Lindon & Co. is pleased to host a special presentation of work by Per Kirkeby (1938 - 2018) and Mark Dion (b. 1961) in our space at 15 Old Bond Street. At a moment in which much contemporary art focuses on the primacy of the individual above the collective, these two artists provide an opportunity to train our gaze on universal concerns, held deeply in common.

From his training in geology, the Danish artist Per Kirkeby formed imagined landscapes through layers of paint. These landscapes reflect the temperature, the atmosphere, and the feeling of oneself in ‘a place,’ without ever depicting specific points on the map. Indeed, Kirkeby’s paintings could as easily be dubbed ‘environments’ as ‘landscapes. They are impressionistic in the original sense. There may be a horizon, or not. Perhaps a sense of one strata ending and another beginning. They may be entirely underground. They may be the feeling of heat on the shoulders or damp underfoot. But they root us in a space that is beyond ourselves, changeable, and shared. In two canvases from 1990, shown here for the first time since their acquisition, an earthen palette of moss and stone is broken through by swathes of springtime green. While works from the 2000s conjure flora and fauna with ferric reds and icy blues.

Explorer, collector, activist and conjuror of theatrical environments, American artist Mark Dion has travelled through rainforests and rubbish dumps to reveal the wonder and fragility of life on earth. Dion uses specimens – natural and manmade – to make uncanny representations of these environments. His drawings, sculptures and installations draw on the techniques of scientific enquiry and museum display; and on the telling of natural histories.

Dion was last shown in London at the Whitechapel in 2018, and we are thrilled to exhibit three quintessential pieces from the artist’s oeuvre. Cabinet of Marine Debris – East Coast/West Coast, 2022, sweeps both edges of America for what is left behind. The work is a meticulously organised, if concerning, portrait on the interconnectedness of the world's environments, despite the frequent divisions in its inhabitants. It, along with the Tate Modern's Tate Thames Dig, 1999, comes from Dion’s iconic series of wunderkammern or cabinets of curiosities. The Anatomy of Melancholy - Dodo, 2021, takes an absurdist view on collecting and consumerism with its' skeletal Dodo perched atop a hoard of gathered trinkets and treasures, mired in tar. And finally, Herbarium, 2007-2011, is a print portfolio of botanical specimens that throws into question scientific methodology and the notion of ‘discovery.’