Experience a new site-specific work by Máret Ánne Sara in Tate Modern’s Turbine Hall

Máret Ánne Sara is a Northern Sámi artist and author known for her work exploring global ecological issues through the lens of her lived experience within the Sámi community.

Through her multidisciplinary practice, Sara highlights the impact of Nordic colonialism on Sámi ways of life, exploring the importance of preserving Sámi ancestral knowledge and values to protect the environment for future generations. Often using materials and methodologies derived from reindeer herding, Sara creates powerful sculptures and installations which uphold the reciprocal relationship between animals, lands, waters, and humans.

Somerset House presents Infinite Bodies, a groundbreaking exhibition dedicated to the polymath practice of internationally renowned choreographer and director Sir Wayne McGregor CBE. Marking the culmination of Somerset House’s 25th birthday celebrations, it will offer a bold exploration of McGregor’s three-decade career.

This landmark exhibition explores how McGregor’s investigations into the body, movement and cutting-edge digital technologies have radically redefined our perception of physical intelligence. A series of multi-sensory choreographic installations, performances and experiments will take over Somerset House’s Embankment Galleries, including spectacular new commissions. Extending the experience beyond Somerset House, a major off-site installation will also be presented at Stone Nest in London’s West End — forming part of a city-wide celebration of Infinite Bodies.

Reflecting the collaborative nature that defines Studio Wayne McGregor’s creative home in East London, the exhibition features collaborations with world-leading artists, designers, musicians, and technologists, such as Industrial Light & Magic, artist group Random International, Oscar-winning sound designer Nicolas Becker, renowned music producer LEXX, and artists Ravi Deepres, Ben Cullen Williams, Jeffrey Shaw, OpenEndedGroup and Nick Rothwell. McGregor also continues his creative exchanges with visionary collaborators such as fashion designer Gareth Pugh, visual artist Theresa Baumgartner, photographer Indigo Lewin, and filmmaker Ruth Hogben.

At select moments during the run, Company Wayne McGregor, the world-class dancers in residence, will bring the artworks to life, offering audiences a rare glimpse into their creative process. These special appearances will take place on unannounced dates.

The exhibition will feature a programme of talks, music, workshops, events, and relaxed sessions.

Infinite Bodies is curated by Dr Cliff Lauson, Director of Exhibitions at Somerset House, and writer Philipp

This exhibition traces a century of South Asian art, from the 1930s to the present day, through the people and places that influenced Indian sculptor Mrinalini Mukherjee (1949-2015). Her artworks fuse abstraction with the human form – drawing on nature, regional traditions of architecture and craft and international Modernist art and design.

Alongside Mukherjee, the exhibition features seminal work by her parents, Leela Mukherjee and Benode Behari Mukherjee, who taught at Kala Bhavana in Santiniketan, the pioneering art school founded by poet and polymath Rabindranath Tagore. It also celebrates key figures of the Indian cultural scene, including KG Subramanyan, Jagdish Swaminathan, Nilima Sheikh and Gulammohammed Sheikh. The works on view range from monumental woven sculptures to intricate paintings, ceramics, collages and drawings.

Discover the luminous paintings of Anna Ancher (1859–1935), one of Denmark’s most celebrated and pioneering artists, in her first-ever UK exhibition.

Known for her luminous paintings, bold use of colour, and ability to capture light like no other, Ancher offers a fresh and powerful perspective on the art of the late nineteenth and early twentieth centuries.
Though a household name in Denmark, Ancher is little known in the UK. This landmark exhibition brings her work to British audiences for the first time, showcasing over 40 paintings from across her career — including masterpieces on loan from The Hirschsprung Collection and Skagens Museum.

Celebrating four decades of ground-breaking contemporary art, The Long Now is an expansive group show presenting new works by iconic artists closely associated with the Gallery’s dynamic history, alongside fresh voices from a new generation.

Spanning two floors and nine major exhibition spaces, the exhibition features special commissions, installations, painting and sculpture, and culminates with Richard Wilson’s iconic 20:50. A landmark in Saatchi Gallery’s history, 20:50 has been shown at each of the Gallery’s past locations and now, for the first time, is presented on the top floor.

Filling the space with recycled engine oil, it creates a mirrored environment that both disorients and captivates. In the context of today’s climate crisis, the work takes on renewed resonance, inviting reflection on the fragility of our surroundings, community, and environmental uncertainty.

The Long Now takes its name from a concept of fostering long-term thinking and challenging throwaway culture. Newly created works appear alongside historic pieces that remain impactful and relevant, continuing Saatchi Gallery’s tradition of showing art of the present while giving artists the space to realise ambitious ideas.

The exhibition opens with works exploring process and mark-making – a fundamental human gesture reimagined by Alice Anderson, Rannva Kunoy and Carolina Mazzolari. This spirit of experimentation runs through works by Tim Noble, André Butzer, Dan Colen, Jake Chapman and Polly Morgan, who push subject, style and scale.

At the centre stands Jenny Saville’s monumental Passage (2004). Combining strength and beauty, it exemplifies her ambition to “be a painter of modern life, and modern bodies.” The work anchors the exhibition’s energy, inviting a powerful and intimate encounter with the human form.

Painting, a constant in Saatchi Gallery’s programme, is further represented by Alex Katz, Michael Raedecker, Ansel Krut, Martine Poppe and Jo Dennis, alongside new and emerging voices who continue to expand the medium’s possibilities.

Immersive installations shift the focus from viewing to participation. Allan Kaprow’s YARD, with its chaotic arrangement of tyres, encourages movement and play, while Conrad Shawcross’s suspended Golden Lotus (Inverted) transforms a vintage car into a kinetic sculpture, prompting reflection on transformation, agency and the role of the viewer.

The exhibition raises questions of technology and the future, with Chino Moya, Mat Collishaw and Tom Hunter reflecting on surveillance, automation and AI – considering how the digital world permeates contemporary life.

Themes of fragility and climate change weave throughout. Gavin Turk’s fractured Bardo suggests cultural decay and the precarious balance between permanence and collapse, while works by Olafur Eliasson, Chris Levine and Frankie Boyle use light to create moments of contemplation. Environmental concerns are explored by Edward Burtynsky, Steven Parrino, Peter Buggenhout, Ibrahim Mahama, Ximena Garrido Lecca and Christopher Le Brun, who address extraction, waste and renewal.

Curated by Philippa Adams (Senior Director, Saatchi Gallery 1999- 2020).

Featured artists:

Alice Anderson, Olivia Bax, Frankie Boyle, Edward Burtynsky, Peter Buggenhout, André Butzer, Jake Chapman, Mat Collishaw, Dan Colen, John Currin, Jo Dennis, Zhivago Duncan, Olafur Eliasson, Rafael Gómezbarros, Ximena Garrido-Lecca, Damien Hirst, Tom Hunter, Henry Hudson, Alex Katz, Allan Kaprow, Maria Kreyn, Ansel Krut, Rannva Kunoy, Christopher Le Brun, Chris Levine, Ibrahim Mahama, Carolina Mazzolari, Jeff McMillan, Misha Milovanovich, Polly Morgan, Ryan Mosley, Chino Moya, Tim Noble, Alejandro Ospina, Steven Parrino, Martine Poppe, Michael Raedecker, Sterling Ruby, Jenny Saville, Conrad Shawcross, Soheila Sokhanvari, John Squire, Dima Srouji, Gavin Turk, Richard Wilson, Alexi Williams Wynn.

7 November 2025 – 28 February 2026

Annely Juda Fine Art announces its inaugural exhibition at the gallery’s new space on Hanover Square with works by David Hockney.  Opening in early November 2025, the exhibition will debut a series of new paintings alongside the first full presentation in the UK of Hockney’s “The Moon Room”.

Hockney’s fourteenth exhibition at the gallery, and following his celebrated exhibition at Fondation Louis Vuitton, Paris this summer, this show will debut never-seen-before paintings completed in his London studio over the last six months, underpinning Hockney’s unwavering commitment to and vigour for the act of painting and cementing him as perhaps the most iconic artist of today.

These very, very, very new paintings mark the most developed stage yet in Hockney’s dedication to ‘reverse perspective’ in paint. For decades, Hockney has observed that traditional linear perspective in art and photography doesn’t reflect how humans actually see: we have peripheral vision, we move and we constantly generate multiple viewpoints. Viewing is therefore not static, but dynamic and experiential. It’s not an inversion of perspective that interests Hockney, but an expansion of the possibilities of representation. In these recent canvases, which depict colourful interior scenes, he disrupts planar perspective and engineers multiple vanishing points in a single picture, bringing us closer to the lived experience of perception.

The show will also include “The Moon Room”, comprising 15 iPad paintings of the night sky. The moon works were created in 2020 outside Hockney’s Normandy studio in France throughout the seasons and, just as previous iPad works have, these works capture a joy in nature, this time brightly illuminated by moonlight.  Influences of Van Gogh are present, yet Hockney’s signature use of line and colour is unmistakable.  With the ability to paint easily en plein air, Hockney enjoys the speed with which he can capture light with the iPad, evident in the luminosity of these works.

Free

Tuesday – Friday 10am – 5.30pm. Saturday 11am – 5pm.

7 November 2025 – 10 May 2026

‘Wright of Derby: From the Shadows’ is the first major exhibition dedicated to the British artist’s ‘candlelight’ paintings.

Illuminated faces gather around a variety of objects – from classical sculptures and scientific instruments to bones, bladders and animals. Through his unflinching scenes of people watching, Wright of Derby proposes moral questions about acts of looking. The strong light and deep shadows create drama, reminding us of great painters from earlier centuries like Caravaggio.

Challenging the traditionally held view of Wright of Derby as a figurehead of the Enlightenment, this exhibition contributes to the ongoing re-evaluation of the artist, portraying him not merely as a ‘painter of light’. More than virtuoso scenes of dramatic light and shade, Wright of Derby used the night-time to explore deeper and more sombre themes, including death, melancholy, morality, scepticism and the sublime.

With over twenty works, including other paintings, mezzotints, works on paper and objects the exhibition explores both Wright of Derby’s artistic practice and the historic context of scientific and artistic development in which they were made.

Lead image:

Joseph Wright of Derby, A Philosopher Giving That Lecture on the Orrery in Which a Lamp Is Put in Place, 1764-1766

Derby Museum and Art Gallery (1884-168) © Derby Museums

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.

Pace presents Monument to the Unimportant, a group exhibition bringing together sculptures, paintings, works on paper, and an installation that each take the everyday object as a point of departure, revealing art’s enduring ability to transform the overlooked into sites of inquiry and visions of delight.

Monument to the Unimportant will include works by Henni Alftan, Genesis Belanger, Keith Coventry, Elmgreen & Dragset, Nathalie Du Pasquier, Urs Fischer, Sylvie Fleury, Robert Gober, David Hockney, Konrad Klapheck, Jac Leirner, Tony Matelli, Claes Oldenburg, Michelangelo Pistoletto, Wayne Thiebaud, Rachel Whiteread, Erwin Wurm, and B. Wurtz.

Often directly mimetic, these works upturn visual hierarchies in fine art and propose that the mundane can be harnessed to monumental effect. Spanning over 60 years of making, they share common subjects: cakes abound in the work of Oldenburg and Thiebaud; the architecture of the home inspires Wurm and Belanger’s sculptures; and both Klapheck and Hockney illuminate the infrastructure—the cabling and piping—of daily life. These resonances suggest that, while what we choose to celebrate differs across cultures and times, the unimportant almost always relates to the domestic, the alimentary, and the excretory.
The artists in this exhibition elevate their subjects from the invisibility of everyday life using a variety of contextual, material, and formal devices.

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

10 January – 21 February 2026

Curated by Pascal Rousson

ADAM DIX, DJ ROBERTS, NICK CURTIS, CHARLOTTE HOPKINS HALL, JAKE CLARK,
KEELERTORNERO, REBECCA SCOTT, PASCAL ROUSSON, PAUL SAKOILSKY, ANELYS WOLF

The notion of nostalgia frequently surfaces in discussions of painting, particularly in relation to what has often been called the “Exquisite Corpse of Painting.”

The history of modern art has been persistently haunted by pronouncements of painting’s death, each era declaring it obsolete, only for it to re-emerge in another form. Throughout the twentieth century, a sense of decay seemed to follow painting, as though the medium itself were a living body in perpetual decomposition.

The origins of this discourse may be traced to the invention of photography and to Paul Delaroche, who famously lamented that painting had died with the advent of the camera.

But this “Death” has never been final. Time and again, painting resurfaces, confronting the question of how to continue after the achievements of modernism, after the readymade, and after each theoretical declaration of its end. Even when the “Death of Painting” took again centre stage in the 1980s, the gesture already felt as old as modernity itself.

Johannes Hofer’s definition of nostalgia, derived from the Greek “νοσταλγία” (nostalgia), the German “Heimweh”, the French “le mal du pays”, and the English “homesickness” describes it as a psychosomatic condition rooted in the brain’s nerve fibres, which retain impressions of one’s homeland. Those afflicted with nostalgia, he writes, dwell obsessively on the idea of return. In a similar sense, painting, as a medium, may be understood as afflicted by nostalgia: a persistent longing for its own past, for the tactile, the observational, and the slow.

As a technology, painting is prehistoric, but in our present age of hyper-technology, it can be perceived as a redundant or anachronistic practice, an act inherently nostalgic. Figurative painting, or even the very gesture of painting, might be interpreted as a return to material presence and to the temporal. This re-engagement with fragments of the past, reshaped to reflect on the present, could still represent a form of resistance to the speed, dematerialisation, and ephemerality of the digital era.

Baudelaire’s poem “A Carcass” offers a resonant metaphor for this process of decay and persistence:

“The forms disappeared and were no more than a dream,
A sketch that slowly falls
Upon the forgotten canvas, that the artist
Completes from memory alone.”

Like the Carcass in Baudelaire’s verse, the body of painting seems to disintegrate again and again. Even in its apparent death, it continues to preserve within itself what might be called the “Divine Essence” of the artwork, an enduring vitality that resists final extinction.

Free

Thursday: 12-5 pm
Friday: 12-5 pm
Saturday: 12-5 pm

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

15 January – 28 February 2026

Galerie Max Hetzler, London, presents Point Rock, a solo exhibition of new works on paper by Katharina Grosse. This is the artist’s first presentation in the gallery’s London space.

The exhibition presents a new body of watercolour and acrylic works on paper, initiated by the artist in December 2024 during an extended stay in Marfa, Texas. A response to the fleeting brilliance of the desert sky at sunrise and sunset, Grosse’s new works depict entangled clusters of colour set against bright white grounds. Paper is an important medium in the artist’s practice and one she has returned to in varying formats and at varying scales throughout her career, from architectural to more compact propositions. These paintings sit along a continuum with Grosse’s large-scale in situ pieces such as CHOIR, her celebrated 2025 Art Basel Messeplatz commission, mapping the extremes of her thinking about how and where painting can land.

Grosse is fascinated by the way the painted image captures, condenses and contorts time. While making and viewing her large-scale works is a durational experience, the fluid brushstrokes of her new watercolours feel spontaneous and immediate. Snaking tendrils, looping brushmarks, and sweeps of paint billow across the pictorial plane in vibrant hues that shift through yellow, orange, pink and red to deeper shades of blue and green. In several works, new colours emerge in shadowy tones of purple and brown. Formed from the interaction of overlapping layers of paint, they at once reveal and obscure the sequential order of mark-making, blending and blurring in a way that speaks to the ever-changing desert skies. As the artist notes: ‘In the desert, every day and every night, you actually see time pass because the changing light transforms everything you look at. It has a dematerialising effect, and the transformation is almost instantaneous. These paintings are my response to that phenomenon, which is absolutely ephemeral and yet repeats itself every day.’

At the heart of Grosse’s practice is the idea of the painted image as a membrane or threshold between imagination and the physical world. Her residency at The Chinati Foundation, Marfa, in 1999, which resulted in her landmark site-specific installation Cheese Gone Bad, was a dramatic early exploration of this interaction. Influenced by the seemingly limitless horizons of the Texan desert, Grosse saturated the walls, ceilings and doors of the foundation’s shopfront building with sprayed clouds of colour, transforming the space into a single engulfing image. Returning to Marfa for her latest series, Grosse remains radically open to the landscape and the particular way time unfolds there. ‘I’m interested in how a painting can communicate speed, the passing of an instant, and also hold a multiplicity of moments within a single image, so that they are impossible to disentangle,’ she states. Looping and knotting, these new works contain both end points and new beginnings.

Free

Tuesday – Friday, 10am – 6pm
Saturday, 11am – 6pm

15 January – 21 February 2026

South African-born Gina Kuschke has developed a practice of abstract painting, giving form to a confluence of cultures, migratory patterns and memories. Kuschke works the paintings until they reflect a true translation of her lived experience.

At the core of this exhibition is a body of work which began in spring 2025, during the artist’s two-month residency at Porthmeor Studios in St Ives, Cornwall. This beachside haven became a site of solitary inquiry, where the unfolding present, immediate landscape and Kuschke’s own personal histories converged in painting to evoke a spirit of place. In her gestural approach to landscape, her canvases map this meeting between inner geography and external environment.

Growing up between South Africa and London, Kuschke cultivated a sensitivity to place. In Cornwall, living near the ocean awakened memories of Kuschke’s childhood in South Africa, reviving a heightened attentiveness to nature’s cues and early fascination with how water, rocks and shells reveal the material effects of time. In London where Kuschke resides, noise is intrusive and often suppressed; in Cornwall however, sounds, light and tidal cycles became anchors for her canvases. Observing fishing boats, Kuschke studied the outlines left behind by their tow lines on the sand, echoes of which are traceable in her paintings; her mark-making and forms move toward resolution, only to dissolve into successive, shifting lines. At Porthmeor, the southernmost region of mainland UK, flooded with light said to ‘lift the shadows’, her surroundings entered the studio walls through a vast pitched-roof skylight. The paintings capture this clear, brilliant light – maximising the inherent glow of oil, creating a sense of autogenous radiance.

For Kuschke, creating such large-scale paintings is a sustained physical performance. These works begin the moment she makes the painting’s ‘support’ – constructing the frame, stretching and grounding the canvas. As she explains, ‘it is never a blank canvas’. Even before paint is applied, she builds the work – materially and conceptually – a stage which is integral to the final resolve. Through a highly-planned spontaneity, Kuschke then layers and erases urgent scores of paint in an ongoing dialogue between artist and material. Marks become buried into the surface: ‘I treat the support as a witness to my body.’ Describing her practice of mark-making and drawing-in-space, Kuschke observes, ‘at some point in the process, a scene or event jumps out at me as something that is familiar, and the responsibility then, is to capture that’.

If Cornwall encouraged Kuschke to tend to the current moment, this development expresses a countervailing impulse to the historical rootedness already present in her work. Informed by personal archives; Cornish mythologies; South African folkloric stories; and the writings of Antjie Krog, Breyten Breytenbach and James Matthews, Kuschke gathers extensive, esoteric research which she translates into visual language. As streams of feeling and knowledge emerge on the surface of the canvas, this exhibition brings together a perceptual investigation into real and past time.

Free

15 January – 14 March 2026

An exhibition of rare prints from the photographic series In the American West (1979–84) by Richard Avdeon, curated by the photographer’s granddaughter, Caroline Avedon, including works that have not been shown since their debut in 1985.

In the American West, an extended series commissioned by and first exhibited at the Amon Carter Museum in Fort Worth, Texas, celebrated its fortieth anniversary in 2025. At the time of its debut in 1985, Avedon was well known for fashion photography, portraits of people in power, and his work with the civil rights movement. These images, which picture the heart and soul of hardscrabble, working-class America, represented a significant new development in his work. Returning to the series four decades after its initial unveiling, Facing West prompts reflection on the evolving interpretation of its imagery and on the series’ status as its maker’s magnum opus.

Avedon spent five years, from 1979 to 1984, travelling to twenty-one US states. He conducted more than a thousand sittings, finally producing 126 editioned images, 21 of which are on view in London. With the help of introductions made by an assistant, Laura Wilson, he selected a wide variety of people to photograph, representing a range of professions and rural pastimes, and depicting often-overlooked subjects, from drifters to coal miners. Regarding his portraits as subjective interpretations (“All photographs are accurate,” he stated. “None of them is the truth”), Avedon often confronted suffering but succeeded in conveying the hidden strength of his subjects, instilling the project with a sense of hope. Seeking human connection, he stood outdoors and next to the camera to engage with his subjects, who, in a departure from the conventions of series portraiture, he also named and defined, resisting both generalisation and idealisation.

Free

Hours: Tuesday–Saturday 10–6

Lead image: Richard Avedon, James Story, cola miner, Somerset, Colorado, December 18, 1979 ©The Richard Avedon Foundation

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

Peter Schuyff (b. 1958, Baarn, Netherlands) is a prominent member of the Neo-Geo movement that emerged in New York in the 1980s.

Born in the Netherlands, he later moved to the United States, where he made a name for himself with his unique approach to painting. His work is characterised by his use of geometric shapes and his ability to create light and movement by applying thin layers of acrylic paint. As one of the most innovative artists of his generation, Schyuff continues to push the boundaries of abstract art, exploring new techniques and concepts.

In 2017 Le Consortium, Dijon, presented ‘Has Been’ a retrospective of Schuyff’s work made between 1981-89. His more recent public exhibitions include Whitney Biennial, New York (2014); New Museum of Contemporary Art, New York (2005); and The Aldrich Museum of Contemporary Art, Ridgefield, US (1996). Schuyff’s work can be found in the permanent collections of MOMA, New York: MOCA, LA; Metropolitan Museum of Art, New York and The Fisher Landau Foundation, New York. Schuyff lives and works in both Amsterdam, NL and Bari, IT.

Free

Tues-Sat 10am – 6pm

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

Sprovieri presents a solo exhibition dedicated to Mario Merz, a central figure of Arte Povera and a leading voice in one of the most radical reflections on space, dwelling, and the relationship between nature and culture in the second half of the twentieth century. At the heart of the exhibition stands La Pianta della Vite nella Sfera Occidentale (1991), one of Merz’s most intense and complex igloos—an in-between work, poised at the threshold of architecture, living organism, and thought.

The igloo—a hemispherical structure measuring three metres in diameter—emerges from a metal framework clad in bundles of wood, held in place by a mesh that follows their irregular inclinations. Among the vegetal fibres surface a metal funnel and a long cylinder of beeswax: silent, almost ritual presences that introduce a different sense of time—slow, archaic. The work is not built through accumulation, but through resting and contact: materials supporting one another, curves receiving planes, stability and tension coexisting.

Free

Mon – Fri 10 am – 6pm

For his latest exhibition at Saatchi Yates, London-based artist Slawn turns the gallery into a functioning studio, an active space where painting, music and collaboration happen live. Running from 22 January to 22 February, Slawn’s Studio gives visitors an opportunity to experience his practice, putting spontaneous energy and collaboration at the centre of the exhibition.

Throughout the show, the London gallery operates as Slawn’s working environment. Paintings are made and reworked, music is written and recorded, and ideas move quickly between disciplines. A constant stream of friends, collaborators and fellow artists pass through the space, contributing to the busy and energising atmosphere of Slawn’s Studio.

The work created during Slawn’s time in the gallery forms the foundation of the exhibition itself, with the presentation evolving over the month.

Free

Mon – Sat: 10-6pm
Sun: 12-6pm

On the occasion of Georg Baselitz’s 88th birthday, Cristea Roberts Gallery presents Geschichte, the artist’s fourth solo exhibition with the gallery.
Georg Baselitz: Geschichte presents a new body of work that focuses on one of Baselitz’s most enduring and provocative motifs – the eagle or Adler. The exhibition brings together over twenty etchings and aquatints that depict the inverted eagle alongside other animals, such as the hare and the deer, as well as the artist’s most recurrent muse, his wife Elke.

The title of the exhibition, Geschichte, comes from the German word for history or tale. With this dual meaning in mind, Baselitz establishes a dialogue between two of his most famous motifs: the eagle and Elke, bringing them together in a new narrative (or Geschichte), whilst acknowledging the historical importance of both themes in his oeuvre.

Baselitz’s graphic work often interrogates both personal and political histories and is constantly engaged in a disruptive process of orienting and disorienting, challenging what defines traditional, symbolic or subversive picture-making.

Drawing on the Interior II celebrates the work of Basil Beattie RA in a solo exhibition of recent drawings and paintings, hung in counterpoint to three large canvases from his renowned Janus series (2009).

Occupying two galleries in the Turps headquarters at Taplow House, Drawing on the Interior II recalls a seminal installation Beattie conceived for the Eagle Gallery in 1991 that brought together paintings with almost 400 drawings which bore the motifs of ladders, steps, thresholds, stacked blocks and towers. In a new essay for the current show, the writer Nick de Ville describes these now signature motifs as ‘the trial components of a language of built-space, a built-space discovered in the rudiments of signification’. Over the last thirty years Beattie has drawn upon this vast image-bank to express ideas about perception, memory and consciousness within his wider work.

curated by the Eagle Gallery / EMH Arts

Thursday–Saturday, 12–6pm

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.

White Cube presents a solo exhibition by New York-based artist Jessica Rankin, showcasing new works including the artist’s signature embroidered paintings and works on paper.

Blending personal experiences and memories with broader references to politics, history, literature and poetry, in her compositions, Rankin combines geometric and organic forms. Her work features vibrant interactions between paint splashes, trails, gestures and the sewn line – elements which coalesce to create topographical and constellatory patterns, evocative of vast landscapes and cosmic realms.

Free

Tuesday-Saturday 10am-6pm

Hales presents Another Place: Paintings from the 90s, Basil Beattie RA’s fourth solo exhibition with the gallery. A key figure in the development of post-war British abstraction, Beattie (b. 1935, West Hartlepool, UK) is known for his gestural, painterly compositions. Over a career spanning more than sixty years, he has carved out a rigorously process-based practice deeply concerned with the experiential and psychological qualities of painting.

The exhibition takes its title from the monumental painting Another Place, which anchors the show alongside a body of smaller-scale works. Together, they showcase Beattie’s distinctive visual language and mark a pivotal decade of artistic development. From the late 1980s onwards, Beattie began to move away from pure abstraction, introducing simple motifs that became a resource of infinite possibility. He recognised that abstraction and mark-making could more fully express subjective experience when formal elements took on some of the characteristics of recognisable objects.

Free

Wednesday – Saturday, 11am – 6pm

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