FETCH London

Former Art Basel Marc Spiegler used the New York Times to tell us galleries are in trouble. London-based gallerist Jacob Barnes has a two-word response, and then a longer one. Art Basel 2026. Site-specific commission across Messeplatz by Nairy Baghramian. Courtesy of Art Basel. I have always thought the okay boomer social media trend was a little boring. I imagine it being said to my own mother or grandmother and felt it both a little dirty and sad, or at the very least, comedically lazy.

Sam Moore 12 minutes ago 4 min read Sex is everywhere. It's on TV and on the internet; it exists in the retro aesthetics of lads mags and suggestive adverts taped to phone boxes around Soho; it's in the sensory appeal of certain materials.

The drive into Yorkshire Sculpture Parktakes you past three bronzes on a far hill, presently on loan to the nearby Henry Moore Foundation. Five hundred acres of eighteenth-century parkland, the former Bretton Hall estate, make this the largest sculpture park in Europe.

Minor Attractions’ Summer Sessions hit The Glove That Fits for a Friday takeover by Casual Encountersz, Die Quieter Please and Soho Reading Series, with readings, an open mic, and music by Kieran Gaskell — followed on Saturday by a night of music hosted by The Social for music app Cantilever's launch. Fetch was on the ground to take photos, loiter, gossip, and generally get in the way.

Cecilia Morgan performs asafromermat Rearrange, Displace, Replace: Sound and Performance Night this Thursday 28th at Avalon Café, SE14, as part of Minor Attractions’ Summer Sessions alongside Yuri Umemoto (with Eliott Bougant on violin and Ozgur Kaya on cello), Kenichi Iwasa, Miles Scharff, and snake_case.

I didn’t think I would be spending my Wednesday night extolling the virtues of 2022 roleplaying game Disco Elysium. And yet, on one of the first genuinely warm evenings of London summer, I am sat outside the Euston Tap with a pint, a cigarette, and - more importantly - Frankie Faccion, founding editor of Die Quieter Please, chatting about how much the game has influenced our respective practices.

A survey weakened by curatorial absence and institutional timidity, redeemed by a handful of pavilions with the courage to say something, and overturned, finally, by the largest protest the Biennale has seen since 1968: Marta Orsola Sironi reports from the 2026 Venice Biennale. Usually, my mother doesn’t ask me much about the art system. For her contemporary art is just something I do, for which she supports me, but doesn’t give a damn, as for her, everything ended with Picasso.

Nothing (good) last forever. Reda Belhadfa bids farewell to Corsica Studios, with three letters of goodbye from those who called it home. Photography courtesy of Clayton Burke Requiem aeternam. In a departure from our normally scheduled reviews, what's whats, and otherwise well-earned artistic snobbery, I come today to eulogise.

"There is no document of civilization which is not at the same time a document of barbarism." Walter Benjamin wrote this in 1940, weeks before his death at the Spanish border, and the sentence has never stopped being true. Every infrastructure of modernity carries a military etymology: chemistry through gunpowder, aviation through the Western Front, the internet through ARPANET's cold war architecture.

Spilling out from functionality, always surpassing its primary use as transport, a car contains multitudes. In the most expansive use of the word, cars move us. Linn Phyllis Seeger’s exhibitiontrue idle, which ran until April 4th, at Shipton Gallery, takes this excess as its premise. Linn Phyllis Seeger's video-sculptures are assemblages of car parts and screens playing footage from the road. Her three forms lean, mirror, and balance.