• Céline Condorelli, Installation view, Models for a Qualitative Society (2016), Kunsthalle Lissabon, Lisbon. Photograph by Bruno Lopes.

  • Céline Condorelli, After Image (Gray and Bayer) (2015). Installation view, Display Show, Eastside Projects, Birmingham. Photograph by Stuart Whipps.

  • Céline Condorelli, Corps à Corps [Head On] (2016). Installation view, Gwangju Biennale. Photograph by Johann Arens.

  • Céline Condorelli, Average Spatial Compositions (2015). Installation view, Henie Onstadt Museum, Oslo.

  • Céline Condorelli, White Gold & Support Structure, Red (2012). Installation view, Hangar Bicocca, Milan, 2015. Photograph by Jacopo Rinaldi.

Céline Condorelli

6 May–15 July 2017

The IMA is pleased to present the first solo exhibition in Australia by Céline CondorelliCorps à Corps.

Condorelli will treat the IMA spaces, both indoor and outdoor, as case-studies in what an exhibition can be, creating diverse environments where everything from climate to furniture are integral features. As part of the exhibition, a new garden is being created for the IMA’s courtyard, developed from a co-commission by the IMA and the 11th Gwangju Biennale, with support from the Keir Foundation. The immersive work will provide shade and seating for visitors amongst native and naturalised plant species, and propose the garden as exhibition.


Condorelli is an artist who lives and works in London, UK and Milan, Italy; she is the author and editor of Support Structures, Sternberg Press (2009), and one of the founding directors of Eastside Projects, Birmingham, UK. Recent exhibitions include bau bau, Hangar Bicocca, Milan, Italy; The Company She Keeps, Van Abbemuseum, Eindhoven, The Netherlands; Céline Condorelli, Chisenhale Gallery, London, UK; Ten Thousand Wiles and a Hundred Thousand Tricks, MuHKA, Antwerp, Belgium; Additionals, Project Art Centre, Dublin, Ireland; Things That Go Without Saying, Grazer Kunstverein, Austria; and Surrounded by the Uninhabitable, SALT Istanbul, Turkey.



Céline Condorelli: Corps à Corps is generously supported by the Kier Foundation.