Where is the art market headed in 2026? Is Certainty Truly Certain? Yuval Aluf Image courtesy of TEFAF. By mid-afternoon on the preview day of TEFAF Maastricht, small red dots begin to appear. One by one, they mark the walls of the fair: beside an Old Master portrait, next to a glazed Egyptian bronze, on the label of a twentieth-century sculpture. Dealers lean toward collectors in low conversations; champagne glasses clink, waiters balance trays between the vitrines. Between

Julia Antonczuk Black Madonna of Częstochowa, unknown artist (attributed to St. Luke), c. 13th–14th century. Tempera on wood panel, Housed at the Jasna Góra Monastery, Częstochowa.  “ Fast from Words ” is this year’s Lenten theme in the Catholic Church. It encourages the faithful to abstain not only from harmful speech, such as gossip, criticism, and negativity, particularly on social media -- but also to cultivate intentional silence. This silence is not merely the absence

Dana Aben David Hockney: A Year in Normandie and Some Other Thoughts about Painting , installation view, Serpentine North, 2026 © David Hockney. Photo: Dana Aben. At the Serpentine North Gallery, David Hockney’s A Year in Normandie and Some Other Thoughts About Painting unfolds as both a meditation on time and a reconfiguration of how painting operates in the digital age. Moving from Kensington Gardens into the gallery, one is struck by a subtle continuity: the landscape seem

Eliza Pritchett Photo: Eliza Pritchett On the 24th of October in SW10, Silver Press Images held its first ever exhibit, which was made up entirely of original press photographs. A time capsule into the iconic 1960s and 70s opened on Hollywood Road, Chelsea. The show was buzzing from 6pm until early hours of the morning, and I had the pleasure of soaking up the atmosphere and photographing this special evening. This piece serves as a private viewing of the hottest new photogra

By Eva-Dawn Speight   There is a song that has been swimming around my head lately. It centres around a refrain that becomes increasingly distorted as it repeats— echo, echo, echo, echo, I love you —fracturing into uncertainty, urgency, and then finally desperation. It is not a question, but it probes like one at the vulnerable concern of who we are to someone else, or even ourselves. I think in many ways Joanna van Son paints in search of an answer. She explores the echo’s s

Yuval Aluf View of the exhibition of Claudine Monchaussé "Sourdre", La Verrière, 2025 © Adagp, Paris, 2025 © Isabelle Arthuis / Fondation d’entreprise Hermès Coffee machines hiss; cutlery strikes porcelain; chairs drag lightly across the floor. Joël Riff and I meet in a busy café in Highbury & Islington, the room layered with overlapping conversations. He gestures toward the noise rather than away from it. For him, the setting is not a distraction, but a part of the experienc

Sofia Stefani Petra Feriancová, I was in the shower with a moth (2025) and Untitled (Hands/Skulls) (2016/2026). Photographed by Sofia Stefani. The risk of an exhibition built on diverse literary references and multiple media is that it becomes discontinuous. Petra Feriancová’s solo show, “Echo’s Bones,” at Elizabeth Xi Bauer (EXB), Exmouth Market, fits many such references—from archeology and autobiography to Ovid’s Greek myth of Echo and Narcissus, Samuel Beckett’s short st

Yuval Aluf © ORLAN. Courtesy of ORLAN and Ceysson & Bénétière “I am a body. Nothing but a body.” ORLAN delivers the statement not as a declaration of identity but as a working position. The body, in her practice, is not an image to be represented but a material through which meaning is produced. Her work is often described as radical, provocative, or transgressive, labels that largely emerge from the outside. In conversation, however, ORLAN quickly redirects such descriptions

Flora Gilchrist   A main ‘European Art’ display room, Museo Nacional de Belles Artes, Buenos Aires, Flora Gilchrist, August 2025 Impressionism is a mid- to late-nineteenth- and early-twentieth-century art movement that quickly dominated Europe. Originating in France, painters such as Gustave Courbet, Édouard Manet, Charles-François Daubigny, and Claude Monet exhibited together with great success until their final exhibition in 1886. These artists foregrounded a new artistic

Stefanos Carras Saint Takyi, detail from First to be born, first to die, 2026. Photograph by Stefanos Carras  Woven intimately between each other, the works of Ivan Moraes and Saint Takyi carry out a joint exploration of colour, technique, gender and spirituality. Two Shores is a beautiful study into an endlessly unfolding contrast between two artists. Rather than pushing them both apart, the disparities between their works entangle them into deeper conversation.   Ivan Morae