Market dispatch·London
Lisson Takes on Global Representation of Mira Schendel's Estate
Lisson will represent the Estate of Mira Schendel worldwide alongside São Paulo's Gomide & Co, opening with a 2027 New York survey of her works on paper. The Swiss-born, Brazil-based artist first showed with Lisson in 1968.

Lisson has announced global representation of the Estate of Mira Schendel, working in collaboration with Gomide & Co of São Paulo. The Brazilian-Swiss artist (1919–1988), one of the twentieth century's most prolific experimental practitioners, first exhibited at Lisson in 1968 in two shows after meeting founder Nicholas Logsdail in the 1960s; the new partnership closes a circle more than half a century old. The programme begins in 2027 with an extensive survey of Schendel's works on paper at Lisson New York, including a never-before-seen series of drawings. Paper was central to her practice — the Monotipias, made on Japanese rice paper given to her by physicist and critic Mário Schenberg, turned words and images into constellations of suspended meaning — and a forthcoming book published by Buchhandlung Walther und Franz König with Luxembourg + Co. and Gomide & Co. will explore the relationship between colour and language in her work. Before the New York show, Lisson will spotlight her practice in a group exhibition this November, while Luxembourg + Co. in London opens Mira Schendel: In Transit on October 12, her first London exhibition in over a decade following the landmark 2013 Tate Modern retrospective. Alex Logsdail, Lisson's CEO, called Schendel 'an absolute visionary,' citing her long-standing ties to the gallery's programme — Hélio Oiticica, for one, was a key influence on her experimental style — and the chance to exhibit large bodies of work rarely or never shown publicly. The announcement is paired with a major acquisition: Still Waves of Probability (1969), Schendel's site-specific installation, joins the Dia Art Foundation in New York with the support of Ken Griffin. Schendel's expansive practice ranged from rice-paper structures like the Droguinhas to transparent acrylic Objetos gráficos, where letters, words and symbols hover between image and object, and to the thread installations of the 1970s that fused spiritual inquiry with a response to Brazil's military dictatorship. Her work is held by Tate Modern, MoMA, the Art Institute of Chicago and the Museo Reina Sofía, among others.


