Delve into Wes Anderson’s extensive archive in this first retrospective exhibition devoted to his distinctive cinematic output, produced in collaboration with la Cinémathèque française.

The Design Museum has been granted unprecedented access to Wes Anderson’s personal archives, which the filmmaker has built up over three decades. This is the first time most of these objects will be displayed in Britain.

This landmark exhibition will chart the evolution of Wes Anderson’s films from early experiments in the 1990s to recent productions as well as collaborations with key long-standing creative partners. Explore the design stories behind award-winning and iconic films such as ‘The Grand Budapest Hotel’, ‘The Wonderful Story of Henry Sugar’, ‘Fantastic Mr Fox’ and ‘Isle of Dogs’.

From the melancholic charm of The Royal Tenenbaums to the youthful adventure of Moonrise Kingdom, discover how Anderson’s unique vision and dedication to detail have created some of the most visually and emotionally compelling films of recent times.

Over 700 objects will bring together the director’s meticulous craft of filmmaking through original storyboards, polaroids, sketches, paintings, handwritten notebooks, puppets, miniature models, dozens of costumes worn by much-loved characters, and more.

Victorious Cupid, on special loan from the Gemäldegalerie in Berlin and never-before-seen in public in the UK, is the centrepiece of this exhibition. It is presented with two ancient Roman sculptures that, more than four hundred years ago, belonged to the same distinguished collection.

All three works belonged to Marchese Vincenzo Giustiniani (1564–1637), one of the most celebrated collectors of his day. In his grand palazzo near the Pantheon in Rome, Caravaggio’s Cupid was displayed with other works by Raphael, Titian and Giorgione, as well as an extensive gallery of classical sculpture. Life-size and painted from nature, Cupid stands with wings spread, arrows in hand and with a playful smile, surrounded by the fallen symbols of human achievement.

This free exhibition invites visitors to enter the world of 17th-century Rome, where artists, scholars and collectors debated the merits of painting and sculpture. The exhibition recreates the spirit of Giustiniani’s palace, bringing together ancient sculpture and Caravaggio’s startling vision in the way his guests would once have experienced it.

27 November 2025 – 12 April 2026

Tate Britain presents the first major exhibition to explore the intertwined lives and legacies of Britain’s most revered landscape artists: JMW Turner (1775–1851) and John Constable (1776–1837).

Radically different painters and personalities, each challenged artistic conventions of the time, developing ways of picturing the world which still resonate today. Marking the 250th anniversaries of their births, this exhibition traces the development of their careers in parallel, revealing how they were celebrated, criticised and pitted against each other, and how this pushed them to new and original artistic visions. It features over 190 paintings and works on paper, from Turner’s momentous 1835 The Burning of the Houses of Lords and Commons, lent by the Cleveland Museum of Art and not seen in Britain for over 60 years, to The White Horse 1819, one of Constable’s greatest artistic achievements, last exhibited in London two decades ago.

Monday to Sunday 10.00–18.00

£24

13 January – 21 March 2026

Thaddaeus Ropac London presents Bathtub for a Heroine,the first exhibition to bring to focus the decades-long evolution of Joseph Beuys’s monumental Bathtub (1961–87), a pivotal late work now on view in the United Kingdom for the first time. The exhibition brings together the sculpture’s key precursors, including Bathtub for a Heroine (1961–84), Mammoth Tooth, Framed (1961) and Lead Woman (1949). Presented alongside other closely related sculptures and a selection of drawings, these works illuminate the central motifs and ideas that shaped Beuys’s revolutionary concept of social sculpture – the vision that art is a vehicle of individual and collective transformation, a creative potential not contained by a single object but inseparable from life itself.

Emerging as an artist in post-war Germany, Beuys occupies a unique position among the conceptual and participatory art movements of that era. With the proposition that an artwork’s material could be an active agent, rather than merely an aesthetic surface, and by exploring immaterial forces such as heat, energy and imagination, Beuys profoundly expanded the idea of what sculpture can be – dissolving the boundaries between art, science, social theory and politics. Marked by the experience of war and in response to a post-war society of repression, he attributed an essential function to art in the renewal of society: capable of healing collective wounds, unleashing creative potential and catalysing real political change.

Free

Tuesday—Saturday, 10am—6pm

13 January – 221 March 2026

Thaddaeus Ropac London presents the first UK exhibition dedicated to Constantin Brancusi’s photographs in over two decades – and the artist’s first solo exhibition in London since his landmark Tate Modern show in 2004. The exhibition brings together three decades of the Romanian artist’s photographic work, the majority of which will be shown in London for the first time. In 2026, the 150th anniversary of the modernist sculptor’s birth will be marked by a programme of institutional exhibitions worldwide, including Brancusi, The Birth of Modern Sculpture at the H’ART Museum in Amsterdam and Constantin Brancusi at the Neue Nationalgalerie in Berlin, both organised in collaboration with the Centre Pompidou in Paris.

Photography formed an integral part of Brancusi’s practice, as both a documentary tool for his sculptural works, and an artistic medium in its own right. Some of Brancusi’s sculptures survive only through photographs, including Woman Looking into a Mirror (1909–14), which was later adapted into Princesse X (1915–16; Centre Pompidou, Paris), his controversially phallic portrait of psychoanalyst Marie Bonaparte. In 1956, Brancusi bequeathed his entire studio to the French State, including a significant body of photographs, which later became the focus of an exhibition presented alongside his first major retrospective in France at the Centre Pompidou in 1995.

The artist began experimenting with photography following his arrival in Paris in 1904. Immersed in the city’s vibrant avant-garde scene, he befriended numerous photographers including Edward Steichen, Alfred Stieglitz and Man Ray. In 1917, Brancusi met John Quinn, a prominent collector who, crucially, acquired many of his sculptures through photographs. The relationship was pivotal in transforming Brancusi’s photographic practice from a spontaneous to a systematic creative endeavour; during his lifetime, he would only allow his sculptures to be reproduced with his own photographs, believing that only these images ‘could convey the artist’s emotional exchange with his creation,’ as curator Elizabeth A. Brown has written. As such, the exhibition offers an invaluable insight into the evolution of Brancusi’s sculptural language,  tracing his radical purification of form – from his early Study for Laokoon, created while still a young student in Bucharest, to his monumental sculptural ensemble at Târgu Jiu in Romania (1937–38), which became a UNESCO World Heritage Site in 2024. 

Free

Tuesday—Saturday, 10am—6pm

13 January – 21 March 2026

An exhibition of all 126 photographs from Nan Goldin’s genre-defining photobook The Ballad of Sexual Dependency.

The presentation marks the first time the entire body of work will be shown in the United Kingdom. The exhibition coincides with the fortieth anniversary of the volume, which Goldin described at the time as “the diary I let people read.”

Created between 1973 and 1986, The Ballad of Sexual Dependency is an incisive reflection on gender, intimacy, and power, widely regarded as Goldin’s magnum opus. Forty years after its publication, the photographs not only define the era of downtown New York in which they were made but have also influenced decades of visual culture and artists around the world. Goldin notes: “I don’t select people in order to photograph them; I photograph directly from my life. These pictures come out of relationships, not observation. They are an invitation to my world, but now they have become a record of the generation that was lost. To show The Ballad in its entirety forty years after I published the book is to reaffirm that desire for transformation and the difficulty of connection and coupling are still true to our world. I’m still impressed that generation after generation finds their own stories in The Ballad, keeping it alive.”

Free

Hours: Tuesday–Saturday 10–6

Lead image: Nan Goldin, Robin and Kenny at Boston/Boston (1978 from The Ballad of Sexual Dependency, 1973-86) ©Nan Goldin

16 January – 22 March 2026

Faulkner was selected for the award for his presentation on Brunette Coleman’s stand at Frieze Focus in 2024. It showcased large-scale analogue photographs alongside sculptural works, that allied the processes of chemistry, environmental factors and time, and one of the central subjects in his practice – the artist’s studio as laboratory and site of discovery.

Faulkner’s studio is rigged for conversion to a dark room, in which he processes his photographic images by hand, the scales of which are determined by the parameters of the space. By changing the settings of the machine (the studio) his approach allows variations to emerge in the work rather than exerting deliberate gestures on the images themselves.

For his first institutional solo show in the UK, the new commission includes a series of metallic frottage reliefs of fragments of his studio walls which are then electroplated with discarded silver – the reclaimed byproduct of Xray procedures in NHS labs. Interested in processes of distillation, purification and the provenance of the material, the works have a 1:1 relationship to the space of his studio, haunting the gallery at Camden, and continuing his approach to photography as primarily a spatial one.

Free

Opening hours
Tuesday-Sunday: 11am-6pm
Thursdays: 11am-9pm

The Estorick Collection opens 2026 with the UK’s first solo exhibition dedicated to Alessandro Mendini (1931–2019), one of post-war Italy’s most creative and influential designers and architects. Bringing together around 50 key works – from furniture and drawings to paintings, rugs and design objects – the show celebrates Mendini’s playful and poetic approach to design across his extraordinary career and through his iconic collaborations with companies such as Alessi and Swatch.

Born in Milan, Mendini worked with figures like Robert Venturi and Ettore Sottsass in addition to editing Casabella, Domus and Modo (which he founded), becoming a central voice in postmodernism – his work being defined by its wit and exuberance, and by a broad spectrum of artistic references that shaped his unique approach to design.

A significant source of inspiration was the Italian Futurist movement of the early 20th century. Mendini shared its utopian ambition to ‘reconstruct the universe’ by fusing art and everyday life. The exhibition highlights this connection through two bold works in fabric dedicated to Futurist artist Fortunato Depero, as well as a series of “mechanical masks” paying tribute to figures such as F. T. Marinetti, Giacomo Balla, Umberto Boccioni, Gino Severini and Antonio Sant’Elia.

The exhibition explores other aspects of the close relationship between Mendini’s work and that of the historical avant-gardes. Highlights of the show include a Kandissi sofa, inspired by Kandinsky’s abstract compositions, whilst a later group of sculptures and vases reference the mannequin-like figures that appear in Malevich’s works of the 1930s. Also featured is the celebrated Proust Armchair of 1978: a neo- Baroque item of furniture transformed with Pointillist colour. Such pieces epitomise Mendini’s simultaneously respectful and irreverent engagement with art history – a consistent feature of his work being its gleeful subversion of the Modernist dictum ‘form follows function’.

Adult: £9.50

Concessions £7.50
National Art Pass £4.75
Full-time Students £4.00 (incl. access to library, by appointment only)
Universal Credit £1.00
Free entry to Estorick Collection Members, Under 18s and Carers.
Admission to café and shop free.

Wednesday – Saturday: 11.00 – 18.00
Sunday: 12.00 – 17.00

Maureen Paley hosts Gordon Robichaux for Condo London 2026 with an exhibition of recent work by Agosto Machado at Studio M. For his London debut, he will present a group of his shrines and altars alongside related ephemera and works by Sheyla Baykal, Caroline Goe, Peter Hujar, and Jack Smith.

Agosto Machado is a Chinese-Spanish-Filipino-American performance artist, activist, archivist, muse, caretaker, and friend to countless celebrated and underground visual and performing artists. He has been a vital participant and witness to cultural and creative life in New York since the early sixties, from art, theater, performance, and film to social and political counterculture and the dawn of the gay liberation movement. As part of a cohort of queer revolutionaries, including Marsha P. Johnson, Thomas Lanigan-Schmidt, and Sylvia Rivera, Machado participated in the Stonewall Rebellion.

Machado has presented two solo exhibitions at Gordon Robichaux in New York (2025 and 2023). His shrine and altar sculptures are held in the collections of The Museum of Modern Art (MoMA), the Whitney Museum of American Art, and the Hessel Museum of Art at Bard College in New York.

Free

Preview Weekend:
17 – 18 January 2026
12 – 6 pm

Wednesday – Saturday, 11 am – 6 pm

Lisa Brice, Cecily Brown, Gillian Carnegie, Guglielmo Castelli, Xinyi Cheng,Monster Chetwynd, Andrew Cranston, Somaya Critchlow, John Currin, Iris van Dongen, Nicole Eisenman, Urs Fischer, Aaron Gilbert, Maggi Hambling, Anthea Hamilton, Kati Heck,
Sophie von Hellermann, Donna Huddleston, Ernst Yohji Jaeger, Chantal Joffe, Jamian Juliano-Villani, Sanya Kantarovsky, Pierre Klossowski, Marcus Leotaud, Hilary Lloyd, Sarah Lucas, Jonathan Lyndon Chase, Tala Madani, Helen Marten, Sam McKinniss, Lily McMenamy, Alexandra Metcalf, Yu Nishimura, Paul Noble, Paulina Olowska, Laura Owens, Celia Paul, Elizabeth Peyton, Jessy Razafimandimby, Wilhelm Sasnal, Caragh Thuring, Ambera Wellmann, Nicole Wermers, TJ Wilcox, Joseph Yaeger, Arisa Yoshioka

A group show inspired by Oscar Wilde’s novella, Lord Arthur Savile’s Crime. Wilde’s story, with its eclectic cast of characters situated in acidly etched London, is the stimulus for an exhibition of works of various scales and mediums. The gallery’s building was initially built as an arts club in 1870, recalling a period of intimate exhibitions and society gatherings that Wilde fictionalised within the milieu of Mayfair. The restored gallery reflects the neighbourhood’s artistic lineage, and the artists participating in the Lord Arthur Savile’s Crime exhibition sit with the shadows of those exhibited in the area since the founding of the Royal Academy in the late eighteenth century.

Set within spaces that once hosted similar salons, with a scenography that responds to that maximalist aesthetic, the exhibition Lord Arthur Savile’s Crime reimagines the relationship these sites hold to art, social behaviour and the potential drama of narrative. The works presented engage with a satire that reflects staged human behaviour as a contemporary response to Wilde’s fervent and monstrous Mayfair.

Lord Arthur Savile’s Crime is a humorous period piece, written in London in 1891, full of evocative descriptions of the interiors and streets of London and its comically sketched denizens. Writing with pastiche, the prose features a ‘medley of people’ and gently mocks the morals and melodrama of the protagonist, his peers and the social obligations of Victorian high society. The plot follows farcical duties committed in the name of love: failed attempts at murder in the ironic pursuit of a fulfilled and honourable life that expose themes of morality, the obsessive nature of superstition and the triviality of social standing. Wilde’s decadent characters are interspersed with ‘pretty little’ curiosities – the elusive skill of the cheiromantist, a poisonous silver bonbonnière and an exploding French timepiece – absurd lavish objects whose pretence at luxury whilst insinuating danger makes further commodity parody of the nineteenth-century Wilde seeks to describe.

The emphasis on performative and staged behaviour in the Wildean world mirrors how we continue to be observed, judged and satirised in a contemporary society, every bit as hypocritical and self-conscious as that of 1890. In our current age of anxiety, similarly polished projections of the self continue to conceal alternative private or primal impulses, and our dependence on the observation of others remains absolute.

Free

Tuesday – Saturday
11am-6pm

Curated by Angela Thomas, this new exhibition will explore artistic expression and mental health. Through depictions of deeply personal and collective experiences, it examines the powerful ways in which artists capture vulnerability, resilience, and their search for solace.

Including the work of a diverse range of twentieth century and contemporary artists and their varying perspectives, The Weight of Being will showcase how artists have captured the psychological and emotional impact of societal pressures, resilience in the face of adversity, and existential uncertainty.

Alongside dozens of artworks drawn from galleries and collections across the UK, the portraits, landscapes, and figurative studies of the lesser-known artist John Wilson McCracken (1936–1982) are woven throughout. Denied the opportunity to return to the Slade School of Art following a period of hospitalisation for mental health reasons, McCracken spent much of his career in Hartlepool, producing work that reflects a profound sensitivity to the emotional and social pressures of his time. Shaped by personal and collective struggles, his art offers a deeply human perspective on the exhibition’s themes, revealing how external forces imprint themselves on the mind, body, and creative spirit.

Through the wide range of artists, mediums, and represented demographics, The Weight of Being is intended to spark meaningful conversations about resilience, identity, and emotional well-being, offering a profound reflection on the toll of existence and the strength found in shared experiences, ultimately fostering hope and deepening understanding.

The exhibition will be accompanied by a wide-ranging programme of cultural events for adults and children including talks, conversations, workshops, music and Wednesday Late openings until 9pm, as well as our acclaimed programme for state sector primary schools.

The Weight of Being is a Two Temple Place exhibition, conceived and curated by Angela Thomas, as part of our cultural programme. Angela Thomas has been curator at Hartlepool Art Gallery for four years, where she leads a varied exhibition programme featuring contemporary art, photography, and the historic collection of Hartlepool Borough Council.

Free

Tuesday, Thursday, Friday, Saturday: 11am – 6pm
Wednesday: 11am – 9pm
Sunday: 11am – 4.30pm
Last entry is 20 mins before closing

The Drawing Drawing is the first solo exhibition in London by Brazilian multidisciplinary artist Laura Lima (b. 1971, Governador Valadares, Brazil).

Widely exhibited internationally, Lima’s category-defying practice has explored the relationship between living beings, sites, material and time since the 1990s.

Across the Lower and Upper Galleries, The Drawing Drawing brings together a concise selection of works spanning Lima’s evolving practice to the present day. The exhibition shares its title with a major site-specific commission that hijacks the conventions of a life drawing class. In Lima’s version, in which a life model and artists slowly and unpredictably orbit one another on mechanised platforms, the positions of subject and object, and accompanying ideas of faithful representation and mastery, are put into question.

The work of Brazilian artist Laura Lima has always been deeply concerned with living things, with the vibration, unpredictability, and ongoing transformation of animate matter.

Across three decades, her practice has traced the thresholds between bodies, creatures, environments, and the forces that shape them. Communal Nests for Windows, Balconies, Verandas, Gardens, and Forests presented at Goodman Gallery London is a powerful continuation of that.

The exhibition will coincide with The Drawing Drawing at the Institute of Contemporary Arts, both forming her debut solo presentations in the city of London.

Free

Tuesday to Friday 10h00 to 18h00
Saturday 11h00 to 16h00

David Zwirner presents an exhibition of work by R. Crumb (b. 1943), opening at the gallery’s London location. One of today’s most celebrated illustrators, Crumb helped define the cartoon subcultures of the 1960s and 1970s with comic strips like Fritz the Cat, Mr. Natural, and Keep on Truckin’.

Instrumental in the formation of the underground comics scene, Crumb challenged and expanded the boundaries of the graphic arts, redefining comics and cartoons as countercultural art forms. The overt eroticism of his work paired with frequent self-deprecation and a free, almost stream-of-consciousness style have solidified his position as a renowned and influential artist, whose work addresses the absurdity of social conventions and political disillusionment. This presentation will feature work from across the adventurous and expansive arc of Crumb’s sixty-year career, and will be his first solo exhibition at David Zwirner London since 2016. It follows R. Crumb: Tales of Paranoia, which was presented at David Zwirner Los Angeles in 2025–2026. The eponymous comic book—the artist’s first in twenty-three years—was published by Fantagraphics in 2025.

For her first institutional solo exhibition in the UK, the multidisciplinary artist Julia Phillips presents new works which draw from her interest in the body, conception, and human connection.

She uses sculpture and drawing to give shape to intangible concepts, from psychological states and biological processes to human bonds and attachments.

Her sculptures merge the anatomical and the industrial. Glazed ceramic fragments, pressed and moulded against her own body, are placed in conversation with fabricated metal elements, held together by hardware such as clasps, wingnuts and springs.

Where these mechanisms appear, questions arise. Who is holding on? Who is being held? Are they inching closer? Or pulling further apart?

Free

Tue–Sun  11am–7pm

Lead image: Julia Phillips, Mediator (detail) 2020, collection of the Art Institute Chicago ©Julia Phillips,courtesy Matthew Marks Gallery

In One Day Yes / One Day No, Erwin Wurm invites us to question our own preconceived perspective through new and recent work. With his unmistakable and paradoxical approach to our contemporary society, he gives us the opportunity to perceive reality in a different way. Perhaps even to “sculpt” time and our collective memory of everyday life with a new gaze.

Erwin Wurm (b. 1954 in Bruck an der Mur, Austria) graduated from University of Graz, Austria, in 1977, and University of Applied Art and Academy of Fine Art, Vienna in 1982. lives and works in Vienna and Limberg, Austria. Over the course of his career, Erwin Wurm has radically expanded conceptions of sculpture, questioning its notions of time, mass and surface, abstraction and representation. Erwin Wurm came to prominence with his One Minute Sculptures, began in 1996/1997. In these works, Wurm gives instructions to participants that indicate actions or poses to perform with everyday objects such as chairs, buckets, fruit or sweaters. These sculptures are by nature ephemeral and by incorporating photography and performance into the process Wurm challenges the formal qualities of the medium as well as the boundaries between performance and daily life, spectator and participant.

Free

Opening Times: Wed-Sun 9am-6pm

New Contemporaries, the leading organisation supporting early career and emerging artists in the UK, presents its annual group exhibition showcasing 26 artists selected through an open call by Pio Abad, Louise Giovanelli and Grace Ndiritu.

The artists engage with dystopian futures; critical responses to the climate crisis, gentrification, experiences of displacement and systems of power. They explore our relationships and connections with each other, our ancestors, and digital technologies across time and geographical borders.

“We have chosen a diverse range of artists from all over the UK, with a variety of mediums and points of view, that are both visually arresting and can help bring a little bit of joy and beauty into an increasingly difficult world.” – Artist selector Grace Ndiritu
NEW CONTEMPORARIES 2026 ARTISTS

Viviana Almas, Kat Anderson, Hadas Auerbach, Timon Benson, Lakshya Bhargava, William Braithwaite, River Yuhao Cao, Ali Cook, Shaun Doyle, Ally Fallon, Samantha Fellows, Alia Gargum, Oliver Getley, Makiko Harris, Manuel Alejandro Hernandez Rivera, Deborah Lerner, Gregor Petrikovič, Will Pham, Isobel Shore, Maya Silverberg, Aaron Alexander Smyth, Christopher Steenson, Varvara Uhlik, Eliza Wagener, Benjamin Waters, and Yimin Xiang.

Lead image: River Yuhao Cao, The Glass Essays, 2024, still from moving image, 16 mins. 40 sec.

Free

Wednesday 12pm – 9pm
Thursday 12pm – 6pm
Friday 12pm – 6pm
Saturday 12pm – 6pm
Sunday 12pm – 6pm

This exhibition presents a selection of works from the Post-War Italian period, a defining moment in Italy’s artistic history, and a core focus of the gallery’s programme and collection. The works explore key developments such as spatial experimentation, material innovation, and sculptural abstraction.

Highlights include Cerchi virtuali (1967) by Getulio Alviani, a seminal steel work exploring reflection and visual perception;  Contrappunto IV (1970–71) by Fausto Melotti, whose stainless steel sculpture balances structural rigour and poetic clarity; Superficie Bianca (2008) by Enrico Castellani, exemplifying his signature modulation of the canvas surface, and Bronzo(1969–2007) by Agostino Bonalumi, translating his conceptual drawings into three-dimensional form.
Presented in the year of the gallery’s fortieth anniversary, the exhibition reflects the artistic vision that has defined the gallery since its founding.

Free

Monday – Friday: 10 am – 6 pm

The samurai is an iconic figure, evoking images of formidable fighters possessing ideals of courage, honour and self-sacrifice. Yet much of what we think we know about samurai is invented tradition.

Our concept of samurai today has its origins in medieval reality. A distinct warrior class – known in Japan as bushi – emerged and gained political dominance from the 1100s. But during a prolonged period of peace, beginning in 1615, the samurai moved away from the battlefield to become an elite social class that also included women. Samurai men formed the government, serving as ministers and bureaucrats. Many became leaders in scholarship and the arts, as patrons, poets and painters, in a world where intellectual pursuits were just as important as swordsmanship.

By the late 19th century, the hereditary status of samurai had been abolished and their supposed chivalric values developed into the myth of bushido, or ‘the way of the warrior’. This new code, promoting values of patriotism and self-sacrifice, was harnessed during Japan’s period of colonial expansion and military aggression. The modern mythology of the ‘samurai’ emerged gradually across the 20th century through interactions between Japan and the wider world, with idealised images of the historical warriors increasingly consumed by foreign visitors.

The story of the evolution of the samurai is told through battle gear such as the suit of armour sent by Tokugawa Hidetada to James VI and I, as well as luxury objects such as an intriguing incense connoisseurship game. From a Louis Vuitton outfit inspired by Japanese armour, to the popular, loosely historical videogame Assassin’s Creed: Shadows, the exhibition explores the samurai’s enduring legacy in games, fashion and film.

This major exhibition is a candid look at the real men and women whom we know as samurai, from the battlefields of medieval Japan to the global pop culture of today.

Adult: £25

Daily: 10.00–17.00 (Fridays 20.30)

An exhibition celebrating the extraordinary life and work of artist, sculptor, teacher, opera singer & Olympic athlete Sam Rabin.

Sparked by the publication and book launch of ‘Sam Rabin’ by Bill Crow and the accompanying exhibition at Jack House Gallery in 2024 this exhibition at Ben Uri Gallery is the biggest collection of Rabin artworks brought together from private and public collections since the major retrospective at Dulwich Picture Gallery in 1985 and features a major recent find that was believed lost forever unseen since 1928.

Free

Wednesday to Friday 10 am – 5.30 pm

Echo Chamber & The Seeds of the Narcissi is a series by Bella Easton of giant peep shows constructed from layered woodcut prints, cut and assembled into immersive internal environments. Unfolding as a spatial choreography of mirrored surfaces, printed veils, and sculptural cut-outs, the installation invites viewers to look through as well as at – navigating tunnel-like constructions that evoke inner landscapes shaped by memory, light, and distortion.

Composed of silk organza, woodcut on Japanese paper, and mirrored elements, these layered passages become shifting perceptual spaces where surface becomes portal and image becomes atmosphere. The oil pigment allows light to filter through the thin paper, so that images are seen from behind as well as within. Blurring the line between interior and exterior worlds, the work combines natural motifs with abstract geometry in a quiet dialogue of repetition, rupture, and spatial dissonance – creating a quiet interplay of reflection, fragmentation and reverie.

Drawing on the myth of Echo and Narcissus, the work explores themes of reflection, perception, and emotional resonance. Inspired by the idea of the echo as both repetition and distortion, Easton constructs immersive, tunnel-like spaces that echo the psychological dynamics of longing, memory, and self-regard. The “seeds of the narcissi” suggest both natural growth and mythic symbolism – inner landscapes taking root and multiplying within quiet, reflective chambers.

Free

The gallery is accessible 24 hours a day, seven days a week.

Office hours are:

Monday – Friday: 10am – 6pm

Martin Parr (1952 – 2025, UK) was a close friend and supporter of The Photographers’ Gallery. They were working together throughout 2025 on plans to show A Fair Day in the Gallery. In keeping with his wishes, this exhibition showcases Parr’s early-career work in Ireland while honouring his long association with the Gallery. A Fair Day: Photographs from the West of Ireland presents black-and-white photographs made in rural Ireland in the early 1980s.

‘Fair days’ were occasions for communities to gather for trade, entertainment and religious observance. Many of these special days photographed by Parr are still celebrated each year, preserving a strong sense of community and tradition. For Parr, these gatherings were a chance to capture everyday life, showing a society in transition, where long-standing customs co-exist alongside modern global influences. The photographs show cattle trading, horse fairs, folk musicians and dance halls, alongside new buildings, abandoned Morris Minors and partygoers in ’80s fashion. At first glance, many images appear timeless, but a closer look reveals a plastic cup in the Virgin Mary’s holy well, or TV aerials creeping into a pastoral scene.

Parr spent two years in Ireland creating this work, approaching his subjects with patience and a keen observational eye, while his characteristic wit ensured the images avoided cliché. A Fair Day was Parr’s last major project in black and white. He felt the work had not been shown as widely as his later projects and believed it spoke to contemporary debates around community, social change, and the collision of tradition and modernity.

Parr exhibited at The Photographers’ Gallery many times during his career. His first solo show here was Hebden Bridge and Beauty Spots in 1977, and he served as an artist trustee from 2001 to 2007. We are pleased to continue working with the Martin Parr Foundation, and with Rocket Gallery, London (who represent the Estate of Martin Parr) to honour Martin’s legacy and celebrate his impact on British photography.

£10 General admission

Mon – Wed             10.00 – 18.00

Thu – Fri                  10.00 – 20.00

Saturday                10.00 – 18.00

Sunday                    11.00 – 18.00

BAR 45’s latest art exhibition showcases the iconic imagery of Indüstria – the collaborative name of American photographer Brad Branson and Dutch artist Fritz Kok.

Indüstria captures the electric aesthetic of the 1980s and 90s, where Branson’s Old Hollywood-style portraits of artists, musicians and fashion figures from the period are playfully layered with Kok’s Art Deco graphics.

Angel wings sprout from models, planets orbit around designers and golden flames wrap around cultural figures, creating a surreal and groundbreaking series of photo collages.

Free

The first exhibition in the UK by artist WangShui (b. 1986, USA) opens at White Cube Bermondsey this February, featuring a selection of paintings that investigate the evolving relationship between consciousness and technology.

In recent years, WangShui has developed a distinctive approach to painting, through which they explore how significant technological advancements may transform human perception, using painting as a way of tracking these changes through embodied gesture.

In ‘Night Signal’, a new series of paintings turns this investigation towards the realm of dreams. Drawing on neuroscience, Indigenous knowledge, and artificial intelligence, WangShui treats the dream not simply as an expression of the mind, but as a window into alternate dimensions of consciousness – places where images are not seen but sensed, not known but felt.

Free

Tues-Sat 10am-6pm

Sunday 12-6pm

Flowers Gallery presents 56 in 26, marking the gallery’s 56th anniversary on 10 February 2026.

The exhibition brings together a selection of works from the 1960s to the present day, highlighting the enduring relationships fostered by the gallery through artists closely associated with its founder, Angela Flowers (1932–2023). Featuring artists who began working with Angela Flowers during her early years as a gallerist in 1970s London, the exhibition offers a vivid snapshot of post-war and contemporary British art, encompassing painting, sculpture, and constructed forms.

Free

Monday – Saturday 11am – 6pm

Messums London presents a curated selection of works by Sidney Nolan alongside those of his daughter, Jinx Nolan.

Sidney Nolan (1917–1992) was a leading Australian artist whose bold, experimental practice helped shape a distinct visual language—and, in time, an Australian national identity. Raised in Melbourne’s seaside suburb of St Kilda, Nolan drew early inspiration from swimming baths, piers, Luna Park, and the recurring figure of the bather. These motifs were shaped by leisure and Australia’s enduring fascination with the coast. That fascination persists: according to the Australian Bureau of Statistics, as of 2023, 87% of Australians lived within 50 kilometres of the coastline. The pull of the shore can, at times, eclipse the realities of the interior.

As Nolan’s work moved inland, these figures were displaced into harsher, drought-stricken environments, where the ease of the shoreline gave way to the isolation of the outback. In 1948, Nolan travelled from Adelaide to central Australia. Here he reframed the body, and the playful register of his St Kilda works, turning instead to stark subjects—most notably dead horses—set within an unforgiving interior landscape. Here, his imagery becomes more direct, and more attuned to the territorial anxieties that shape Australia beyond the coast.

Jinx Nolan ‘Water’s Edge Dreaming’

Accompanying Nolan on this journey to the outback was his daughter—later an artist in her own right—Jinx Nolan (b. 1941). Jinx developed a close relationship with Sidney, encouraging him to read the French poet Arthur Rimbaud and sustaining a dialogue that would continue into her own practice. Nearly every exhibition or trip Sidney undertook was marked by a pictorial correspondence with Jinx, culminating in more than 50 postcards— each pairing an image on the front with a note on the back.

This exhibition traces how Jinx and Sidney’s exchanges filtered into Nolan’s early work, and how his travels to Japan and Greece opened a small aperture onto the concerns that later surface—more starkly—in his Drought series.

Free

Tuesday – Friday: 10:00am – 6:00pm
Saturday 11:00am – 5:00pm

The exhibition Crossings: Hans Coper, Sam Herman, Lucie Rie & Eduardo Paolozzi co-curated by Isabella Smith & Frestonian Gallery, with the support of loans from The Crafts Council, traces the movement of ideas that reshaped British art in the post-war decades, focusing on four immigrant artists who expanded the nation’s aesthetic and material vocabulary.

Beginning with the potters Lucie Rie and Hans Coper – Jewish refugees from Nazism whose partnership in the 1940s and ’50s brought a distinctly continental modernism from Vienna to London – the exhibition follows the transnational currents that flowed through the city into the 1960s, ’70s and ’80s.

Trained in Vienna, and with her pots sought after by design aficionados across Europe, Rie initially faced indifference at best and hostility at worst from potters and curators in her adopted home, whose tastes were shaped by the ‘Anglo-Japanese’ style popularised by Bernard Leach. By contrast, Rie synthesised an idiosyncratic range of influences into an inimitable style of her own – a style that, in the 1960s, came to define the best of British studio pottery.

Coper, too, drew from a cosmopolitan array of sources, ranging from Greek Cycladic figurines and ancient Egyptian pottery to the abstract art of Constantin Brancusi. In 1969, for the exhibition catalogue for Collingwood/Coper at the V&A, Coper wrote:

Practising a craft with ambiguous reference to purpose and function, one has occasion to face absurdity. More than anything, somewhat like a demented piano-tuner, one is trying to approximate a phantom pitch. One is apt to take refuge in pseudo-principles which crumble. Still, the routine of work remains. One deals with the facts.

This focus on process over ‘pseudo-principles’ and on ‘practising a craft with ambiguous reference to purpose and function’ was shared by Sam Herman, a Mexican-born Polish Jew naturalised as an American. His arrival in London in 1965 brought the studio glass movement from the United States to the UK, and later from the UK to Australia. Herman disseminated new technical knowledge of how to work with hot glass alone, displacing the status quo of the artist-as-designer reliant on a fabricator, while advancing an approach to glassmaking that prioritised expressive, organic forms responsive to the material realities of molten glass.

For Eduardo Paolozzi, the Scottish-born son of Italian immigrants, his self-declared outsider status fuelled a practice that defied disciplinary boundaries, spanning sculpture, printmaking, collage, textile design and public art. This sense of otherness was rooted in a childhood lived between identities and intensified by his wartime internment as an ‘enemy alien’. Later, his work would be defined by the circulation of ideas across borders and disciplines, and by an omnivorous engagement with European modernism, American mass culture and the art of the classical world alike.

Together, these artists reveal Britain as a crossroads of global perspectives: a place where exile, migration and cultural exchange sparked new forms of making. The exhibition celebrates their legacy – a modern British art energised, expanded and reimagined by international influence.

Free

Tuesday-Friday: 11am-6pm
Saturday: 12-4pm

Lynda Benglis presents a body of previously unseen works alongside her own selection of Alberto Giacometti’s sculptures, opening up connections and dialogues across generations.

Since the 1960s, US artist Benglis has been celebrated for the free, ecstatic forms she has made that are at once, playful and visceral, organic and abstract. Alberto Giacometti is one of the most significant European sculptors of the 20th century, known for his distinctive, elongated sculptures which experiment with the human form.

Level 2, Barbican Centre

£8

Mon   Closed, including bank holidays
Tue–Wed   12-6pm (last entry at 5.30pm)
Thu–Fri   12–8pm
Sat–Sun   12–6pm (last entry 5.30pm)
Timed entry every day (advance booking recommended)
The ticket desk for this exhibition is located on Level 3, inside the main Art Gallery.

CASSIUS&Co. in partnership with Adrien Delestre presents Prunella Clough: Samples, 1960-99.

The exhibition brings together paintings and works on paper from the 1960s through to the late 1990s, a period in which the artist developed her own mode of abstract object-making, one that ‘sampled’ the industrial and urban landscape of post-war Britain, collapsing it into its constituent, painterly elements of texture, colour and form.

Prunella Clough (1919 – 1999) occupies a distinctive position in the history of Modern British art, one that is connected to many of the most prominent artists of the period but which always maintained its independence. While she was committed to painting all her life she cannot be pinned to a particular school, nor a particular style beyond her own: a unique method of seeking the heart of humble things, and ‘saying a small thing edgily’.

While Clough’s early industrial paintings of post-war Britain in mechanical browns and greys are well-known, less attention has historically been paid to these later, more abstract works. This exhibition argues for the primacy of this period, not only as an organic extension of her figurative work but even as a process of its refinement, one which can be connected to her war-time role as a cartographer, and which together comprises one of the most enigmatic oeuvres made in Britain in the last century, banal and seductive, alluring and jarring in equal measure.

Clough regularly exhibited new paintings and prints at her dealers’ galleries throughout her career, and was the subject of one-person surveys at leading public venues, including the Whitechapel Art Gallery in 1960 and the Camden Arts Centre in 1996. Yet she never particularly sought fame or fortune, and was always eager for her work to be available to students and fellow artists. In this spirit, we are pleased to publish, alongside the exhibition, a fully-illustrated catalogue that includes contributions from those who knew the artist personally. Prunella Clough, Samples, 1960-99 will be presented alongside a bookshelf exhibition about the urban fabric of London.

Free

Wednesday – Saturday, 10 am – 5 pm

Inside Aardman: Wallace & Gromit and Friends goes behind the scenes of stopmotion animation to explore how Aardman’s iconic characters and worlds are brought to life.

Created primarily for children and families, the exhibition invites visitors to explore the world of Aardman – creators of Wallace & Gromit, Chicken Run, Shaun the Sheep, Morph, and more – and unpacks the making of some of the most well known and loved characters of all time.

Coinciding with the studio’s 50th anniversary year, Inside Aardman explores the storytelling and craft that brings their familiar and fantastical worlds from the sketchbook to the screen. The exhibition takes visitors behind the scenes of the animation process, from idea development and storyboarding to model making, filming and production, and post-production. Over 150 items will be on show, including Aardman’s early character sketches, concept art, puppets, character ‘bibles’, props, scripts, set models, as well as several optical illusion toys and early examples of stop-motion animation from the V&A’s collection.

There will be interactive activities for children including storyboarding, designing characters, experimenting with lighting a set, creating Live Action Videos, and ‘touch’ objects, that showcase the techniques, skills, and materials used by Aardman animators and filmmakers.

£12.50 (concessions apply)

Advance booking recommended

Daily: 10.00 – 17.45

Lucian Freud: Drawing into Painting will be the UK’s most comprehensive museum exhibition to focus on the artist’s works on paper, including some works seen on display for the first time.

Lucian Freud (1922-2011) achieved recognition as one of Britain’s foremost figurative painters, celebrated for his clinically raw and intensely observed portraits and nude studies. Freud’s working practice, artistic techniques and processes, alongside his dedication to the genre of portraiture all contribute to his popularity as an artist.

The exhibition explores the artist’s lifelong preoccupation with the human face and figure from the 1930s to the early 21st century, focusing on Freud’s mastery of drawing in all its forms – from pencil, pen, and ink to charcoal and etching. In addition, a carefully selected group of important paintings will reveal the dynamic dialogue between his practice on paper and on canvas.

Ahead of the exhibition in 2026, the National Portrait Gallery has acquired 12 new works from the estate of Lucian Freud. Among these are 8 etchings, including a trial proof, which are the first of their medium by Freud to enter the National Portrait Gallery’s Collection. One of the newly acquired etchings, which depicts the artist’s fashion-designer daughter, Bella Freud, will feature in the new exhibition, alongside archive research and previously unseen materials.

Lucian Freud: Drawing into Painting is the first exhibition of Freud’s work at the National Portrait Gallery since the major retrospective Lucian Freud Portraits held in 2012, shortly after his death.

£23-25 / £25.50-27.50 with donation

Open daily: 10.30 – 18.00
Friday & Saturday: 10.30 – 21.00

Victoria Miro presents the world premiere of the five-screen installation of Isaac Julien’s acclaimed film installation All That Changes You. Metamorphosis, accompanied by new photographic works.

All That Changes You. Metamorphosis, 2025, is a vivid, sweeping, visual poem about change, what it means to transform, to adapt and to survive. Commissioned to celebrate 500 years of Palazzo Te, Mantua, Italy (where it is currently on view) and exhibited here for the first time as a five-screen installation, Julien’s latest work moves between science fiction, philosophy, ecology and art, imagining new forms of life and identity beyond the human.

The work draws inspiration from thinkers who explore how transformation shapes who we are and how we live, including writers Octavia Butler, Naomi Mitchison, Ursula K. Le Guin and philosopher Donna Haraway. Their ideas weave through the film’s layered images and lyrical dialogue, beginning with Donna Haraway reading from her provocative thesis, Staying with the Trouble, 2016. Haraway’s voice, outlining her theory of ‘becoming-with’ – living with other species rather than seeking to dominate them – grounds and sets the tone for the film. Haraway reminds us that ‘trouble’ once meant ‘disturbance’ suggesting that to live we must embrace uncertainty rather than fleeing from it. For Julien, metamorphosis is both survival and an act of imagination, a way of learning to live in a world in flux.

Lead image: Isaac Julien, Metamorphosis I (All That Changes You. Metamorphosis), 2025
Inkjet Print on Ilford Gold Fibre Gloss mounted on aluminium © Isaac Julien
Courtesy the artist and Victoria Miro

Free

Tuesday–Saturday: 10am–6pm

The Courtauld presents the first ever exhibition dedicated to the seascapes of the French artist Georges Seurat (1859–1891). This major, focused display will be the first devoted to Seurat in the UK in almost 30 years. It will chart the evolution of his radical and distinctive style through the recurring motif of the sea.

The Courtauld holds the largest collection of works by Seurat in the UK. The artist is best known as the creator of the Neo-Impressionist technique, in which shapes and light are rendered by juxtaposing small dots of pure colour. Due to his early death at the age of 31, Seurat has a very small pool of works and exhibitions devoted to him are rare.

The Griffin Catalyst Exhibition: Seurat and the Sea will bring together 26 paintings, oil sketches and drawings made by Seurat during the five summers he spent on the northern coast of France, between 1885 and 1890. Working in port towns along the English Channel, including Honfleur, Port-en-Bessin and Gravelines, Seurat captured their seascapes, regattas and port activity in his distinctive Neo-Impressionist technique. He sought, in his words, ‘to wash his eyes of the days spent in the studio [in Paris] and to translate in the most faithful manner the bright clarity, in all its nuances’.

These works are an important counterpoint to his Parisian works, which are better known and more widely studied. This exhibition will therefore provide a unique opportunity to reassess an important but often overlooked aspect of Seurat’s career.

Adult £18 (£20 with donation)

Daily 10:00 – 18:00 (last entry 17:15)

domobaal presents Shelf: Alice Wilson, Alison Wilding, Dominic Beattie, Fabian Peake, Karolina Albricht, Maud Cotter, Mhairi Vari, Neil Zakiewicz, Nicky Hirst, Phyllida Barlow and Richard Woods, in an exhibition curated by Neil Zakiewicz. ‘Shelf’ follows on directly from ‘Big Names’, Neil Zakiewicz’s fourth solo exhibition in the gallery, drawing attention to his ongoing curatorial practice alongside his artistic practice.

The selected artists span a range of ages and career stages, yet they all question the traditional hierarchies of painting, sculpture, and design, moving fluidly among these media. Working with ceramics, found objects, plaster, paint, and wood, they incorporate the shelf directly into their works. Rather than treating the shelf as a peripheral support (a mere afterthought), it is integral to the work from the outset; the shelf, therefore, is the subject.

One could also say that the artists are solving the eternal problem that faces sculptors of how to present sculpture sympathetically with the environment. Their concern is not only with the shelf, but the gallery itself – the building that is outside their control. This approach aligns with installation art’s awareness that the gallery is a non–neutral space, echoing Brian O’Doherty’s scepticism toward the notion of a homogeneous, sacral white cube (Inside the White Cube, 1976). Instead of allowing objects to passively rest for easy consumption within the gallery, they are placed in tension with its ambiguously defined environment. One could argue that the shelves presented in this exhibition both protect and absorb the works, like anchored ships in a harbour.

Neil Zakiewicz has curated thirteen exhibitions to date, including ‘2019’ (Campbell Works, 2023), ‘Boot’ (Terrace, 2022; touring Platform A, 2023), ‘Washing Line’ (Thames Side Studios, 2020), ‘Mechanical Abstract’ (Turps Gallery, 2016), and ‘If I Was a Sculptor (But Then Again, No)’ (Bearspace, 2007, funded by Arts Council England). All these exhibitions have investigated the material conditions of display and the formal constraints that shape contemporary art.

Free

thursday/friday/saturday
noon to six pm

Chiharu Shiota is best-known for her large-scale installations which engulf ordinary objects – such as shoes, keys, beds, chairs and dresses – within huge web structures made from woollen thread.

The resulting works are immersive and deeply emotive, often drawing from personal experience, which Shiota expands into universal human concerns such as life, death and relationships.

Accompanied by new large-scale sculptures, drawings, early performance videos and photographs, the artist’s signature works are woven from floor-to-ceiling across the Hayward Gallery’s top floor, responding to the gallery’s iconic brutalist architecture in a truly atmospheric presentation.

The exhibition features new iterations of Shiota’s past monumental installations, including During Sleep (2026), which is activated with performances throughout the run of the exhibition.

During Sleep performances are free with a ticket to the exhibition and take place on Saturday 7 March, 11 April & 2 May, 10am – 1pm.

£19

Tue – Fri, 10am – 6pm
Sat, 10am – 8pm
Sun, 10am – 6pm

This exhibition is on display alongside the exhibition Yin Xiuzhen: Heart to Heart.
Each ticket includes entry to both exhibitions.

Yin Xiuzhen is renowned for her use of secondhand clothing, concrete, food and household ephemera in her immersive installations and sculptures.

She creates multimedia artworks that negotiate the spaces between memories, individuals and the globalised societies that we live in today.

Drawing on over 30 years of creation, the exhibition brings together a selection of the artist’s seminal projects alongside a number of new commissions, and is the first major UK survey of her work.

£19

This exhibition is on display alongside the exhibition Chiharu Shiota: Threads of Life.
Each ticket includes entry to both exhibitions.

Tue – Fri, 10am – 6pm
Sat, 10am – 8pm
Sun, 10am – 6pm