"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

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

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

At the RA, Rose Wylie reframes figuration through scale and text. Tanya Mascarenhas unpacks the 90-work exhibition. Rose Wylie’s exhibition The Picture Comes First at the Royal Academy of Arts brings together an electric mix of 90 artworks. While Marina Abramović’s 2023 exhibition was widely framed as a historic first, the RA’s Main Galleries were first given over to a solo female artist in 1985, when Elizabeth Frink exhibited there. Wylie’s exhibition marks a differen

What can “home” mean in contemporary art once the domestic space stops being a stable site of comfort? Curated by Arina Baburskova , My Home Is… at Roha Gallery , Lyu Chirkova stages the familiar vocabulary of toys, furniture, and household surfaces as materially and psychologically unstable in an attempt to answer the question of what "home" really means. Installation view courtesy of Arina Baburskova There is a particular tension running through Lyu Chirkova 's My Home I

FRENCH PLACE has opened a new permanent space in Milan, marking the latest phase for an organisation that began in London in 2020. Originally based at 9 French Place in Shoreditch, the project started as an independent exhibition venue and has now relocated its programme to Via Carlo Goldoni 64, 20129 Milan , where it will run exhibitions alongside residencies and public events. Installation photography courtesy of gallery The opening is inaugurated by CORALE , a group exhi

Where do the boundaries between consumption and desire begin to blur? Zoë Goetzmann looks back at APPETITE , held last year at Maximillian Wolfgang Gallery , to explore how closely sex and food are entwined in our visual language of want. Photography courtesy of gallery Last fall and winter, Maximillian Wolfgang Gallery ’s exh ibition, APPETITE (November 2025, featuring artists Angel Qin, Adrián Coto, Barney Pau, Guta Galli, Parks Sadler, and Rachel Alexandrou ) presente

"Some fine, some genuinely good, and one floor that should be sealed off like asbestos. " Three of Fetch's finest and freshest take on...

On Saturday 6th September, sticky in the Paris weekend swelter, I went to Le Marais’ galeriepcp for the opening of Ingram Prize-winning Neoromantic painter James Dearlove ’s new show, The Trilling Wire , in collaboration with Gertrude The Art App , Dearlove’s first solo presentation in France. Installation photograph courtesy of Dom Moore His last show, 2023’s Tales of the City, Tales of the Sea at Brushes With Greatness was surreally dread-inducing: three rooms of full-imm

"Pilar Corrias 's Conduit Street group show Perpetual Motion Machines investigates the tension between the static stuff of paint and the...

Where is memory? Is it in the mind? Does it live in golden-hued photographs, or sunsets in August? At Eyes Open, I breathe again at...

Alison Jacques ’ current solo show of works by Italian artist Bona de Mandiargues (b.1926,Rome; d.2000, Paris), arrives fashionably late...

Masks don’t conceal here; instead, they display a spiritual inner self. In Tau Lewis ’ The ways of the underworld are perfect at Sadie...

Marie Harnett 's Were you dreaming? at Cristea Roberts Gallery offers a rare opportunity to dwell in the quiet moments that cinema often...

Alexandra Suvorova is no stranger to loss. Her early experiences in the wake of the 1986 Chernobyl disaster inspired her to explore...

The primary themes in Cornelia Parker ’ s work are destruction and transformation. After working with the British military to explode a...

Cold Hunt Corsage at Arcadia Missa feels like stepping into the three-dimensional version of an HTML image board, writes Jael Arazi....

Installation images courtesy of Cristea Roberts Gallery What is art without its tools? Can the objects of making themselves become the...

‘ The exhibition is a space for action and the works that we gather are the first intuition of it ’' states La Méditerranée , the...