In an exquisite exploration of art history and personal expression, Compton Verney presents The Reflected Self , a captivating exhibition delving into the world of portrait miniatures. Opening on 21 September 2024, this show offers an unprecedented look at the intricate techniques and specialized materials—ranging from animal teeth to clam shells—that defined the art form. Originating in the Tudor period and reigning supreme until photography took hold in the mid-19th century, miniatures served as a highly personal medium, often commissioned to capture significant moments in individuals' lives. The exhibition not only celebrates the artistry of miniature portraiture but also reflects on its societal role across centuries. From the elaborate lace ruffs of the Elizabethan era to the vibrant powdered wigs of the Georgians, these tiny portraits provide a fascinating record of evolving fashion and identity. Through a mix of costume items, specially commissioned films, and comparative displays, The Reflected Self will illustrate how miniatures were worn and viewed, connecting past practices to today's digital selfie culture. Highlighting key figures such as Samuel Cooper—whose candid depiction of Oliver Cromwell remains a standout—the exhibition underscores the unique power of miniatures to capture both the public and private selves. With contributions from contemporary artists like Bettina von Zwehl and Volker Hermes, the show also bridges the past and present, reflecting on how these historical art forms continue to inspire and inform modern aesthetics. Compton Verney's The Reflected Self promises a thought-provoking experience that not only celebrates the craftsmanship of portrait miniatures but also engages with their enduring influence on our visual culture. Whether a history aficionado or simply curious about the art of personal portrayal, visitors will find themselves enchanted by these meticulously crafted and deeply personal works of art.

This fall, Brussels welcomes the renowned artist Zio Ziegler to Almine Rech for his second solo exhibition, Reverse Paintings . Running from September 12 to November 2, 2024, the exhibition is poised to be a thought-provoking journey into the relationship between art, time, and the beauty of reduction. Visitors to Almine Rech will experience a new chapter in Ziegler’s ever-evolving body of work, one that showcases his progression from maximalist murals to refined, contemplative pieces that challenge the traditional boundaries of painting. What to Expect: Layers of Complexity and Reduction Upon entering the exhibition, viewers will be greeted by a collection of works that echo Ziegler’s unique approach to artistic creation. His Reverse Paintings are the product of an intense process of layering oil paint, marks, and motifs, only to later strip them back, revealing a raw, essential form that reflects both time and labor. It is a process that mirrors life itself, where the complexity of our choices, experiences, and moments is often visible only when we look in reverse. Ziegler’s method is one of indulgence and restraint, as he builds up layers of rich texture and color, only to pare them down to their fundamental essence. Each work feels like a journey, with visible scars and traces of previous decisions that remain embedded in the final piece. This process of reduction, while deeply rooted in spontaneity, echoes the timeless exploration of form seen in the work of abstract masters like Piet Mondrian. The Artist’s Perspective: Painting as Emotional Expression When discussing the inspiration behind Reverse Paintings , Ziegler reveals a shift in his creative focus. “I’m not going after an end result, but after a process that might crystallize in a moment,” the artist explains. This desire to let go of control, to embrace the uncertainty and fluidity of creation, informs the entire body of work on display. “My exploration of painting, of what strong form is, made me re-evaluate that paintings are not aesthetic—they’re emotional,” he continues. For Ziegler, the art of painting is less about producing a finished product and more about the emotion, energy, and history that each layer of paint contains. A Meditation on Time and Sacrifice In Zio Ziegler’s latest solo exhibition, Reverse Paintings , at Almine Rech Brussels, the artist invites us to reflect on time, form, and the art of reduction. Running from September 12 to November 2, 2024, this collection reveals Ziegler’s evolution—an intricate process of indulgence, erasure, and rediscovery. Ziegler, a maximalist by nature, has stripped back his vibrant, chaotic style to expose the essential, influenced by the trajectory of Piet Mondrian. This transformation—rooted in years of artistic exploration—mirrors an emotional rather than aesthetic journey, echoing Carl Rogers’ belief that “the good life is a process.” Layers of heavy oil paint, once teeming with complexity, are pared down to expose the raw, foundational core of the work, much like a tree revealing its rings. This meticulous, almost sculptural approach to painting places Ziegler’s oeuvre in a rare dialogue with the traditions of both abstract expressionism and figurative art. The Reverse Paintings embody an existential exploration, a form of visual entropy where spontaneity and calculated sacrifice converge to present a harmonious, almost primordial simplicity. These works offer not just a viewing experience but a meditation on the very nature of artistic creation, challenging us to reconsider how we perceive time, space, and narrative within art. An Invitation to Rediscover Art Reverse Paintings is an opportunity for viewers to witness Ziegler’s ongoing exploration of form, as well as his willingness to challenge himself and push the boundaries of his artistic practice. The exhibition is both a reflection on the nature of artistic evolution and an invitation for viewers to consider how time, sacrifice, and spontaneity shape not only art but life itself. This fall, Brussels becomes the perfect stage for Ziegler’s latest creative journey, where every mark, every layer, and every reduction speaks to the complexity of his work. Visitors will leave not only with an appreciation for the stunning visual forms but also with a deeper understanding of the emotional and intellectual processes that fuel Ziegler’s singular vision.

London— If you’re looking for an art experience that will leave you feeling like you’ve just gone ten rounds in an emotional boxing ring, then Marlene Dumas’s latest exhibition at Frith Street Gallery, Mourning Marsyas , is the one to see. Running from September 20 to November 16, 2024, this show is a masterclass in how to make big, bold, gut-wrenching art that doesn’t just sit on the walls, but reaches out, grabs you by the collar, and makes you think about all the things you’ve been trying to avoid. The central thread of the exhibition is the myth of Marsyas, a satyr who dared to challenge the god Apollo to a musical duel and lost in the most gruesome way possible—by being skinned alive. If that sounds intense, well, it is. But Dumas isn’t interested in just rehashing an old myth; she’s drawing a parallel between Marsyas’s fate and the injustices of our modern world, where power can be just as brutal and unchecked. The centrepiece, Mourning Marsyas (2024), is a massive painting that practically begs you to get lost in its layers. It started as a simple stain on the canvas—think of it as the art-world equivalent of a wine spill that somehow turns into a masterpiece. From this stain, Dumas has teased out a central figure, flanked by shadowy companions that are both haunting and oddly comforting. It’s like staring into the abyss and finding it staring right back at you. But that’s not all. Fortune (2024) takes inspiration from Albrecht Dürer and runs with it, presenting three figures that seem to be having a conversation, or maybe an argument—it’s hard to tell because they’re both connected and disconnected at the same time. These figures are part human, part something else entirely, and their strange, almost animalistic forms are as intriguing as they are unsettling. And then there’s The Widow (2021-2024), a piece that feels deeply personal. Dumas created it over several years, pouring her own grief into the figure of a dark, almost spectral woman. With a skull-like head and a veiled body, this painting is as much about what’s hidden as what’s revealed. It’s like staring into a mirror that only shows you your worst fears and deepest sorrows. Fun, right? If you’re not already running to the gallery, there’s also Pareidolia (2024), a work that plays with the human tendency to see familiar shapes in random patterns. The face in this piece is bloated, rudimentary, and completely unsettling—exactly what you’d expect from an artist who isn’t interested in making you feel comfortable. And just when you think you’ve seen it all, Dumas throws in Fate (2000-2024), a small, quietly disturbing painting that took years to complete. It’s inspired by Francisco de Goya’s black paintings, and if that doesn’t give you an idea of the vibe, I don’t know what will. The figure in this piece is skeletal, crouching, and almost insect-like—a stark reminder of the inescapable reality of death. In Mourning Marsyas , Dumas doesn’t just create art; she creates an experience that demands your full attention. It’s not just about the myth, the history, or even the technique—it’s about the raw, unfiltered emotions that these works evoke. You don’t just look at these paintings; you feel them, deeply, in that part of your chest where all your most intense feelings live. And isn’t that what great art is supposed to do? So, clear your schedule, book your tickets, and get ready to feel all the feelings. This exhibition is not just a must-see; it’s a must-experience. Trust me, you’ll be talking about it long after you leave the gallery. Artist bio Marlene Dumas is an influential contemporary artists of our time, renowned for her emotionally charged and often provocative works that explore the complexities of the human condition. Born in Cape Town, South Africa, in 1953, Dumas studied at the University of Cape Town before moving to the Netherlands, where she has lived and worked since the 1970s. Her art is known for its raw intensity, combining elements of figuration and abstraction to confront themes such as identity, sexuality, race, and mortality. Dumas’s work has been exhibited in major museums and galleries worldwide, and she continues to push the boundaries of painting with her distinctive style and fearless approach to difficult subjects.

Joe Bloom’s first solo exhibition at Kristin Hjellegjerde Gallery, titled "Commemorations," invites art enthusiasts into a realm where the sacred act of tribute is both revered and scrutinized. Bloom's newest series of paintings delve deep into the intricacies of memorialization, questioning not only the methods but also the motivations behind our need to preserve moments from our lives and history. Suspended in mid-air, giant stained-glass orbs illuminate the gallery, each one serving as a luminous meeting point and a symbol of occasion. These orbs, rendered with meticulous detail and a touch of spontaneity, embody a striking balance between light and shadow, fragility and strength. Central to this exhibition is "A Fruitless Bounty?", a mesmerizing large-scale piece that encapsulates Bloom’s duality of precision and chaos. The painting depicts a stained-glass orb hanging from the wooden rafters of an attic, surrounded by a flock of green parakeets drawn to its light. The orb, featuring the image of a vibrant fruit tree, presents a beautiful yet brittle illusion of abundance. This ironic twist—where the glass fruit tree signifies both beauty and fragility—provokes a deeper contemplation on the nature of commemoration and the subtle violence embedded within the act of preservation. Bloom’s narrative extends beyond static imagery, inviting viewers into an interactive dialogue with his art. In "But Wasn’t It Beautiful?", he juxtaposes the careful restoration of a stained-glass orb depicting an atomic explosion with the inherent fragility of the material. This piece highlights the irony of memorializing destruction through a medium as delicate as glass. Other works, like "Blokes" and "What Seems to Be the Problem," evoke a more subtle tension. Muscular figures manipulate the orbs in ways that suggest both creation and potential destruction, prompting viewers to reflect on the ambiguous rituals depicted and the fine line between harm and healing. The smaller-scale paintings in "Commemorations" offer a more intimate look at the materiality of stained glass, placing the orbs within hyperreal, yet detached spaces. "A Quick Shared Glimpse" features an orb depicting a bustling train carriage hanging in an empty room, the fractured imagery within mimicking the craft of stained glass. This interplay between the ordinary and the ethereal, the seamless and the shattered, underscores Bloom’s exploration of memory and its portrayal. Through these works, Bloom suggests that what we choose to commemorate reveals our collective aspirations and individual identities. "Commemorations" at Kristin Hjellegjerde Gallery is not just an exhibition but a profound journey through the fragile nature of memory and the narratives we construct, making it a must-see for any art aficionado.

MONACO – This summer, the Grimaldi Forum Monaco, in partnership with Tate, proudly unveils "Turner, the Sublime Legacy." Opening on July 6, 2024, this expansive exhibition spans over 2,000 square meters and features nearly 80 works by the illustrious Joseph Mallord William Turner. Renowned for his revolutionary approach to landscape and light, Turner's art profoundly influenced the sublime representation in art, and this exhibition showcases that legacy in unparalleled depth. The exhibition boasts an impressive collection of 38 oil paintings and 40 works on paper, making it the largest loan of Turner’s oil paintings to date from the Tate. These pieces trace Turner’s artistic evolution, from his early depictions of the English countryside to his later, more modern landscapes, characterized by masterful use of color and light. "Turner, the Sublime Legacy" also delves into Turner's enduring impact on contemporary art. It features around thirty works by modern and contemporary artists such as John Akomfrah, Olafur Eliasson, and Mark Rothko. These artists engage in a vibrant dialogue with Turner’s work, exploring themes of landscape representation and human-environment interactions through diverse mediums, including sculpture, installation, and video. Elizabeth Brooke, the exhibition's curator, sheds light on the purpose of this showcase: "This exhibition presents a range of Turner’s most important pictures alongside a selection of high-profile works by contemporary artists. It explores Turner's oeuvre through the eighteenth-century notion of the ‘Sublime’ and reconsiders the concept in a twenty-first-century context. I hope the show will introduce Turner to a new audience, who might not typically visit a historical art exhibition, whilst also offering a new perspective on Turner for more familiar visitors." Brooke emphasizes what makes this exhibition unique: "The collection includes the largest selection of Turner’s oil paintings that Tate has ever loaned, alongside a range of his watercolours and sketches. Fifteen artists are also featured alongside Turner; who have all been either influenced by, compared to, or in some cases challenged his approach towards engaging with the natural world. The contemporary artworks interspersed throughout the exhibition seek to facilitate a consideration of the modern relevance of Turner’s sublime explorations of the natural world." The Grimaldi Forum, a cultural landmark known for its striking architecture, hosts this exhibition as part of its rich and varied annual programming. As the venue nears its 25th anniversary in 2025, it continues to attract over 250,000 visitors annually and host approximately 100 events each year, reinforcing its status as a key cultural hub in Monaco. "Turner, the Sublime Legacy" promises to be a seminal exhibition, offering visitors an unparalleled opportunity to experience the grandeur of Turner’s work alongside contemporary interpretations, all within the stunning setting of the Grimaldi Forum. Don’t miss this chance to witness the sublime legacy of one of Britain’s greatest artists.

The Little Black Gallery is set to unveil a captivating new chapter in the world of fine art photography with "Becoming," the debut London exhibition of the acclaimed artist Margaret Lansink. This exclusive showcase will be hosted at the illustrious Rebecca Hossack Art Gallery in the heart of Fitzrovia, from October 1 to 12, 2024. "A movement of becoming, eternal becoming." — Simone de Beauvoir Set against the sophisticated backdrop of 2a Conway Street, London W1T 6BA, The Rebecca Hossack Art Gallery will transform into an intimate space for Lansink’s extraordinary debut. Known for her distinctive aesthetic that fuses poetic minimalism with powerful emotional resonance, Lansink’s work presents an exquisite exploration of the self. Her photographs, which she terms 'self-portraits' in the broadest sense, are a profound reflection of her inner experiences and sentiments captured in specific moments and spaces. Lansink’s artistic approach is both innovative and deeply personal. She employs a diverse array of analogue techniques and experiments, creating stunning visuals with elements like paint, gold leaf, and charcoal. Additionally, her use of traditional darkroom processes—such as liquid light and platinum palladium printing—ensures that each piece is not only a work of art but a unique and immersive experience. Educated at the esteemed PhotoAcademy in Amsterdam, Le Masterklass in Paris, and Atelier Smedsby, Lansink’s career is adorned with prestigious accolades including the Grand Prize of the Hariban Award in 2019 and a shortlist for the Gomma Grant in 2018. Her portfolio is further distinguished by eight published books, four of which she meticulously handmade. "Becoming" promises to be more than an exhibition; it’s a curated journey through Lansink’s intricate exploration of self and emotion. This showcase is a rare opportunity to experience the delicate interplay of technique and feeling that defines her work, set in one of London’s most refined art spaces. Join us at The Rebecca Hossack Art Gallery this October to immerse yourself in the sublime artistry of Margaret Lansink and witness the unveiling of "Becoming," a truly exclusive event for connoisseurs of fine art and luxury.