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Viewing Collect brings together a feast of the handmade at Somerset House

The Wick Culture - ‘Retrato Brutalista’ by Renata Cassiano Alvarez, at Thrown © Kes Efstathiou

Above ‘Retrato Brutalista’ by Renata Cassiano Alvarez, at Thrown © Kes Efstathiou

The Wick Culture -
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(From left) Glass vessel by Shu Kumagai, at Maud and Mabel; Juliette Bigley’s bowls; ‘Dicotyledon’ by Robert George; both at Cavaliero Finn © Photo by Jake Curtis; stylist Alex Kristal

Above Please use the sharing tools found via the share button at the top or side of articles. Copying articles to share with others is a breach of FT.com T&Cs and Copyright Policy. Email licensing@ft.com to buy additional rights. Subscribers may share up to 10 or 20 articles per month using the gift article service. More information can be found at https://www.ft.com/tour. https://www.ft.com/content/61964b05-0409-4c00-9708-74a286d4bab8 (From left) Glass vessel by Shu Kumagai, at Maud and Mabel; Juliette Bigley’s bowls; ‘Dicotyledon’ by Robert George; both at Cavaliero Finn © Photo by Jake Curtis; stylist Alex Kristal

The Wick Culture - ‘St Stanley Bearskin Table’ by Steven John Clark, at Charles Burnand © Bobby Clark

Above ‘St Stanley Bearskin Table’ by Steven John Clark, at Charles Burnand © Bobby Clark

The Wick Culture - ‘Grande Demoiselle à Facettes’ by Jean-Servais Somian, at 50 Golborne

Above ‘Grande Demoiselle à Facettes’ by Jean-Servais Somian, at 50 Golborne

The Wick Culture - ‘Sweet Violet’ by Jennifer Hickey, at Design & Crafts Council Ireland

Above ‘Sweet Violet’ by Jennifer Hickey, at Design & Crafts Council Ireland

The Wick Culture - Teapot from the ‘Reproduction’ series by Qiushuang Sun, at BR Gallery

Above Teapot from the ‘Reproduction’ series by Qiushuang Sun, at BR Gallery

The Wick Culture - Coffee table from ‘A Window to the Past’ collection by Yanxiong Lin, at Charles Burnand

Above Coffee table from ‘A Window to the Past’ collection by Yanxiong Lin, at Charles Burnand

Above ‘Retrato Brutalista’ by Renata Cassiano Alvarez, at Thrown © Kes Efstathiou

Above ‘St Stanley Bearskin Table’ by Steven John Clark, at Charles Burnand © Bobby Clark

Above ‘Grande Demoiselle à Facettes’ by Jean-Servais Somian, at 50 Golborne

Above ‘Sweet Violet’ by Jennifer Hickey, at Design & Crafts Council Ireland

Above Teapot from the ‘Reproduction’ series by Qiushuang Sun, at BR Gallery

Above Coffee table from ‘A Window to the Past’ collection by Yanxiong Lin, at Charles Burnand

Collect Art Fair

Somerset House, Strand, WC2R 1LA
1 – 3 March 2024

Collect, the annual fair for contemporary craft and design, celebrates its 20th edition this week with a bumper crop of 40 international galleries representing more than 400 artists at Somerset House. It’s a textural feast, featuring museum-quality pieces handmade in ceramics, glass, lacquer, textiles, wood, metal, paper, resin, corn-starch and more.

Each object – from vessels and furniture to wall hangings and art jewellery – has a story to tell. Among our highlights are textile works by Juan Arango Palacios and and Talia Ramkilawan, exploring queerness and memories; collaborative ceramic vessels by father and daughter duo Chris and Freya Bramble-Carter, in which faces emerge from ocean-like glazes; and glass shipwrecks by James Devereux

Viewing A rich entangling of textiles and politics at the Barbican

The Wick Culture - Magdalena Abakanowicz, Vêtement Noir (Black Garment), 1968 (c) Harold Strak Courtesy of the Abakanowicz Arts and Culture Charitable Foundation

Above Magdalena Abakanowicz, Vêtement Noir (Black Garment), 1968 (c) Harold Strak Courtesy of the Abakanowicz Arts and Culture Charitable Foundation

The Wick Culture - Igshaan Adams, Gebedelswolke, 2021 – 2024

Above Igshaan Adams, Gebedelswolke, 2021 – 2024

The Wick Culture - Louise Bourgeois with her sculpture, THREE HORIZONTALS, in her home on 20th Street in NYC in 1999 Courtesy The Easton Foundation Photo by Elfie Semotan

Above Louise Bourgeois with her sculpture, THREE HORIZONTALS, in her home on 20th Street in NYC in 1999 Courtesy The Easton Foundation Photo by Elfie Semotan

The Wick Culture - Diedrick Brackens, fire makes some dragons, 2020

Above Diedrick Brackens, fire makes some dragons, 2020

The Wick Culture - Judy Chicago, Birth Tear, 1982

Above Judy Chicago, Birth Tear, 1982

The Wick Culture - Feliciano Centurion, Eye with nanduti, c.1994

Above Feliciano Centurion, Eye with nanduti, c.1994

The Wick Culture - Jeffrey Gibson, SPEAK TO ME SO THAT I CAN UNDERSTAND, 2018 (c) Jeffrey Gibson Courtesy of Sunderland-Cohen Collection

Above Jeffrey Gibson, SPEAK TO ME SO THAT I CAN UNDERSTAND, 2018 (c) Jeffrey Gibson Courtesy of Sunderland-Cohen Collection

The Wick Culture - Teresa Margolles, american Juju for the Tapestry of Truth, 2015 (c) Courtesy of the artist and Galerie Peter Kilchmann, Zurich Paris

Above Teresa Margolles, american Juju for the Tapestry of Truth, 2015 (c) Courtesy of the artist and Galerie Peter Kilchmann, Zurich Paris

The Wick Culture - Yinka Shonibare, Boy on a Globe, 2008

Above Yinka Shonibare, Boy on a Globe, 2008

The Wick Culture - Solange Passoa, 4 Hammocks, 1999-2003

Above Solange Passoa, 4 Hammocks, 1999-2003

Above Magdalena Abakanowicz, Vêtement Noir (Black Garment), 1968 (c) Harold Strak Courtesy of the Abakanowicz Arts and Culture Charitable Foundation

Above Igshaan Adams, Gebedelswolke, 2021 – 2024

Above Louise Bourgeois with her sculpture, THREE HORIZONTALS, in her home on 20th Street in NYC in 1999 Courtesy The Easton Foundation Photo by Elfie Semotan

Above Diedrick Brackens, fire makes some dragons, 2020

Above Judy Chicago, Birth Tear, 1982

Above Feliciano Centurion, Eye with nanduti, c.1994

Above Jeffrey Gibson, SPEAK TO ME SO THAT I CAN UNDERSTAND, 2018 (c) Jeffrey Gibson Courtesy of Sunderland-Cohen Collection

Above Teresa Margolles, american Juju for the Tapestry of Truth, 2015 (c) Courtesy of the artist and Galerie Peter Kilchmann, Zurich Paris

Above Yinka Shonibare, Boy on a Globe, 2008

Above Solange Passoa, 4 Hammocks, 1999-2003

Unravel: The Power and Politics of Textiles in Art

Barbican Art Gallery, Silk Street, EC2Y 8DS
13 February – 26 May 2024

Textiles might seem the benign accompaniments to everyday life but every thread carries a complex history, tangled up with issues around labour, gender, value, and legacies of oppression, extraction and trade. The Barbican’s new show Unravel: The Power and Politics of Textiles in Art attempts to unfurl them, putting the focus on artists from the 1960s to today who have harnessed the subversive potential of textiles to raise questions about power structures and how they are upheld.

If anyone was in doubt about the potency of the medium, this is the show to see. Don’t miss Cecilia Vicuña’s spatial installation ‘Quipu Austral’, which draws on the history of textiles as ancient systems of communication to connect the oppression of pre-colonial cultures to the desecration of nature, or Margarita Cabrera’s green cacti, stitched from US border patrol uniforms by Spanish–speaking immigrants. Many of the big hitters are here – Yinka Shonibare, Sheila Hicks and Magdalena Abakanowicz among them. Step away from this show and you’ll find yourself looking at the stitches of life anew.

Viewing A long overdue retrospective of conceptual art trailblazer Yoko Ono

The Wick Culture - Yoko Ono with Glass Hammer 1967 from HALF-A-WIND SHOW, Lisson Gallery, London, 1967. Photo © Clay Perry

Above Yoko Ono with Glass Hammer 1967 from HALF-A-WIND SHOW, Lisson Gallery, London, 1967. Photo © Clay Perry

The Wick Culture - Yoko Ono, Add Colour (Refugee Boat), 2016, at MAXXI Foundation. Photo © Musacchio, Ianniello & Pasqualini
Roma, MUSEO DEL MAXXI 18 12 2019
Il Segretario Generale dell'ONU António Guterres visita il museo accompagnato dalla Presidente Giovanna Melandri.
©Musacchio, Ianniello & Pasqualini

Above Yoko Ono, Add Colour (Refugee Boat), 2016, at MAXXI Foundation. Photo © Musacchio, Ianniello & Pasqualini Roma, MUSEO DEL MAXXI 18 12 2019 Il Segretario Generale dell’ONU António Guterres visita il museo accompagnato dalla Presidente Giovanna Melandri. ©Musacchio, Ianniello & Pasqualini

The Wick Culture - Yoko Ono, Cut Piece 1964. Performed by Yoko Ono in ‘New Works by Yoko Ono’, Carnegie Recital Hall, NYC, March 21 1965. Photo © Minoru Niizuma

Above Yoko Ono, Cut Piece 1964. Performed by Yoko Ono in ‘New Works by Yoko Ono’, Carnegie Recital Hall, NYC, March 21 1965. Photo © Minoru Niizuma

The Wick Culture - Yoko Ono, Film No. 4 (Bottoms) 1966. Courtesy the artist

Above Yoko Ono, Film No. 4 (Bottoms) 1966. Courtesy the artist

The Wick Culture - Yoko Ono, FLY 1970-71. Courtesy the artist

Above Yoko Ono, FLY 1970-71. Courtesy the artist

The Wick Culture - Yoko Ono, Freedom 1970. Courtesy the artist

Above Yoko Ono, Freedom 1970. Courtesy the artist

Above Yoko Ono, Cut Piece 1964. Performed by Yoko Ono in ‘New Works by Yoko Ono’, Carnegie Recital Hall, NYC, March 21 1965. Photo © Minoru Niizuma

Above Yoko Ono, Film No. 4 (Bottoms) 1966. Courtesy the artist

Above Yoko Ono, FLY 1970-71. Courtesy the artist

Above Yoko Ono, Freedom 1970. Courtesy the artist

Yoko Ono: Music of the Mind

Tate Modern, Bankside, London SE1 9TG
15 February – 1 September 2024

John Lennon once quipped that his wife Yoko Ono was “the world’s most famous unknown artist”. Tate Modern’s long overdue retrospective of her work rights this wrong. Born in Tokyo nearly 91 years ago, Ono was a pioneer of early conceptual and participatory art, film and performance, as well as being a musician and a campaigner for world peace. She invited gallery goers to cut her clothes off for “Cut Piece” in 1964 a decade before Marina Abramovic asked visitors to use scissors, wire and a gun “on me as desired” in “Rhythm O”.

That work and other seminal pieces, such as the once banned “Film No.4 (Bottoms)” from 1966-7 – starring a parade of bare buttocks – are explored in the show, which charts the development of her practice over the decades. Her “Refugee Boat”, which visitors are encouraged to cover with messages, from 1960 couldn’t feel more current. Tate Modern’s retrospective reveals that Ono has always been an artist ahead of her time.