The performance of Tierra Bendita, by the Ballet Flamenco de Andalucía, at the Sadler’s Wells Flamenco Festival, 2026. Image credit: Teresa Montellano 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 trembled; she shook

Dana Aben Accepted but never understood... 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 Alexandra Gerstein and Dr Stephen Feeke, the exhibition seeks not simply to highlight a neglected

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

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

Flora Gilchrist Mayara Ferrão, Álbum de Desesquecimentos, 2024. On display at The Ancestral: Afro-América exhibition at the Centro Cultural Banco do Brasil (CCBB), August 2024. Brazil has a complex, substantial and interconnected relationship with West African countries and North America. Ancestral ties from Brazil’s role in the transatlantic slave trade as a Portuguese colony transporting and receiving slaves from Nigeria, coupled with the modern-day movement of immigrant

Yulia Kim Selected for RE: VISION, 16th East Wing Biennial. Figures of Clay by Gareth Lloyd, 2023. Credit: Gareth Lloyd Studio Gareth Lloyd’s Figures of Clay does not settle as a painting but drifts into view like an apparition. A folding table, drawn with spare lines, anchors us in the ordinary, yet the objects resting on it begin to slip away from certainty. They appear in a faded graphite green, half-emerging, half-dissolving, as if memory itself were trying to take sha