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Benjamin Spiers: Liquid Dream

Saatchi Yates is pleased to present new paintings by Benjamin Spiers in Liquid Dream, a two-person exhibition alongside Taiwanese artist Tseng Chien-Ying at TAO ART, Taipei, running from 24 October 2026 to 23 January 2027. Bringing together two distinct painting practices, the exhibition explores the boundaries between beauty and the grotesque, reality and fantasy, and the body as a site of transformation. In his latest works, Spiers combines extraordinary technical precision with surreal imagery, creating figures that appear at once seductive, vulnerable and unsettling. Hyperreal skin, flowing hair and fantastical forms dissolve into one another, challenging perceptions of the human body and the boundaries between the visible and the imagined. Through these richly layered compositions, Spiers continues his exploration of identity, desire and the subconscious, inviting viewers into a world of dreamlike mystery.

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The Last Human Kiss Saatchi Yates is pleased to announce the participation of Benjamin Spiers, Joanna van Son, Neil Stokoe and Omar El Lahib in The Last Human Kiss, a major group exhibition opening at the Sainsbury Centre, Norwich, on 13 November 2026. Bringing together contemporary artworks by leading international artists alongside historical objects and artworks, The Last Human Kiss explores the kiss as a symbol through which societies have imagined intimacy, negotiated power and given form to love itself. From historical representations of the kiss between two people to digital and beyond-human expressions of the 21st century, the exhibition considers the kiss as a universal language through which desire, power, vulnerability and transcendence have been expressed and contested. Few gestures appear more natural, yet across cultures the meeting of lips has consecrated monarchs, sealed treaties, betrayed lovers and quietly altered the course of history. The exhibition asks what the kiss, as one of humanity’s most enduring cultural gestures, might reveal about the fragile, contradictory and deeply social nature of being human. Alongside Spiers, van Son, Stokoe and El Lahib, the exhibition brings together works by artists including Tracey Emin, Wolfgang Tillmans, Sally Mann, Sonia Boyce, Shilpa Gupta, Patty Chang, Dorothy Cross, Ty Locke, Sophie Barber, Oliver Beer and Zheng Bo. New works by Ṣọlá Olúlòde and Paula Turmina are also presented for the first time, while Benjamin Spiers has created a new painting especially for the exhibition. The Last Human Kiss is curated by John Kenneth Paranada, formerly Curator of Art and Climate Change at the Sainsbury Centre. The Last Human Kiss The Sainsbury Centre University of East Anglia, Norfolk Road, Norwich NR4 7TJ 13 November 2026 – 11 April 2027
Omar El Lahib, Brussels Saatchi Yates is pleased to announce Omar El Lahib's solo exhibition which will open on the 16th of April in Brussels, Belgium. Omar El Lahib (b. 1968, Sidon, Lebanon) studied Fine Art at the Kunstakademie Düsseldorf before moving to Cologne with his wife and children. Lahib’s large scale paintings oscillate between figuration and abstraction. These dreamscapes arise from simple sketches, occasionally from earlier pictures the artist could not absolve. “It is often wrongly assumed that the night and its darkness swallows much of a place. In fact, the opposite is true of the night - it can expose much larger distances, including those of a star. It is only through a star that distances and dimensions can be perceived in space. The night therefore doesn’t diminish or limit things, it instead magnifies moments and renders them more intense.” says El Lahib. In Lahib’s nights, his figures can be found surrounded by colorful trees, textured foliage, and florescent bioluminescence. They feel, think, and hold their own and challenge the viewer or invite us; drawing us into the painting and into the night. El Lahib's work was recently included in a group exhibition at chi K11 Art Museum in Shanghai, China. “In the exhibition, quite a number of paintings featuring crows and ravens will be on display. They are fascinating animals that stand for many things—for example, for horror and death, for omens, for fate, and for messages from the afterlife, or whatever else mythology may conceal. In recent years, the Arab world has experienced a great deal of suffering. I feel there is something about these crows and ravens that may, perhaps unconsciously, reflect this catastrophe. I don’t think I deliberately use catastrophes as a reason to respond in my work, but during this time it affected me deeply, and I may have been searching for a way to express it somehow. I found it very exciting, both painterly and symbolically, that I could connect these elements in this context without reacting to them directly, and still keep it universal. My aim remains to absorb the beauty around me and express it in some painterly way.”