This is Miranda Argyle’s second show in Princelet Street. The panelled Georgian drawing room at the gallery, Eleven Spitalfields provides a sensitive context for Argyle’s subtle stitched work and luminous photographs.
Poems written in response to atmospheric paintings by the American artist Howard Fritz whose work is now on show at the Torriano Meeting House
A festival of theatre, performance and discussion exploring the changing face of our capital city.
Wry, strange, self-mocking, subversive, acerbic, ironic, cynical, sarcastic, bitter, unconventional and of course surreal – are just some of the adjectives that spring to mind as you browse the unsettling Belgian art on display in a central Brussels venue until 24th January.
‘Life is a gamble, at terrible odds – if it was a bet you wouldn’t take it’ writes Tom Stoppard in Rosencrantz and Guildenstern are Dead. Turner Contemporary’s exhibition ‘Risk’ attests to this. The Focus is two- fold, dealing with the risky business of living and the nature of art itself as a gamble.
Barbara Hepworth said finding Trewyn Studio in St Ives was “a sort of magic”. It provided her with the perfect context to work, in harmony with her surroundings, and to display her sculptures in the best possible light to reveal their contours and depths.
In the Flemish town of Veurne (Furnes in French), tucked away with appropriate incongruity between a bandstand and an aviary, stands a bust of Paul Delvaux (1897-1994), the surrealist painter who lived and died among the step-gabled houses painstakingly rebuilt after the devastation wrought by the World Wars.
Victor Hugo at Villers-la-Ville until August 16 and Le Malade Imaginaire at Villers-la-Ville until August 8.
The 12th-century abbey of Villers-la-Ville in Belgium has a tradition of open air summer theatre that dates back more than a hundred years – but the tradition is not quite unbroken.
One of Britain’s biggest pop icons and one of France’s intellectual giants have more in common than you might think.
Two things strike in this exhibition: a strong sense of Englishness and a creative link to an artistic heritage as far back as the antique world.
An exhibition of the extraordinary output of France’s Henri Cartier-Bresson, hailed as the founder of photojournalism and “the eye of the century”. That is true in the fullest sense of the words, given his exceptional ability to see the telling detail, or, in his own words, to seize the fact related to “the deep reality”.
With their green goats, giant roosters and bridal couples flying through the air, Marc Chagall’s works appear fantastic, but he insisted he only painted direct reminiscences of his own life.