EDINBURGH.- Jupiter Artland will present M.I.A.S.M.A. a major exhibition by Turner Prize-winning artist Tai Shani, from 29 October. Co-commissioned with Kunsthalle Bern, Switzerland, The Busan Biennial, South Korea, and Groninger Museum, NL, the exhibition marks Jupiter’s first international co-commission and a defining expansion of the sculpture park’s curatorial reach.

First presented at Kunsthalle Bern from 12 June – 23 August 2026, M.I.A.S.M.A. (Moral Injury in the Apocalyptic Sunsets of Modernity disAssociation) reimagines the Ancient Greek tragedy Antigone for the present moment, asking who is mourned, whose deaths are made invisible, and what forms of love and resistance remain possible in an age of political, ecological and moral crisis.

The collaborative commission follows Jupiter’s presentation of Shani’s The Spell or The Dream which will be on show at the same time this Autumn. Sited in Jupiter’s orchard, this work invites audiences into a landscape-scaled meditation on suspended time, myth and collective dreaming. Jupiter Artland are thrilled to announce that The Spell or The Dream will be extended into the autumn, to be surrounded by trees bearing apples and touched by winter sunlight. M.I.A.S.M.A. brings Shani’s feminist counter-mythologies into Jupiter’s gallery, combining sculpture, image, sound and architecture in an immersive world of grief, rebellion and transformation.

“Tai Shani’s M.I.A.S.M.A. is exactly the kind of work Jupiter exists to hold: mythic, political, beautiful and morally awake. Bringing this exhibition to Scotland through our first international co-commission is a defining moment for Jupiter. It places us in a wider conversation about grief, power and imagination, and about what art can still ask of us when the world feels exhausted.” said Nicky Wilson, Director, Jupiter Artland





M.I.A.S.M.A. is Tai Shani’s reimagining of Antigone, centred on Polynices, Antigone’s brother, whose body is denied burial by King Creon. In Shani’s adaptation, Polynices ‘ungrievability’ becomes an avatar for those rendered ungrievable by systems of power that decide whose lives count, whose deaths are mourned, and whose suffering is made invisible. Drawing on a necropolitical reading of the myth, the exhibition considers forms of violence visible today through forced displacement, climate breakdown, war, genocide and the unequal distribution of resources under global capitalism.

The installation centres on a monumental sculptural wall conceived as a fictional archaeological fragment. The work spans historical and imagined temporalities through reference to Neolithic architecture, Egyptian soul houses, medieval ornament, Bauhaus aesthetics, Japanese postmodernism and speculative futurisms. Embedded within the structure, a choral composition by Aga Ujma is activated through twelve characters. Moving alongside the wall, distinct voices emerge from each portal. Some are resonant and low while others weave in trembling harmonies. Meaning slowly emerges from the mesh of voice and distinct images crystalise: the pollen-drunk bees, obsidian eyes, a rotting corpse.

The exhibition extends through an installation of masks comprised of silk petals, dolls-house scale objects, glowing eyes, miniature weapons, insects and ribbons, which spill out from under hand-blown glass cloches. Three paintings act as psychological portraits of the siblings Antigone, Polynices and Ismene. A sculptural head turns ceaselessly away, crowned by shards of glass. Shani explores forms of collective voice, ritual, and transformation through this intricate interplay of sound, image, and architecture.

Bringing together grief and rebellion, injury and imagination, M.I.A.S.M.A. asks what forms of resistance remain possible when dominant systems reduce people to expendable bodies. Against this violence, Shani creates an expanded space of experience in which the human, the alien, the technological, the earthly and the sacred converge.