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Articles by Tom Denman
Francisca Aninat – interview
The Chilean artist talks about listening, stitching and her latest show, which combines photographs and works with thread Francisca Aninat at 92 Webster Road. Photo: Sergey Novikov. by TOM DENMAN Art is often thought of as bearing the signature of its maker, even when the artist has barely touched the artwork. To view art in this way is an impulse we cannot really shift. Nonetheless, we might still want to question whether such a signature is as individualistic as it is conceived to be.
The Women Photographers Who Found Another Japan
Frieze PublishingYes, email me reviews, offers, and opinions by artists, writers, and editors from Frieze Frieze EventsYes, email me Frieze Events Inc and Frieze Events Ltd’s global programme information including special offers and benefits Spanning four floors of London’s largest gallery dedicated to the medium, ‘Japanese Women Photographers: From the 1950s to Now’ seeks to redress a gender imbalance in the international perception of the history of 20th-century Japanese photography, which...
Pixel Pioneers
From Peter Struycken’s 1969 Computerstructuur, using computer programming to draft images, to Maison Margiela and The Fabricant’s digital Tabi shoes to Claudia Hart’s futuristic rooms, this exhibition steers us between the tangible and not-so-tangible Claudia Hart, Empire Failure, 2026. Installation view, Pixel Pioneers, Depot of Museum Boijmans Van Beuningen, Rotterdam, 2026. Commissioned by Museum Boijmans Van Beuningen. Photo: Aad Hoogendoorn.
Catherine Opie: To Be Seen
The first major museum exhibition of Opie’s work in the UK charts her career from when she graduated from California Institute of the Arts in 1988, with her subversive and tender portraits of the LGBTQ+ community Catherine Opie: To Be Seen, installation view, National Portrait Gallery, London. Photo copyright © David Parry.
Angela de la Cruz Breaks the Frame
Frieze PublishingYes, email me reviews, offers, and opinions by artists, writers, and editors from Frieze Frieze EventsYes, email me Frieze Events Inc and Frieze Events Ltd’s global programme information including special offers and benefits The two sculptures that greet us on the upper floor of Birmingham’s Ikon Gallery have something alive about them.
Rose Wylie: The Picture Comes First
Don’t be fooled by the cartoonish depictions, Wylie is constantly finding new ways of thoughtfully hiding her pictorial intelligence, and in this show her skill and humour are at the fore Rose Wylie, NK (Syracuse Line-up), 2014. Courtesy private collection, Choi&Choi Gallery and Jarilager Gallery. Installation view, Rose Wylie: the Picture Comes First, Royal Academy of Arts, London, 28 February - 19 April 2026. Photo © Royal Academy of Arts, London / David Parry. © Rose Wylie.
Aki Sasamoto: Grilled Diagrams
In her first institutional solo show in the UK, Sasamoto creates a freewheeling, haphazard narrative using cooking utensils and ingredients, manoeuvring the audience as she darts about the room Aki Sasamoto, Grilled Diagrams, 2026. Installation view, Studio Voltaire, 2026. Commissioned and produced by Studio Voltaire. Image courtesy of the artist, Bortolami Gallery, Take Ninagawa and Studio Voltaire.
Don McCullin: Broken Beauty
This exhibition spans 50 years, from the now 90-year-old photographer’s gruelling 1960s and 70s pictures of poverty at home and wars and famine abroad to his haunting shots of rural Somerset and his latest project, photographs of ancient Roman statues Don McCullin: Broken Beauty, installation view, Holburne Museum, 2026 © Don McCullin. Courtesy the artist and Holburne Museum. Photo: Jo Hounsome.
Richard Hawkins: Potentialities
Bringing together early religious imagery, ritual performance, painting and AI, Hawkins taps into the psychosexual spookiness of creativity itself Richard Hawkins: Potentialities, installation view, Kunsthalle Wien 2025. Courtesy the artist; Galerie Buchholz, Cologne / Berlin / New York and Greene Naftali, New York. Photo: Markus Wörgötter. Kunsthalle, Vienna 26 November 2025 – 6 April 2026 by TOM DENMAN Western art history has always involved a bit of necromancy.
Daniel Buren: Pages in situ
This archival exhibition, curated by the graphic designer Fraser Muggeridge, charts appearances of the French conceptual artist’s work and trademark stripe in printed magazines, books and ephemera over the past 60 years Daniel Buren: Pages in situ, installation view, Lisson, London, 11 June – 5 September 2026 © Daniel Buren, Courtesy Lisson.
Luigi Ghirri: Polaroid ’79-’83
Ghirri’s spell using Polaroid cameras takes us on an imaginary adventure, with leading clues or images that make us question the nature of reality and what we see Luigi Ghirri: Polaroid ‘79–‘83, installation view, Centro per l'arte contemporanea Luigi Pecci, Prato, 2 November 2025 – 10 May 2026. Photo: Andrea Rossetti.
Betty Parsons: Sheer Energy
Known as a gallerist to the likes of Rauschenberg and Rothko, Parsons spent her weekends making her own art – and as this show proves, her art was also more than noteworthy Betty Parsons: Sheer Energy, 2025, installation view, De La Warr Pavilion, Bexhill-On-Sea. Photo: Rob Harris. Courtesy Alison Jacques, London and Alexander Grey Associates, New York.
Robert MacBryde and Robert Colquhoun: Artists, Lovers, Outsiders
The two men from working-class Scottish backgrounds met at art school and became inseparable. This exhibition charts a tale of love, fame, drunkenness and tragedy The Two Roberts, Photo: Felix Man, Courtesy of Getty Images. Charleston, Lewes, East Sussex 15 October 2025 – 12 April 2026 by TOM DENMAN The story is about a couple, both painters, both men at a time when homosexuality was illegal, similarly different in a way that the one classically completed the other.
Joy Gregory & Philip Miller’s Observations | ArtReview
In Observations: Rose, the artists demonstrate how an artwork can be deeply political without being didactic In Britain, it’s stereotypically assumed that the weather is an innocuous topic, free of controversy. Yet, depending on one’s circumstances, within its conviviality are less-than-comfortable thoughts and memories.
Karimah Ashadu: Tendered
Ashadu’s three films may aim to give a voice to marginalised men in the former British colony of Nigeria, but their stories are overshadowed by an overwhelming sense of authorial privilege Karimah Ashadu, Muscle, 2025. HD digital film, colour with sound. single channel. Installation view, Camden Art Centre, 2025. Courtesy the artist, Fondazione In Between Art Film, Sadie Coles HQ, London and Camden Art Centre. Photo: Andrea Rossetti.
William Kentridge: The Pull of Gravity
The first UK institutional show dedicated to Kentridge’s sculpture is joyfully approachable while maintaining its critical bite, as we are drawn into his creative imagination William Kentridge, Laocoön (Plaster), 2021. © William Kentridge. Courtesy Kentridge Studio, Goodman Gallery, Galleria Lia Rumma and Hauser & Wirth. Photo © Jonty Wilde, courtesy Yorkshire Sculpture Park.
Lifeblood - Edvard Munch
A thoughtfully curated exploration of the convergence of art and health in the work of Munch, a man very much invested in a modernising medical world Edvard Munch, Sanatorium, 1902-03. Installation view, Lifeblood – Edvard Munch, Munch Museum, Oslo, 2025. Photo: Ove Kvavik. © Munch Museum. Munch Museum, Oslo 27 June – 21 September 2025 by TOM DENMAN We see a naked man lying on his back on a hospital bed.
Yoshitomo Nara Is Not Just Being Cute
The artist has for decades shown how children become contaminated by the adult world’s ills, but a new exhibition hushes the anguish they’re suffering Viewing the first major survey in London of Yoshitomo Nara’s four-decade career, I’m reminded of the archaic expression ‘children should be seen and not heard’.
Ian Hamilton Finlay Still Has the Power to Infuriate
Recent reviews have called the artist an ‘idiot’, something Finlay might have quite enjoyed As a poet invested in the etymological and sonic slippages of words, Ian Hamilton Finlay might well have taken pleasure at being called an ‘idiot’. The word, from the Ancient Greek for ‘one’s own’, would have gone well in one of Finlay’s concrete poems, meditating, perhaps, on his uncompromising ‘idiosyncrasy’.
Rijksakademie Open Studios: Nora Aurrekoetxea, AYO and Eniwaye Oluwaseyi
At the Rijksakademie’s annual Open Studios event during Amsterdam Art Week, we spoke to three artists about the work they have produced during their residency Each year, to coincide with Amsterdam Art Week, artists at the Rijksakademie open their studios to the public, displaying the culmination of their two-year residency. The former cavalry barracks – where the residency has been located since 1992 – becomes a Borgesian labyrinth of overlapping pockets of creativity.
Somaya Critchlow: The Chamber
Critchlow’s six sombrely sexy paintings respond to European painting from the 17th and 18th centuries, asking us to look and look again Somaya Critchlow, The Chamber II, 2024 (detail). Oil on linen, 115 x 90 cm. © Somaya Critchlow. Courtesy the artist and Maximillian William, London. Photo: Prudence Cuming Associates Ltd.
AYO - interview: Rijksakademie Open Studios
AYO reflects on her upbringing and ancestry in Uganda from her current position as a resident of the Netherlands, using sculpture, sound and performance to create an in-between space of ambiguous, embodied translation AYO’s installation, A score for Atat's homestead, charts incomplete passages of cultural translation, the arrangement of objects, sounds, and texts suggesting an archipelago.
Nora Aurrekoetxea - interview: Rijksakademie, Amsterdam
Nora Aurrekoetxea focuses on her home in Amsterdam, disorienting domestic architecture to ask us to contemplate the way it shapes us and ingrains itself in our bodies and psychology Aurrekoetxea’s work encourages contemplation of the way we are physically and mentally conditioned by the forms we inhabit. The floor of her studio at Rijksakademie is flecked with metal moulds she has made of (and left inside) the holes one would normally expect to be covered.
Eniwaye Oluwaseyi - interview: Rijksakademie Open Studios
Eniwaye Oluwaseyi paints figures, including himself, friends and members of his family, within compositions that explore the transience of identity There is a dreaminess in Oluwaseyi’s paintings, with the people he depicts existing between dimensions, one of which could be the everyday world, the other a more psychological realm.
New Contemporaries
In the 75th New Contemporaries exhibition – perhaps not surprisingly at a time of economic, political and moral uncertainties – recent UK arts graduates seem preoccupied with everyday life, family and what it means to feel ‘at home’ New Contemporaries, Institute of Contemporary Arts, London, 2025. Photo: Rob Harris.
Encounters: Giacometti x Huma Bhabha
The first of three exhibitions to position historic sculptures by Alberto Giacometti with new works by contemporary artists, this one shows his work in dialogue with that of the Pakistani American sculptor Huma Bhabha Encounters: Giacometti x Huma Bhabha, installation view, Barbican Art Gallery, 8 May - 10 August 2025. © Max Creasy / Barbican Art Gallery.
Nora Turato: pool7
This new work is very much about indeterminate selfhood as Turato immerses the visitor in a swimming pool-like psychological space – is she a mystic or a charlatan, or both? Nora Turato pool7: Logical Freeze, 2025 (still). Single-channel audio installation, approx 15 min. Image courtesy the artist. ICA, London 9 April – 8 June 2025 by TOM DENMAN How do we attend to art that feeds off our limitless appetite for distraction?
Yto Barrada: Deadhead
In her films, sculptures, tapestries and prints Barrada plays with the materiality of colour Installation view, Yto Barrada: Deadhead, Fondazione Merz, Turin, 2025. Fondazione Merz, Turin 20 February – 18 May 2025 by TOM DENMAN What is the materiality of colour? Often when I look at colour – especially artificial colour, the red lettering on the spine of a book on my desk, for instance – I experience a kind of dissociation: it is an image of colour, its materiality in the retina, or in my brain.
Parmigianino: The Vision of Saint Jerome
The towering canvas is stupefying – not for nothing is it said that soldiers invading his studio during the sack of Rome were so amazed that they let Parmigianino continue painting. Here, too, we see his preparatory drawings, evidence of the artist toiling to achieve his masterpiece Parmigianino. The Madonna and Child with Saints John the Baptist and Jerome, 1526-7 (detail). Oil on poplar, 342.9 × 148.6 cm. © The National Gallery, London. Presented by the Directors of the British Institution, 1826.
Victor Pasmore | Patrick Heron: VIII São Paulo Biennial, Great Britain 1965, revisited
Sixty years after Pasmore and Heron showed together at the eighth São Paulo biennial, this abridged reimagining of the show provides a history lesson on two of Britain’s pioneering abstract artists Installation view, Victor Pasmore | Patrick Heron: VIII São Paulo Biennial, Great Britain 1965, revisited, Hazlitt Holland-Hibbert, London. Courtesy Hazlitt Holland-Hibbert, London, copyright © the artist.
Bekhbaatar Enkhtur: Hearsay
Enkhtur’s ephemeral sculptures, carved from his signature beeswax and aluminium, subvert the visual references they portray, riffing on the randomness of meaning and toying with our sense of reality Installation view, Bekhbaatar Enkhtur: Hearsay, Fondazione Sandretto Re Rebaudengo, Turin, 31 October 2024 – 5 January 2025. Photo: Giorgio Perottino.
At Rome’s Villa Borghese, Giambattista Marino is the poet painting the Baroque in words
It is something of an Italian Renaissance trope that during the 15th and 16th centuries, painting rose in social and intellectual status, ranking itself alongside the art of poetry. Less known is that during the early 1600s the rapport between the visual and literary arts was brought to a whole new level by the Neapolitan poet Giambattista Marino (also known as Giovan Battista Marino, 1569-1625).
Sophia Al-Maria and Lydia Ourahmane: Grey Unpleasant Land
From chamberpots paired with Georgian silver to the reimagining of the story of Jacob and Esau, the two artists, working together for the first time, point up multiple dualities and inequalities Sophia Al-Maria and Lydia Ourahmane. Fly Tip, 2024. Scavenged possessions, loose fibres, latent prints, trace evidence (hair, paint chips, insects etc), miscellaneous residues (cigarette ash, arsenic contaminants, urine etc.), aluminium bag, impulse seal, vacuum pack.
After the End of History: British Working-Class Photography 1989-2024
From the northern soul scene to farmers and a world boxing champ, photographers have captured images of their own communities, at the same time calling out middle-class assumptions of what constitutes good taste Installation view, After The End of History. Photo: Anna Lukala, courtesy the Artist, Focal Point Gallery and Hayward Gallery Touring.
Dragon Hill X ArtReview Writers Residency: Tom Denman
The second Dragon Hill X ArtReview Writers Residency text discusses abstraction in the context of work by Anthony Akinbola, Patrick Alston and Ludovic Nkoth, the three artists on the Dragon Hill residency with the author Over the course of 2024, six art and culture writers selected by ArtReview have been joining groups of visual artists selected by London’s Unit gallery on a residency at Dragon Hill in Mougins, near Nice.
Yoshitomo Nara
His children may appear unrealistic and simplistic, but they pulsate with a complexity of emotional pain that exceeds our idea of innocence, as if the kids carry the imprint of the adult world’s woes Yoshitomo Nara. My Drawing Room 2008, Bedroom Included, 2008. Installation view, Guggenheim Museum Bilbao, 28 June – 3 November 2024. Image courtesy Guggenheim Museum Bilbao.
Passions of the North
The inaugural exhibition in this repurposed grain silo presents works from the Tangen Collection, demonstrating the markedly different styles of Nordic modern artists Kunstsilo next to Kilden Performing Arts Centre on the archipelago of Odderøya. Photo: Alan Williams Photography.
Marisa Merz: Listen to the Space
Refusing completion, Marisa Merz’s works bear traces of the studio, materially suggesting a state of perpetual mutability and mobility Marisa Merz: Listen to the Space, installation view, LaM museum, 3 May – 22 September 2024. Photo: F. Iovino / LaM. LaM, Lille 3 May – 22 September 2024 by TOM DENMAN The human head normally conjures up notions of the brain, the mind – often in contrast with the heart. Because of its density, it is considered heavy.
Anselm Kiefer: Fallen Angels
With a mix of new and old works, Kiefer draws us into a world where good and evil are blurred – and it’s hard not to see parallels with what is happening in Gaza Anselm Kiefer, Luzifer (Lucifer), 2012–23. Emulsion, oil, acrylic, shellac, gold leaf, sediment of electrolysis, fabric, and photographic print on paper on canvas, 330 × 760 cm. Photo: © Ela Bialkowska, OKNO studio.
Donald Rodney: Visceral Canker
He was a young Black artist who railed against racism and sickness, both personal and in society. This retrospective, more than 25 years after his untimely death, is a reminder that his work is as relevant today as it was in his lifetime Installation view, Donald Rodney: Visceral Canker, Spike Island, Bristol, 2024. Photo: Lisa Whiting.
Matt Connors Plays a Game of Forms at Goldsmiths CCA | Insight
All art might be described as 'sociable', in a reality where the impulse to join dots or detect underlying systems presides. At Goldsmiths Centre for Contemporary Art, Matt Connors' exhibition Finding Aid stages such a reality by presenting more works by other artists than Connors himself, who hovers within a broad constellation of visual affinities. Exhibition view: Matt Connors, Finding Aid, Goldsmiths Centre for Contemporary Art, London (8 March–2 June 2024). Courtesy Goldsmiths CCA.
‘Self-Determination’ and Art After Empire
A new show at Irish Museum of Modern Art, Dublin is less a celebration of independence than an exploration of the troubled aftermaths of colonialism After the First World War, the dissolution of the Austro-Hungarian, German, Ottoman and Russian empires, and the incipient breakup of the British Empire produced several new states in Europe and the Middle East.
Pesellino: A Renaissance Master Revealed
The Florentine painter’s life was sadly short, but his technical virtuosity shines through in the few works in his first monographic exhibition Francesco Pesellino. The Triumph of David, c1445-55. Tempera on wood, 43.3 × 177 cm. Bought with the assistance of the Art Fund and a number of gifts in wills, 2000. © The National Gallery, London.
Farah Al Qasimi: Abort, Retry, Fail
In her first solo UK show, Al Qasimi’s photographs and video work respond to our escapist tendencies while challenging us to grapple with the difficult ambiguities of what we see Farah Al Qasimi, Anood Playing House Flipper, 2023. Courtesy of the artist.
40th EVA International, 2023
Ireland’s biennial is this year based on the concept of gleaning, when unused crops are divided among these in need, and across the city of Limerick artistic offerings abound with positivity and collectivism Rory Pilgrim, The Undercurrent, 2019-ongoing. HD film, 50:00.
Moki Cherry at the Juncture of Art and Life
The Swedish artist confronted gendered biases regarding her medium and the nature of her practice, now celebrated at ICA London a decade after her death From the 1960s until their separation during the early 1980s, Swedish artist Moki Cherry (née Karlsson) and her American jazz-musician husband, Don Cherry, invented for themselves a pronouncedly countercultural, often itinerant way of living.
Episode 10: Kara Chin - Concerned Dogs
In a space that appears a cross between a cinema and a place of worship, a warped soundscape, a raucous video and doggy dioramas immerse us in Chin’s fictional and unsettling world Kara Chin, Concerned Dogs, installation view, Goldsmiths CCA, 2023. Photo: Rob Harris.
Kent Chan: Future Tropics
In his first UK solo show, Chan bombards us with waves of heat and sound in an intensely kinaesthetic, environmentally oriented work Kent Chan, Future Tropics, 2023. Exhibition view. Commissioned and produced by Gasworks. Photo: Andy Keate. Gasworks, London 25 May – 10 September 2023 by TOM DENMAN Can heat be an artistic medium? In his first UK solo exhibition, at London’s Gasworks, the Amsterdam-based Singaporean artist Kent Chan proves not only that it can, but that it should be.
Kate Spencer Stewart: Diurne
Stewart takes into account the contingencies of ambient light, her works iridescent, shimmering between hues and moods depending on the moment, and on where you stand Kate Spencer Stewart: Diurne, installation view, Emalin, London, 6 May - 17 June 2023. Photo: Stephen James. Emalin, London 6 May – 17 June 2023 by TOM DENMAN A bird – an American crow, I think – greets you at the Los Angeles-based painter Kate Spencer Stewart’s solo exhibition at Emalin, East London.
Hilma af Klint & Piet Mondrian: Forms of Life
They never met or even knew of one another’s work, yet they are united by a belief in theosophy and divine nature and a penchant for abstract painting Left: Hilma af Klint, The Ten Largest, Group IV, No. 7, Adulthood, 1907. Courtesy of The Hilma af Klint Foundation. Right: Piet Mondrian, Composition with Grid 3 Lozenge Composition with grey Lines, 1918. Kunstmuseum Den Haag.
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