Leonora Carrington’s Bronze Works Head to Almine Rech in New France Partnership
Leonora Carrington’s late bronze sculptures are moving into sharper view. Almine Rech has become the exclusive partner of the Consejo Leonora Carrington in France, a collaboration that will bring the artist’s paintings, sculptures, drawings, tapestries, and writings into the gallery’s international orbit, with locations in Paris, London, Shanghai, New York, and beyond.
The partnership will debut at Art Basel in June 2026 with a bronze sculpture cast from a life model Carrington created in 2010. That presentation will be followed in September 2026 by a solo exhibition at Almine Rech’s Paris Turenne location, organized with the Consejo Leonora Carrington and the art advisory firm Rossogranada.
At the center of the project is La Hija del Minotauro (The Minotaur’s Daughter, 2010), which the gallery calls a “magnificent example” of Carrington’s sculptural practice. The work extends the visual world of her paintings into bronze: a willowy female figure crowned with sun rays, drawn from the same mythic register that animated her Surrealist imagery.
Carrington, who died in 2011, devoted the final 17 years of her life to bronze figures and masks. That late turn has drawn increasing institutional attention in recent years, particularly in the United States and Europe, where her sculpture is now being read as a central part of a career that moved fluidly across media. A selection of bronze works and jewelry is currently on view at L’Space Gallery in New York in collaboration with the Consejo Leonora Carrington.
The upcoming Paris exhibition is expected to gather paintings, drawings, sculptures, tapestries, and writings, offering a fuller view of an artist whose practice resisted easy categorization. Carrington’s work has long been associated with mythology, especially Celtic traditions, as well as the occult and the dream logic of Surrealism. Born in England, she first entered that orbit at the International Surrealist Exhibition in London in 1936, where she encountered Max Ernst and other artists who would become peers and collaborators.
The gallery’s announcement also points to the continuity between Carrington’s sculpture and her painting. Her 1953 work And Then We Saw the Daughter of the Minotaur is in the Surrealist galleries at the Museum of Modern Art in New York, underscoring how deeply the Minotaur figure runs through her visual language.
Almine Rech’s role as custodian of this legacy suggests a presentation that favors complexity over neat biography. Carrington’s career was never only about Surrealism, or only about painting. It was about building a world in which women, myth, and metamorphosis could coexist on their own terms.
