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

Kitty Perring Artemisia Gentileschi, Judith and Her Maidservant , c. 1615. Galleria Palatina (Palazzo Pitti), Florence. © Gallerie degli Uffizi. I began my visit to Artemisia: Heroine of Painting at the Musée Jacquemart-André with a simple question: how would the gallery frame an artist whose biography so often overshadows her work? The exhibition was laid out over several rooms that explored different aspects of her biography, moving from her comparison with contemporaries t

Emma Henwood Robert Coutelas: In Search of Small Gods, Robert Coutelas, Fitzrovia Chapel, London. Photo: Jack Elliot Edwards, Pale Horse. Pale Horse Gallery’s debut exhibition Robert Coutelas: In Search of Small Gods  features over 100 paintings by French artist Robert Coutelas (1930-1985). The exhibition is currently housed at the intimate, yet opulent Byzantine influenced Fitzrovia Chapel until the 31st of October. The exhibition will then move to the gallery’s new permanen

Lexie Patterson P.S. Be nice, and pretend to be shocked   ‘HA- HA’. Laugh. They’re still trying to scandalise. (Credit: by Gilbert & George, 2022, photo: Mark Blower, courtesy of the Hayward Gallery) Gilbert and George are back at the Hayward Gallery, bringing their lurid, stained-glass visions of sex, money, fear, crime and death to the Southbank. But it all feels a little déjà vu. They’ve been staging the same spectacle for decades. The ever-provocative duo, who met at Cent

Juliana Montoya Bongsu Park Janhayang: Wed 30 April, 2025 Iris, Hyacinthoides, Alliaria, Papaver, Geranium, Allium, Artemisia, plaster and oil on canvas, beech shelf, Air-dried clay pot, fragrance of Wed 30 April 2025 73.5 x 151 x 2.5 cm 29 x 59 1/2 x 1 in  © Bongsu Park. Courtesy the Artist.   From a deeply private realm to an instrument of generosity and connection, Bongsu Park transforms our understanding of the mind by inviting her audience to bridge what we assumed to be

Tobi Ibiye Makinde Tucked into a quiet courtyard of Downing College, the Heong Gallery – a former horse stable – now offers a serene, meditative space. Two Latin American artists, Alexandre da Cunha and Francisca Aninat, feature in Revealing (In)visible Times ,   an exciting exhibition that weaves questions around time, waiting, and materiality. Curated by Valentina Gajardo, this exhibition utilises the Heong Gallery’s tall ceiling, soft light, and echoing atmosphere to eleva

Arthur Jafa, APEX, 2013, Soundtrack by Robert Hood, © Arthur Jafa. Courtesy the Artist, Gladstone Gallery, Sprüth Magers and Sadie Coles HQ, London. Installation View, photograph by Stefanos Carras “Follow the light at the end of the tunnel,” I am told as I look for the entrance to Paradigm Shift, the new moving image exhibition at 180 Studios. Did I experience a figurative death, resurfacing from this subterranean maze with my mind renewed? Unfortunately, I did not.

Anna Buriak Entering the Turbine Hall, one expects spectacle: vast scale, cinematic intervention, sensory surprise. But in “Hyundai Commission: Máret Ánne Sara: Goavve-Geabbil,” the spectacle is measured, even restrained, and it asks you to slow down. You do not immediately grasp this as a “blockbuster,” but rather as a challenge, a call to attunement. And that is in many ways the project’s strongest move.  From the south end of the hall the monumental vertical column Goavve 

Martina Campagnoli Ed Ruscha, New Hey , 2024, Acrylic on linen, © Ed Ruscha Photo: Jeff McLane Courtesy Gagosian In time for Frieze Week 2025, Gagosian’s three London galleries — Burlington Arcade, Grosvenor Hill, and Davies Street — have mounted a coordinated effort to command attention. Yet despite the scale, what is on offer feels more like repetition than revelation. Abstraction, as presented here, reads less like reinvention and more like a remix. Brice Marden: Etched Le