Cecilia Morgan performs as afromerm at Rearrange, Displace, Replace: Sound and Performance Night this Thursday 28th at Avalon Café, SE14, as part of Minor Attractions’ Summer Sessions alongside Yuri Umemoto (with Eliott Bougant on violin and Ozgur Kaya on cello), Kenichi Iwasa, Miles Scharff, and snake_case. I arrive apologising to my interview with Cecilia Morgan, better known as sound artist afromerm, delayed by the trains that in London reliably fail the moment the tempera

I didn’t think I would be spending my Wednesday night extolling the virtues of 2022 roleplaying game Disco Elysium. And yet, on one of the first genuinely warm evenings of London summer, I am sat outside the Euston Tap with a pint, a cigarette, and - more importantly - Frankie Faccion, founding editor of Die Quieter Please, chatting about how much the game has influenced our respective practices. I catch up with her ahead of her appearance at Minor Attractions' Summer Session

A survey weakened by curatorial absence and institutional timidity, redeemed by a handful of pavilions with the courage to say something, and overturned, finally, by the largest protest the Biennale has seen since 1968: Marta Orsola Sironi reports from the 2026 Venice Biennale. Usually, my mother doesn’t ask me much about the art system. For her contemporary art is just something I do, for which she supports me, but doesn’t give a damn, as for her, everything ended with Picas

Nothing (good) last forever. Reda Belhadfa bids farewell to Corsica Studios, with three letters of goodbye from those who called it home. Photography courtesy of Clayton Burke Requiem aeternam. In a departure from our normally scheduled reviews, what's whats, and otherwise well-earned artistic snobbery, I come today to eulogise. For our more regular readers, this article will come as something of a shock: nauseatingly earnest, without my usual thin veneer of bitchiness, in sh

"There is no document of civilization which is not at the same time a document of barbarism." Walter Benjamin wrote this in 1940, weeks before his death at the Spanish border, and the sentence has never stopped being true. Every infrastructure of modernity carries a military etymology: chemistry through gunpowder, aviation through the Western Front, the internet through ARPANET's cold war architecture. Progress metabolises its conditions of production, and the crate is the ob

Spilling out from functionality, always surpassing its primary use as transport, a car contains multitudes. In the most expansive use of the word, cars move us. Linn Phyllis Seeger’s exhibition true idle , which ran until April 4th, at Shipton Gallery, takes this excess as its premise. Linn Phyllis Seeger 's video-sculptures are assemblages of car parts and screens playing footage from the road. Her three forms lean, mirror, and balance. Structurally, the sculptures felt on

On a sunny morning in March, over Zoom, Tamm Reynolds introduces me to the best drag name I have heard in years. Midgitte Bardot is Reynolds’s drag persona: a glamorous, furious creation at the centre of Shooting From Below , a new live performance work blending drag, cabaret, music and social history. This April, Reynolds brings the show to the Southbank Centre ’s Purcell Room, and Midgitte has a few things to say. Photography courtesy of Holly Revell The premise is sharp:

Reda Belhadfa attends The Pathojen Project , London Fashion Week's final — and most gloriously defiant — event of the season. Isn’t it all so tragic? The ever-chugging steamroller of post-modernity has so oft and so violently bereft us of ornamentation, that we are left standing naked, alone and afraid, simply clad in some God awful skinny jeans and an ill fitting t-shirt. But this article isn’t about Demna or the horror show he put on in Milan. No, this article is about raki

Jill Tate's Self-Fulfilment being a winter show felt important, because when I got into Seventeen Gallery I was already wanting more light. On route to Haggerston, the day was gearing towards grey torpor. So, inside, the warmth from Tate's paintings hit harder. Installation photography courtesy of gallery Self-Fulfillment is the artist's second solo with Seventeen , the first being Ground Truthing in 2024, similarly done in a monochrome of terracotta, mixed by Tate from n

Last week at Galleria Objets, something was being made. Not a finished piece, not a polished performance — just work in progress, in public, in good company. That, in short, is Crèche : a new recurring arts session from London collective Under the Roof , held at Galleria Objets, and built around the idea that the creative process is worth showing as much as the end result. Under the Roof is not easy to categorise, and that appears to be entirely the point. "A teacher, an arti

At Indra Gallery, waiting for Claudia Wang ’s SS26/AW26 LFW presentation to begin, the atmosphere already feels faintly surreal. Three stacks of silk pillows sit deliberately against the concrete-grey flooring — soft interruptions in an otherwise austere gallery space. Their presence feels intentional rather than decorative, as though the audience has stepped into a staged dream rather than a traditional runway venue. The crowd — largely young, distinctly Gen Z — moves with u

Recent Royal College of Art graduate Lavin Karakoc made her first mark on London Fashion Week this February with her debut AW26 show at the Hellenic Centre . Shepherded into what could easily have doubled as a local meat raffle or a Sadie Hawkins dance circa 1958, I joined the long queue of patrons and found myself transported into a realm of cinematic elegance teetering knowingly on the edge of Parisienne cliché. The Hellenic Centre becomes the unlikely home of a young de