Siegfried Contemporary

Name: Siegfried Contemporary
Address: 16 Bassett Road, London, W106JJ, GB
Telephone: +447712673217

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30/10/2026

We are delighted to see Eva Fàbregas and Heidi Bucher brought together in The Body Within Abstraction, the excellent exhibition at Museum Haus Konstruktiv in Zurich. Curated by Sabine Schaschl and Muriel Pérez, the exhibition marks the museum’s 40th anniversary and challenges the idea that abstract art has little to do with the human body.

During Art Basel in June 2022, Siegfried Contemporary presented Eva Fàbregas in a historic residence in Basel. Her butter-yellow sculpture, with its swollen folds and gleaming surface, seemed to have found an unlikely home among the elaborate marquetry and gilded furnishings. Its shape suggests something bodily without resembling any particular part of the human anatomy. Fàbregas is fascinated by the desire to touch: how a sculpture can make us imagine the sensation of pressing our fingers into it, and how this desire becomes more intense when physical contact is forbidden. The glossy yellow surface makes the question almost irresistible.

Later that year, Tiffany Zabludowicz curated Work From Home at Siegfried Contemporary in London, featuring a work by Heidi Bucher in the staircase (slide 2). Its geometric pattern could almost be mistaken for an abstract painting. Yet the fragile latex surface tells a different story. Bucher applied latex to architectural surfaces and peeled it away once dry, preserving the physical traces of a place. Her celebrated skinnings were also acts of liberation, particularly when she turned to the interiors of her family home, removing the surfaces of rooms associated with inherited conventions and authority.

At Museum Haus Konstruktiv, Fàbregas’s Exudates (2026) and Bucher’s Bodyshells (1972) offer further perspectives on the artists’ longstanding engagement with the body. A wonderful opportunity to revisit their work.

The Body Within Abstraction
Museum Haus Konstruktiv, Zurich
Until 10 January 2027

Images:

Eva Fàbregas, Siegfried Contemporary, Basel, June 2022.

Work From Home, Siegfried Contemporary, London, 2022. Curated by Tiffany Zabludowicz. Photograph: Mirko Boffelli.

26/10/2026

In excellent company: COITUS INTERRUP—TUS, our current exhibition in London, has been selected for “The Recommendation” in the new issue of .at, alongside exhibitions at MoMA The Museum of Modern Art in New York, Tate in London (where Tobias Ostrander co-curated Frida Kahlo: The Making of an Icon) and ALBERTINA Museum in Vienna.

On view at Siegfried Contemporary until 20 November, the exhibition brings together 25 works spanning nearly six decades: paintings by the late Japanese artist Key Hiraga, ceramics by Takuro Kuwata and sculptures by Timothy Fluck and . The magazine highlights their shared taste for eroticism and joie de vivre.

Founded in Vienna by and Patricia Mayr-Melnhof-Saurau, CRACK-A-JACK is an independent art and culture magazine published twice a year. Its beautifully designed second issue features Simone Fattal on the cover, a conversation with collector Dakis Joannou (Dakis), founder of DESTE Foundation, and contributions on Egon Schiele, Pontus Hultén and Brazil’s remarkable Inhotim, among many others. There are also social media tips from collector and curator Tiffany Zabludowicz (Tiffany Zabludowicz).

A magazine well worth discovering – the complete issue is available online at www.crack-a-jack.at.

Many thanks to the CRACK-A-JACK editorial team for including us, and to Galerie Loeve&Co and Alison Jacques for their generous loans.

CRACK-A-JACK, Issue 02, October 2026, pp. 131–132.

21/10/2026

Not every utopia is built to last.

The colourful tower on the round pedestal, and the striped porcelain constructions on the long plinth behind it, are works by Tim Fluck Timothy Fluck. They look like models for buildings nobody could comfortably live in – or that might not stay standing.
Fluck’s interest in architecture led him to ask what becomes of a building’s ideals once people actually inhabit it. In his sculptures, the pared-back geometries he associates with Brutalism meet the exuberance of Memphis Memphis Milano, the Italian design movement founded in 1981. Neither quite gives way. His thinking also draws on the British sociologist Ruth Levitas, whose book Utopia as Method (2013) treats utopia as a way of exploring possible futures, not a place to arrive at. Fluck’s individually cast porcelain elements are assembled into precarious configurations, each suggesting a new attempt at balance rather than a final solution.

Jonathan Trayte builds differently. After years working in a bronze foundry, he has described his welding equipment as a tool for drawing in three dimensions, and the thin metal frames of his illuminated sculptures bear that out. Brass leaves and a line of neon rise from a speckled mound, while the glow turns the wall behind them pink.

On the same pedestal sits a yellow porcelain sculpture by Takuro Kuwata Takuro Kuwata, crowned by a mirrored platinum dome. Its rough, cratered surface contrasts with the crisp stripes of Fluck’s tower. On the wall hangs a painting by Key Hiraga.

All of it is shown in Andreas Siegfried’s London home, between a fireplace and a white sofa, in the light of a living-room window.

COITUS INTERRUP—TUS
8 October – 20 November 2026
Siegfried Contemporary Siegfried Contemporary
16 Bassett Road, London W10 6JJ

Photography: Lucie Spillmann

15/10/2026

Frieze Week – at home with art
OPEN DAILY, 11 AM–6 PM

A small painting above a fireplace, in a rather unexpected gallery setting. Key Hiraga’s “The Elegant Life of Mr. K.” (1971) is currently on view at Siegfried Contemporary, housed in art dealer Andreas Siegfried’s own home at 16 Bassett Road in west London.
The gallery occupies a converted apartment in a Victorian villa. Since 2012, Andreas has been welcoming artists and collectors here.
“I like to live with my art,” Andreas once said. Having worked with Christie’s (Christie's) and White Cube (White Cube), and represented Art Basel (Art Basel) in the UK from 2008 to 2018, he brings this experience to his own exhibition programme and independent art advisory, where personal relationships with artists and collectors remain central.

But back to Hiraga. Less widely known is that, before moving to Paris, the Japanese artist worked in a tattoo parlour in Tokyo’s Asakusa district. In 1964, he won the Grand Prix at Japan’s Third National Young Artists Exhibition, a distinction that enabled him to pursue his career in France. The elaborate patterns of tattooing, together with the nightlife of Paris’s Pigalle district, would leave their mark on his extraordinary pictorial world.
Painted in acrylic in 1971, “The Elegant Life of Mr. K.” belongs to Hiraga’s most inventive period. Behind the seductive colours and apparent comedy lies a sharp, sometimes unsettling observation of human desire.
Our warm thanks to Loeve&Co (Galerie Loeve&Co) for the generous loan of this remarkable work.

The painting is one of five works by Hiraga in “COITUS INTERRUP—TUS”, an exhibition of some 25 works spanning 1967 to 2026. His paintings enter into dialogue with contemporary pieces by Jonathan Trayte (), Tim Fluck (Timothy Fluck) and Takuro Kuwata (Takuro Kuwata), with additional loans from Alison Jacques (Alison Jacques).

SIEGFRIED CONTEMPORARY
16 Bassett Road, London W10 6JJ

Photography: Lucie Spillmann

15/10/2026

Frieze Week – at home with art:
OPEN DAILY, 11 AM–6 PM,

Andreas Siegfried, pictured here contemplating Key Hiraga’s „The Elegant Life of Mr. K.“ (1971). The fireplace is no gallery prop: this is Andreas’s own home in west London, where he has been welcoming artists and collectors since 2012.
Recently featured in The World of Interiors (The World of Interiors), Siegfried Contemporary offers something increasingly rare: the opportunity to encounter art in the surroundings of everyday life, rather than in a conventional white-cube gallery.
“I like to live with my art,” Andreas once said. Having worked with Christie’s (Christie's) and White Cube (White Cube), and represented Art Basel (Art Basel) in the UK for a decade, he now brings that experience to his own exhibition programme and his work as an independent art adviser. Collectors benefit from his extensive international network and, above all, from his personal involvement, whether discussing an individual acquisition or developing a collection over time.

The painting Andreas is studying measures just 27.2 × 22.2 cm. „Mr. K“, the recurring protagonist of Hiraga’s paintings, was something of a mischievous alter ego for the artist himself. Behind the promise of an “elegant life” lies a wonderfully irreverent vision of human behaviour, shaped during Hiraga’s years in Paris.
Our warm thanks to Loeve&Co (Galerie Loeve&Co) for the generous loan of this remarkable work and their continued commitment to bringing Hiraga’s paintings to new audiences.

The painting forms part of „COITUS INTERRUP—TUS“, bringing Hiraga’s work into dialogue with contemporary pieces by Jonathan Trayte (), Tim Fluck (Timothy Fluck) and Takuro Kuwata (Takuro Kuwata), with additional loans from Alison Jacques (Alison Jacques).

We look forward to welcoming you during Frieze Week, with the opportunity to discover the exhibition in Andreas’s home and experience his distinctly personal approach to art.

SIEGFRIED CONTEMPORARY
16 Bassett Road, London W10 6JJ
Open daily during Frieze Week, 11 AM–6 PM

Photo: Lucie Spillmann
Exhibition continues until 20 November 2026.

13/10/2026

Eight years after his remarkable rediscovery at Frieze Masters Frieze, Key Hiraga (1936–2000) returns to London. Five exceptional works from 1967–71, generously lent by Loeve&Co Galerie Loeve&Co, Paris, form the historical heart of «COITUS INTERRUP-TUS» at Siegfried ContemporarY.

In 2018, writing for Le Monde Le Monde, art critic Harry Bellet singled out Galerie Loevenbruck’s Loevenbruck Frieze Masters presentation as «un stand épatant», comparing Hiraga’s exuberant, erotically charged paintings to those of William N. Copley — «en plus dingue si c’est possible» (even crazier, if that is possible).

Already represented in The Museum of Modern Art MoMA The Museum of Modern Art’s landmark exhibition The New Japanese Painting and Sculpture (1966–67) and at the 10th São Paulo Biennial Bienal de São Paulo (1969), Hiraga has attracted renewed international attention in recent years. Further exhibitions in Paris followed, notably Key Hiraga, Paris 1964–1974 at Loeve&Co in 2020 and Works 1966–1971 at Galerie Loevenbruck earlier this year. As Nina Siegal wrote in The New York Times The New York Times in October 2018, Hiraga created «brash, eclectic, erotic images of the risqué night life in the Pigalle district».

Today, Hiraga’s fragmented bodies and feverish colours encounter the seductive sculptural forms of Jonathan Trayte , the precarious porcelain constructions of Tim Fluck Timothy Fluck and the exuberant ceramic transformations of Takuro Kuwata Takuro Kuwata. Across nearly sixty years, the exhibition reveals unexpected affinities in their explorations of desire and the grotesque.

Our sincere thanks to the artists exhibiting, Loeve&Co for the remarkable Kiraga loans, and to Alison Jacques Alison Jacques for the works by Takuro Kuwata.

«COITUS INTERRUP—TUS»
Key Hiraga · Takuro Kuwata · Jonathan Trayte · Tim Fluck

8 October – 20 November 2026
16 Bassett Road, London W10 6JJ

During Frieze Week, 14–18 October, open daily from 11am to 6pm.

Installation views: Lucie Spillmann

05/10/2026

Tim Fluck Timothy Fluck makes porcelain behave as if it were soft. – Ahead of “COITUS INTERRUP—TUS”, opening on 8 October at Siegfried Contemporary Siegfried Contemporary in London, our series continues with British ceramic artist Tim Fluck.

After completing his MA in Ceramics at University for the Creative Arts University for the Creative Arts in 2023, Fluck was selected for the British Ceramics Biennial British Ceramics Biennial, winning a Fresh Talent Prize and a residency at Staffordshire University . His work has since appeared at Ceramic Art London Ceramic Art London, where it was used for the fair’s campaign, and at Collect Collect art fair, presented by Contemporary Applied Arts Contemporary Applied Arts. Ceramic Review Ceramic Review named him one to watch.
Earlier sculptures grew from Brutalist architecture and the psychology of space, bringing severe geometry into collision with the colour and exuberance of Memphis design. More recently, that enquiry has shifted towards what Fluck calls the sensorial experience of sculpture — and the aesthetics of pleasure and desire.

“Pleasure Perceptions no.8” (2026) makes that shift almost bodily. A blue-to-yellow tubular form folds repeatedly through itself, while an orange, polka-dotted coil hangs across its upper edge. Its black-and-white striped base points towards Memphis, but the sculpture refuses to remain simply graphic: the tubes read somewhere between design and intestine. Porcelain, conventionally hard and brittle, appears swollen, pliable and almost touchable.

That contradiction continues through “Pleasure Perceptions no.7” (2026) and the slip-cast “Sol Lumen” (2025). Fluck’s contribution to “COITUS INTERRUP—TUS” lies precisely here: desire is produced by surfaces that promise one sensation while delivering another.

Tim Fluck
Pleasure Perceptions no.8, 2026
Pleasure Perceptions no.7, 2026
Sol Lumen, 2025

02/10/2026

Jonathan Trayte turns sculpture into something you almost want to taste.
Ahead of “COITUS INTERRUP—TUS”, opening on 8 October at Siegfried Contemporary Siegfried Contemporary in London, our series continues with the British artist Jonathan Trayte.

Trained at the Royal Academy Schools Royal Academy, Trayte has exhibited internationally, including at Whitechapel Gallery Whitechapel Gallery, the Design Museum the Design Museum and Sculpture in the City Sculpture in the City | London, as well as with Friedman Benda Friedman Benda.

His sculptures draw equally from landscape and the seductive language of supermarkets or product display. Before becoming an artist, Trayte worked as a chef, and food remains central to the way he thinks about material and desire — particularly the point at which something appetising tips into something excessive or strange.

That tension runs through “Cherry Mash” (2026). A glossy red terrain is crossed by three loops of pink neon, somewhere between landscape, pulse and confectionery display. The title itself echoes the American sweet Cherry Mash, fitting neatly into Trayte’s long fascination with the visual language of consumption.
In “Cholla” (2026), an intensely green, flocked structure sprouts glowing bulbs, recalling the desert plants that have appeared in his earlier work. “Hurricane” (2026) turns landscape stranger still: metallic vegetation rises from an acid-green ground while blue neon cuts across it like an electrical weather system.
Across all three works, nature and manufacture become difficult to separate — a fitting dialogue with the unstable bodies and seductive surfaces of “COITUS INTERRUP—TUS”.

Jonathan Trayte
Cherry Mash, 2026
Cholla, 2026
Hurricane, 2026

30/09/2026

Before “COITUS INTERRUP—TUS” opens on 8 October at Siegfried Contemporary Siegfried Contemporary in London, we begin a small Instagram series with the artist who sets its temperature.
Key Hiraga’s bodies do not behave: they split, mutate, obstruct and seduce.
In the lead-up to the exhibition, we will introduce works by each of its four artists exhibited: Key Hiraga, Takuro Kuwata Takuro Kuwata, Jonathan Trayte and Tim Fluck Timothy Fluck.
After moving from Tokyo to Paris in 1965, Key Hiraga (1936–2000) changed direction radically. The restrained, calligraphic language of his earlier paintings gave way to a saturated psychosexual theatre in which bodies fragment and comedy turns uneasy. Within a few years, he was included in MoMA MoMA The Museum of Modern Art’s landmark exhibition “The New Japanese Painting and Sculpture” and represented Japan at the 10th São Paulo Biennial Bienal de São Paulo in 1969.
At the centre of this universe are the mysterious Mr. H and Mr. K — recurring protagonists who have often been read as doubles or alter egos, moving through Hiraga’s recurring “Elegant Life” series.
In “The Elegant Life of Mr. H.” (1970) and “The Elegant Life of Mr. K.” (1971), bodies continually slip between figure and object. In Mr. K., an enormous striped body appears to tumble through a black-framed opening above a chequerboard floor, while lipstick-red mouths scatter across the pale forms in the foreground. Erotic suggestion is everywhere, but nothing resolves cleanly. It is precisely this instability from which “COITUS INTERRUP—TUS” takes its cue.
Both works come to London courtesy of Galerie Loevenbruck Loevenbruck, Paris, which has long championed Hiraga’s work. The exhibition opens on 8 October, ahead of Frieze London and Frieze Masters Frieze, bringing Hiraga into direct dialogue with works made almost sixty years later.

Key Hiraga
“The Elegant Life of Mr. H.”, 1970
“The Elegant Life of Mr. K.”, 1971

26/09/2026

Almost sixty years separate the earliest and latest works in “Coitus Interruptus” , bringing a remarkable group of paintings by Key Hiraga (1936–2000) from 1967–71 into direct dialogue with Takuro Kuwata Takuro Kuwata, Jonathan Trayte and Tim Fluck Timothy Fluck. Opening 8 October 2026 at Siegfried Contemporary in London, the exhibition brings together 25 works, including new pieces conceived specifically in response to Hiraga.

Hiraga’s international significance was recognised remarkably early. In 1966–67, his work was included in “The New Japanese Painting and Sculpture” at The Museum of Modern Art MoMA The Museum of Modern Art , New York; in 1969, he represented Japan at the 10th São Paulo Biennial Bienal de São Paulo .
Made during Hiraga’s decisive Paris years, the paintings gathered here belong to the emergence of his extraordinary psychosexual language: fragmented bodies, intense colour and pattern, with eroticism repeatedly shifting into humour, unease and loss of control.

This instability becomes the point of departure for “Coitus Interruptus”.

Takuro Kuwata Takuro Kuwata , recently included in “Roppongi Crossing 2025” at Mori Art Museum Mori Art Museum 森美術館 , transforms rupture and material excess into generative forces.

Jonathan Trayte , whose work featured in “Objects of Desire: Surrealism & Design” at the Design Museum the Design Museum , has created new works responding directly to Hiraga’s visual language and its unstable relationship between body and desire.

Tim Fluck Timothy Fluck , a Fresh Talent Award winner at the British Ceramics Biennial British Ceramics Biennial , translates Hiraga’s shifts of colour and pattern into precarious porcelain bodies.

Across painting, ceramics, sculpture, bronze and neon, the exhibition proposes no simple history of influence. Instead, it asks what happens when an image — or a desire — stops behaving as expected. The interruption is not where the journey ends. It is where another one begins.

With loans from Galerie Loevenbruck Loevenbruck , Paris, and Alison Jacques Alison Jacques , London.

Address

16 Bassett Road
London
W106JJ

Telephone

+447712673217

Website

http://www.siegfriedcontemporary.com/

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