It’s been a hot start to the summer, with London once more packing its trains, taxis and bars with another… Read More
“Postwar Modern” collects not only some of the most impactful artwork produced following the Second World War, but draws crucial focus to the impact that trauma can have on the subjectivity of the artist.
In the combined age of computer-generated images, and concepts which sound more like selling points than reasons to make something,… Read More
In a seamless dialogue between the past, Romantic ideals hidden amongst present culture, and the philosophical desires of individuals enraptured… Read More
Signifiers, Strangeness and Other Impressionist Philosophies: Anne Baldassari on curating The Morozov Collection.
Anne Baldassari is the General Curator of The Morozov Collection: Icons of Modern Art exhibition, showing from 22nd September at… Read More
The quintessential characteristic of London’s weather is that you can never tell what it’s going to do next. Forming a… Read More
At the fringes of Mayfair, a striking pair of artists have built twinned monuments to the power of disruption and… Read More
Paolo Canevari’s art has been sculpted from the shadows of the modern world, but he hasn’t lost hope. Working with pitch-black rubber, used tires, and exhausted oil, he turns the waste products and omnipresent aftermath of industry into poignant structures that highlight how human beings have reshaped the world.
Paolo Canevari’s latest exhibition distils his artwork’s contention between the power of mankind, and the possibilities of polyvalence. Showing now at the Cardi Gallery in London, Canevari’s retrospective “Self-Portrait / Autoritratto” wrestles with his metamorphic practice, developed over the last thirty years.
Gretchen Andrew’s most recent exhibition “Other Forms of Travel” is a playful testament to the power of art in the… Read More
Rachel Whiteread’s latest exhibition, “Internal Objects’, is an ode to lost bodies and the ghosts of our language. Showing now at Gagosian in London, Whiteread’s sculpture gives a unique incarnation to the uncanny, through its focus on the specific process by which familiar shapes and objects can be made alien to their observer.
Arturo Herrera’s most recent work, exhibited in “From This Day Forwards” is a phenomenological shotgun blast. Showing at the Thomas Dane Gallery in London, soon to be freed from the restraints of a Covid-19 Lockdown, Herrera’s dynamic collage works most prominently to overwhelm the senses, in a blitz of overlapping imagery and colour, even as we vehemently struggle to understand it.