Serpentine to present Web(s) of Life, the first major exhibition in the UK of artist Tomás Saraceno and collaborators, among them the interspecies communities of Salinas Grandes and Laguna de Guayatayoc, Argentina, Somié, Cameroon, Aerocene, Arachnophilia, and the Royal Parks.
Clouds of colour, women in windows, Edvard Munch, sinuous sculpture and aliens in virtual reality.
An indoor beach, nature indoors and whole load of birds.
Tabish Khan the @LondonArtCritic picks his favourite exhibitions to see right now in museums and institutional art galleries. Each one comes with a… Read More
Serpentine is to present Alienarium 5, a major exhibition by leading experimental artist Dominique Gonzalez-Foerster. On display at Serpentine South from… Read More
Serpentine are starting the New Year with a multi-layered global project with the internationally acclaimed artist KAWS, developed in collaboration… Read More
The 20th Serpentine Pavilion, designed by Johannesburg-based practice Counterspace, directed by Sumayya Vally, will open on 11th June 2021. A TIME100 Next List… Read More
Chicago artist Theaster Gates is to design the 2022 Serpentine Pavilion, making him the first non-architect solely commissioned for the Pavilion.
What a year 2020 was! Glad to get that over but seems like the beginning of 2021 is going to… Read More
Opening soon at Serpentine Gallery a Major survey, Jennifer Packer’s first in a European institution, includes new paintings and rarely seen drawings.
GalleriesNow is the world’s leading gallery guide, with everything you need to know about great art wherever you are Our selection of five great exhibitions recorded in VR for you to make a virtual visit online.
In his ambitious new installation at the Serpentine, British artist Patrick Staff has created a sickly environment that forces visitors to confront the effects of institutionalised violence and the conflation of morality with gender identity.
A single John Graham painting provides the starting point for ideas about codes, colour and genius.
If Sondra Perry’s opening at the Serpentine uses digital tools to make our dark history extremely contemporary, Open Space Contemporary’s Adventitious Encounters exploits its location to explore our desire for nature in a technologically saturated world.
This Thursday London was ripe with previews. One of the most exciting was the opening of Michelangelo Pistoletto’s Scaffali at Simon Lee. I had seen the same works at Simon Lee New York last November but had missed the exciting energy an opening charges pieces with.
The Top 7 art exhibitions to see in London this week include: Black & white, Anime, Animals, Satire, Spindly sculptures, Strange creatures & Young love
For the summer The Serpentine is showing the work of acclaimed US filmmaker, cinematographer and artist Arthur Jafa.
It’s not news that 2016 was a turbulent year, but it was also a very creative year, so we asked the… Read More
Interaction and user experience design agency AllofUs has created a new webapp for the Serpentine Galleries to engage visitors.
The exhibition takes landscape as its focus, bringing together Katz’s extraordinarily productive output of recent years alongside select works from the past two decades.
Anglo-American Michael Craig-Martin, with his biliously cool outlined objects, and former East German dissident A R Penck, with his cipher stickmen, have two of the most instantly recognisable painting styles around. Both show to advantage currently.
Over the next few week FAD will be showcasing some of the Artist Featured in the New Edition of The Catlin Guide New Artists 2015
But we have two openings this month, both quite conceptual though radically different, and I’ve assessed each one in turn:
For centuries, Western art traditions have been centred on creating tangible and physical objects such as paintings, architecture and sculpture. Viewing art therefore, has been about seeing and looking. In contemporary art today, often something non-tangible must be accepted, even momentarily, to allow the artist to make their intended impression.
