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Viewing Vanessa Bell at Charleston Lewes

The Wick Culture - André Derain, Portrait of Bartolomeo Savona, 1906,. Image courtesy of The Henry Barber Trust, The Barber Institute of Fine Arts, University of Birmingham.

Above André Derain, Portrait of Bartolomeo Savona, 1906,. Image courtesy of The Henry Barber Trust, The Barber Institute of Fine Arts, University of Birmingham.

The Wick Culture - Abstract Painting, c.1914. Image courtesy of the artist and Charleston Lewes

Above Abstract Painting, c.1914. Image courtesy of the artist and Charleston Lewes

The Wick Culture - Street Corner Conversation, private collection. Image photograph courtesy of Colin Mills

Above Street Corner Conversation, private collection. Image photograph courtesy of Colin Mills

Above André Derain, Portrait of Bartolomeo Savona, 1906,. Image courtesy of The Henry Barber Trust, The Barber Institute of Fine Arts, University of Birmingham.

Above Abstract Painting, c.1914. Image courtesy of the artist and Charleston Lewes

Above Street Corner Conversation, private collection. Image photograph courtesy of Colin Mills

Vanessa Bell: A World of Colour and Form

Charleston Lewes
26 March–21 September 2025

Vanessa Bell needs little introduction. The British artist and elder sister of Virgina Woolf shaped the course of art history in the 20th century, a radical pioneer of modernist painting and design, and key figure of the storied Bloomsbury Group.

Bell died at Charleston, and is buried in the Firle Parish Churchyard, and so this landmark exhibition at Charleston Lewes is something of a homecoming. A World of Colour and Form traces Bell’s revolutionary ideas and art through more than 100 works, not only her intoxicating painting, but furniture designs, ceramics, book covers and textiles, too. For Bell, art provided a refuge: “the one dependable thing in a world of strife, ruin, chaos” – words that resonate deeply today.

This legacy is traced into the present, bringing them into dialogue with a concurrent exhibition of the American artist Koak. Koak presents new works inspired by and responding to Bell, with emotive colour and sensual lines evoking the complexities of the human condition.

Viewing Art Basel Hong Kong

The Wick Culture - Art Basel Hong Kong 2025. Jhaveri Contemporary. Art Basel Hong Kong. Image courtesy Art Basel.

Above Art Basel Hong Kong 2025. Jhaveri Contemporary. Art Basel Hong Kong. Image courtesy Art Basel.

The Wick Culture - Art Basel Hong Kong 2025. General Impressions. Art Basel Hong Kong. Image courtesy Art Basel

Above Art Basel Hong Kong 2025. General Impressions. Art Basel Hong Kong. Image courtesy Art Basel

The Wick Culture - Art Basel Hong Kong 2025. Art Basel Hong Kong. Image courtesy Art Basel

Above Art Basel Hong Kong 2025. Art Basel Hong Kong. Image courtesy Art Basel

Above Art Basel Hong Kong 2025. Jhaveri Contemporary. Art Basel Hong Kong. Image courtesy Art Basel.

Above Art Basel Hong Kong 2025. General Impressions. Art Basel Hong Kong. Image courtesy Art Basel

Above Art Basel Hong Kong 2025. Art Basel Hong Kong. Image courtesy Art Basel

Art Basel Hong Kong

March 28 – 30, 2025

A highlight of the contemporary art calendar, Art Basel Hong Kong draws international crowds to Asia-Pacific for four days showcasing the breadth and diversity of galleries resident in the region alongside global artistic perspectives. This year, 240 world-class galleries from 42 countries will be present in a staggering display across the vast spaces of the Hong Kong Exhibition and Convention centre.

With familiar sectors to Basel’s other fairs, beyond the main gallery section, Discoveries is where you’ll find newly commissioned works, shown for the first time at the fair: including Thai artist, Tanat Teeradakorn – shown in London last year at Gasworks – who creates audio collages, textile works, performance and video to transform Thai history into stories and songs of resistance. We can’t wait to see his new work at Bangkok CityCity Gallery’s booth.

Elsewhere, the fair offers large-scale projects at Encounters, always awe-inspiring and crowd-pleasing: the line-up this year features Pacita Abad and Pio Abad, Jon Rafman and Liam Gillick. Of course, the whole of the city will be activated with events, shows and screenings too, and beyond the fair galleries and institutions are hosting a special programme, with artists talks and discussions, with topics ranging from what is driving Chinese collectors today to exhibitions on ritual, trauma and allegory.

Viewing Arpita Singh at Serpentine North Gallery

The Wick Culture - Arpita Singh Devi Pistol Wali, 1990. Image Credit of Museum of Art Photography Bengaluru India

Above Arpita Singh Devi Pistol Wali, 1990. Image Credit of Museum of Art Photography Bengaluru India

The Wick Culture - Arpita Singh, The Tamarind Tree, 2022. Courtesy of Vadehra Family Collection

Above Arpita Singh, The Tamarind Tree, 2022. Courtesy of Vadehra Family Collection

The Wick Culture - Arpita Singh, My Lollipop City. Gemini Rising 2005. Image credit Vadehra Art Gallery

Above Arpita Singh, My Lollipop City. Gemini Rising 2005. Image credit Vadehra Art Gallery

Above Arpita Singh Devi Pistol Wali, 1990. Image Credit of Museum of Art Photography Bengaluru India

Above Arpita Singh, The Tamarind Tree, 2022. Courtesy of Vadehra Family Collection

Above Arpita Singh, My Lollipop City. Gemini Rising 2005. Image credit Vadehra Art Gallery

Arpita Singh: Remembering

Serpentine North Gallery
20 March – 27 July 2025

At 87, Arpita Singh is long overdue her first solo exhibition outside of her native India, and it comes at last in this major staging at Serpentine’s spectacular North Gallery. In a painting career that has spanned six decades, during which Singh has created non-stop, there was ample choice for what to show: this exhibition works chronologically and like a retrospective, moving from her earliest oil and charcoal works to more recent watercolour paintings.

Singh’s paintings have dabbled in various genres, and often return to Bengali folk art and Indian myths and stories, weaving into these ancient collective tales her own personal perspectives on the conflicts and chaos of her lifetime. The exhibition also positions Singh’s work in connection to feminism and her consistent focus on female agency, and themes including motherhood, ageing, female sexuality, resistance and violence.

Singh’s slightly surreal works with their shimmering palettes and delicate details rendered in sketchy, intuitive lines are also expressions of a deep inner world. As Singh herself says of the exhibition: “Remembering draws from old memories from which these works emerged. Whether I am aware or not, there is something happening at my core. It is how my life flows.”