trunks are reproduced in bronze, their lives prolonged indefinitely.

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Rudi Fuchs meets with Anya Gallaccio to discuss her exhibition 'Highway', at Annet Gelink Gallery, Amsterdam, 10.09 -- 22.10 2011
Robert Rauschenberg Foundation: interview with Anya Gallaccio
Rudi Fuchs meets with Anya Gallaccio to discuss her exhibition 'Highway', at Annet Gelink Gallery, Amsterdam, 10.09 -- 22.10 2011


ART IN REVIEW; Anya Gallaccio
''Because Nothing Has Changed,'' the installation piece that dominates Anya Gallaccio's debut exhibition in New York, lives in the mind like a great stage set. The work centers on a bluntly truncated tree that is unnaturally laden with bright red ceramic apples. But much of the drama comes from the gallery's plywood floor, which has been scorched black; it intensifies the sense of an eerie landscape, at once stark and excessive, in which nature is out of balance. Ms. Gallaccio, who was born in Scotland, lives in London and is a first-generation Y.B.A. (Young British Artist), is known for using organic materials like fruit, flowers, ice and chocolate, which decay or disintegrate while on display. With the ceramic apples and the tree, which is cast bronze, she is clearly opting for permanence, and quite successfully. Other attempts include bronze casts of a large twig of holly, 19 broad beans and their five pods, and potatoes sprouting roots. But these works, while quite seductive, conform to a high-end realism made familiar by several generations of European and American contemporary artists. A large color photograph of the artist lying at the edge of an algae-covered swamp with red flowers sprinkled about joins the current craze among photographers, especially women, for girl-in-the-landscape melodrama.
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The New York Times
Anya Gallaccio: An exhibition that's good enough to eat
It took the artist Anya Gallaccio three days to paint the walls of an old farm building with chocolate. She used 40 kilos of 70 per cent cocoa solid, confectioner-quality dark chocolate. The same stuff they use to make handmade truffles. To paint a room with melted chocolate sounds like heaven, a chocolate-lover's dream. Elbow-deep in it, licking it off your face and the walls. "It's quite hard to keep on the brush, and soon it's up your arms and all over your face. At first, everyone starts eating it and they think it's really cool to lick their fingers. But the smell becomes intense. Gradually you try harder and harder to be more careful and avoid your mouth because it becomes repulsive. I don't eat chocolate for a while afterwards," says Gallaccio. Gallaccio was shortlisted for the Turner prize in 2003 (Grayson Perry won) with a sculpture of real apples rotting on bronze trees. Much of her work uses organic materials, which disintegrate with time: ice, flowers and apples. Few of her works remain permanent. At Jupiter Artland, Edinburgh, her chocolate artwork, Stroke, is a fairy-tale idea, like Hansel and Gretel or Charlie and the Chocolate Factory. But it turns out to be a brown room with a dark bench in the centre. Were it not for the smell, you'd never know you could eat the walls. "The idea of a chocolate room sounds delicious but is almost disappointing. It feels like a small dark space. It doesn't look chocolaty, or edible. If you start looking it's painterly, you can see the marks. I kept it neutral because some people love chocolate and some people hate it. It's quite a blank open situation for the visitor to occupy in any way they wish. As with any artwork the ultimate experience is subjective," she says. There's confusion between our nose and eye. We anticipate a feast for our eye but it turns out to be for our nose. Gallaccio points out smell triggers memories in oblique ways. Our minds might end up in strange places from a whiff of chocolate. It can set off strong feelings of desire or disgust. "More traditional academic materials used in sculpture can be removed from everyday life but everyone has some kind of relationship with chocolate. There's an accessibility within it as an idea," says Gallaccio. Gallaccio first installed a chocolate room in Vienna 20 years ago. Inspired by a weekend visiting cafés where she drank and ate chocolate, she decided to install a chocolate room in the city of chocolate. The opening night was warm, and the walls glistened. Visitors licked and nibbled at the chocolate, pressed their noses to it, scraped bits off with their fingers. "I was shocked by how physical everyone got with it," she says. In a London gallery the reaction was more furtive. Secret finger scrapes on a hidden wall, names graffitied. In Japan visitor pressed their noses and mouths into the walls, which surprised the artist as she expected restraint. There's no temperature control in the room. What happens in the next two months depends on weather, visitors, and the alchemy of chocolate. Blooms of white mould might appear and as the chocolate rots the smell should intensify. When it's over they'll chuck it away. "It's like cooking," says Gallaccio. "I like cooking and being a host. You can always do something better and different, and it's not just about the food but the company and the people. Making my work is to provide the food. The people and the context change it. It's a living thing."
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The Independent
Anya Gallaccio's new installation at Tate Britain features seven large tree trunks and a lot of sugar. Just a natural extension of landscape art, says Simon Schama. Landscape art was born out of the tension between the universal and the local. Its first masters - Joachim Patinir and Pieter Bruegel the Elder - limned the earth as if born aloft on angels' wings, offering to man a glimpse of the godly view. But as soon as landscape became a gentleman's pastime, practised according to Henry Peacham's Art of Limning (1610), sketching, like collecting, became an act of possession. The picture frame became the complement to the fence and the wall, doubling their entrapment of natural space as property. The painted window of perspective presupposed, like its architectural counterpart, a bounded survey; land refashioned as park. When those parks were redesigned a century later (by the likes of Humphrey Repton and Capability Brown) in a more "natural" manner, that naturalism, when not the visible inscription of literary taste, obeyed the gaze from the interior; the lordly view. Romanticism merely substituted the museum for the country house, the ostensible tribute to wildness or Barbizon plein-air bohemianism safely trapped within the framed rectangles that crowded the walls of bourgeois galleries. Pleasure presupposed fixity, convenience, the managed view. Just occasionally artists, invariably wanderers rather than fetishists of the local (John Robert Cozens, Caspar David Friedrich, Turner, Courbet) broke free from this obligation to aesthetic management and delivered the kind of spatial ambiguities designed to disconcert and disrupt the confidence of ownership. The project of Earth and Land art in the second half of the last century has been healthily vagrant: the liberation of natural space from both frame and fence. Whether registered through Robert Smithson's wanderings through Passaic County, New Jersey (the Thoreau of the junkyards), or Richard Long's line made by walking, the found landscape dominated the artist's experience, not vice versa. Artists accepted the untranslatability of their immediate experience from natural to interior museum space and resisted any kind of transcription (painterly or sculptural) that might have suggested otherwise. Photographic records, or odometrical data of a walk, when exhibited in what Smithson called the "non-site" were, in his case, casually taken with aggressive indifference to framing, and mounted as evidence rather than aesthetic display. The incommensurability between natural experience and the demands of museum art was the point. And yet, these artists, perhaps even more than most, wanted their work to be seen, absorbed, and thought about, or the point of their provocations would be lost. And, for better or worse, museums were still (though not exclusively) the place where the appreciative or the curious would mostly encounter those provocations. A struggle ensued to find forms that could somehow be accommodated in the gallery without compromising the determination to make nature the agent and the artist the respondent, rather than the other way about. But when Long's stones came indoors they became objects of the pleasured eye; when mud went on the walls, it moved dangerously close to being pictures. The strongest of these works have been those that instead of denying the problem of translation between natural and museum, embrace it and make it the reason for the installation. Andy Goldsworthy's snow-melts, in which large, dirty snowballs are allowed to dissolve on sheets of absorbent paper, leaving behind only the marks of their own liquefaction, strike me as among the most graceful of those lost-and-found-in-translation efforts. And Walter de Maria's Earth Room works in New York and Germany, where 250 cubic yards of earth are packed two feet deep into a large room, are among the most successfully confrontational. But no artist has pursued the indoor-outdoor paradox, nor seen the mutability of nature as the essence of its resistance to the museum aesthetic, with as much quizzical intelligence and passionate intensity as Anya Gallaccio, whose installation Beat is about to go on show at Tate Britain. She's a strict girl: no photos; no permanent installations; not a trace of the picturesque; but always and ever more ingeniously, a commentary on the appropriation of nature for human consumption. Yet she manages this without preachy eco-didacticism. Some of her strongest work is full of affection for our domestication of nature. My own favourite is Glaschu (1999), in which a pattern outline from a paisley carpet, drawn from flowers and foliage, pierces a thinly poured layer of cement floor in an elegant neo-classical interior, so that living verdure sprouts from the meandering cracks. The theme of nature reclaiming its territory from the ruins of urbanity is old and poignant. Its manifestos were spelled out in the 18th century in Piranesi's Veduti, where rococo tendrils wind about the mossy masonry of ruined Rome, and in the Anglo-American Hudson Valley painter Thomas Cole's extraordinary series The Course of Empire (1833-6), where imperial hubris is eventually engulfed once more in chastening vegetation. Gallaccio's installation likewise deconstructs the premises of classical architecture, treading lightly in the dense grove of 18th-century readings of Vitruvius, and in particular his assumption that the origins of classical building form were to be found in the refinement of timbered elements into column, pediment and architrave. For Tate Britain, where Gallaccio has placed a glade of 200-year-old oak trunks in the Duveen galleries, the conceit is especially apposite. Oak was the indispensable material of imperial naval power in the 18th century, and thus the precondition for the accumulation of wealth that allowed for the Palladian building in which the gallery is housed. But empires pass; the standing columns of power and wealth are returned to the stripped-down form of bark and timber, and the seven trees stand as a solemn grove of memory. The Tate installation features a carpet of sugar. It ought to have been cane rather than beet, for it was the floating forests of oak that made the sugar plantations of the Caribbean, bringing together in unholy coupling the self-congratulatory mythology of the oaks of freeborn England with the reality of the slave empire; the bitter with the sweet. But perhaps this would have been too neat for Gallaccio, for whose nimble talent anything resembling the predictable is out of the question.
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The Guardian


Anya Gallaccio 1963 Born in Paisley, Scotland Lives and works in London, UK Education 1985-1988 Goldsmiths’ College, University of London, UK 1984-1985 Kingston Polytechnic, London, UK Residencies and awards 2004 Headlands Center for the Arts, Sansalitos, California, US 2003 Nominee for the Turner Prize, Tate Britain, London, UK 2002 1871 Fellowship, Rothermere American Institute, Oxford, UK San Francisco Art Institute, California, US 1999 Paul Hamlyn Award for Visual Artists, Paul Hamlyn Foundation Award, London, UK 1999 Kanazawa College of Art, JP 1998 Sargeant Fellowship, The British School at Rome, IT 1997 Jan-March Art Pace, International Artist-In-Residence Programme, Foundation for Contemporary Art, San Antonio Texas, US Solo Exhibitions 2017 To see if time was there, Austin Contemporary, Austin, TX Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, US Museum of Contemporary Art San Diego, San Diego, CA 2014 Stroke, Jupiter Artland, Edinburgh, UK SNAP, Art at the Aldeburgh Festival, Suffolk, UK Blum&Poe, Los Angeles, US 2013 This much is true, Artpace, San Antonio, Texas, US Creation/destruction, The Holden Gallery, Manchester, UK 2012 Red on Green, Jupiter Artland, Edinburgh, UK 2011 Highway, Annet Gelink Gallery, Amsterdam, NL Where is Where it’s at, Thomas Dane Gallery, London, UK 2010 Unknown Exhibition, The Eastshire Museums in Scotland including the Dick Institiute, the Annet Gelink Gallery, Amsterdam, The Netherlands Baird Institute and the Doon Valley Museum, Kilmarnock, UK 2009 Inaugural Exhibition, Blum & Poe Gallery, Los Angeles, CA, US So Blue Coat, Liverpool, UK Lehmann Maupin Gallery, New York, US 2008 Comfort and Conversation, Annet Gelink Gallery, Amsterdam, NL That Open Space Within, Camden Arts Center, London, UK Kinsale Arts Festival, Kinsale, IE 2007 Three Sheets to the Wind, Thomas Dane Gallery, London, UK Wood for the Trees and Falling Leaves, Gimpel Fils, curated by Alice Correira, London, UK Thomas Dane Gallery, London, UK 2006 One Art, Sculpture Center, New York, US Galerie Max Hetzler, Berlin, DE Galeria Leme, Såo Paulo, BR 2005 Shadow on the things you know, Blum & Poe, Los Angeles, US Silver Seed, Mount Stuart, Isle of Bute, Scotland, UK The Look of Things, Palazzo delle Papesse, Siena, IT 2004 Love Is Only A Feeling, Lehmann Maupin Gallery, New York, US 2003 Sometimes with one I Love, Annet Gelink Gallery, Amsterdam, NL De verbeelding, Zeewolde, NL Ikon Gallery, Birmingham, UK Love Is Only A Feeling ,Turner Prize Exhibition, Tate, London, UK 2002 Beat, Duveen Sculpture Commission, Tate Britain, London, UK 2001 Blessed, Lehmann Maupin Gallery, New York, US 2000 Falling from grace, Annet Gelink Gallery Amsterdam, NL Falling from grace, Projektraum Kunsthalle Bern, CH Now the leaves are falling fast, fig-1, London, UK 1999 Glaschu, Tramway at Lanarkshire House, Glasgow, UK All the rest is silence, Anya Gallaccio at Sadler's Wells, London, UK 1998 Chasing Rainbows, Delfina Studios, London, UK Two sisters, Minerva basin (for Locus + and Artranspennine), Hull, UK Chasing Rainbows, Bloom Gallery, Amsterdam, NL 1997 Art Pace, San Antonio, Texas, US Keep off the grass, Serpentine Gallery Lawn, London, UK Blum and Poe, Los Angeles, US 1996 Intensities and Surfaces, Wapping Pumping Station, London, UK (for the Woman's Playhouse Trust) Ars Futura Galerie, Zürich, CH Harvest of the winter months, Galerie im Künstlerhaus, Bremen, DE Absolute, Galerie Rodolphe Janssen, Brussels, BE A Multiple, Riding House Editions, London, UK 1995 Stephen Friedman, London, UK Towards the Rainbow, Angel Row Gallery, Nottingham, UK 1994 La dolce vita, Stephania Miscetti, Rome, IT stroke, Karsten Schubert Ltd., London, UK Couverture, Filaile, Basel, CH Stroke, Blum and Poe, Los Angeles, US 1993 Kim Light Gallery, Los Angeles, US Ars Futura Galerie, Zürich, CH Brown on white, Galerie Krinzinger, Vienna, AT 1992 Red on green, ICA, London, UK 1991 Karsten Schubert Ltd., London, UK Group Exhibitions 2019 The Aerodome – An exhibition dedicated to the memory of Michael Stanley, Ikon Gallery, Birmingham, UK NOW, Scottish Gallery of Modern Art, Edinburgh, UK 2018 SUPERPOSITION: Equilibrium & Engagement, 21st Biennial of Sydney, AU Stage of Being, Museum Voorlinden, Wassenaer, NL 2017 Connected vessels, Bunkier Sztuki Gallery, Krakow, PL Poor Art, Arte Pover: Italian Influences, British Responses, Estorick Collection, London, UK Coming Out: Art and Culture 1967-2017, Walker Art Gallery, Liverpool, England From Duchamp to Cattelan. Contemporary Art on The Palatine, Roman Forum, Rome, IT [Re]construct: An Arts Council Collection exhibition, Yorkshire Sculpture Park, Yorkshire, UK On the Nature of Things, Annet Gelink Gallery, Amsterdam, NL 2016 Plant Culture, Attenborough Arts Centre, Leicester, UK Flora, Aberystwyth Arts Centre, Wales Making & Unmaking: An exhibition curated by Duro Olowu, Camden Arts Centre, London, United Kingdom 2015 About Trees, Zentrum Paul Klee, Bern, CH Beyond Limits. Sotheby’s at Chatsworth : A Selling exhibition, Chatsworth, Derbyshire, UK Then for Now, Delfina Foundation, London, UK Future Seasons Past, Lehmann Maupin, New York, NY 2014 InSite: Four Rehearsals on that which is public, on another scenario, Proyecto Siqueiros: Sala de Arte Publico Siqueiros – La Tallera, Cuernavaca, Mexico Phantoms in the Dirt, Museum of Contemporary Photography, Chicago, US Stroke, Jupiter Artland, Edinburgh, Scotland 2013 Something about a tree, FLAG Art Foundation, New York, USA Performer as Curator, The Lowry, Salford, UK Creation/Desctruction: Anya Gallaccio, Mark Lewis, Rut Blees Luxenburg, The Holden Gallery, Manchester, UK Green acres: Artist Farming Fields, Greenhouses and Abandoned Lots, Arlington Art Center, Arlington, USA The house of seven gambles, University Galleries, Normal (IL), USA Tipping Point, Wolverhampton Art Gallery, Wolverhampton, UK Chasing Rainbows, Annet Gelink Gallery, Amsterdam, NL The House of the Seven Gables, University Galleries, Illinois State University College of Fine Arts, Illinois, US 2012 VIP Showroom, Annet Gelink Gallery, Amsterdam, NL Dissecting Nature, Quint Contemporary Art, La Jolla, US THIS THIS MONSTER THIS THINGS, Focal Point Gallery, Essex, UK Green Acres: Artists Framing Fields, Green Houses and Abandoned Lots, Contemporary Art Center Cincinnati, Ohio, US I Followed you into the water, Lehmann Maupin Gallery, New York, NY 2011 Ideal Home, Chelsea Space - Chelsea College of Art and Design, London, UK Vantage Point, Oceanside Museum of Art, Oceanside, US 2010 The Drawing Room, The Bakery, Annet Gelink Gallery, Amstrdam, NL Thomas Dane Gallery, London, UK On and on, La Casa Encendida, Madrid, ES Buon Domani\A Better Tomorrow, Studio Stefania Miscetti, Rome, IT Painting and Sculpture, Lehmann Maupin, New York, US Eat Art. Vom Essen in der Kunst, Kunstmuseum Stuttgart – Galerie der Stadt Stuttgart, Stuttgart, DE From Here to There, Herbert Art Gallery & Museum in collaboration with the Arts Council Collection, Coventry, UK Alpha &, On Stellar Rays, New York, US On the Edge of the World, John Hope Gateway Gallery, Edinburgh, UK Eating the Universe – Vom Essen in der Kunst, Galerie im Taxispalais, Innsbruck, AT 2009 Eating the Universe. Vom Essen in der Kunst, Kunsthalle Duesseldorf, Duesseldorf, DE Radical Nature, The Barbican, London, UK Ferne Naehe. Natur in der Kunst der Gegenwart, Kunstmuseum Bonn, Bonn, DE Pot Luck: Food And Art, The New Art Gallery Walsall, Walsall, UK PhotoBooth, Jealous Gallery, London, UK 4x4, Bluecoat Gallery, Liverpool, UK 2008 If I was a painter, but then again, no, Kinsale Arts Week, Charles Fort, Kinsale, IE Living Flowers: Ikebana and Contemporary Art, Japanese American National Museum, Los Angeles, US Nature Interrupted, Chelsea Art Museum, New York, US Nina in Position, Artists Space, New York, NY, US Turner Prize: A Retrospective (touring exhibition), Tate Britain, London, UK; Moscow Museum of Modern Art, RU and Mori Art Museum, Tokyo, JP Martian Museum of Terrestrial Art, Barbican Centre, London, UK Freeze 20, The Hospital, London, UK Red Wind, Blum & Poe, Los Angeles, CA, US 2007 Wood for the Trees and Falling Leaves, Gimpel Fills, (curated by Alice Correia), London UK Apres la Pluie, Musée departemental d’art contemporain de Rouchechouart, FR Chanel, Pushkin State Museum of Fine Arts, Moskow, RU Kim Light Gallery Early 90’s, Kim Light Lightbox, Los Angeles, CA, US Relationships: Contemporary Sculpture, York Art Gallery, York, UK Sparkle then Fade, Tacoma Art Museum, Tacoma, WA, US The Flower of Life: an exhibition about art, love and nature, James Hyman Gallery, London, UK Turner Prize. A Retrospective (touring exhibition), Tate Britain, London, UK; Moscow Museum of Modern Art, Moscow, RU; Mori Art Museum, Tokyo, JP Play, Bearspace, Cello Factory, London, UK 2006 Still Life, New Art Centre, Wiltshire, UK Core, Illuminate Productions, Union Works, London, UK If It didn’t exist you’d have to invent it...A partial Showroom history, The Showroom, London, UK Toutes Compositions Florales, Counter Gallery, London, UK Too Much Love, Angles Gallery, Santa Monica, CA, US 2005 Monuments for the USA, CCA Wattis Institute for Contemporary Arts, San Francisco, US, White Columns Gallery, New York, US Sad Songs, University Galleries, Illinois State University, Illinois, US 2004 Forest, Wolverampton Art Gallery, Wolverampton, UK Von Pop bis Heute, Das Grosse Fressen, Kunsthalle Bielefeld, Bielefeld, DE Art of the garden, Tate, London, UK Turning Points: 20th Century British Sculpture, Tehran Museum of Contemporary Art, IR Domestic (Futility), New Art Centre, Wiltshire, UK Vis Vitalis, Centraal Museum Utrecht, NL Lust Warande 04, Triennial on Contemporary Art, Tilburg, NL 2003 Urban Baroque, Plane Space, New York, US Purloined Nature, Kawamura Memorial Museum of Art, JP FlowerPower, Norwich Castle Museum & Art Gallery, The Millennium Galleries, Sheffield, UK Blum & Poe, Los Angeles, US Micro Macro, Budapest, BG 2002 Art and Nature, Pavillon de Verbeelding, NL Blast to Freeze, British Art in the 20th Century, Kunstmuseum Wolfsburg, DE In Print, The Art Pavilion, Belgrade, Yaroslavl Museum of Fine Arts, Urals Museum of the Youth, Yekaterinburg, Centre of Graphics and Printmaking, Akhmatova Museum and .. Novosibirsk Fine Art Gallery Words from the Arts Council Collection, City Museum & Art Gallery, Plymouth, UK; Arts .. Centre, Aberystwyth, UK; City Art Gallery, York, UK; Gallery, Oldham, UK and The City Gallery, Leicester, UK (selected by Isobel Johnstone and Fiona Bradley) Caldic Collection in Boijmans Van Beuningen Museum, Rotterdam, NL Different States, Spacex Gallery, Exeter, UK 2001 En verder... Annet Gelink Gallery, Amsterdam, NL Field Day, sculpture from Britain, Taipei Fine Arts Museum, TW artline 5, nature and architecture (cur. by Jan Hoet), Borken, DE arte y naturaleza, Montemedio Arte Contemporaneo, Cadiz, ES Egofugal: Fugue from Ego for the Next Emergence, Istanbul Biennale (cur. by Yuko Hasegawa), TR Multiplication, A British Council touring exhibition of Artists' Multiples, National Museum of Art, Bucharest, RO; Muzeul de Arta, Brasov, RO; Muzeul Brukenthal, Sibu, RO and .. then to venues in Croatia, Turkey, Russia, Estonia and Poland in 2003 Pawel Althamer, Anya Gallaccio, Amden, CH 2000 Lemon Tree Hill, Asprey Jacques, London, UK Art in the park, Compton Verney (cur. by Locus +), UK The Greenhouse effect, Serpentine Gallery, London, UK The Invisible Touch, Kunstraum Innsbruck, AT 1999 60s/90s Two Decades of Art and Culture, Towner Art Gallery and Museum Eastborne, US Prime, Dundee Contemporary Arts (curated by Andrew Nairne and Katrina Brown) Do Paintings Dream of Veronese Green? Elga Wimmer, New York, US (curated by Maia Damianovic) Graphic! British prints Now Yale centre for British Art, New York, US Viereck und Kosmos :Amdenener Rundang Amden, Switzerlarland, CH (Roman Kurzmeyer) Releasing Senses, Anya Gallaccio, Christian Marclay, Muraoka Saburo, Martin Walde. Tokyo Opera City Art Gallery, Tokyo, JP (Curated by Mami Kataoka) Natural Dependency, Jerwood Gallery, London, UK Flower Market, Fruitmarket, Edinburgh, UK 1998 Real Life: New British Art, British Council touring exhibition, Tokyo MOCA, Ashiya City Museum, Toyo, JP Thinking Aloud, (curated by Richard Wentworth) National Touring Exhibitions, Kettles Yard Cambridge; Cornerhouse, Manchester and Camden Arts Centre, London, UK Organic, Les Abattoirs,Toulouse, FR Fifty years of Sculpture Works from the Arts Council Collection, Lothbury Gallery, London, UK Still, Laurent Delaye Gallery, London, UK Here to Stay: Arts Council collection purchases of the 1990s, National Touring Exhibitions, Plymtouth Arts Centre, Aberystwyth Arts Centre, The Metropole Arts Centre, Folkstone, The Potteries Museum and Art Gallery, Stoke-on-Trent, Laing Art Gallery, Newcastle, and Turnpike Gallery, Leigh (selected by Susan May) Les Capteurs de Rêves, La Biennale de Montreal, Montreal, CA 1997 Material Culture: The Object in British Art of the 1980s and ‘90s, Hayward Gallery, London, UK (curated by Michael Archer and Greg Hilty) Real Life- New British Art, Tochigi Prefectural Museum, Fukuoka Art Museum, Hiroshima, JP; City Museum, Tokyo, JP; MOCA, Ashiya City Museum, British Council Kings Cross planting project, Camden Council and Public Art Development Trust Pictura Britannica, MOCA, Sydney, AU Private Face/Urban Space, A new generation of artists from Britain, The Gasworks, Athens, GR (curated by Katerina Gregos and Henry Meyric Hughes) Der Verloren Garten, Kunsthalle Palazzo, Liestral, CH (curated by Roman Kurzmeyer) 1996 Private View: Contemporary British and German Artists, A New Collection for John and Josephine Bowes, The Bowes Museum, Barnard Castle, Durham, UK From Figure to Object: A century of Sculptors’ Drawings, Frith Street Gallery, London and Karsten Schubert, London, UK The Pleasure of Aesthetic Life, The Showroom, London, UK Time Wise, Swiss Institute, New York, US 1995 Art Unlimited: Multiples from the 1960's and 1990's, National Touring Exhibitions Anya Gallaccio and Fortuyn O'Brien, Bloom gallery, Amsterdam, NL Where you were even now, Kunsthalle Winterthur (curated by Roman Kurzmeyer)) Brilliant, Walker Arts Centre, Minneapolis; CAM, Houston, Texas, US The British Art Show 4, National Touring Exhibition: Castlefield Gallery, Manchester, Edinburgh: Cardiff, UK Chocolate! The Swiss Institute, New York, US On Beauty, Regina Gallery, Moscow, RU (curated by Dan Cameron) 1994 Domestic Violence, Gio Marconi, Milan, IT (curated by Alison Jaques) Insite, 94, MOCA, San Diego; Agua Caliente, Tijuana, MX Art Unlimited: Multiples from the 1960s and 1990s, Sarah Staton Supastore Boutique..., Luara Genillard Gallery, London, UK Le Shuttle, Kunstlerhaus Bethanien, Berlin, DE South Bank Centre touring exhibition Punishment and Decoration, Hohenthal und Bergen, Cologne, DE (curated by Micheal Corris) Choix de Bruxelles, Espace Jacqmotte, Brussels, BE 1993 Home Alone, with Angus Fairhurst, 85 Charlotte Street, London, UK Mandy loves Declan 100%, Mark Boote Gallery, New York, US Ha-Ha, Spacex Gallery, Exeter, UK Yours, Wooster Gardens, A Group show, (curated by Michael Jenkins) Le Principe de Réalité, Villa Arson, Nice, FR Le Jardin de la Vierge, Musée Instrumental, Brussels, BE 1992 Fith Anniversary Exhibition, Karsten Ltd, London, UK Life Size, Museo D`Arte Contemporanea, Prato, IT A Group Show, (Curated by Clarrissa Dalrymple) Barbara Gladstone Gallery and Stein Gladstone Gallery, New York, US 20 Fragile Pieces, Glerie Barbara et Luigi Polla, Geneva (curated by Gianni Romano) With Attitude, Galerie Rodolphe Janssen, Brussels, BE 15/1, Malania Basarb Gallery, London, UK Sweet Home, Oriel Mostyn Gallery, Gwynedd, UK; South London Gallery, London, UK; Newlyn Art Gallery, Penzance, Cornwall, UK; Aberystwyth Arts Centre, Aberystwyth, UK 1991 The Times; Londons Young Artists, Art'91 Olympia, London, UK Museum of Installation, Site Three. Surrey Docks, London, UK Broken English, Serpentine Gallery, London, UK Rachel Evans, Anya Gallaccio, Bridget Smith, The Clove Building, London, UK Confrontaciones, Palacio de Velázquez, Madrid, ES 1990 Next Phase, Wapping Pumping Station, London, UK East Country Yard Show, Surrey Docks, London, UK 1989 The Drum Show, Broadgate Arena, London, UK New Year, New Talent, Anderson O`Day, London, UK 1988 Poetic Figurations in the Eighties, Laudale House, London, UK Freeze, Surrey Docks, London, UK Artists Publications / Monographs 2013 Anya Gallacio. Artist book about her work going back to 1988, Ridinghouse, UK 2005 Anya Gallaccio. Silver Seed. Artist book on the ocassion of the exhibition at Mount Stuart, Isle of Bute, Scotland, UK 2003 Anya Gallaccio. Artist book on the ocassion of the exhibition at the Ikon Gallery, Birmingham, UK 2002 Anya Gallaccio. Beat. Artist book on the ocassion of the exhibition at tate Britain, London, UK 1999 Anya Gallaccio. Chasing Rainbows, Artist book on the ocassion of the exhibition ‘Glaschu’ at the Old Court House, Glasgow, Scotland, Tramway and Locus 1993 Anya Gallaccio, exhibition catalogue, Galerie Krinzinger, Vienna 1993 1991 Broken English. exh. cat., essay A. Graham-Dixon, London, Serpentine Gallery Collections Het Stedelijk Museum Amsterdam, The Netherlands Caldic Collection, The Netherlands Museum Voorlinden, Wassenaar, The Netherlands ABN Amro, The Netherlands