Nick Knight’s SHOWstudio Gallery and the Tom of Finland Foundation are inviting visitors to explore SHADOW-BAN , an exhibition running from September 19 to November 15, 2024 , at SHOWstudio’s Belgravia location, 22D Ebury Street, London SW1W 0LU . The exhibition focuses on the relationship between artistic expression and censorship, offering an interesting look at art that challenges societal norms and the restrictions imposed by mainstream platforms. Featuring a mix of existing and new works, SHADOW-BAN presents a unique opportunity for those curious about how art and censorship intersect in today’s digital age. A key theme of the exhibition is shadow-banning—the subtle suppression of content deemed politically or sexually explicit by social media algorithms. The show brings together paintings, sculptures, films, and live performances by artists including Peter Saville, George Rouy, and Dinos Chapman, all of whom explore this form of censorship. Visitors are invited to consider how these works push against the limits of acceptability, encouraging thoughtful reflection on the boundaries of obscenity and visibility in modern culture. Running alongside the annual Tom of Finland Arts & Culture Festival , SHADOW-BAN also includes pieces by 15 queer erotic artists from the Tom of Finland Foundation’s network. These works delve into the role of sexuality in art, offering perspectives that go beyond conventional limits. For those interested in exploring new ideas around art and identity, this exhibition provides an engaging space to experience works that highlight the importance of freedom in creative expression. SHOWstudio’s gallery in Belgravia offers a fitting setting for this thoughtful exhibition. Its intimate space allows for close interaction with the artworks, making it an ideal venue to experience the themes presented in SHADOW-BAN . Visitors are encouraged to book tickets in advance through the SHOWstudio website to ensure their spot at the exhibition, which offers a variety of time slots for flexible viewing throughout its run. If you’re curious about how art challenges censorship and reflects contemporary issues, SHADOW-BAN is a great opportunity to engage with a range of interesting and thought-provoking works. Plan your visit today and join the conversation around art, visibility, and the impact of societal pressures on creative expression.

The Teletubbies have never just been a kids’ show; they’ve always symbolized playfulness and the beauty of discovery, and this takeover is no different. Curated in collaboration with some of the most exciting names in contemporary art—such as Christian Cowan, Jon Burgerman, and ONCH—this exhibition invites visitors to experience these characters in an entirely new way. The gallery will be transformed into a multi-sensory playground, where the line between fine art and childhood fantasy blurs. It’s a family-friendly event, but make no mistake: this is as much for the grown-up "kidults" as it is for the little ones. The opening night on September 26th promises to be a who's-who of influencers, press, and artists, giving attendees exclusive access to the art and creators who’ve reshaped the Teletubbies for a new generation. Beyond the art itself, the event will offer hands-on workshops, interactive installations, and playful Teletubbies-themed activities. From doodling on massive canvases to crafting accessories that wouldn’t look out of place in the Tubbytronic Superdome, the weekend is set to be a full-on nostalgia trip that’s as interactive as it is visually stunning. The London stop is just the beginning for the House of Teletubbies World Tour, with plans to hit major cities like Los Angeles and Miami next. Each city will introduce new artists and creative reinterpretations, keeping the experience fresh and exciting. As the Teletubbies evolve alongside modern culture, their universal message of friendship, curiosity, and play remains timeless. Whether you grew up watching the show or have only recently discovered these icons, the event serves as a reminder of the boundless creativity of childhood that’s still within us all. The artists featured in the exhibition are just as dynamic as the Teletubbies themselves: Fern Espinoza, 25K Fern : A Los Angeles-based artist whose work is heavily influenced by both urban street culture and the fantastical elements of sci-fi. So, mark your calendars! The Teletubbies are not just back—they’re back with a vibrant, artistic twist that will leave you both smiling and inspired. About Wildbrain For over 27 years, WildBrainʼs Teletubbies have been engaging and entertaining audiences across multiple generations. Seen on broadcasters and streaming platforms around the world—including a re-imagined live-action Netflix series featuring narrator Tituss Burgess (Unbreakable Kimmy Schmidt), plus the CG-animated YouTube series, Teletubbies Letʼs Go!—the Teletubbies offer hours of content for fans of every age. Through their exuberance and curiosity, Tinky Winky, Dipsy, Laa-Laa and Po foster the developing imaginations of toddlers in a delightful world filled with joyous exploration, visual anticipation and silly surprises. Extensive activations and digital touch points have also seen the Teletubbies become beloved pop culture icons for older fans, adored by celebrities and culture setters around the world, with millions of followers on social media. As a lifestyle brand, Teletubbies continues to captivate audiences by participating in pop culture conversations. The Teletubbies are owned by WildBrain, a global leader in kids and family entertainment. Follow the Teletubbies on TikTok and Instagram via @TeletubbiesHQ.

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.