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My article on the superb show: “Edge: Where the Land Meets the Sea” @hastings.contemporary curated by @thelandgardeners is up now @artplugged - link is in my bio linktree or google “Artplugged a dirty story” - please do check it out! @1celia_bailey taken in Hastings, East Sussex by @artplugged

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4 hours ago

The Polaroid Foundation has released The Carsten Höller Episode of The 20x24 Project, a 20-minute documentary following Höller and the world's largest instant camera, the Polaroid 20x24, across Europe.

Filmed over a year and a half, it travels to Venice, London, Arles and Riehen near Basel, where people from Hans Ulrich Obrist and Jürgen Teller to festival-goers and fans play games from Höller's Book of Games (2024). Maja Hoffmann, Casey Spooner, India Mahdavi and Bas Smets also appear.

Off the playing field, Höller opens up his Stockholm home and the aviary where he keeps around 70 birds, shows the rooftop at Moderna Museet and his restaurant Brutalisten, then heads to the Camargue for a "sad bird"-watching expedition.

Through it all, the games become a lens on how play shifts behaviour, relationships and perception, and on Höller's fascination with removing the "middle ground" between extremes, joy and fear included.

Watch the film via the Polaroid Foundation.

The Carsten Höller Episode of The 20x24 Project premieres on YouTube on Friday, 2 October 2026.

#ArtPlugged #CarstenHöller #BookOfGames #Polaroid20x24 #PolaroidFoundation #ArtDocumentary taken in Amsterdam by @artplugged

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11 hours ago

A fantastic day with @artlyst and @artplugged for a dirty show @hastings.contemporary with @thelandgardeners - it is a major thematic exhibition exploring how our soils and seas are interconnected as part of a sophisticated web of life. I honestly never knew there was so much to dirt! Fascinating show with some really great art. Edge is the first of two landmark exhibitions commissioned by Hastings Contemporary which respond directly to the gallery’s location on a shingle beach to explore themes including ocean futures and sustainability. The sequel exhibition, Horizon, will take place in autumn 2027. With @anyagallaccio @andygoldsworthyofficial @aimeeparrott - thanks to @1celia_bailey for inviting me. taken in Hastings, East Sussex by @artplugged

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7 days ago

The Maeght Foundation played a pivotal role in shaping artist/dealer relationships from the 20th century through to the modern day.

Whether it was funding apartments or additional studios for artists such as Joan Miro and Henri Matisse, to guiding some of the worlds most renowned sculptors such as Giacometti - the Maeght family reshaped how patronage could be offered to artists. Not only did it benefit the artists, but the family were able to amass one of the most significant collections of contemporary art, promoting them to open France’s first ever private museum.

Established in 1964 by visionary art dealers Aimé and Marguerite Maeght, the architectural complex was designed by Catalan architect Josep Lluís Sert as a “museum in nature” where indoor galleries blend effortlessly with Mediterranean gardens. The foundation houses over 13,000 works and features iconic, site-specific installations created in collaboration with the artists themselves, including the world-renowned Alberto Giacometti courtyard, the Joan Miró sculpture labyrinth, and monumental mosaics by Marc Chagall.

PS, my french accent is abysmal and am fully expecting takedown for the pronunciation of ‘Maeght’.

For local accommodation - I stayed at @toileblanche and I highly recommend others to do the same!

———-

@fondationmaeght taken in Fondation Maeght by @artplugged

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8 days ago

Founded in 2024, INKU Sphere is building a platform guided by the principle of artists supporting artists, presenting and producing shows, and out of the promise that, as some do in the art world, art itself can do something for the mind and soul.

Pending Response, curated by Shuning Liu, its week-long group show of eighteen artists at Somers Gallery in Somers Town this August, was the clearest statement yet of what that promise costs.

The curatorial text is the most rigorous thing in the room. It moves from Henri Lefebvre’s rhythmanalysis, through Jonathan Crary’s 24/7, to Barthes’s lover waiting by the telephone, and arrives at a claim I would happily defend in print: that the speed at which you are expected to reply is not a personal trait but a map of where power sits. Some people must answer now.

Institutions may leave you pending indefinitely. Waitingis not empty time; it is time somebody else owns while you’re waiting. That is an essay. The question is whether it is an exhibition.

Eighteen artists, three chapters and seven days. The chapters are Received, Pending, and Response?, and the arc they describe is tidy to the point of being closed: something arrives, something is held, something might answer.

The tidiness has an explanation.The chapters were not the hang; INKU built them afterwards as the editorial frame for its documentation, and applied them to eighteen works that already existed. That is an honest way to make a catalogue and a risky way to make an argument, because the works did not choose the frame and the frame has to prove it fits.

1. Pending Response at Somers Gallery Installation view
2. Jamie Mills The Runner, 2026
3. Sol Bailey Barker Sapling (Redwood), 2025
4. Isabelle Zetterström, Mucosa, 2026

#artplugged #groupexhibition #exhibitionreview #london #emergingartist taken in London by @artplugged

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9 days ago

Inside the studio with Hynek Martinec, for APPLECORE, Martinec turns to one of art history’s most familiar objects, the apple, using it to explore symbolism, memory, authorship and the changing nature of image making.

Presented by Varvara Roza Galleries and curated by Ben Tufnell, the ambitious two part project brings together a major new series of paintings in St James’s with a specially commissioned live wall drawing at Hypha Studios.

Moving between Old Master references and contemporary questions around technology and AI, Martinec asks what happens when a simple object becomes loaded with centuries of meaning, and whether it can ever return to being just itself.

APPLECORE marks Hynek Martinec’s debut exhibition with Varvara Roza Galleries.

Hynek Martinec: APPLECORE Part I
Finissage
Thu 1 Oct 2026 5:30 PM - 7:30 PM
Hypha Studios Southbank
The Project Space
42 Southwark Bridge Road
London SE1 9EU

Hynek Martinec: APPLECORE Part II
Curated by Ben Tufnel
30 September– 20 October
Varvara Roza Galleries
8 Duke Street
London SW1Y 6BN

#artplugged #hynekmartinec #varvararozagalleries #exhibitions taken in Brixton by @artplugged

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14 days ago

Tschabalala Self’s ‘Lady in Blue’ was erected recently to an overwhelming response - some of it causing controversy beyond London. Some people have been claiming that it shouldn’t replace a statue in its place prior… only there has never been one there in 150 years (apart from Ice Cream, cockerels and more).

The Fourth Plinth is one of the longest traditions to uphold a plinth in Trafalgar Square. This plinth sat empty for the most part of 150 years and has been utilised as a space for contemporary art since the 2000s. We’ve had ranges of artworks, yet each is intended to bring a contemporary feel to the location and make people question alternatively - even if for a moment.

Tschabalala Self is not trying to tear down statues, trying to argue what representation matters more, or telling us ‘what to think’. Not once is skin colour or race even mentioned on the description. The artist is simply responding to a location with an artwork (as has been done for years before) presenting a woman in metropolis, a young londoner perhaps full of ambition and stride.

Whether you think it’s beautiful or not is completely fine - however holding resentment for an artwork without the proper information, perhaps that it is permanent or replacing a bronze statue, is a bit unfair.

Personally I really enjoy the artwork - it’s bright, bold, it’s something new and enjoyable to look at. Art is subjective and so is taste - but make sure it’s not coming from questionable sources. ❤️

@tschabalalaself taken in Trafalgar Square by @artplugged

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17 days ago

“I will destroy it. So I created it, but I will destroy it.”

For Hynek Martinec, the arrival of AI raises questions not only about how images are made, but about what remains distinctly human within them.

In APPLECORE, Martinec brings AI-generated imagery into a monumental charcoal wall drawing, translating digital source material back through the hand and one of drawing’s most elemental materials: burnt wood.

The 17-metre work at Hypha Gallery South Bank is deliberately temporary. After eight days of making, it will be destroyed on 1 October. The project then continues at Varvara Roza Galleries through a new body of paintings exploring the same collision of art history, technology and human authorship.

Martinec is confident that the uniqueness of the human mark cannot simply be replaced. The question he leaves open is perhaps more interesting: will people continue to be interested in it?

@artvoxldn

APPLECORE, curated by Ben Tufnell

Part I
Hypha Gallery South Bank
Until 1 October, by appointment

Part II
Varvara Roza Galleries, St James’s
30 September – 20 October

→ Follow @hynekmartinec to discover more of his work.

@hynekmartinec
@varvararozagalleries
@hyphastudios

🎥 @artvoxldn taken in London, United Kingdom by @artplugged

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17 days ago

For those seeing Homo Faber pop up across their channels - it can be easy to place it as somewhat suddenly trendy. But is it worth the hype?

Yes.

Homo Faber teaches us that presentation is absolute key for admiring works of craftsmanship. Contrasting a long exhibition hall in plinth galore, Homo Faber teaches us that the right space allows greater time and interaction with objects.

Fashionable knowledge experts approach you not as if you’re interested in buying, but to share their knowledge on whichever piece you want more information on. Workshops allow visitors to become makers, and artists/designers in residence create a bustling atmosphere that balances the maker and the observer perfectly.

In my opinion it’s totally worth the hype and should be a must for anyone visiting Venice soon. Congratulations ES Devlin (@esdevlin) on such a radical way of exploring this years Homo Faber.

Full article available online now. ❤️ by @artplugged

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18 days ago

What a real treat to see the Bayeux Tapestry at the press preview. Filmed by @joshurvell - The @britishmuseum has outdone itself. Brilliantly curated by @millie_horton_insch and @tostig1066lewis - thanks @leesharrock and @nicholascullinan and @artplugged @franceintheuk taken in British Museum by @artplugged

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25 days ago

What if your hotel stay was actually a work of art?

Set across 22,000 sqm in Saint-Paul-de-Vence, Toile Blanche is one of the strangest and most compelling places I’ve stayed in the South of France.

With just 22 suites, the property sits somewhere between a hotel, an artists’ residency and a living exhibition. Almost everything has been designed or made by artists - from sculptures scattered through the gardens to flowers from the estate becoming gifts during turndown.

And yes, the idea of being a ‘subject’ of art in a rural luxury villa sounds slightly ominous. Think The Menu meets Knives Out. But in reality, it’s the complete opposite.

Nothing feels staged or exploitative. Instead, the artists work with what is already there - leftover wine bottles, wilted flowers, materials from the estate - turning the remnants of a stay into new works.

The creative force behind it all is the Leroy Brothers: Nicolas, Gilles and Gregory, who have worked together as an artistic collective since 1997. The result is a constantly evolving ecosystem of art, hospitality and experimentation, right in the heart of one of France’s most historically significant art villages.

Definitely not your average hotel! taken in Toile Blanche by @artplugged

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a month ago

With only 22 suites set across 22,000sqm2 of land in an artistically-famous location in the French Riviera - Toile Blanche is a unique property combining art, hospitality and somewhat performance at the same time.

On initial thoughts of guests being subjects of art at a rural luxury villa/hotel - one may think of movies such as The Menu, Knives Out or Parasite.

Everything in the property is designed and made by artists - from flowers in the garden becoming gifts during turndown service to greetings from the artist trio during breakfast - everything is clearly thought of by artists, not developers seeking to minimise space and maximise profits.

Don’t be scared by the concept of being subjects of art - you don’t even realise it’s happening. It’s not exploitative but rather formed from guest remnants such as leftover wine bottles or wilted flowers from the 20,000sqm2 grounds. The Leroy Brothers produce installations from the variety of materials sourced on the estate. It feels like an artists dream of hospitality rather than a scary situation such as The Menu.

The property has constant rotating art exhibitions, residencies and is situated within the historically famous Saint Paul-de-Vence. It’s somewhat of an arts ecosystem that produces art in a variety of offspring forms.

Nicolas, Gilles, and Gregory Leroy are the creative force behind Toile Blanche. Hailing from Belgium, the three brothers joined forces in 1997 to form an artistic collective. At Toile Blanche, their vision takes on a new dimension: they welcome resident artists, their works adorn the suites, and their sculptures flourish in the gardens.

Full article now online at @artplugged. Thanks so much for this wonderful stay. ❤️

@toileblanche @artplugged taken in Toile Blanche by @artplugged

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a month ago