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