Jupiter Artland to stay open all year round

Jupiter Artland will remain open year-round for the first time, with autumn and winter hours running Thursday to Sunday from November 2025 through February 2026.

Three major exhibitions have just opened with works by Tai Shani, Georg Wilson, and Florence Peake drawing upon the earth, folklore, mythology, and humanity and nature around us.

London-based artist Georg Wilson presents her largest exhibition to date in the Jupiter Ballroom, featuring new wall-based works exploring urban and rural themes and mythical creatures.

Florence Peake unveils To Love and to Cherish, a commissioned floor painting for Jupiter’s new Glasshouse wedding venue. The ambitious work subverts traditional marriage vows, created by dancers painting with their bodies in passionate embrace during Jupiter Rising in the summer.

Tai Shani’s landscape work The Spell or The Dream features a luminous blue breathing sculpture in the orchard, with soundscape by composer, producer and double bassist, Maxwell Sterling. The dreamer sleeps through contemporary catastrophes whilst dreaming of resistance and renewal. Commissioned by Somerset House Studios with Art Fund support.

Nicky Wilson, Founder and Director, Jupiter Artland, said: “We are delighted to open our next season with three such promising and ambitious artists combined with a season of events suited to the change in temperature and tone of the Scottish landscape as the nights draw in. Keeping Jupiter Artland open across the winter is a special new moment in our programme, which will afford visitors an entirely new type of experience on site, as the colours and light change into Autumn and Winter hues, across three magnificent exhibitions and specially curated events, suitable for all ages and interests.”

Further details here.

TAI SHANI
Tai Shani is an artist living and working in London. She is the joint 2019 Turner Prize winner together with
Lawrence Abu Hamdan, Helen Cammock and Oscar Murillo. In 2019 Tai was a Max Mara prize nominee.
In 2025, Shani presented The Sun Is a Flame That Haunts The Night, as part of the High Line, New York,
commission programme. During August 2025, Shani will bring together sculpture, radio and live
gatherings under a large-scale commission at Somerset House, London.
Shani’s most recent solo exhibitions include The World to Me Was A Secret: Caesious, Zinnober,
Celadon, and Virescent at The Cosmic House, UK and Lavish Phantoms of the House of Dust at Gio
Marconi, Milan, Italy. In 2023, Shani was the subject of solo exhibitions at KM21, The Hague, and the
Contemporary Arts Center in Cincinnati. Her work has been shown at British Art Show 09, Touring (2021),
CentroCentro, Madrid (2019–20), Turner Contemporary, UK (2019); Grazer Kunst Verein, Austria (2019);
Nottingham Contemporary, UK (2019); Fondazione Sandretto Re Rebaudengo, Italy (2019); Glasgow
International, UK (2018); Tensta Konsthall, Sweden (2017), Wysing Arts Centre, UK (2017); Serpentine
Galleries, UK (2016); Tate, UK (2016); and Irish Museum of Modern Art, Ireland (2016).
Tai Shani’s artistic practice, comprising performance, film, photography, and installation, uses
experimental writing as a guiding method. Oscillating between theoretical concepts and visceral details,
Shani’s texts attempt to create poetic coordinates in order to cultivate fragmentary cosmologies of
marginalised non-sovereignty. Taking cues from both mournful and undead histories of reproductive
labour, illness and solidarity, her work is invested in recovering feminised aesthetic modes – such as the
floral, the trippy or the gothic – in a register of utopian militancy. In this vein, the epic, in both its literary
long-form and excessive affect, often shapes Shani’s approach: Her long-term projects work through
historical and mythical narratives, such as Christine de Pizan’s allegorical city of women or the social
history of psychedelic ergot poisoning. Extending into divergent formats and collaborations. Shani’s
projects examine desire in its (infra-)structural dimension, exploring a realism that materially fantasises
against the patriarchal racial capitalist present.

FLORENCE PEAKE
Florence Peake is a London-based artist who has been making solo and group performance works
intertwined with an extensive visual art practice since 1995.
Presenting work internationally and across the UK in galleries, theatres and the public realm, Peake is
known for an approach which is at once sensual and witty, expressive and rigorous, political and intimate.
Peake produces movement, interactive sculpture, paintings that use the whole body’s physicality, text,
film and drawings which respond and intercept each other to articulate, extend and push ideas.
Peake’s work explores notions of materiality and physicality: the body as site and vehicle of protest; the
erotic and sensual as tools for queering materiality; the subjective and imagined body as a force equal to
those that move in our objective flesh-bound world. By encouraging chaotic relationships between the
body and material, Peake creates radical and outlandish performances, which in turn generate temporary
alliances and micro-communities within the audience. Peake’s painting is as an extension of the body
itself: it is produced gesturally and performatively, and is both a manifestation of the external body in
motion and the way personal experience and feeling is recorded within the tissue and bones. Her painting
practice comes together with sculpture and performance in a reciprocal nature: engaging in a shared
dialogue and creating multiple modes of processing performance, and the interrelations between dancers,
audiences and sites.

GEORG WILSON
Georg Wilson is a British artist who is based in London. A spirit of place informs Georg Wilson’s practice.
Drawing inspiration from ancient English folklore, poetry and painting, the artist depicts bountiful
landscapes that exceed the natural; devoid of human presence, they are instead inhabited by wildling
creatures that live harmoniously with the land. Wilson’s world-building is enriched by her unique approach
to texture and mark-making that unifies all surfaces, forms and beings.
Painting with the seasons, Wilson’s work captures the cyclical rhythm of our existence, where birth meets
growth, growth meets death and death awaits resurrection. Wilson’s pastoral visions of the countryside
are nostalgic yet also present a non-human realm where ownership and extraction are not present; a
world that can flourish when left to its own devices.
Wilson received her BA in Art History at the University of Oxford (2020) and MA in Painting at the Royal
College of Art (2022). Recent solo exhibitions include: The Last Oozings, Pilar Corrias, London (2025);
Time Held Me Green and Dying, Public Service Gallery, Stockholm (2024); In May, I Sing Night and Day,
Palazzo Monti, Brescia (2023); What Mad Pursuit, Berntson Bhattacharjee Gallery, London (2023); This
Other Eden, Kravets Wehby Gallery, New York (2022). Selected group exhibitions include: Magic,
Alchemy, and Occultism, Lévy Gorvy Dayan, London (2024); Episode II: Figuring Out Britain, Matt
Carey-Williams, Seoul (2024); The Nature of Things, Castor Gallery, London (2024); Realms, Carl
Freedman Gallery, Margate (2024); Rooted, Berntson Bhattacharjee, London (2024); TOTEM, Newchild
Gallery, Belgium (2024); Bloomberg New Contemporaries, Camden Art Centre, London (2024) and
Surrealism and and Witchcraft, Lamb Gallery, London (2023).