Gaia, a monumental work by Bharti Kher, has been placed just outside the V&A to entice visitors in. Once inside, can the curators keep them there? Bharti Kher stands next to Gaia, her new four-metre tall sculpture at the V&A... Photo: David Levene Tien Albert Just outside the V&A's entrance on Exhibition Road, everyone is taking pictures of Bharti Kher’s new monumental sculpture, Gaia. That’s kind of the point. Four metres tall and painted inviting shades of green and purple,

The performance of Tierra Bendita, by the Ballet Flamenco de Andalucía, at the Sadler’s Wells Flamenco Festival, 2026. Image credit: Teresa Montellano Sofia Stefani In Esther Merino’s En Tierra de Hombres, a suite of songs, flamenco courses through the body like fire, burning without consuming. As Merino sang over the course of an hour, her voice reached across anger, love, and despair. Her hands and face moved to fit each song, following her voice—her hands trembl

Dana Aben Accepted but never understood... Image: Barbara Hepworth, Sculpture with Colour (Oval Form) Pale Blue and Red, 1943 © Bowness, Image © The Hepworth Wakefield. Photo: Mark Heathcote "In a way my colour has been accepted but never understood," Barbara Hepworth once remarked. It is this statement that forms the conceptual foundation of Hepworth in Colour at The Courtauld Gallery, the first exhibition devoted entirely to colour in the artist's work. Co-curated by Dr Ale

Honor Cockroft Blurring boundaries at Saatchi Yates... Photo: Courtesy of Saatchi Yates Make-up artist Isamaya Ffrench blurs the boundaries between art practice and the practical at Studio Iron. There is something deliberately unstable about Studio Iron, the inaugural exhibition of Isamaya Ffrench’s newly launched design company. Installed at Saatchi Yates, the show unfolds across the vast open gallery space in a convergence of art, design and installation. Materials and surf

Eliza Pritchett a serpentine, designed by Isabel Abascal and Alessandro Arienzo, LANZA atelier. Exterior view © LANZA atelier, Photo Iwan Baan, Courtesy Serpentine. Now in its 25th edition, LANZA atelier's Isabel Abascal and Alessandro Arienzo design a humbly impressive pavilion for Hyde Park's Serpentine Gallery. After a quarter-century of increasingly complex temporary structures, the most significant milestone in Serpentine history is also its least flashy. a serpentine, t

Milla Peerutin Tracey Emin, I Need Tomorrow, 2026... Photo: Counter Editions On Wednesday evening at the London Original Print Fair, Counter Editions unveiled a suite of six new lithographs, entitled I Need Tomorrow, by Tracey Emin. This comes as a complete shock to many, even Emin herself, following her landmark retrospective, A Second Life currently on show at the Tate Modern. By the time most people heard of the series, they had almost entirely already sold out.  I Need To

Tien Albert, Editor-in-Chief The 25-year-old Lagosian painter brings vibrancy, and colour to London’s Saatchi Yates as he turns it into his studio for the month. It’s a shame the art can be slightly boring… A half pipe turned into a collaborative artwork... Courtesy of Saatchi Yates. Around 30 canvases, a skate ramp, a Nintendo Switch 2, and a Big Mac meal on the floor. These scenes greet the visitor as they enter the Saatchi Yates gallery on Bury Street, in London. Just a tw

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 seems

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