Our top picks of exhibitions together with cultural spaces and places, both online and in the real world.

All, Art, Auctions, Exhibitions, Travel & Hospitality, Initiatives

Viewing Forget Me Not

The Wick Culture - Andrew Cross, Moulin du Tail, 2021.

Above Andrew Cross, Moulin du Tail, 2021.

The Wick Culture - Mariano Vivanco, Peonies Two 021, London, 2015.

Above Mariano Vivanco, Peonies Two 021, London, 2015.

The Wick Culture - Denise Webber, Safe to be at the Window, No.6, 2019.

Above Denise Webber, Safe to be at the Window, No.6, 2019.

The Wick Culture - Philip Sinden, Blue Electric Blue (Blue Flower), 2020.

Above Philip Sinden, Blue Electric Blue (Blue Flower), 2020.

The Wick Culture - Mariano Vivanco, Homage, London, 2018.

Above Mariano Vivanco, Homage, London, 2018.

The Wick Culture - Philip Sinden, The Opera House (Berlin), 2008.

Above Philip Sinden, The Opera House (Berlin), 2008.

The Wick Culture - Denise Webber, Threshold, no. 13, 2013-2015.

Above Denise Webber, Threshold, no. 13, 2013-2015.

The Wick Culture - Denise Webber, Threshold, No.4, 2013-2015.

Above Denise Webber, Threshold, No.4, 2013-2015.

The Wick Culture - Anna Mossman, Yellow Throw, 1996.

Above Anna Mossman, Yellow Throw, 1996.

The Wick Culture - Anna Mossman, Confession (1), 1994.

Above Anna Mossman, Confession (1), 1994.

The Wick Culture - Andrew Cross, Moulin du Tail, 2024.

Above Andrew Cross, Moulin du Tail, 2024.

The Wick Culture - Anna Mossman, Blue Throw, 1996.

Above Anna Mossman, Blue Throw, 1996.

Above Andrew Cross, Moulin du Tail, 2021.

Above Mariano Vivanco, Peonies Two 021, London, 2015.

Above Denise Webber, Safe to be at the Window, No.6, 2019.

Above Philip Sinden, Blue Electric Blue (Blue Flower), 2020.

Above Mariano Vivanco, Homage, London, 2018.

Above Philip Sinden, The Opera House (Berlin), 2008.

Above Denise Webber, Threshold, no. 13, 2013-2015.

Above Denise Webber, Threshold, No.4, 2013-2015.

Above Anna Mossman, Yellow Throw, 1996.

Above Anna Mossman, Confession (1), 1994.

Above Andrew Cross, Moulin du Tail, 2024.

Above Anna Mossman, Blue Throw, 1996.

CLOSE Gallery
Close House, Hatch Beauchamp
Somerset
TA3 6AE
7 March – 11 April, 2026

In the beautiful rural setting of CLOSE gallery, Somerset, an exhibition featuring five photographers, evokes memory, presence and absence. Titled FORGET ME NOT, artists Andrew Cross, Anna Mossman, Philip Sinden, Mariano Vivanco and Denise Webber come together in a dynamic reflection of, and response to, a world in flux, ever more difficult to grasp and comprehend in its full nuance and complexity.

The exhibition’s title refers to the flower of the same name, and is intended as both a symbol and a warning. In an image-driven world, art still has power, and a responsibility, to show the world and expose injustice, and the show departs from this idea. Philip Sniden’s suggestive, sultry portraits, still lifes and landscapes are filled with a sense of absence that leaves you pondering what we don’t see, while Denise Webber’s works are imbued with a sense of fragility and vulnerability, informed by her early experiences of war in Cyprus, using thresholds as a motif and metaphor.

Another highlight is Peruvian photographer Mariano Vivanco, well-known for photographing the likes of Rihanna, Lewis Hamiliton and the Hadids for global publications including Vogue, Harper’s Bazaar and Dazed. This exhibition presents a less known, tender and contemplative side to his work, exploring heritage, memory and art as an act of self-preservation. A thought-provoking dialogue that’s worth heading out to Somerset for.

Viewing Rose Wylie: The Picture Comes First

Above Rose Wylie. “Study for Red Twink” (2002) © Rose Wylie. Courtesy the artist and David Zwirner. Photo: Jack Hems

Above Rose Wylie. “A Dream” (2024) © Rose Wylie. Courtesy the artist and David Zwirner. Photo: Anna Arca

Above Rose Wylie. “A Handsome Couple” (2022) © Rose Wylie. Courtesy the artist and David Zwirner. Photo: Jack Hems

Above Rose Wylie. “Study for Red Twink” (2002) © Rose Wylie. Courtesy the artist and David Zwirner. Photo: Jack Hems

Above Rose Wylie. “A Dream” (2024) © Rose Wylie. Courtesy the artist and David Zwirner. Photo: Anna Arca

Above Rose Wylie. “A Handsome Couple” (2022) © Rose Wylie. Courtesy the artist and David Zwirner. Photo: Jack Hems

Royal Academy of Arts
28 February – 19 April, 2026

Another huge moment for a rebel of the British art world comes in this major solo exhibition of work by Rose Wylie, who is 91, at the Royal Academy, one of the most significant presentations of her work to date including her most iconic paintings alongside new and previously unseen pieces.

Wylie, who rose to international fame as a painter in her 80s, is celebrated for her large-scale, exuberant canvases that often look deceptively simple and youthful at first glance but reveal a highly personal and sophisticated visual language on closer inspection. Her work draws from a wide range of sources—including mass media, cinema, history, sport, mythology and personal memory—juxtaposing figures such as Elizabeth I, Nicole Kidman and Snow White with autobiographical elements. Yet as the title suggests, Wylie is rarely only interested in the meaning of the images and more so what they can do in, and for the painting, creating a new world on the canvas with its own message and life.

The exhibition also highlights Wylie’s deep commitment to drawing as a foundational activity, her physical, tactile approach to paint, and her instinctive, associative imagery that often feels deeply observant of cultural life. Quirky, colourful, humorous and irresistible, Wylie is one of the most irrepressible and standout painters working today.

Viewing Tracey Emin: A Second Life

The Wick Culture - Tracey Emin. Why I Never Became a Dancer (1955) © Tracey Emin. Image courtesy of Tate

Above Tracey Emin. Why I Never Became a Dancer (1955) © Tracey Emin. Image courtesy of Tate

Above Tracey Emin. “The End of Love” (2024) © Tracey Emin. Image courtesy of Tate

Above Tracey Emin. “I Never Asked To Fall in Love – You made me Feel like This” (2018) © Tracey Emin. Image courtesy of Tate

Tate Modern
27 February – 31 August, 2026

Tracey Emin doesn’t want to call A Second Life, her huge new show at Tate Modern, a retrospective, and indeed, this milestone moment in the artist’s forty-year career reframes the notion of an evolving survey into a life story of transformation, resilience and self-expression, bringing together more than 90 works spanning four decades—paintings, installations, neon texts, video, sculpture and textiles. It is the largest showcase of Emin’s practice to date.

What makes A Second Life particularly interesting is the way it maps Emin’s personal evolution against her artistic development. It doesn’t just present a chronology of famous pieces like My Bed (1998) or Why I Never Became a Dancer (1995); it places them in dialogue with recent works created after her recovery from cancer and major surgery, offering a narrative of survival and renewal. This narrative arc – from early confessional works to mature explorations of illness, vulnerability and the body – makes the exhibition feel less like a catalogue and more like a lived journey.

Emin’s art has long been associated with raw emotional honesty, rebellion and autobiography. She dissolves the barrier between private experience and public art, using her own life – trauma, relationships, family, illness – as material. A Second Life highlights how this confessional approach reshaped contemporary art, challenging what can be depicted and whose stories matter. An unforgettable show.