Schiaparelli: Fashion Becomes Art, the forthcoming V&A exhibition and accompanying book opens at V&A South Kensington this March, and treats pioneering designer Elsa Schiaparelli’s work with the intellectual seriousness it has always deserved.
Mae West wearing Elsa Schiaparelli in Every Day’s A Holiday (1937), A Edward Sutherland (Director). Moviestore Collection Ltd – Alamy
Lavishly illustrated and richly researched, the accompanying book traces how Schiaparelli detonated the polite conventions of couture, introducing Surrealism and collaborations with Dalí, Cocteau and Man Ray. Developing a practice that collapsed boundaries between disciplines, Schiaparelli scandalised with culottes at Wimbledon and created the iconic Lobster dress; these statement pieces paved the way for bold fashion.
A vivid through-line connects interwar radicalism to the contemporary house under Daniel Roseberry, where conceptual bravado continues to drive the conversation. A beautiful and pertinent reminder that fashion, at its most daring is an unruly, intelligent and strange joy, another V&A fashion exhibition worth getting out for this Spring.
If your Scorpio season needs somewhere to land, make it Nightshade at Numbers, 63 Vyner Street. Curated by Jennifer Lewandowska and Caroline Price, the intimate, low-lit, exhibition is a guide into the slow winter supported natural wine and edible erotic marzipan.
Jennifer Lewandowska, Nightshade, 2025, Watercolour and Acrylic on linen, 50 x 40 cm
The show is a mood: spells, thresholds, and the small violences of transformation.
Nightshade at Numbers
On Friday evening, the exhibition slipped deeper into ritual with poetry reading and tarot sessions by GolnooshNour. Tucked into a nook beside the bar, Golnoosh welcomed visitors one by one to a small round table for intimate, charged readings. With back to the noise of the opening, visitors watched as she drew cards in a rhythm and exposed inner knowledges. For a few minutes, the clatter of glasses and conversation dissolved and the rest of the room faded into the background as it was just the cards, her voice, and the pull of something unseen.
Sophie Milner, Resting Point, 2022, Oil on linen, 120 x 110 cm
For anyone tired of the bright, frictionless gallery loop, Nightshade offers a different frequency: slow, witchy, and alive after dark.
Paradigm Shift is one of best exhibitions realised at 180 The Strand, a space known for its maze-like exhibitions with a heavy focus on video, digital interface and experimentation. Curated by Dazed, AnOther and Nowness founder Jefferson Hack, with Twin’s Susanna Davies-Crook as Associate Curator, the exhibition looks at how style, subculture and identity have been formed and realised by the screen. It is a fascinating video show that brings together incredible artists including Mark Leckey, Nan Goldin, Derek Jarman, Andy Warhol and Arthur Jafa, as well as fashion designers like Tremaine Emory and Telfar. Spend time and watch it all – this is a real education.
Telfar TV
Can you tell me the premised of the exhibition?
Jefferson Hack: It is about how artists use moving image to stage and style identity, often through the lens of fashion. Fashion is a core part of how we manifest our identity. When you’re looking at moving image works, that’s stage and style identity. A core part of that is how clothing of all kinds – whether that’s work, wear, uniform, cosplay, subcultural dress – how that informs the story. It’s also about media hijacking and the mediation of performance, and dress and subculture through the screen. I think in a world of constant mediation, fashion plays a really important role in signalling our identity. Whether we’re dressing down, dressing up, disguising, hiding, amplifying. This show is really about how artists, through moving image, stage and perform identity and use fashion and style as central to their narrative. How technologies have accelerated this idea that everyone can be a broadcaster. Everyone can be a performer; everyone can be a commentator; everyone can be an artist. That’s really the new paradigm shift.
Pipilotti Rist
What do you find interesting about the crossover between fashion and moving image?
JH: Telfar is a kind of fashion brand, but who subvert the idea of fashion as a commodity. Who is dialled right into New York subculture, coming being born out of New York nightlife. What’s interesting about Demna is he looks at the street, but he’s looking through the screen. I think you sort of switched the street gaze is now being replaced by the screen gaze.
Julianknxx
In a wider sense, what do you think appeals to people from a fashion showing in an art context?
JH: Martine Rose, Grace Wales Bonner, Tremaine Emory are natural storytellers. They’re designers that make clothing where the clothing carries a message, and the clothing is almost like a vehicle for storytelling. They’re mining interesting archives, personal history. Looking at sort of wider socio-political issues that are coming through in the way that they design and present their work. I think that in a fashion context, a lot of that gets lost. Fashion at its most basic is about selling clothes. You’re selling it through a combination of image and story. But it’s much more commodified and faster. An art context allows it to slow down, allows the narrative to come to the fore, allows the engagement with the audience to be deeper, because people are there to question, understand, listen, receive.
Paradigm Shift is on at 180 Studios until Saturday 21 December
Japanese artist Eugene Kangawa was invited by the designer Yoshiyuki Miyamae at A-POC ABLE ISSEY MIYAKE for a collaboration pushing the possibilities of textiles. Here both discuss the how, what and why of this beautiful project that took three years to realise which launches with an exhibition in Paris this week.
What drew you to Kangawa’s work?
Yoshiyuki Miyamae: The relationship between light and shadow” inherent in Eugene Kangawa’s work deeply resonated with what we have been exploring through fabric and clothing. Mr. Kangawa’s latest work, Light and shadow inside me, engages with a fundamental question: light itself paints the picture, and shadow proves its existence. This concept resonates with how fabric emerges from the intersection of threads, and how clothing only truly comes alive when it embraces the body and light. In Mr. Kangawa’s work lies the strength to generate new forms of expression from the simplest elements. We were drawn to this purity, and to the “living expression” that transforms over time and in response to its environment.
Can you summarise what the collaboration is?
Eugene Kangawa: I feel that this collaboration was perhaps less about clothing itself and more an exploration of new textile possibilities. Inspired by my work, the Issey Miyake team developed a method of expressing gradations solely through the interweaving of two threads—black and white—at a microscopic level, without the use of printing or dyeing. They described this process as unprecedented, suggesting that, in a sense, they had woven a new language.
How does the collaboration as a product also work as an installation?
Eugene Kangawa: The installation and curation for this project are being led by Tsuyoshi Tane, a Paris-based architect whose practice is grounded in an archaeological inquiry. He has approached this collaboration with the same depth and perspective. Under his direction, the exhibition will present the works and textiles alongside more than fifty objects—tools and motifs related to the collaboration—including an extremely rare original Edo-period book on origata (Japanese ceremonial paper folding), which remarkably contains folds strikingly similar to those found in my photogram works. In this sense, the exhibition carries the quality of a research endeavour paired with an intuitive sense of intrigue. I look forward to seeing how my work, translated into textile and exhibition, takes shape in space.
Will there be other future art projects with the brand?
Yoshiyuki Miyamae: We plan to continue developing art projects as a brand. At A-POC ABLE ISSEY MIYAKE, we regard clothing not only as “tools for daily life” but also as “a medium that expands human imagination.” Dialogue with art is an essential opportunity to broaden this potential. Art has the power to stir thought and sensation, provoking questions in those who encounter it. Sharing this process enables the brand to open new pathways for fabric and clothing, while offering audiences an opportunity to reconsider the very meaning of “wearing clothes.”
Amid the rhythm of Frieze week, Julianknxx’s new installation Shifting / Spirit / Time offers a moment of stillness, an invitation to listen. Taking over the luminous baroque interior of St Mary le Strand, the artist transforms the church into a meditative space where sound, movement, and image converge.
The multi-screen work builds on his celebrated Chorus in Flight series, first seen at the Barbican in autumn 2023. Voices from across continents entwine in a repeated refrain, a chant that evolves into “Way”, mapping memory, loss, and belonging through rhythm and breath.
Julianknxx, Listening in Quantum with THABO & Tina Campt at St Mary Le Strand, October 2025 (Photography courtesy of Brennan Bucannan)
On Tuesday 14 October, Julianknxx staged Listening in Quantum, a live performance featuring Professor Tina Campt, THABO, and a London-based choir, where conversation becomes chorus and sound becomes ceremony.
Moving between poetry and cinema, Shifting / Spirit / Time asks how collective memory survives through voice — how the act of listening can itself become a form of connection and care. A vital pause in the noise of the week and a poignant reminder of what art can do to connect and celebrate.
Julianknxx, Listening in Quantum with THABO & Tina Campt at St Mary Le Strand, October 2025 (Photography courtesy of Brennan Bucannan)
Shifting / Spirit / Time is on show at St Mary le Strand from 13 October to 19 October 2025, running daily between 12:00 and 16:00
Art fair season is upon us and you shouldn’t feel excluded if you haven’t got a VIP card. Although Frieze and its calmer sibling Frieze Masters are always worth it, there are also a bunch of exhibitions, events and openings to keep you happy for the fortnight. In list form because who doesn’t love a list?
Lewis Brander
1. Paradigm Shift at 180
This year’s exhibition at 180 is curated by Jefferson Hack, aided by Twin alumni, Associate Curator Susanna Davies-Crook. It looks at the presentation of identity through screens so be sure to some time to watch these gems. The artist list – including Telfar, Tremaine Emory, Andy Warhol and Dara Birnbaum – is fire.
Book this club night of art crossover performances fast. Curated and including artist Haroon Mirza, its aim is to embody “resilience, healing, defiance, and multiplicity”. Cue live and DJ sets from artist including Aja Ireland, Eddie Peake, Mark Leckey, Magnus Westwell and more.
Kings Cross St Chad’s, down a back street in a disused hospital garage, has quietly become the most interesting and inventive spaces in London. This Frieze they are doing a solo show with British sculptor, moving image maker, musician and all-round top artist Steven Claydon.
Oct 11, 6-9pm, St Chads Projects, 43 Wicklow St, WC1 @stchadsprojects
4. Sadie Coles x 4
Helen Marten opening on Bury Street, Arthur Jafa debuting new work in a major show Negus on Kingly Street, Neven Gallery artist Leo Costelloe taking over the emerging showcase Shop next door, and Lisa Brice opening their new flagship space on Saville Row – it is fair to Sadie Coles is showing up big this October with pan-generational artists directing the aesthetics of the era.
The Swiss-Greek dancer, choreographer and artist Alexandra Bachzetis has a must see two-night residency confronting “behavioural taboos and interrogates the commodification of desire”. Expect good music, brilliant dancing and a whole lot of conceptual thinking about the body in space.
Thank God this fair still happens. Special projects at this African diasporic regular at Somerset House include an audio-visual installation inspired by bell hooks by Rohan Ayinde and Tayo Rapoport, a showcase of historic Indian-Zambian photographer Alick Phiri and a courtyard installation from Mónica de Miranda.
Oct 16-19, Somerset House, 1-54.com
7. Minor Attractions
This fair in the hotel rooms of the Mandrake off Oxford Street is fun, wild and refreshing space to discover emerging international galleries and youngers artists. The quality of this year is serious. Make sure to search out are LAILA over from Sydney, Warsaw/London space Import/Export, Berlin’s Anton Janizewski and Regent Park adjacent Season 4 Episode 6.
First UK solo show in a decade showcasing the conceptual photography and moving image works of Christopher Williams. Here the exhibition itself is unpicked into hand painted signs, photographs, films, a radio play, catalogue and open letter. Pop, fun, weird, worth it.
There are so many shows opening the days before of Frieze in the west end you could just wander and stumble into something brilliant. Of special note are Lewis Brander’s cloud paintings at Vardaxoglou Gallery (11 October, 3–8pm), Nicolas Party pop figuration at Hauser and Wirth, musical references from Shaqúelle Whyte at Pippy Houldsworth and a major solo from Sonia Gomes at PACE.
10. Peter Doig at Serpentine South
This exhibition allows us to wander through the big British artist’s vinyl collection. The space is turned into a giant listen room where Doig chosen music through huge analogue 1950s wooden Klangfilm Euronor speakers. There will be some paintings on show too but see it as a musical moment to chill out from all the eye use this week.
Berlin Atonal returned this August with a five-day takeover of Kraftwerk Berlin, Tresor and OHM, presenting premieres, commissions, installations and club nights that reaffirmed its reputation as one of the world’s most vital platforms for experimental, interdisciplinary art and music. This edition marked the festival’s first as an official member of the International Biennial Association, consolidating its status as a music-first biennial of global significance.
Image credit Lisa Wassmann
Across the cavernous industrial venue, soaring choral vocal from NYX leant a cathedral atmosphere to this temple of sound, while Emptyset vibrated the concrete with their deep tones in dissever. Merzbow, Igor Cavalera and Eraldo Bernocchi debuted an explosive new trio, Amnesia Scanner and Freeka.tet presented S.L.O.T.H. and Lord Spikeheart and NMR unveiled the politically charged REIGN. Bendik Giske with Barker brought their unique live sax and dance beats collab, whilst Billy Bultheel’s The Fugue State provided an incredible live art moment.
Image credit Frankie Casillo
Embedded within the festival, Third Surface reimagined nightlife as a hybrid exhibition, hosting works by Joanna Rajkowska and Roberto Cuoghi among others.
First founded in 1982, Berlin Atonal continues to prove its credentials as a leading light of contemporary music and live performance.
Danielle Brathwaite-Shirley invites us into he delusion, an expansive installation at London’s Serpentine North gallery.
Her most ambitious project to date, the show manifests as a multiplayer video game commission fusing satire, absurdist humour and cooperative play to ask urgent questions about division, censorship and what it means to (re)connect.
Portrait of Danielle Brathwaite-Shirley, 2025. Courtesy Stefano Venturi
Brathwaite-Shirley’s practice has always been about hacking the systems that define how stories are told — game engines, archives, technologies — and queering them into living records. Here, the audience inhabits a space designed as a community play where pauses, debates, and moments of solidarity become central to the artwork itself.
Drawing from her Black Trans and Queer community, the project layers advanced technologies with deliberately “obsolete” aesthetics like 2D sprite animation spliced with UPBGE, the open-source Blender engine. The effect is retro and radical, reminding us that futures can be rewritten from outdated remnants of the past.
If video games are often accused of fostering isolation, THE DELUSION flips the script: making play a site of connection, care and collective imagination.
Choreography and dancing is no longer an art at the margins. Give social media its due, the skill and talent of artist have come to the fore. Few Londoners have the unique taste and texture of Amber Rae. With over 2 and half million views on YouTube for her performance to Wizkid and over 675k followers on TikTok, she has quietly become one of the most exciting performers of her generation choreographed and danced with talents like Stefflon Don and Jorja Smith. Recently she went viral with a short routine to Vbyz Kartel – which led to her performing on stage with the Jamaican dancehall icon himself. Rae is herself an inspiration, an embodying what makes creative London so special.
How would you describe your dance style?
My dance style is fierce, fearless, and unapologetically mine. I work in the commercial world, but what makes my movement unique is the deep influence of my Jamaican heritage , it’s embedded in my flow, my energy, my attitude. It’s raw, powerful, and always evolving. I like to say it’s my signature… a diamond in the rough.
How did the collaboration with Vybz Kartel happen?
That connection actually started through a TikTok dance I choreographed. It caught fire online and ended up being used in the main video. The whole experience was wild but also proof of how powerful digital platforms can be when you move with authenticity. From Tottenham, North London to a global platform, just through a moment of expression.
How do your thoughts about the body, identity, and heritage come across in what you do as a dancer and choreographer?
As a Black, curvy woman from North London – Tottenham – a place where not many make it out, I’ve had to break down doors in this industry. Everything I do is shaped by that experience. I honour my body and my background in my movement, but also in my message. I want other women who look like me to feel seen, celebrated, and unstoppable. Whether I’m choreographing for artists like Jorja Smith or Stefflon Don, my goal is always to help them feel powerful and confident in their bodies. I bring that same energy to every space I’m in… whether it’s a stage, a studio, or a classroom. My choreography is about reclaiming space – physically, emotionally, and culturally – and empowering others to do the same.
Can you tell us about a moment in your practice where vulnerability led to a creative breakthrough?
There was a point in my journey as a dancer and choreographer where I struggled with feeling like I truly belonged. Growing up, I didn’t see dancers who looked like me – Black, curvy, bold – represented on TV or in the industry. It was hard to imagine myself on those stages or behind the scenes creating for them, because no one showed me it was possible. That absence made me question everything, especially in spaces that didn’t reflect my body or background.
But when I started owning that truth and stopped trying to fit into someone else’s idea of what a dancer or choreographer should be, everything changed. I brought that vulnerability into my work, into the studio, into my performances, into my creative process. That shift unlocked something powerful in me. My movement became more intentional, more personal, more honest. That’s when my choreography really started resonating because it was no longer about perfection, it was about presence. And that presence came from finally showing up as my full self.
Community and femininity are very much part of your work. Why is that so important to you?
Community is at the core of everything I do. I’ve seen women from all walks of life! Mums, professionals, students completely transform through dance. Have you ever watched a music video and thought, “I wish I could do that” or “I wish I had that kind of confidence”? That’s what I create for them. I build a space where women can step into their power, feel sexy, strong, and completely unapologetic. My goal is always to make every woman feel like a star. Femininity, to me, is about owning your power unapologetically. It’s not about fitting into a mould, it’s about rewriting the narrative. I want women to feel celebrated, not just accepted.
What do you think dance can do more than any other medium?
Dance speaks in ways words never can. It’s emotion, culture, history, and protest all rolled into one. As dancers and choreographers, we have the ability to show people what they can’t always hear in the music we bring the rhythm, the energy, the emotion to life. We don’t just support the music, we elevate it. We make records go viral, we make people feel, we make them smile. Dance has the power to unify people, to tell stories that resonate across borders and backgrounds. It connects deeply, instantly, and viscerally. It’s not just movement… It’s meaning.
Tai Shani returns to Somerset House with The Spell or The Dream, a new commission for the 25th-birthday Summer programme.
Tai Shani: The Spell or The Dream, Somerset House, London, UK, 2025, Tim Bowditch
The Spell is a colossal sculptural vitrine accompanied by a newly commissioned soundscape by composer, producer and double bassist Maxwell Sterling. A luminous figure slumbers within a glass coffin that rests on a stepped plinth inviting views to sit, gathering and observe the suspended fairytale figure.
Tai Shani: The Spell or The Dream, Somerset House, London, UK, 2025, Tim Bowditch
Running alongside the sculpture is The Dream, a 24/7 radio broadcast co-curated by Shani and streamed globally via Channel. It gathers artists, thinkers and academics, among them Yanis Varoufakis, Brian Eno, Hannah Black and The Palestinian Sound Archive, to imagine hopeful futures together. New commissions from Cécile B Evans, Moor Mother and Cecilia Vicuña sit beside archival works, while listeners are invited to submit their own dreams for live interpretation. Nothing is stored on demand; the works exist only in the moment you tune in, or disappear back into the ether.
Tai Shani: The Spell or The Dream, Somerset House, London, UK, 2025, Tim Bowditch
Beyond surface, the work pulses with a belief in dreaming as collective power. Live talks, Friday Lates, and family events fold alongside, turning the courtyard into a site for ideas, ritual, and surprise.
The Spell or The Dream invites us not just to witness but to gather, to think, to imagine otherwise. In its stillness, it reminds us that the most radical act might be daring to dream together.
From 8 August to 14 September, the Edmond J. Safra Fountain Court, Somerset House
On Monday 14th July, Somerset House’s iconic courtyard hosted the world premier of rituals: union black, a new film by Sundance award-winning and BAFTA-nominated filmmaker and Somerset House Studios resident Akinola Davies Jr..
Akinola Davies Jr.
The film, commissioned as part of Somerset House’s 25th birthday, captures everyday moments of community, care, worship and celebration. Filmed across the UK, it forms an intimate and evolving archive of Black life. Shot across the UK, the film captures both quiet gestures and collective moments. It honours the textures of daily life and the power of community.
Kwake Bass
The open-air screening featured a one-night-only live score performed by an ensemble of Black British musical innovators: Sampha, Moses Boyd, the drums of Balimaya Project, Kwake Bass, Dennis Bovell, Charlie Dark and Klein. Together, they brought Davies Jr.’s poetic exploration of Black British rituals to life.
This year’s Somerset House Summer Series with American Express featured a stacked lineup including: Freya Ridings, Joy Oladokun, St. Vincent, Giggs and more.
Denim Tears drop 5th Quarter, a love letter to basketball
The collection looks at the game as more than sport and frames basketball as a space where Black identity has been shaped, celebrated and challenged. It asks what happens if you don’t go pro, if you do, and what it all means when the lights go off.
Founder Tremaine Emory pulls inspiration from legends Rafer “Skip 2 My Lou” Alston and John Thompson Jr. and their impact beyond the court in a style, presence and politics that echoes today.
The collection features Denim Tears staples and honour the overlooked legends of the game. Shorts, zip hoodies, sweatpants that give a nod to vintage athletic wear and adorned with African Mudcloth patterns. A basketball net necklace features alongside a custom Rafer Alston ball and a rework of John Thompson Jr.’s iconic game towels.
5th Quarter is a tribute to the game, those who changed it, and to the stories that begin when the buzzer sounds.
The pop-up lands at Dover Street Market Paris on June 28 and 29. The full collection drops July 4 online and in-store at Africa Diaspora Goods, 176 Spring Street.
5th Quarter Collection will be available online at Denimtears.com
Sally Mann’s new book Art Work is a wild, beautiful manual for creative survival.
After a decade of silence, American photographer and writer Sally Mann returns with Art Work: On the Creative Life. A meditation on making, unmaking, and the strange magic in between as she explains, “the is value in the time you just spent dicking around at whatever you just did… not making art can teach you as much as making it.”
Best known for her haunting large-format photographs and her bestselling memoir Hold Still, Mann has long been a cult icon in the American art world. This latest work feels less like a follow-up and more like a reckoning. Part memoir, part creative toolkit, part poetic love letter to the mess of the process, it’s destined to become a touchstone for artists, writers, and anyone trying to carve out space for beauty in a noisy world.
Landing this September via Particular Books, Art Work weaves together stories, images, letters, and flashes of hard-won wisdom. It reads like generous conversation with an old friend who’s lived and come out knowing really matters. From navigating failure to the art of saying no (and yes), Mann tells it how it is.
In this new exhibition and publication by photographer Francesca Allen, who has shot for DAZED, i-D and American Vogue among others, the World’s Longest Hair competition becomes her subject. Once a year, hundreds of women with thousands of feet of hair flood into a Lithuanian arena for, “a folkloric beauty pageant where obsession, tradition and identity converge”. With an accompanying text by i.D international editor Frankie Dunn, this intimate and inquiring project explores the contemporary emotional and cultural significance of long hair in 2025.
Francesca Allen, PLAUKAI
Notably surreal, the images trigger memories of strange girls in pop culture or Dorothea Tanning’s uncanny paintings. Drawn to the odd spectacle, the British photographer travelled to Konkursas Pasaulio Ilgaplaukes to document the competition firsthand. Plaukai is Lithuanian for hair, and this series captures almost 200 participants, “from young girls with untouched locks, to older women whose hair pools at their feet as they walk the runway, get measured by gloved judges and take part in a ritualistic finale that must be seen to be believed”.
Francesca Allen, PLAUKAI
As a London based photographer and director, Francesca Allen is known for her intimate depictions of girlhood and the coming-of-age experience. Her work has been exhibited in institutions including London’s Somerset House and The Photographer’s Gallery and she has published the photo books, ‘I’d like to get to know you’ (2022), and ‘Aya’ (2018), and for this project she brings the extraordinary series to Allotment gallery in East London.
Private View & Publication Launch Wednesday 18 June 2025 18:00-21:00 18-25 June 2025 appt only Allotment, Unit 8, Ability Plaza, Arbutus Street, E8 4DT
The annual Edinburgh-adjacent arts festival presents a programme of daring new commissions, immersive film, and boundary-pushing performance, peaking with a live festival event in the middle of festival frenzy August. Across the woodland and meadows of its sprawling 100-acre site, complete with crystal grotto and landscape gardens, the series of visceral interventions enchant, provoke and bring the party.
The Late Night Stage curated by Edinburgh-based feminist club night collective Femmergy Pic Neil Hanna
The sculpture park invites visitors to wander among the works of Tracey Emin, Joana Vasconcelos, Anthony Gormley, Rachel Maclean as well as the newer commissions including Jonathan Baldock’s The Ritual Body. His sculptural installation made from clay, linen, hessian, and basketry transmute the familiar into the fantastical, threading queer and working-class histories through myth and folklore. Meanwhile, Jupiter+, takes world-class art beyond the gates and into Scotland’s urban fabric. Following Anya Gallaccio’s spectral Stroke in Paisley (2024) and Rachel Maclean’s dystopian Don’t Buy Mi (2022–23), this autumn will unveil a newly commissioned work.
Aaliyah Enyo performed in the Stretch Tent during Jupiter Rising. Pic Neil Hanna
Returning for one electric night in August in the midst of the festival, Jupiter Rising x EAF lights up the Artland landscape with site-responsive installations, live art, and experimental music. This year’s edition promises a spotlight on underrepresented voices, weaving queer narratives through sonic and visual interventions.
The Late Night Stage curated by Edinburgh-based feminist club night collective Femmergy Pic Neil Hanna
Jupiter Rising x EAF: One-Night Festival of Radical Art Jupiter Artland | 16 August 2025
Jupiter Artland Bonnington House Steadings Wilkieston Edinburgh EH27 8BY
Twin’s long serving legendary art editor Francesca Gavin launches ‘Final Copy: The Twin Interviews’ at cult indie bookshop Tenderbooks in London’s Soho this week. Amassing the wealth of words collected over her sixteen years at the helm of Twin’s arts pages, Gavin brings together artists and mavericks in their own words.
The chic text-only paperback publication includes interviews with the great and glorious of our time including Kerry James Marshall, Marguerite Humeau, Mark Titchner, Paul McCarthy and Clunie Reid.
Designed by former i-D Creative Director, Jonny Lu and published by Rizzoli New York, iconic label Aries has just launched the “Aries Arise Archive”, a record of the brand.
Aries Archive, 2025
The 300 page book holds extensive archive collaborations with some of fashion’s favourite photographers including Alasdair McClellan, Angelo Pennetta, David Sims, Juergen Teller and Lea Colombo and documents the community that’s coalesced around Aries as well as the clothes and visual identity.
This weekend, 243 Luz in Margate transformed into an artist’s café, highlighting Dutch artist Marlie Mul’s practice with social spaces and collaboration. Within the traces of this cafe installation, Opening Up is an exhibition of delicate and beautiful photogravure prints.
Marlie Mul, 2025
In these works, Mul experiments with unconventional printing techniques, curling and peeling paper to create dynamic three-dimensional compositions. The exhibition reflects her ongoing research into process and ornamentation, drawing connections between historical methods and pop aesthetics.
Featuring art work by a fresh cohort of Goldsmiths graduates Space, Place &nd Identity is developed by the Centre for Urban and Community Research, and creates a dialogue between photography and critical theory.
Image courtesy of Souhail Zaatari
Drawing on the work of theorists such as Doreen Massey, Marc Augé and Stuart Hall, the three artists use photography as a research tool to respond to social and cultural questions. Their individual projects are attuned to the ways cultural and structural environments shape personal and collective experiences, examining notions of belonging, displacement, cultural memory and urban transformation.
Image courtesy of Rohan Patel
Copeland Gallery Unit 9, Copeland Park, 133 Copeland Rd, London SE15 3SN
Mother of a Famous Artist, Dorothy Iannone & Sarah Pucci
Installation view, Mother of a famous artist, Dorothy Iannone Sarah Pucci 1992 at Ginny on Frederick. Photography by Stephen James
Presented at the London art world’s favourite new gallery Ginny on Frederick, the intergenerational and energetic connection of artistic process between legendary art doyenne Dorothy Iannone and her mother, Sarah Pucci in unpacked through objects. Iannone is known for her sexually explicit, autobiographical and feminist works and in connecting the thread of ancestry and heritage she broaches a creative dialogue in the complex intertwining of mother / daughter relationships.
As they explain, “from 1959 until her passing in 1996, Pucci created intricate, devotional sculptures as deeply personal gifts for Iannone while she lived and traveled across Europe. These works, infused with religious symbolism and maternal love, embody the intimacy of their bond”.
Sarah Pucci, Untitled, 1970s, beads, sequins, pins, foam, pendant , 25 cm x 9 cm
Iannone’s striking and recognisable visual language of colour and form is represented through still-life drawings dating back to 1962 in her early practice. The exhibition acts as insight and time capsule into the emotional, personal and formal style that has defined Ianonne’s career and striking body of work and the bonds of care that bind us and leave perfect traces.
1 March to 5 April 2025 Ginny on Frederick, EC1M 6HR
Installation view, Mother of a famous artist, Dorothy Iannone Sarah Pucci 1992 at Ginny on Frederick. Photography by Stephen James
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