This summer, Sir John Soane's Museum will stage a major retrospective dedicated to Madelon Vriesendorp, offering one of the most substantial examinations yet of an artist whose influence on architecture and visual culture has often operated just outside the mainstream spotlight. Titled Mind Games, the exhibition brings together more than fifty works spanning drawings, etchings, sculptures, collected objects, jewellery, and new works on paper, tracing a practice built around h

As Venice once again becomes the centre of the contemporary art world during the Venice Biennale, luxury houses continue expanding their presence far beyond sponsorship and branding. Increasingly, they are positioning themselves as active cultural institutions, shaping not only where art is shown, but how it is contextualised globally. The latest example comes from Louis Vuitton, whose Venice space presents DOKU The Illusion, a major solo exhibition by Lu Yang. Staged as part

At the Venice Biennale, national pavilions have long functioned as statements of cultural identity, carefully constructed, highly controlled, and often visually resolved before a visitor even steps inside. Austria’s contribution in 2026 takes a markedly different position. With SEAWORLD VENICE, Florentina Holzinger does not present a finished work so much as an unstable system, one that evolves, reacts, and implicates the viewer in its operation. Curated by Nora-Swantje Almes

Gallery Weekend Berlin has long been defined by movement. Collectors moving between institutions. Curators moving through private views. Artists moving between conversation, commerce, and cultural performance. Yet Studio 1111’s arrival onto this year’s programme suggests an attempt to challenge not simply what Gallery Weekend looks like, but what it can feel like. Positioned on Potsdamer Strasse in the centre of Berlin’s cultural machinery, Studio 1111 is not presenting itsel

In a cultural era increasingly shaped by spectacle, scale, and blockbuster exhibition design, the National Gallery of Ireland’s Rembrandt to Matisse – A Celebration of European Works on Paper arrives with a more assured proposition. Rather than relying on monumental canvases or immersive theatrics, this exhibition turns its focus toward something often quieter but far more revealing: paper as the site where Europe’s greatest artists tested ideas, refined vision, and exposed t

In luxury property, materials are often discussed through aesthetics first. Marble signals taste. Timber suggests warmth. Stone implies permanence. Steel, for years, was largely left in the realm of structure, practical, necessary, but rarely central to the design conversation itself. Agnes Mikulska is working to change that. Through Insteel UK, Mikulska is repositioning bespoke steel not simply as a functional architectural element, but as one of the most considered long ter

Some artists paint landscape as observation. Joan Eardley painted it as confrontation. This summer, at The Granary Gallery, The Sea at Catterline shifts the focus firmly onto one of the most powerful aspects of Eardley’s work, her seascapes, and in doing so, expands the conversation beyond the portraits that have so often defined her public reputation. Eardley’s Glasgow children remain central to her legacy, but Catterline was something else entirely. It was not simply a chan

To paint another person honestly, you have to do more than observe them. You have to listen for what they have learned to hide. For Simona Ray, commission work is not portraiture in the traditional sense. It is not likeness, polish, or surface. It is a meeting point between artist and subject, where colour, music, instinct, memory, and trust begin to form something that neither person could have created alone. In this final interview of the series, Ray turns toward one of the

Berlin’s Gallery Weekend has always thrived on tension. Not simply between emerging and established artists, but between politics and aesthetics, history and reinvention, personal language and public discourse. It is one of the few moments in the European art calendar where exhibitions are rarely isolated from the wider cultural weight of the city around them. At SOCIÉTÉ this year, that tension feels especially deliberate. Opening on April 30, the gallery presents two distinc

For online first brands, physical retail is often treated as a marketing exercise. A temporary moment. A branded space designed more for visibility than genuine commercial depth. The Roost appears to be taking a more considered approach. Launching its first pop up showroom at Borough Yards this spring, The Roost is moving beyond the screen and into a physical environment that directly tests whether digital curation can translate into tangible authority. Running from April 1 t

There are collectors, and then there are people who quietly hold history together. Anthony Moss has spent a lifetime in pursuit of objects most would pass without a second glance. Not because they lack value, but because they require something rare to understand them properly: time. What sits within his collection is not just craftsmanship, but a record of how people once chose to be seen. Long before fashion became fast, disposable, and increasingly detached from meaning, th

At Munnings Art Museum, anniversaries are not treated as formal milestones. They are used as a reason to go deeper, and with Pictures from Private Collections , that means bringing work into view that has largely remained out of reach. Marking sixty five years since Castle House first opened to the public, the exhibition centres on paintings by Sir Alfred Munnings that have rarely, if ever, been shown before. Drawn from private collections, the works sit alongside the museum’

At ARTEFACT Gallery, Jagoda Bednarsky is not presenting fixed images. She is working through something far less stable, where identity shifts, breaks, and reforms depending on how long you stay with it. Self as Solvent is built on a simple but demanding idea. The self is not solid. It absorbs, dissolves, and reconfigures constantly, shaped by everything it encounters. Bednarsky approaches painting in the same way. Images are pulled from art history, popular culture, and pers

Power in the Tudor court was rarely spoken plainly. It was worn, staged, and most effectively, painted. Elizabeth I understood that early, and more importantly, she controlled it. A new exhibition at Philip Mould & Company, Elizabeth I: Queen and Court , pulls that idea into focus without overcomplicating it. The premise is simple. Portraiture was not decoration. It was a system of control. The centre of the show is Elizabeth herself, seen across four portraits that track the

At FACE 2026, the work does not rely on scale or spectacle to hold attention. It does something far more difficult. It slows you down and asks you to look properly. Presented by the Society of Portrait Sculptors, this year’s exhibition brings together over one hundred works across portrait, figure, and relief. The range is wide, with artists contributing from across Europe, the Americas, Asia, Africa, and Australia, but the focus remains tight. Every piece is grounded in the