International contemporary art platformSwiss painter Renée Levi created 'September,' a two-panel painting displayed on the façade of London’s Hayward Gallery. The project was co-commissioned by Audemars Piguet Contemporary and the Southbank Centre’s Hayward Gallery, and was on view from September 23 to November 15, 2026. Levi’s work brought a new visual element to the gallery’s exterior, engaging directly with the building’s Brutalist architecture.
The development of 'September' spanned nearly two years. During this period, Levi explored industrial materials for the first time, adapting her painting practice to meet the requirements of an outdoor, large-scale installation. She could not use her usual linen due to the wind and outdoor conditions, so she selected a synthetic mesh, a material commonly used for large advertising banners, to serve as the painting’s support.
Levi chose the specific location on the Hayward Gallery façade because of its architectural features. She was particularly drawn to a long horizontal window, which she described as painterly and made it the center of her composition. This choice allowed the artwork to interact with the building’s structure rather than conceal it, presenting the painting in an unexpected context.
The artist emphasized her intention not to hide the building but to use its features to showcase her work. She wanted the painting to be seen in relation to the architecture, creating a dialogue between the artwork and the Brutalist façade. Levi’s approach was to maintain a relationship with the human body, countering the monumentality of the building by making the painting with the span of her arms and encouraging viewers to come close, almost to the point of touching it.
The visual language of 'September' includes sprayed lines, which Levi noted might resonate with younger audiences familiar with graffiti. She hoped the colors would be vivid enough to catch the attention of passersby, though she acknowledged that some people might not notice the work at all. Levi considered this range of responses to be reflective of contemporary attitudes toward public art.
Levi also remarked that, for her, the work would only be truly finished on the day it was taken down. This highlights the temporary nature of the installation and the evolving relationship between the artwork, its site, and its viewers over time.
Renée Levi is represented by Galerie Bernard Jordan in Paris, Philippzollinger in Zurich, and Galerie Knoell in Basel. Her project at the Hayward Gallery demonstrates her engagement with new materials and her interest in the interplay between painting, architecture, and public space.
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