There’s a very specific kind of high you get from walking into a gallery and seeing something just before it hits the group chat. A painting that feels like a private revolution. An old master that suddenly looks like it belongs on a runway. London’s art scene this April is serving exactly that energy: glossy openings, clever curation, and just enough subversion to keep things interesting. Whether you're brushing up for cocktail conversation or you just want something moody for your Instagram story, here’s what’s worth seeing now. Jonathan Lyndon Chase: Downpour Sadie Coles 8 April - 24 May At Sadie Coles HQ, Jonathan Lyndon Chase presents Downpour, a new body of work in which the umbrella becomes both shield and stage. In these paintings, the umbrella offers refuge to figures caught in rainstorms and cloudbursts, veiling them in moments of transformation. Rain becomes a force of grief and renewal—eroding boundaries between inside and out. The umbrella, a fragment of the domestic, becomes a movable sanctuary, collapsing the distance between personal space and public weather. Lyndon Chase often works within the interior—bedrooms, back alleys, private rooms—spaces that hold both protection and risk. In Downpour, the interior folds outward. Figures peer from behind curtains or gaze past the edges of their safe zones. Some embrace solitude, others lean into shared intimacy. Charged with tension and coded desire, these paintings linger in the soft edge between invitation and withdrawal. Lightning bolts, lush foliage, and swollen raindrops animate their world, where glances are both guarded and giving, and moments of closeness are heightened by their exposure. Lou Zhenggang Almine Rech April 22 — May 24 Lou Zhenggang isn’t exactly a household name in London—yet—but her paintings have long been objects of obsession for collectors from Beijing to Tokyo. Now, she’s stepping into the Western spotlight with Shizen , her debut solo show at Almine Rech, co-curated by Simon de Pury (because of course it is). The title translates roughly to “nature” and “spontaneity,” which is a gentle way of introducing an artist who’s spent decades defiantly doing her own thing, largely off the grid. Born in 1966 in Heilongjiang and trained in classical calligraphy before most of us were learning to tie our shoes, Lou was hailed as a prodigy before she hit her twenties. She moved to Japan, flirted briefly with New York, and then—plot twist—disappeared into near-total seclusion by the sea in Sagami Bay. No social media. No studio visits. Just her, the waves, and an obsessive, poetic evolution into a kind of abstraction that’s difficult to pin down, which is exactly the point. The 21 works in Shizen , all made between 2018 and 2023, thrum with a quiet intensity: ink-swirled gestures and layered washes that feel at once ancient and startlingly modern. There are echoes of calligraphy, of Twombly, of Zao Wou-Ki—but really, it’s all Lou. This is an artist uninterested in trend cycles or institutional approval, and maybe that’s why her paintings are so arresting. They’re meditations on motion and stillness, mastery and unlearning. And if you’re lucky enough to see them in person, you’ll understand why the art world’s most discerning are already paying close attention. Pierre Knop, Fireflies Under Fever Sky Pilar Corrias, Conduit Street 4 April – 10 May Pierre Knop’s first solo outing at Pilar Corrias is not here to be quiet. Fireflies Under Fever Sky , on view through May 10, is part dreamscape, part anxiety spiral—if Claude Lorrain had a meltdown while bingeing Tarkovsky stills, it might look something like this. Knop paints landscapes that feel vaguely familiar, like somewhere you passed through once on holiday or in a half-remembered dream. There are blue-black forests, blood-orange skies, and glowing meadows that look slightly radioactive. And still—it's all quite beautiful, in that weird, disconcerting way. Knop doesn’t so much “paint from life” as he raids the attic of his mind: old travel snaps, slivers of art history, a whiff of 19th-century Romanticism, and yes, maybe a Bonnard moodboard or two. It’s a mash-up that shouldn't work, but it does. And he doesn’t stop at oil paint. Pastel, ink, and pencil muscle in too, giving the surface a kind of fevered texture—as if the canvas itself is a little restless. These aren’t just scenic views; they’re stage sets for something about to happen. Or maybe it already did. There's always the sense that you're arriving a moment too late or catching the tail end of a secret ritual. The tension is the point. Knop plays with nostalgia, but he never lets it land. Instead, he keeps the viewer suspended—somewhere between wonder and unease—which, if you think about it, is kind of the mood of 2025. Wellington’s Dutch Masterpieces Apsley House 2 April – Christmas It turns out the man who defeated Napoleon also had an eye for a perfectly executed genre painting. This spring, Apsley House gives its Piccadilly Drawing Room a significant glow-up, rehanging the Duke of Wellington’s personal trove of Dutch masterpieces—because why not pair battlefield glory with 17th-century domestic interiors? On view from April through Christmas, the exhibition brings together 21 works by the likes of Nicolaes Maes, Pieter de Hooch, and Jan Steen. It’s a strong reminder that Wellington wasn’t just an accomplished general but also a man who knew his Maes from his Metsu. Post-Waterloo, while the rest of Europe recovered, Wellington was busy shopping for art in Paris—via a savvy agent named Chevalier Féréol de Bonnemaison, because even military heroes need a good art dealer. The rehang is more than just pretty pictures in gilt frames. These Dutch paintings—brimming with moral subtext, razor-sharp detail, and a very Instagrammable sense of lighting—offer insight into what Wellington valued off the battlefield: precision, discipline, and maybe the occasional cheeky domestic scene. Curated by Dr. Teresa Posada Kubissa and guided by the research of Dr. Olivia Fryman, the exhibition repositions the Duke not just as a statesman, but as a tastemaker. It’s a rare chance to see the softer (read: subtler, shrewder) side of a national icon—through a painterly lens of eavesdropping maids, egg dances, and musical flirtations. Maeve Gilmore Alison Jacques 21 March – 3 May Maeve Gilmore was once a name that fluttered under the radar of British art history—until recently. Following her first institutional show at Studio Voltaire in 2022, this now-forgotten figure is finally being seen for the artist she truly was, beyond her famous connection to Mervyn Peake. Alison Jacques’s exhibition offers a much-needed deep dive into Gilmore’s work, spanning nearly four decades and showcasing a rich collection of paintings, works on paper, and photographs of the hand-painted murals she created for her Chelsea home. Gilmore’s art is a study in contrasts—joyful moments of childhood play and domesticity teetering against an undercurrent of something darker, more complex. Her depictions of her children’s gymnastic feats and playful games hint at an intimacy both tender and unsettling. Yet, beneath this playful exterior was a woman deeply immersed in the act of balancing motherhood and artistic ambition. Trained in sculpture, her work was influenced by her experiences navigating the rise of fascism in Europe, as well as the avant-garde scenes that would inspire her modernist leanings. Gilmore’s paintings, full of surrealist imagery and emotional depth, capture everyday life—family portraits, still lifes, and domestic scenes—as a direct extension of her own personal world. For her, the act of painting was as much about life as it was about art. As she put it, her “mainspring has always been the heart, not the head,” making her work a beautifully unified blend of the personal and the artistic. A Place for Modernism Pilar Corrias Savile Row Until 10 May The term "modernism" can often feel like a neatly packaged historical chapter, neatly closed and sealed away, but A Place for Modernism at Pilar Corrias dares to upend that narrative. This exhibition brings together five artists from the East Coast—Carrie Moyer, Arlene Shechet, Dan Walsh, Josiah McElheny, and Hasani Sahlehe—who demonstrate that modernism isn’t a dusty relic; it’s an active, ever-evolving conversation, responding to today’s political and aesthetic questions with vitality and urgency. Carrie Moyer’s work opens the door to a reimagined modernism, with pieces like H.M.S. Permafrost (2024) and Spores, Orbs & Flagella (2023) mixing vivid colours and abstraction to explore themes of ecological decline and natural beauty. But it’s not all heavy-handed seriousness. Moyer’s vibrant, glitter-filled approach adds a playful layer to the rigid confines of high modernism, using the language of abstraction to carve out space for queer and female voices. Arlene Shechet’s sculptural works, like There Then Now and Again (2024), bring texture and dynamic form to modernism, fusing the monumental with the intimate. Meanwhile, Dan Walsh’s Release (2023) and Extent (2024) play with the timeless and futuristic, using geometric shapes to invoke both clarity and motion. Josiah McElheny’s Chromatic Modernism (Blue, Yellow, Red) (2008) flips modernism on its head, playing with colour and form to suggest new interpretations. Hasani Sahlehe’s My Paint (2025) takes us into a virtual, ever-evolving space of colour blocks that seem to float, shift, and transform the viewer’s perception of space itself. Together, these artists remind us that modernism is far from over—it's very much alive, speaking to us in contemporary terms, challenging our expectations and offering new ways to experience the world around us. Grayson Perry: Delusions of Grandeur Wallace Collection 28 March – 26 October Grayson Perry’s Delusions of Grandeur is the largest contemporary exhibition ever staged at the Wallace Collection, and it’s nothing short of a brilliant collision of history and modernity. On display from March 28 to October 26, 2025, Perry brings his signature mix of wit and wisdom to the museum’s iconic collection of art, blending his ceramics, tapestries, and works on paper with masterpieces from the past. At the heart of this show are recurring themes that have marked Perry’s career: gender, identity, and the tension between femininity and masculinity, with the sumptuous, delicate femininity of French Rococo art juxtaposed against the robust, unapologetic masculinity of arms and armour. Perry delves into the nature of craftsmanship, inviting viewers to consider the evolution of artistry in an increasingly digital world. His inclusion of outsider artists, like Aloïse Corbaz and Madge Gill, gives the exhibition an unexpected, yet deeply personal, edge. The show culminates in the creation of Shirley Smith, a fictional persona who believes she is the rightful heir to the Wallace Collection’s treasures, exploring art, mental health, and the complicated narratives art often evokes. Delusions of Grandeur is, in many ways, Perry’s meditation on the act of creation itself—a reflection on the tensions between domesticity, authenticity, and the perfectionism that often accompanies collecting. As Perry says, “Creating exhibitions with museums has always been a joy for me,” and Xavier Bray, the Director of the Wallace Collection, notes that this collaboration is a thrilling opportunity to share Perry’s distinct vision with the public. Fiona Banner aka The Vanity Press Frith Street Gallery 21 March–3 May In her latest exhibition, Fiona Banner, aka The Vanity Press, confronts the contradictory forces of language, conflict, and gender. With works in drawing, sculpture, and moving images, she unpacks the word “disarm,” considering the fragile balance between destruction, naivety, and hope. Set against vast, emotional landscapes in her recent films, Banner probes the vulnerability inherent in peace, and the paradox of violence—and where those two forces meet. The exhibition begins with time, the anti-hero (2025), a striking piece featuring a mannequin’s arm inked with the word “DISARM,” which functions as a clock, its singular hour hand quietly marking the passage of time. This simple yet profound piece subtly critiques the glorified stories of heroism and conflict, and draws from the motif of the mannequin arm in Banner’s earlier work DISARM (portrait) (2023). Banner’s fluid approach to language is also seen in Mortal Coil (2025), a publication you can rip off and take away, embodying the instability of words. Her graphite drawings, framed in metal from a Tornado ZE728, further explore language’s capacity to shift and evolve, inviting us to question the ways in which language can both bind and liberate. Much Ado About AI 55 Curtain Street, EC2A 3PT 23–27 April Opening on Shakespeare Day (April 23), Much Ado About AI is a bold fusion of cutting-edge generative AI technology and Shakespeare’s timeless works. Set in the heart of Shoreditch, near the original Curtain Theatre, this immersive exhibition reimagines the Bard’s iconic characters and Elizabethan London through the lens of modern AI. From Romeo and Juliet to A Midsummer Night’s Dream, this visionary experience takes Shakespeare into the future, blending magic and machine intelligence in a way we’ve never seen before. Matthew Maxwell, the award-winning creative director behind the show, brings his experience with GENAI to the stage, treating AI as both muse and co-creator. As Maxwell shares, "Walking to work in Shoreditch, I realised I was retracing Shakespeare’s steps. I wanted to resurrect 15th-century London through the transformative lens of AI." The result is Something Rich and Strange—an ambitious body of work that pushes the boundaries between art, literature, and technology. Maxwell, a graduate of Oxford University and current PhD student at Middlesex, has previously earned accolades such as a Cannes Gold Cyber Lion and a BAFTA nomination. Much Ado About AI runs from April 23 to 27—don’t miss this futuristic twist on a timeless classic. You Make Me Feel Southwark Park Galleries 5 April – 29 June Curated by A—Z (Anne Duffau), You Make Me Feel is a stirring exploration of diaries, self-narratives, and the intimate expressions of identity in a digital age. The exhibition brings together multidisciplinary artists Jeanie Crystal, Zein Majali, and Emily Pope to explore how we document, remember, and perform who we are—ranging from handwritten notes and online posts to music and inner monologues. Presented as “a chunk of emotions” and “a note to your future self,” the show is both deeply personal and powerfully political. The latest iteration of You Make Me Feel includes film works by the artists, along with newly commissioned lightbox prints that enhance the exhibition’s moody, cinematic atmosphere. The works refuse to be pigeonholed, blurring the lines between the personal and the political, while embracing affect as a form of resistance. Originally shown at PAF Olomouc and XY Gallery in the Czech Republic, the show now comes to London in association with the 23rd edition of PAF – Festival of Film Animation and Contemporary Art. Supported by Arts Council England, You Make Me Feel is a bold reminder of the ever-evolving ways we share our inner worlds.

This November, Outernet London and Tate team up to showcase an exciting blend of art and music, featuring two new works by Palestinian-American artist Samia Halaby and an original soundscape by electronic musician Four Tet . The installation, free to view at Outernet’s Now Building , runs from 14 November 2024 to 31 March 2025 and offers a fresh way to experience Halaby’s kinetic art, presented on the venue’s massive wraparound screens. The collaboration marks the lead-up to Tate Modern’s Electric Dreams: Art and Technology Before the Internet , a major exhibition opening later this month. Halaby, whose work is included in the show, is widely recognised as an early adopter of digital techniques in art. This project brings her pioneering vision into the modern age, providing a space where visitors can immerse themselves in her innovative use of movement, colour, and sound. Halaby’s art goes beyond traditional painting, exploring the possibilities of movement and technology. Her “kinetic paintings,” a term she uses to describe her animated geometric works, bring shifting shapes and vibrant colours to life. At Outernet London, two newly commissioned pieces, Tottenham Court Road 2024 and After the Green and After the Black Dune 2024 , take full advantage of the venue’s advanced screens to create a lively, immersive environment. These works are joined by Brass Women 1995/2019 , a reimagined piece from Halaby’s Kinetic Painting Group series. Originally created using coding techniques she taught herself on the Commodore Amiga 1000, one of the first widely available personal computers, these works highlight Halaby’s early embrace of technology as both a subject and a tool in her art. To complement Halaby’s moving compositions, the London-based electronic artist Four Tet (Kieran Hebden) has created a textured, experimental soundtrack. Known for blending diverse genres, Hebden’s work enhances the visual dynamism of Halaby’s pieces, creating a multisensory experience for visitors. Sound has long been a key part of Halaby’s practice, with previous collaborations spanning both acoustic and electronic music. This latest partnership reflects her interest in creating works that evolve in time and interact with their environment. Outernet London’s cutting-edge screens, some of the largest of their kind, provide the perfect platform for Halaby’s kinetic art. The space allows her works to be experienced in a new way, moving beyond traditional gallery settings to embrace a more immersive format. This project also highlights the broader cultural mission of Outernet, which seeks to redefine how audiences engage with art and media through technology. For Halaby, this collaboration aligns with her ongoing exploration of digital tools as a means of expanding the language of painting. Halaby’s installation is part of the lead-up to Tate Modern’s Electric Dreams exhibition , opening on 28 November 2024 . The exhibition features over 70 artists from across Asia, Europe, and the Americas, showcasing works that explore the relationship between art and technology during the pre-internet era. From early experiments with video synthesisers to art created with home computers, the show offers an in-depth look at how technology shaped creative practices in the mid-20th century. Plan Your Visit Samia Halaby’s works will be displayed at The Now Building , next to Tottenham Court Road Station, until 31 March 2025. The installation is free to visit, making it an accessible cultural highlight in central London. Outernet London and Tate Present: Samia Halaby for Electric Dreams 📍 The Now Building, Charing Cross Road 📅 14 November 2024 – 31 March 2025 🎟️ Free Entry For updates, follow @outernetglobal, @tate, and @samiahalaby on Instagram. Whether you’re a long-time admirer of Halaby’s work or simply curious to explore the interplay between art, sound, and technology, this installation is an engaging way to experience a unique artistic vision.

Marble Arch has long been viewed as a bit of a conundrum for Londoners—an architectural landmark that’s often dismissed as an eyesore and a crowded tourist magnet. From hosting temporary installations like The Mound in 2022 to sporadic displays of eclectic wonders, Marble Arch has never quite found a lasting cultural purpose. Yet this summer, the area welcomed a fresh addition: Moco Museum, a new interactive art venue promising a cutting-edge collection of celebrity-status artists. Positioned amidst the familiar hustle and bustle, Moco Museum at Marble Arch introduces a curated art experience that combines the renowned with the unconventional. Big names like Jeff Koons, Daniel Arsham, Jean-Michel Basquiat, and even Picasso are showcased here, wrapped in an immersive format designed to catch the eye of both art newcomers and enthusiasts alike. The museum’s digital presence teases at a multi-sensory journey through contemporary and classic art, with “immersive” splashed across their promotions—a term that's bound to stir up curiosity. Upon entering, visitors encounter a modest collection from Jeff Koons, starting with his playful ‘Dolphin Taz Trashcan’ suspended from the ceiling, alongside his signature ‘Balloon Venus Dolni Vestonice’ in vivid purple. Here, the range of visitor reactions becomes immediately apparent. Some art aficionados express disappointment, remarking on the lack of cohesion or interest, while families and younger visitors seem captivated by these popular works, engaging with them as some of their first experiences of iconic artists. Other prominent pieces on the ground floor include Daniel Arsham’s Porsche sculpture from the “Eroded Cars” collection—a work that previously enjoyed a free exhibition space in Selfridges as part of Arsham's collaboration with Dior. The museum also features a selection of Basquiat’s work, which offers more depth and context than some of the other pieces, alongside a discreetly displayed Picasso painting near an emergency exit—an odd placement for such a notable name. Descending into the museum’s basement, visitors encounter a line-up of multisensory installations, including a striking piece by Arsham, the Lunar Garden . In an otherwise empty room, the installation offers a serene experience, encouraging contemplation. The basement also features the requisite “infinite mirror” room, although this one proved more finite than expected, with cramped space, scuffed surfaces, and visitors crowding the floor. Nearby, an NFT room offered a nostalgic nod to the early digital art boom, but in late 2024, it feels more like a relic of a bygone trend. Rounding out the basement’s offerings are a few digital pieces and a quirky arcade area that adds a playful touch. The tour culminates upstairs, where visitors are met with a wall displaying artworks by none other than Robbie Williams. Known more for his music career, Williams brings a different energy here, his pieces offering a satirical take on fame and self-expression. Nearby, Banksy’s works make an appearance, along with a Kaws sculpture and a collection by Marina Abramovich focused on crystals and themes of personal energy. Takashi Murakami’s vibrant mural, occupying an entire wall, adds a punch of colour and is perhaps the most memorable display in the museum. For all its impressive pieces, Moco Museum doesn’t quite escape scrutiny. The ticket price—over £20 per adult—feels steep, especially for works that have previously been displayed free of charge around London. Despite its array of high-profile artists, the curation lacks a cohesive theme or narrative, instead opting for an assortment of familiar names that don’t always connect seamlessly. In this sense, Moco feels like yet another venture into the “Instagrammable museum” trend, geared toward generating buzz around the brand rather than offering a genuinely immersive artistic journey. Ultimately, Moco Museum brings a new dynamic to Marble Arch, giving visitors an opportunity to experience big-name art in an interactive setting. It may not be a transformative addition, but it succeeds in adding another layer of intrigue to the ever-divisive Marble Arch area. Overall, the experience felt like an expensive tourist trap which could easily be avoided by a visit to a gallery like the Tate Modern.

This November, some of the most influential figures in music will come together to celebrate the power of art in mental health support. The event, an exclusive charity auction titled Unseen, will be hosted by Mental Aid, a new charity dedicated to aiding individuals affected by acute mental health challenges. Featuring personal and rare photographs by artists like Nick Cave, members of Arctic Monkeys, Blondie, and many more, this event promises an unparalleled glimpse into the private worlds of legendary musicians. Thunderbird at CBG by Chris Stein Unseen will debut at the renowned Iconic Images Gallery on November 28. Known as the UK’s premier space for music photography, Iconic Images Gallery boasts an archive of rare images of everyone from David Bowie to Audrey Hepburn, making it a historical and vibrant backdrop for this unique charity initiative. Curated in part by acclaimed photographer Tony McGee, the collection spans intimate portraits of bandmates, reflective landscapes, and candid snapshots capturing quiet moments on tour. Art and music enthusiasts alike will be able to place bids on original prints, many of which have never been available to the public. Proceeds will go entirely to Mental Aid’s ongoing programs, which aim to bridge the gap between those struggling with mental health issues and the rest of society by offering work experience, volunteer opportunities, and support. Waiting by Neil Tennant, Petshop Boys The foundation of Mental Aid is a personal and heartfelt initiative led by two father-and-son duos, including Tony McGee, who has photographed legends such as David Bowie and Kate Moss. Inspired by a photograph Bowie himself took of McGee during a 1984 shoot, McGee sees Unseen as more than an exhibit; it’s a testament to creativity as a healing process. "Every artist has a story to tell, and a photograph is often the best way to tell it," says McGee. “This initiative is about encouraging creativity as a form of healing and raising awareness around mental illness.” Alongside McGee and his son Max, the charity was co-founded by Michael Goodall and his son Joe, both of whom bring years of experience and a shared dedication to supporting individuals affected by mental illness. Mental Aid’s purpose is not only to empower individuals through creativity but also to offer practical support, bridging the gap for those often overlooked due to mental health stigmas. Untitled by Matt Helders In addition to Nick Cave, the exhibition will feature works by icons such as Mick Fleetwood, Neil Tennant of the Pet Shop Boys, Noel Gallagher, and Joan Armatrading. Attendees can expect to see an eclectic mix of visual perspectives, from a snapshot of Mick Jagger during a quiet moment to serene landscapes taken during early morning hours. Every image tells its own story, offering an intimate view into the lives of these artists and the solace they find in capturing moments through photography. While the event is private, the exhibition will be accessible for public bidding online starting November 28. In doing so, Mental Aid extends the opportunity for everyone to own a piece of music history while supporting a cause that transforms lives. For collectors, fans, and supporters of mental health, Unseen is an event that underscores the connection between artistic expression and emotional well-being, blending the power of imagery with the passion for change.

It’s hard to believe that we just marked the 2 year anniversary since the late Queen’s death back in 2020, and to commemorate this passage of time we are presented with a collector’s edition treasury of quotations by the late Queen titled ‘’Enduring Wisdom: Words of Hope and Inspiration by Her Majesty Queen Elizabeth II’’ . The book includes official portraits of the Queen from each decade of her reign, and the quotations highlight the values that were close to her heart - courage, empathy, forgiveness, hope, humility, love and respect. This anthology pays tribute to a world leader whose grace and wisdom will never die. Queen Elizabeth II was queen regnant of 32 sovereign states during her lifetime and remained the monarch of 15 realms by the time of her death. She was also Patron of more than 600 organisations and charities. Loved and admired throughout her long lifetime, Her late Majesty Queen Elizabeth II touched the lives of millions - not least through the speeches that she broadcast to the world each Christmas during her seventy years on the throne. With over 80 inspiring quotations selected from the late Queen’s beloved Christmas speeches, and interspersed with stunning and memorable portraits, Enduring Wisdom gives intimate insight into the values that Her Majesty held most dear to her heart, including courage, love, strength, and hope for tomorrow, which are all most pertinent in these turbulent times. You can find a hardcover copy on Amazon.co.uk

At Frieze London this year, Marco Capaldo steps beyond the runway to curate his first-ever exhibition, Memories of the Future , held at No. 9 Cork Street. The creative director of British luxury brand 16Arlington is known for his sophisticated approach to fashion, but here, he explores a different kind of aesthetic expression: the evolving, elusive nature of memory. Curated in collaboration with the international gallery Almine Rech, Memories of the Future brings together 14 artists working across a spectrum of mediums. From the polaroids of Andy Warhol to the tactile sculptures of Jesse Pollock, the exhibition highlights Capaldo’s profound connection to contemporary art and showcases his eye for the unexpected. With a lineup that includes emerging UK-based talents such as Rhea Dillon, Henry Curchod, and Remi Ajani, alongside established figures like Warhol and John Giorno, the exhibition is a seamless blend of the iconic and the new. Capaldo's personal investment in the theme is palpable. The exhibition concept, inspired by a piece Rafael Pavarotti penned for Vogue Italia in 2021, reflects on memory’s fluidity—how it isn’t locked in the past but continually reshapes our present and future. "Polaroids capture a moment in time, but in their blurriness, they also embody the nature of memories themselves," Capaldo explains, pointing to Warhol's polaroids as a poignant part of the show. The exhibition opens with two studies of orchids—a deeply personal tribute to Capaldo’s late partner, Kikka Cavenati, who shared a deep admiration for Warhol. Beyond the Warhols, visitors can experience a variety of works that challenge conventional representations of memory. Francesca Woodman’s haunting photography evokes a dreamlike quality, while John Giorno’s seminal installation, Dial-A-Poem , invites audiences into an interactive, spoken-word experience. The inclusion of Jesse Pollock’s towering sculptures—also featured in 16Arlington’s recent SS25 collection—further blurs the lines between fashion and art, merging the sensory with the conceptual. For Capaldo, curating Memories of the Future offered a shift from the fast-paced world of seasonal fashion collections. The year-long process allowed him to connect with the art world more deeply, forming relationships with the artists involved. "I’ve always loved beautiful things,” he says. “It’s amazing to see the world through their eyes and how they channel their emotional connection into their work." This interplay of personal memory, artistic interpretation, and fashion sensibility makes Memories of the Future more than just an exhibition—it’s a reflection of Capaldo’s broader creative vision. Just as he brings the avant-garde to the forefront of British luxury fashion, here, he does the same for contemporary art. With Memories of the Future , Capaldo invites us all to reconsider the role of memory in shaping who we are—and who we might become. Memories of the Future runs until October 19, 2024, at Frieze No. 9 Cork Street, London.