#gwenan-spearing

#gwenan-spearing

Light functions as a primary organizing force throughout the work. Domestic illumination, nocturnal lamplight, and mediated light from screens divide the image into overlapping zones of visibility and shadow.

In a world where ideas can be generated with a click, homogeneity is prevalent. The Everyday Edition seeks to uncover fresh sources of inspiration in overlooked places.

Hackney Art Week will take place from June 4 to 14, featuring 60 artists and creatives across 50 venues in the borough, including Dalston and Clapton.

Jupiter Artland offers a rolling programme of temporary exhibitions as well as 150 acres of Scottish countryside populated by specially commissioned permanent works by over 40 major artists.

'It looks like it's just landed from outer space and aliens could come out,' Martin notes as he showcases his brainchild during the first episode of Channel's World's Most Secret Hotels.

Wales has a beautiful roughness to it. Its beauty is not immediate and hard-won; visitors will have to trek, drive and withstand the rain in order to find it. But it's worth every step of the journey.

The event was the following day: we had 250 tickets sold, we'd done so many rehearsals, and inside there were lighting rigs, performers' equipment, shop stock. It was truly heartbreaking. So many businesses lost so much money and time, and now the loss of the space itself is having a huge impact on the wider community.

One of the more unexpected musical evolutions in recent years has been that of Hen Ogledd from the group's origins as a side project for harpist Rhodri Davies and singer-guitarist Richard Dawson. The knotty, writhing improvisations of the pair's 2013 album Dawson-Davies: Hen Ogledd were like wrestling a piglet in a barbed wire jacket, but with the addition of multi-instrumentalists Dawn Bothwell and Sally Pilkington, by the time of 2018's Mogic, Hen Ogledd had become a bold, poppy but still defiantly experimental quartet.

Just shy of 300-feet and improbably painted using an iPad, Hockney's frieze winds its way around the outer perimeter of "A Year in Normandie and Some Other Thoughts about Painting," on view at Serpentine North through August 23. These nonchalantly referenced "other thoughts," however, are far from just afterthoughts. They comprise 10 new portraits and explorations of abstraction from 2025, a year that evidently saw Hockney busy hatching new experiments on the pictorial plane.

In 2014, Scottish artist Andy Scott made international headlines with the unveiling of his colossal dual horse-head sculptures, The Kelpies. Completed in late 2013, they are installed in the Helix park in Flakirk, Scotland, and each of the steel heads measures 98-feet high and weighs in at a whopping 300 tons. The works have become iconic in their own right, but also exemplary of Scott's practice, which takes focus on animal forms and employs the visually and thematically weighty materials of steel or bronze.

The South African culture minister, the right-wing populist Gayton McKenzie, has cancelled the project for South Africa's pavilion at the forthcoming Venice Biennale, proposed by the artist Gabrielle Goliath and curator Ingrid Masondo. Goliath and Masondo have appealed to the country's president and submitted a case to its high court to overturn McKenzie's decision. Ben Luke speaks to Charles Leonard, who has been reporting on this story for The Art Newspaper over the past few weeks.

The famed installation, if you're unfamiliar, is a dishevelled unmade bed topped with stained sheets and surrounded by an array of empty vodka bottles, condoms, underwear and pills. Emin created it following a dark four-day period of binge-drinking and smoking following a bad break up, but its rawness upset a lot of critics and it sparked a fierce debate over what really constitutes a work of art.

CONDO WEEKEND BEGAN in the same way that all good British rom-coms, or Martin Amis novels, do: walking against the wind, en route to an oversize redbrick Victorian house in Earls Court, a spot that my press invitation had unabashedly advertised as being located in Notting Hill, but is an easy two tube stops away. This was the "standing" dinner to celebrate Arash Nassiri's "A Bug's Life," newly open at Chisenhale Gallery, in a renowned collector's home.

In the language of climate, water is dialectical: It is overabundance and scarcity; needed as well as dreaded. Psychologically, it can represent the unconscious, the maternal, the prelapsarian. Artist Deborah Jack disrupts any viewer's impulse to find recreational soothing in the ocean's tidal landscape, as she openly critiques the legitimacy of cartography, empire, and ecological adaptation. Jack's six-channel video installation "a sea desalts, creeping in the collapse... in the expanse...a rhizome looks for reason... whispers an elegy instead"