Ligia Lewis, Wayward Chant, Gropius Bau, 2025. Photo by Rosa Merk.
Somerset House Studios celebrates its 10th anniversary this autumn with 3 Evenings: Experiments in Performance and Technology, a three-night programme bringing together artists working across performance, music, art and technology.
Taking place from 16–18 October at Wapping Hydraulic Power Station in East London, the programme brings together artists from the Studios community and international collaborators for a series of live performances, experiments and interactive installations.
The programme includes new performances by Gazelle Twin, Jenkin van Zyl, Lawrence Lek, Team Rolfes, Holly Blakey and Tai Shani, Gary Zhexi Zhang, Klara Kofen and Cameron Graham, Precious Renee Tucker, Lynn Hershman Leeson and Ligia Lewis, alongside new installation works by Ayoung Kim, Keiken and Xin Liu.
Lawrence Lek, NOX (Live), 2026. Courtesy of the artist and Somerset House Studios.
The event takes inspiration from 9 Evenings: Theatre and Engineering, the groundbreaking 1966 New York series that brought artists, engineers and scientists together to experiment with emerging technologies.
Alongside the three-night programme, Somerset House Studios will launch 3ETV, a nine-channel online TV station running from 30 September to 16 December. Developed with Pioneer Works in New York and HEK in Basel, the project brings together new artist commissions, moving image, archival works and recordings from the live programme for an international audience.
Gary Zhexi Zhang, with Klara Kofen and Cameron Graham, Puss in Boots, 2026. Courtesy of the artists and Somerset House Studios.
Running alongside the anniversary programme, Somerset House Studios presents Jenkin van Zyl’s Enclosure from 24 September to 29 November at Somerset House.
Developed during van Zyl’s residency at the Studios, Enclosure is an immersive film and installation set within a decaying facility where tourists once paid to inhabit manufactured doubles known as Cherubs.
The work follows Mercy, a starlet who once lent her likeness to the programme, as she returns to terminate her double. The installation extends the world of the film through holograms, fairground signage, inflatable cocoons and other remnants of the fictional facility.
Enclosure is commissioned by Film and Video Umbrella, Somerset House Studios and HOME, Manchester, and will travel to HOME in February 2027.
Jenkin van Zyl, Enclosure, 2026. Film still. Courtesy of the artist, Somerset House Studios and Film and Video Umbrella.
3 Evenings: Experiments in Performance and Technology
16–18 October 2026 Wapping Hydraulic Power Station, East London
Friday 16 October: 7pm–11pm Gazelle Twin · Jenkin van Zyl · Lawrence Lek
Saturday 17 October: 6.30pm–10.30pm Team Rolfes · Holly Blakey & Tai Shani · Gary Zhexi Zhang, Klara Kofen & Cameron Graham
Electricity was one of David Lynch’s great obsessions. “I just love electricity. I like smoke and fire and electricity, these things are mesmerising,” he told The Guardian in 2007. From the flickering lights and supernatural transmissions of Twin Peaks to the fractured identities of Lost Highway, electricity in Lynch’s universe is a conduit between the visible and invisible, more than a technological phenomenon, it binds the familiar and the uncanny.
On 16 October, E-WERK Luckenwalde, the regenerative power station and contemporary art centre in Luckenwalde, Brandenburg, presented Smoke, Fire and Electricity, a nine-hour marathon of film, music and performance exploring this enduring fascination off site.
Taking place at the Stadttheater Luckenwalde, the event ran alongside Electricity, a major new exhibition at E-WERK Luckenwalde conceived by artist Asad Raza, whose previous collaborations with Lynch inform the programme’s exploration of the electric sublime.
Exhibition documentation from Electric Sublime, part of E-WERK Luckenwalde’s wider Electricity programme, 2026.Image: Laila Kaletta
The programme brought together two of Lynch’s most psychologically charged films, Twin Peaks: Fire Walk With Me (1992) and Lost Highway (1997), alongside rarely screened shorts Lumiere (1995), Out Yonder Neighbour Boy (2001) and Industrial Landscape (2008). In Fire Walk With Me, electrical currents, television static and flickering lights signal supernatural forces and the passage between worlds, while Lost Highway uses electrical disturbances to punctuate transformations of identity and reality. The screenings were interspersed with experimental musical performances that extended these ideas beyond the screen by Berlin-based artist Olga Hohmann and pianist Yannick Wittman who presented Solo Sunny and the Invisible Force, deconstructing a song from Konrad Wolf’s 1980 East German film Solo Sunny through ideas of longing, emancipation and magnetic attraction. Drawing on Hohmann’s great-grandfather’s collection of electrical magic tricks and his work as a nuclear physicist, the performance explored the relationship between illusion and invisible energy. Austrian artist and philosopher Franziska Aigner, performing as FRANKIE, brought her distinctive combination of cello and voice, while Tuvan-Ausgmtrian singer Sainkho Namtchylak joined Ukrainian-born musician German Popov for an encounter between throat singing, free improvisation, electronics and traditional instruments.
Installation view of Electricity by Asad Raza at E-WERK Luckenwalde, 2026. Image by Constanze Flamme.
Built between 1927 and 1930 as part of the Friedrich-Ebert-Schule, Luckenwalde’s Stadttheater is a striking example of New Architecture, its geometric forms, vivid colours and expressive interiors providing an appropriately surreal backdrop.
E-WERK is also a functioning power station repurposed by the founding artist and curator duo Helen Turner and Pablo Wendel and connected to the grid as an independent power source.
Helen Turner, Artistic Director, E-WERK Luckenwalde, said:
“It’s an honour to present Smoke and Fire and Electricity at the Bauhaus Stadttheater – one of Luckenwalde’s most extraordinary modernist buildings; and one of the many our city is the proud custodians for. Ever since we began E-WERK in 2019, we have been fascinated with the architectural history of Luckenwalde, and feel very lucky to have the City of Luckenwalde’s support in opening up these remarkable spaces to experimental forms of artistic encounter. I couldn’t think of a more perfect setting to host a David Lynch marathon, and just wish Lynch was here today to experience it with us. I am sure he would have been entranced with the quotidian and surreal ruptures the city possesses.”
Exhibition view of Electricity, E-WERK Luckenwalde, 2026, Image: Laila Kaletta.
The event is part of the wider Electricity exhibition at E-WERK Luckenwalde, conceived by Asad Raza and running until 25 April 2027. Installed across the former coal power station’s 10,000-square-metre site, reactivated by artist Pablo Wendel to generate renewable Kunststrom energy, and curated by Artistic Director Helen Turner and Producer Florine Lindner, the exhibition considers electricity as an earthly, bodily and material force rather than an invisible utility. Visitors are guided by human ‘conductors’ through encounters involving electrostatic machines, moving image, sound, vibration, saltwater, amber, charcoal, ash, timber and plants, alongside contributions from Tino Sehgal and Sung Tieu.
Exhibition view of Electricity, E-WERK Luckenwalde, 2026. Image by Constanze Flamme.
Asad Raza, 12 September 2026 – April 2027, E-WERK Luckenwalde, Brandenburg, Germany
The exhibition is open Saturday and Sundays between 1pm – 6pm and is only possible to attend via a conductor led tour.
Electricity is also accompanied by a seven-month public programme featuring a rotating film exhibition comprising three chapters, “Electric Sublime,” “Electric Power,” and “Electric Earth” featuring work by Ana Mendieta, Cecilia Bengolea, David Lynch, Doug Aitken, Harun Farocki, P. Staff, Rachel Rose, Raven Chacon, Saodat Ismailova. (September 12 2026 – April 25 2027) and a symposium with performances by Raven Chacon, Abbas Zahedi, and a keynote by historian of science Simon Schaffer (April 24 2027).
The energy around London’s art scene in October is hands down due to Frieze, the fair that single handedly transformed October into blockbuster season in the city’s art world. It’s a cultural tsunami where every night there are a ton of shows. October has barely begun and there already major shows on like Painting at the French Riviera at the Royal Academy to Martine Syms at Sadie Coles HQ. The following list includes fairs, shows, events and cool stuff not to miss. A hardy immune system is recommended.
The 90s: Art and Fashion, edited by Edward Enninful. Courtesy of Tate.
The 90s: Art and Fashion at Tate Britain
Curated by Edward Enninful – formerly of i-D, Vogue and now ee72 – this is the big blockbuster meeting point between art and fashion with clothes by McQueen and Galliano hanging next to photos by Juergen Teller, Vinca Petersen and David Sims, sculptures and installations by a ton of YBAs,
Oct 8-Feb 14
Tate Britain
Mira Schor at Mimosa House
The iconicSchor has been profiled in the pages of Twin in the past, and this major show with site specific is well deserved. Her paintings fuse a fascination with language and meaning with deep feminism and aesthetic abstraction. Don’t miss.
There is a luscious sensitivity to Scottish artist Graham Little drawings and paintings, which document his fascination with 1970s and 1980s fashion magazines. Though contemporary, this work is timeless and never fails to thrill.
PV Oct 8 6-8pm; On show Oct 9 – Nov 14
Alison Jacques
Cork St
Mark Leckey / Nicole Wermers @ St Chads Projects
St Chads is the best project space gallery in London. Based in the shed and garage of a former hospital temporarily inhabited by artists near Kings Cross, their shows are always always always good. This two headline shows are guaranteed fire.
The number of fairs hovering around Frieze and Frieze Masters is growing. This year is the first outing for Fair Play Art Fair (Oct 15-18) at 1 Marylebone where artists like Seana Gavin and Tim Noble are manning their own booths, the glamorous boutique fair the London Invitational at the Rosewood (Oct 16-18) and the new free Paraiso Latin American art fair is rocking up to Ambika3 (Oct 15-18). Also worth visiting are old favourites, Minor Attractions in the maze-like rooms of the Mandrake Hotel (Oct 13-17) and the 1:54 Fair at Somerset House focusing on art from Africa and its diaspora.
Somerset House studios seems to sweep up all the best artist, musician, performers and digital talent in London. This three-day showcase of live performances and installations by their residents is a case in point. Book while tickets are still available
This unmissable programme of artist films is back (and if you cant make it in person all is viewable online too until October 30). This year are films from galleries showing at the fair were chosen by curators and academics May Adadol Ingawanij (University of Westminster), Nicole Yip (Spike Island) and Claire Jackson (Tramway, Glasgow) so expect a strong taste of moving image now.
You cannot walk without tripping into exhibitions in the West End – particularly on Oct 12 and 13. Here are some not to miss:Pope L at Modern Art; Charles Atlas at Champe Lacombe; Paul Pfeiffer and Glenn Ligon at Thomas Dane; Timur Si Qin at Albion Jeune all on October 12. Then on the TuesdayRirkrit Tiravanija at Pilar Corrias; Cindy Sherman and Lorna Simpson solo shows at Hauser & Wirth and Firenze Lai at White Cube Mason’s Yard.
Berlin Art Week heralded the launch of the iconoclastic culture capital’s A/W art calendar, marking its 15th edition with exhibitions, openings, performances and events across the city. More than 120 museums, galleries, private collections and project spaces took part in this year’s programme and many of the exhibitions remain open for a few months, if a little trip to the European hotspot floats your boat, before winter truly sets in.
Maurizio Cattelan, Novecento, 1997. Castello di Rivoli, Torino. Photo: Paolo Pellion di Persano.
Maurizio Cattelan: Night
Maurizio Cattelan’s Night at the Neue Nationalgalerie marked the artist’s first major solo exhibition in Germany in epic style. The exhibition brought together important historical works and new pieces, including Him (2001), Novecento (1997), La Rivoluzione Siamo Noi (2000) and Untitled (2003), alongside a new site-specific installation developed for Mies van der Rohe’s building. The combination is impressive and creates formally interesting dynamics between the artist’s subversive, humourous and on-the-nose iconography.
9 September 2026 – 7 March 2027 Neue Nationalgalerie Potsdamer Straße 50, Berlin
Silencio Berlin at the former Watergate
As the afterparty for Cattelan, Silencio marked its 15th anniversary with a pre-opening at the former Watergate space on 9 September. The evening featured Richie Hawtin, Ben Klock, BASHKKA and Valentina Magaletti, ahead of the official opening of Silencio’s seven-month pop-up in October.
The project will run from October 2026 until May 2027, with different collectives taking over the space each weekend.
30 October 2026 – May 2027 Former Watergate Falckensteinstraße 49, Berlin
Carrie Mae Weems, Welcome Home, 1978–84. Courtesy the artist and Gladstone Gallery, New York, and Fraenkel Gallery, San Francisco.
C/O Berlin
Carrie Mae Weems: The Heart of the Matter, is a stand out show. The first comprehensive retrospective of the artist in Berlin, the exhibition brings together more than 100 photographs and videos spanning more than four decades of Weems’ extraordinary work and is worth a visit alone.
The programme also includes exhibitions by Stelios Kallinikou and Susanne Kriemann, the two winners of the After Nature Prize ’26.
12 September 2026 – 3 February 2027 C/O Berlin Amerika Haus, Hardenbergstraße 22–24, Berlin
Luisa Rabbia: Containing the Container
A surprise delight in the schedule, Tanya Leighton presented Luisa Rabbia’s Containing the Container. The exhibition was the New York-based artist’s first solo exhibition in Germany and brought together Hilma Af Klimt-esque paintings exploring the female body as a source of energy and change, nature, transformation and networks of support. A stunning body of work sure to take off.
9 September – 10 October 2026 Tanya Leighton Kurfürstenstraße 24–25, Berlin
Kerstin Brätsch: Die Sein: Para Psychics Expanded (Excerpt)
Galerie Thomas Schulte presented Kerstin Brätsch’s Die Sein: Para Psychics Expanded (Excerpt) as part of Berlin Art Week. The installation transformed the gallery’s Corner Space with a mosaic-like floor work, cardboard honeycomb panels based on motifs from Brätsch’s Stucco Marmo works and drawings from the Para Psychics series, one of the best presentations on show.
11 September – 7 November 2026 Galerie Thomas Schulte Charlottenstraße 24, Berlin
Kerstin Brätsch, Die Sein: Para Psychics Expanded (Excerpt), 2026, Galerie Thomas Schulte. Photo: Cansu Kuscu.
Berlin Art Week 9–13 September 2026 Berlin, Germany
Gui Rosa, Spring/Summer 2027. Courtesy of Gui Rosa.
Gui Rosa
Easily the most fun a girl can have without taking her clothes off at LFW, Gui Rosa entered the boudoir of their Portuguese grandmother: a world of gossip, embroidery and television soaps. Traditional craft techniques were reworked into city pieces binding together leather, chiffon, cashmere and crochet in skilled constructions, as fun, camp and cutsie melodrama met a subversive, sexy party-girl twist.
LABRUM, Spring/Summer 2027. Courtesy of LABRUM.
LABRUM
Hands of Osmosis is the final chapter of lauded designer LABRUM’s Osmosis trilogy, exploring the movement of culture across borders through craft. Rooted in the relationship between West Africa and Britain, the collection explores weaving, embroidery, leatherwork and beading, celebrating the knowledge passed from maker to maker. The cohesive collection also explored the shared language of making between West Africa, India and Britain through expert tailoring, weaving, leatherwork, embroidery and sculpture.
DI PETSA, Spring/Summer 2027. Courtesy of DI PETSA.
DI PETSA
Rapidly ascending star DI PETSA presented HOLY MILK, exploring the sacred roots, symbolism and ritual of motherhood and the connection between the body and the natural world. The collection considers motherhood as an ancient ritual and an intimate process of becoming. Milk represents the spiritual and erotic, layered into Goddess and motherhood inspirations. The signature translucency, draping and luminous looks shaped the vast and impressive collection, with the required wetlooks and the show stopping milk-bra fountain worn by Leigh-Anne Pinnock.
Paolo Carzana, Spring/Summer 2027. Courtesy of Paolo Carzana.
Paolo Carzana
A truly innovatove designer, Carzana describes the collection as a “Baptism of the house”, in which the natural hand dyed process and sophisticated draping sets the collection apart as a statement on sustainable and craft inspired luxury. The collection was inspired by a scene from Indiana Jones and the Last Crusade, where the choice between a decadent cup and a humble clay carpenter’s cup becomes a reflection on craft and creativity. Silk satins, hemp jerseys, organic cotton calico and bamboo satin were used across his menswear and womenswear, alongside considered knitwear, jersey, embroidery, appliqué and pleating.
Leo Prothmann, Spring/Summer 2027. Courtesy of Leo Prothmann.
Leo Prothmann
The up and coming designer with a cool crowd in tow, builds a world around ten of Ernst Ludwig Kirchner’s paintings, bringing the nightlife of early twentieth Century Berlin into London 2026. The collection centred on giving existing materials another life, including 50 kilograms of deadstock denim from a warehouse in Luton, surplus leather from Aston Martin interiors, printed and embroidered textiles and repurposed Rick Owens archive shoes. Masks made by Hedi Xandt bound together the ingenuity and industrial tone.
Erdem, Spring/Summer 2027. Courtesy of Erdem.
ERDEM
The widely acclaimed Erdem runway looked to the nineteen-twenties aerialist Barbette as inspiration for a show that epitomised the extraordinary creativity and craftmanship that underscores LFW. The performer transformed technical daring into an act of queering and illusion, ascending the trapeze as a woman and descending as a man, with all the costuming that entailed. Barbette became a sensation of the Parisian avant-garde and a muse to Jean Cocteau. Romantic gowns and couture tuxedos offset each other alongside the detailed high-level haute couture the brand has become known for.
Ben Johnston, Clean Energy Now, New York, 2026. Courtesy of the artist.
Can are change how we feel and even vote? This idea is at the heart of the piece that artist Ben Johnston has just unveiled in NYC. His street work on the corner of 10 th Avenue and 24 th Street marks Climate Action Week, will be on show until October 1. Its aim is to make people think and echoes the approach clean energy non-profit Brightside. Here he talks about the message, the method and meaning.
Why did you feel the message Clean Energy Now was important?
It just felt very straightforward. We know we need to move towards clean energy, so it was really about just saying it clearly, without dressing it up too much. I liked that it was positive as well. But there’s obviously an urgency to it.
What do you find interesting about creating something like this in such a public location?
There’s so much going on visually in a city, especially somewhere like New York. You’re constantly seeing advertising, being told to buy something or look at something. I quite like putting something into that space that isn’t really selling you anything. It’s just there, and maybe you stop and think about it for a second.
Your work takes time to read and interpret. What do you like about that sense of speed?
I like that you don’t always get it straight away. You might see the shapes first, or just see it as an image, and then slowly start working out what the words are. I’ve always liked that. There’s that moment where it suddenly clicks and you realise what you’re actually looking at.
How has activism or action emerged in your work in a wider sense?
I’ve never really thought of myself as an activist artist. I’m interested in words, and in what happens when you put them somewhere very public, somewhere people can’t really ignore them. Obviously the words you choose can have a lot of weight. I think that part of the work has just developed quite naturally rather than being something I set out to do.
Do you feel art has the power to change minds?
I’m not sure a piece of art necessarily changes someone’s mind there and then. Maybe it can, but I don’t know. I think it’s more about making someone notice something. Maybe they think about something they hadn’t really considered before, or they remember it later. That’s probably enough for me.
Anything to add?
It was just really nice to get the chance to paint something like this in New York, especially during Climate Week, and to do it with Brightside.now. And the message itself doesn’t really need much explaining. Clean Energy Now.
The Still Life Cookbook – Vegetarian Recipes Inspired by Great Paintings, gestalten, 2026. Photo: Peter Barritt / Alamy Stock Photo.
What happens when great paintings become recipes? The Still Life Cookbook – Vegetarian Recipes Inspired by Great Paintings brings together vegetarian recipes inspired by still-life masterpieces, exploring the longstanding relationship between food, art and the natural world. The book brings together the visual language of still life with contemporary vegetarian cooking, making subjects that have fascinated artists from the mosaics of ancient Rome to the present day accessible through food.
Written by London-based food writer Paola Gavin, with a foreword by Twin art editor Francesca Gavin, the book considers the historical significance of food in art and the ways in which ingredients have come to represent abundance, beauty and the ephemeral.
From the luxury associated with exotic produce in the eighteenth century to the spatial experiments of the late nineteenth-century avant-garde, the paintings featured in the book reflect changing relationships with food and nature.
The Still Life Cookbook – Vegetarian Recipes Inspired by Great Paintings, gestalten, 2026. Photo: Carlo Bollo / Alamy Stock Photo.
One of the recipes featured is Asparagus with Zabaglione Sauce, inspired by Adriaen Coorte’s 1696 Still Life with Asparagus and Red Currants. Gavin reimagines the traditional Italian custard as a savoury Piedmontese version, combining whisked egg yolks, dry white wine and butter to create a frothy accompaniment for steamed asparagus.
The Still Life Cookbook – Vegetarian Recipes Inspired by Great Paintings, Paola Gavin, gestalten, 2026. Cover image courtesy of gestalten.
The Still Life Cookbook explores the still life as a genre concerned with abundance, beauty, consumption and the passage of time, while offering recipes inspired by the works and culinary traditions represented within it.
The Still Life Cookbook – Vegetarian Recipes Inspired by Great Paintings Author: Paola Gavin Foreword: Francesca Gavin Publisher: gestalten
As festival season draws to a close, the tents are packed up for another year and the back-to-school of Virgo season starts to feel a bit too real, we reflect on some of our favourite summer moments. Houghton festival, famed for its “24 hour music” approach and little forest stages, returned to the grounds of Houghton Hall in Norfolk from 6–9 August, bringing together four days and nights of electronic music, visual art and performance across the estate which is known for its art and sculpure collection.
Founded and directed by artist and DJ Craig Richards, Houghton takes place amongst woodland, a lake and the estate’s sculpture park. This year’s visual arts programme included new commissions by Ryan Gander, Cella Collective and Mitre & Mondays, Henry Krokatsis, Nicole Gordon and Ke Peng, Call Super and Richards himself.
Returning to the festival was artist Chris Levine, whose installations Full Beam and Light is Love offered two stunning encounters with light, and created a centrepiece for revellers traversing the grounds.
Full Beam took over the main lake, centred around a surreal chrome-plated VW camper van first seen at Houghton in 2025. This year, the work took on a new continuous form, with a laser visible across the site and extending upwards into the sky. Hidden amongst the trees, Light is Love offered a more intimate experience, projecting images into the viewer’s peripheral vision.
For Levine, light is closely connected to consciousness. He has worked with lasers throughout his career, beginning with what he describes as a “love affair” with the medium after encountering his first small red laser dot as a child. “There’s something fundamentally beautiful about laser and that’s because it’s so pure,” he says. “It’s single frequencies of light and we don’t normally experience that.” Focusing on that signal can create a particular state of attention. “To put your attention onto it, to tune into it, can very quickly put you, the audience, into a meditative state. It’s a pure signal to focus on in an increasingly noisy and chaotic world.”
This shift makes Houghton an interesting context for Levine’s work. There was a time, he says, when his full-on lasers were another layer on top of everything at a festival, intended to “get you higher”. For a period, he dismissed festivals altogether, feeling there was too much noise and distraction for his work to function, but Houghton changed his mind: “Houghton has taught me that despite being in a 24-hour techno sound environment, I simply have to work it harder and up the sensory dials, so that one is awestruck and taken into the present moment, the space between thought where you are totally immersed in a sensation of beauty.”
His latest work with lasers has also pushed towards increasingly ambitious scales. While testing a laser for his installation Higher Power in Venice, the beam was spotted by the International Space Station. “It blows my mind that the artwork titled Higher Power is still propagating in space and increasing in size at the rate of 186,000 miles per second, as you read this,” he says. “Biggest is best right? Can an artwork get any bigger?!”
At Houghton, however, Levine’s focus is on something closer and more immediate: attention. In the middle of a festival shaped by music, movement and thousands of people, his work attempts to create what he calls “the space between thought”.
“It’s a meditative state,” he says, “and that’s a great place to be, wherever you are.”
Twin took a moment to chat to Chris about his work:
Artists have always worked with invisible forces like wind, gravity, magnetism and sound, but light is unique because it’s both the fastest thing we know and the condition through which we perceive reality itself. Do you ever feel you’re making artworks with reality rather than representations of it? Where, for you, is the boundary between sculpture, perception and consciousness?
For me it’s all about consciousness, and within that mind and matter are interrelated. Nikola Tesla said to think of reality in terms of frequency and vibration, and I subscribe to that in everything I do.
Whilst people come together to dance and explore altered states, and human experiences like joy, elation, movement and exhaustion, do you think your work creates altered states of consciousness? Is this something you hope it does?
Back in the day, I was involved in rave and used laser to create peak experience. Then I got into recovery and sought my highs in different ways. Here and now in 2026 I used laser very differently and my work is about taking my audience towards stillness…as a portal to the divine.
Can light teach us something about how we relate to each other?
Given that we are comprised of complex vibrational fields, electromagnetic, the same energy but at different octaves, different frequency ranges to visible light, relating can be an energy thing. We talk of someone giving good vibes, or the bad energy of another. To have some awareness or perspective of everything being to do with frequency and vibration might help us get along. Sounds crazy, but feels right.
Installation view of Sensual Nature, Stockwell House, Bruton, 2026. Courtesy of the artist.
Jennifer Lewandowska’s Sensual Nature is on view at Stockwell House, Bruton, from 1–31 July 2026. The exhibition brings together film, painting, drawing and sound to explore the sensuality of the seasons, mysticism within the landscape and the healing qualities of plants.
Throughout the month, Lewandowska transforms the gallery and garden into environments for rest and reflection. Working with hypnotic sound, poetic moving image, and a new body of paintings and drawings, the exhibition invites visitors to slow down and engage more deeply with the natural world.
Love is the Essence, 2026. Film still. Courtesy of the artist.
Alongside the exhibition, Sensual Nature includes a programme of seasonal gatherings inspired by the elements; Earth, Fire, Air and Water. Through conversation, guided walks and shared sensory experiences, participants are encouraged to explore seasonality, place and connection.
Fixed Constant Blazing, 2024. Courtesy of the artist.
Based between London and Somerset, Jennifer Lewandowska is a multidisciplinary artist whose practice explores the relationship between human existence and the natural world. She is Creative Director of Interstage at Glastonbury Festival and co-founded the artist-run gallery French Riviera in Bethnal Green in 2011.
Stockwell House is a space for creative exchange, collaboration and experimentation in Bruton, guided by Hauser & Wirth to support independent projects, research and exhibitions.
Jennifer Lewandowska: Sensual Nature 1–31 July 2026
Stockwell House 13 High Street Bruton Somerset BA10 0AB
Martin Margiela has opened part of his personal archive for sale in collaboration with Maurice Auction and Kerry Taylor Auctions. The historic auction presented more than 200 lots spanning the designer’s career from 1984 to 2008, including photographs, drawings, objects and previously unseen works.
“After many years of moving archival material from place to place and subsequent loans for exhibitions, I felt it was time to let go of a part of my fashion memorabilia,” says Margiela. “After a long questioning, it was the idea of making happy several collectors and institutions that made me finally decide to send them into the world.”
The sale also includes the Hermès wardrobe of Margiela’s late mother, Léa Bouchet. Comprising garments, bags, accessories and shoes from his tenure at Hermès between 1997 and 2003, the collection offers a personal insight into this period of the designer’s career.
Curated by longtime friend Bob Verhelst, the accompanying exhibition presents many of the objects in an environment inspired by an early twentieth-century workshop. Most of the works on display had never previously been exhibited.
Ashley Saville in her Fleet Street Gallery. Courtesy of Jack Elliot Edwards
193 Fleet Street is full of surprises. It houses a tax lawyer, a shipping company, a hairdresser, even a speakeasy – and since May, the contemporary art gallery Ashley Saville, founded by, you guessed it, Ashley Saville.
Jason Shulman Moving Pictures installation view, Courtesy of Jack Elliot Edwards.
Up on the first floor, behind a wooden door bearing only a small silver pendant reading “Ashley Saville”, lies the snug yet airy gallery. Large windows fill the space with natural light, and there’s a warmth here that’s hard to put your finger on, but which meets you as you enter and stays with you when you leave. Not unlike Farringdon itself, a neighbourhood Saville was enchanted by for its architectural eclecticism: the whole chronology of London city in one place, blending futuristic highrises with centuries-old architecture.
The area reflects Saville’s own approach to arts and culture, and also programming: she describes it as “omnivorous”, pointing to an openness across disciplines and perspectives for upcoming shows. Her one rule? All artists shown must be London-based. “It feels more connected”, she says, noting that it helps close relationships to form, and allows her to be more involved along the way.
Jason Shulman Moving Pictures installation view, Courtesy of Jack Elliot Edwards.
Moving Pictures by artist Jason Shulman is Ashley Saville’s inaugural show, running until 4 July. In Shulman’s images, as across Farringdon itself, time seems to layer rather than move on, almost like a reminder that time rarely behaves itself. Spanning a decade of long-exposure photography, time is compressed into single images: a feature film collapsed into one frame, famous on-screen kisses captured from first touch to last – and with the same logic also male ejaculations. Elsewhere, the assassination of John F. Kennedy is depicted in a saturated lenticular, suspending that moment into eternal repetition. It’s tragic, romantic, and absurd all at once.
Entrance to Ashley Saville
Ashley Saville, 193 Fleet Street. Wednesday-Saturday 10am-6pm, and by appointment.
This summer, Australian photographer Adrian Meško turns his lens on one of contemporary culture’s most influential dance collectives. Presented at Kolektiv inside Le Corbusier’s iconic Cité Radieuse in ever trendy Marseille, the exhibition offers an intimate portrait of (La)Horde: the boundary-pushing trio who have transformed Ballet National de Marseille into a global platform for movement, identity and collective expression. Fresh from their epic take over of London’s Southbank centre last year, the company move from strength to strength.
Founded by Marine Brutti, Jonathan Debrouwer and Arthur Harel, (La)Horde have spent the past decade redefining contemporary dance, moving fluidly between performance, film, fashion and popular culture. Their work explores how bodies gather, communicate and resist, creating a visual language rooted in queerness, community and freedom.
Embedded with the collective during the pandemic, Meško documented rehearsals, private rituals and everyday moments beyond the stage. The resulting photographs reveal the physical and emotional intimacy behind the choreography, capturing dancers in states of vulnerability, connection and transformation.
Le Corbusier’s iconic Unité d’Habitation is the celebrated modernist “machine for living”, which here provides a powerful backdrop for a project concerned with the relationship between bodies and built environments: movement unfolds against concrete grids and communal spaces, highlighting the tension between individuality and collective belonging.
Alongside large-scale photographs, the exhibition includes moving-image works and Meško’s handmade publication La.Horde. Opening during the Rencontres d’Arles season, the project celebrates a collective whose vision of dance has become a powerful manifesto for diversity, queerness and contemporary cultural exchange.
Adrian Meško: (La)Horde at Kolektiv, Cité Radieuse, Marseille: 10 July – 24 October 2026
View of stencil drawings by James Ensor. Clockwise from left: After Delacroix: Lion; After Delacroix: Arab Horseman Attacked by a Lion; After Delacroix: Study of the Lion Hunt ; After Delacroix: Lion Hunt (all 1885-1886)
Some paintings you look at. Others, you can almost hear. With its new exhibition A Red that Sings – on show until 30 August – the Royal Museum of Fine Arts Antwerp is asking visitors to do exactly that: listen.
A Red that Sings brings together the “Big Three” Belgian colourists James Ensor, Rik Wouters, and Jules Schmalzigaug – painters who at the turn of the twentieth century broke from the soft tones of Impressionism and pushed colour into starker territories, seeking to mirror or evoke the qualities of sound in their work.
Rik Wouters, Woman at the Window (1915), oil on canvas. Photo: Hugo Maertens, Royal Museum of Fine Arts Antwerp – Collection Flemish Community (public domain)
66 works by 10 artists are presented in dialogue across four rooms, centered around the vivid paintings of Ensor, Wouters, and Schmalzigaug. Debussy’s Arabesque plays softly throughout – a nod to the arabesque form’s rhythmic patterns, and a calm contrast to the paintings’ violent reds, deep blues, and bright yellows.
James Ensor, The Intrigue (1890), oil on canvas. Photo: Rik Klein Gotink, Royal Museum of Fine Arts Antwerp – Collection Flemish Community (public domain)
The exhibition title comes from Schmalzigaug himself, who heard something in Peter Paul Rubens’ Adoration of the Magi (1624-1625). Schmalzigaug described it as a singing red – a thread curator Adriaan Gonnissen wanted to pick up on. For Gonnissen, that red is about more than pigment. It is the rhythm hidden in the structure of Rubens’ garments, the way colour gives them movement, almost sound. Rubens “was the Quentin Tarantino of his age,” Gonnissen says – and it is precisely that visceral, chromatic energy that Ensor, Wouters, and Schmalzigaug embodied and reinterpreted, each in their own way.
View of exhibition. Various works.
A Red that Sings invites us to a multisensory way of looking – and listening. Go and see for yourself if you can hear it.
A Red That Sings, Royal Museum of Fine Arts, Antwerp, 11 April – 30 August 2026.
Jules Schmalzigaug, Development of a Theme in Red/ Carnival (1914), oil on cardboard. Photo/ Rik Klein Gotink, Royal Museum of Fine Arts Antwerp – Collection Flemish Community (public domain)?.jpg
This week is the last chance to see Vogue photographer and Taylor-Wessing finalist Juanita Richards debut solo show, She Drives / She Surfs in Miami. In this striking body of work, the artist brings together a rich collection of beautifully captured photographs of car culture meeting surf culture in her diasporic homeland of Jamaica. The photos capture the sisterhoods born out of women in the Caribbean car scene and the surf collective Surf Girls Jamaica. For the artist, the project seems to expand what she sees as too-often-simplified stories of Caribbean life as viewed through a narrow Western lens. She has previously exhibited at the National Portrait Gallery and been featured in Dazed, Nowness and Vogue, alongside collaborations with Chanel and the appeal of the photos speaks for itself, we imagine we’ll see a lot more of her work to come.
“This body of work was born from love. It began with a return to the Caribbean, the place where I feel most present. Throughout this journey, I saw that feeling of belonging reflected in the women around me: in the way they move through their communities, behind the wheel, and in the ocean”.
“The energy I encountered was pure and community-led. I witnessed women gathering around sport and the sea, finding spaces that offered both healing and escapism”.
“For me, these photographs are an act of witnessing—a record of women who are already writing their own stories.” — Juanita Richards
She Drives / She Surfs, Dalé Zine Saturday, May 2 through May 31, 2026 curated by Mia Roach Penn. A book accompanies the exhibition.
BLOCK PARTY — Closing Reception Saturday, May 30 | 5–8 PM Dale Zine, Miami | Free Entry SHE DRIVES, SHE SURFS goes out the way it came in. Join us outside Dale Zine for DJs, drinks, and unseen work from the exhibition. Old-school block party energy. Everyone welcome. Free and open to the public.
The intricate and searching eye of photographer Joanna Piotrowska is presented this Summer with A moment of darkness at noon. Born in Poland and based in Porto, Piotrowska has an interest in domestic space and human-made environments, “which she pursues through experiments with photography’s expanded field in collage, textile, and the sculptural possibilities of image-making. Her psychologically charged photographs probe human behaviour and the dynamics of familial relations, exploring childhood memories, expression and practices of intimacy.”
In this Scottish showcase, she gathers newly commissioned photographs and collages into a deliberately tuned environment where the domestic becomes shelter and stage. The quiet tension of her perfectly graded monochromes however between memory and gesture. Piotrowska’s subjects are formed from family archives, animal presences and fragments of material form, set in a luminous mid light. Their strangeness as well as the perfection of composition create a compelling pull into the scene she has set.
Joanna Piotrowska, Untitled, 2026, collage, dimensions variable. Courtesy of the artist and Phillida Reid.
Open to coincide within Glasgow International 2026, the exhibition reads as a study in psychic weather, with some reference to Jungian psychoanalysis and a particular focus on intuitive and pre-verbal forms of expressionand some reminiscence of the work of Alain Renais and Chris Marker, the images conjure the everyday and the theatrical simultaneously, hung between exposure and concealment. Images drift into view as though the unconscious has learned to speak through scale, cropping, and proximity, where collage becomes a form of listening. Piotrowska offers no hierarchy of meaning; instead she stages a precise ambiguity in which the self appears as a provisional arrangement, tenderly held and perpetually in motion.
Joanna Piotrowska: A moment of darkness at noon at The Common Guild, Glasgow
For Autumn/Winter 2026, Julian Klausner chose to open a new chapter for Dries Van Noten by revisiting a location deeply embedded in the house’s visual memory: Lycée Carnot. Longtime followers of the label may recall the brand’s memorable 2009 presentation there, and Klausner echoed that moment by installing a towering mirror at the entrance of the runway.
The reference could easily have slipped into overt nostalgia, a familiar move for creative directors stepping into established houses, but instead it functioned more like a conceptual framing device. The mirror suggested reflection rather than replication, inviting the audience to consider the brand’s history while watching a collection clearly intended to move beyond it.
Ideas of memory, reflection, and transformation, using the metaphor of the mirror as a starting point, translated into clothing that balanced heritage with subtle evolution. Layered textures, rich surfaces, and precise tailoring created depth without overwhelming the silhouette. Instead of leaning on archival reproduction, Klausner distilled the spirit of the label in the thoughtful approach to colour, craft, and fabric, acknowledging the past without becoming confined by it and suggesting a creative direction that respects the house’s legacy while gradually reshaping it for the present.
For her Winter 2026 runway show, Stella McCartney brought together fashion, childhood nostalgia and a lifelong love of animals through a collaboration with Hasbro’s MY LITTLE PONY. The show celebrated equestrianism and the spirit of the Year of the Horse, creating a playful and personal moment on the Paris runway.
First introduced in 1983, MY LITTLE PONY has grown into a global cultural icon. Known for its colourful characters and themes of friendship, individuality and kindness, the franchise has inspired generations with its imaginative equine world.
Presented in an equestrian arena in Paris, the Winter 2026 collection reflected key moments from McCartney’s life and career. The British designer drew on memories of a childhood defined by freedom, humour and bold colour, alongside the creative milestones that have shaped her brand into what it is today.
Horses moved through the arena during the show, led by renowned equestrian artist Jean-François Pignon. Guests received retro MY LITTLE PONY toys as invitations, each one finished with a medallion engraved with the Stella McCartney logo.
For McCartney, the collaboration is deeply personal. Her love of horses began early, growing up riding on her family’s farm in Scotland. That close connection to animals and the natural world would go on to shape both her values and her approach to design.
In this collection, MY LITTLE PONY becomes more than a nostalgic symbol of childhood play. Instead, it reflects the spirit of creativity, compassion and individuality that defines the Stella McCartney brand today.
The Winter 2026 collection will be available from July 2026 in Stella McCartney boutiques worldwide, on stellamccartney.com and through selected global retailers.
Scent has been firmly back on the fashion and culture agenda this year, with a rise in independent fragrance houses creating innovative scents accompanied by seductive art, design and content, as well as the reimagining of classics. No house could be more classic than icon of British perfumery, Penhaligon’s. After 155 years of perfumed storytelling and desirous design, Penhaligon’s unveiled the grand reopening of its Regent Street flagship, a lavish, visionary refurbishment that looks firmly to the future without relinquishing the past. In collaboration with acclaimed interior architecture studio Michaelis Boyd, the house has created its most luxurious expression to date, in an immersive ode to scent, story and British craft.
Marking the moment, artist Maggi Hambling reimagines 155 bottles of Endymion Concentré as collectible emblems of a house stepping boldly into its next chapter, each with its own Maggi Hambling ribbon and ink on paper edition.
Craftsmanship anchors the space. A bronze lion-shaped fragrance profiling table by Hamish Mackie commands attention, and a hand-painted mural by Claire Basler evokes pastoral romance. A mosaic entrance by the London School of Mosaic and a bespoke chessboard by Carl Fox and Sofia Karakatsanis extend the narrative.
At the heart of the store design is William’s Green, the brand’s Pantone-registered hue, washing marbles, woods and textiles in a tone that feels heritage-rich and newly assertive. Sustainable, reclaimed materials lend tactile depth, while lighting by Joe Armitage casts a warm, considered glow.
Declarative Language unfolds at Amici Studio as an investigation of care entwined with artistic practice. Co-curated by Kelly Jessiman and Alexis Soul-Gray, the exhibition gathers artists whose practices have been shaped by the sustained, intimate labour of raising neurodivergent children. The show explores how the experience of caregiving, specifically for children with access needs, reshapes an artist’s creative process and “language”. Ongoing conversations between the artists and mothers formed a network grounded in mutual recognition. Insisting on intervention, these practices evolve alongside care rather than in spite of it, where the act of making is also an act of co-regulation.
Kate Montgomery Seedlings and Daffodils
Edie Flowers, Nicola Hicks MBE, Kelly Jessiman, Mindy Lee, Natasha Macvoy, Kate Montgomery, Anj Smith, Alexis Soul-Gray, Maliheh Zafarnezha
Declarative Language: 11 April to 9 May 2026. Amici Studio, 3rd Floor, 12 Claremont, Hastings, TN34 1HA (next to Hastings Library).
British Fashion designer Vivienne Westwood at her Worlds End Chelsea Store, London, UK, 1987
Vivienne Westwood: Rebel – Storyteller – Visionary 28 March – 6 September 2026
From punk dive to mainstream museum, Westwood’s origin story is now fashion folklore. Born in Derbyshire in 1941, she was a schoolteacher before meeting Malcolm McLaren in the mid-1960s; together they translated the energy of the emerging punk scene into clothes that were ripped, slogan emblazoned and confrontational.
Their London shop — successively renamed Sex, Seditionaries and other provocations became a youth-culture magnet, selling bondage trousers and T-shirts that scandalised the press and sold fast.
That early notoriety sometimes obscures the more surprising turn Westwood’s work took in the 1980s after staging her first commercial collection, Pirates, in 1981, she pivoted toward historical research, drawing on 18th-century painting, British tailoring traditions, period silhouettes and her coveted corsets.
This new exhibition is built around that shift, spanning the early 1980s through the 2000s, it charts how punk rebellion evolved into something stranger and more intellectually layered: couture as cultural commentary.
When the British designer died in 2022 aged 81, tributes described a figure who had reshaped style across six decades — a provocateur whose work fused avant-garde design, political messaging, and the Bowes Museum’s new exhibition, Vivienne Westwood: Rebel – Storyteller – Visionary, leans into her instinctive refusal of norms.
Barnard Castle might seem an unlikely setting for one of fashion’s most unruly figures. But the Bowes, founded on a 19th-century vision of encyclopaedic collecting, specialises in collapsing boundaries between the disciplines of decorative arts, painting, costume and design.
Boulle print dress, Shepherd print gold-framed scarf and patent elevated court shoes AW 1990/91
Rather than present the pieces as relics, the curators foreground process through showing mock-up calico toiles, digitally deconstructed garments and finished ensembles side by side, revealing how Westwood engineered her silhouettes with an emphasis on construction. An intensely technical designer, her experiments with cutting and structure and her attention to how garments are behaved on the body is foregrounded here, as the exhibition pairs her pieces with historical objects from the museum’s own holdings, placing Westwood’s reinterpretations beside the traditions that inspired them.
In that sense, Bowes is an unexpectedly apt host. Westwood’s career was defined by crossing categories: streetwear and couture, fetish and tailoring, protest and luxury. The museum’s decision to build its most ambitious Westwood exhibition yet, following two earlier shows drawn from private collections, suggests a sustained institutional interest rather than a one-off tribute.
The Bowes Museum Newgate, Barnard Castle, County Durham, DL12 8NP
Daily, 10am–5pm
The exhibition is included in general museum admission
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