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Viewing Crossing Into Darkness

The Wick Culture - Johnnie Shand Kydd, Deben 03 12 2021 (2021). Credit Carl Freedman Gallery
Above  Johnnie Shand Kydd, Deben 03 12 2021 (2021). Credit Carl Freedman Gallery
The Wick Culture - Tracey Emin, like I Vanished and Reappeared (2024). Credit: Carl Freedman Gallery
Above  Tracey Emin, like I Vanished and Reappeared (2024). Credit: Carl Freedman Gallery
The Wick Culture - Joline Kwakkenbos, Self-Portrait as a Painter as Lucretia (2025). Credit: Carl Freedman Gallery
Above  Joline Kwakkenbos, Self-Portrait as a Painter as Lucretia (2025). Credit: Carl Freedman Gallery
The Wick Culture - Anna Pakosz, Almost Disturbed (2025). Credit: Carl Freedman Gallery
Above  Anna Pakosz, Almost Disturbed (2025). Credit: Carl Freedman Gallery
The Wick Culture - Janice Nowinski, Bending Nude (2025). Credit: Carl Freedman Gallery
Above  Janice Nowinski, Bending Nude (2025). Credit: Carl Freedman Gallery
The Wick Culture - Celia Hempton, Demolition – West Facing, Broadley Street, London, 22nd February 2025 (2025). Credit: Carl Freedman Gallery
Above  Celia Hempton, Demolition – West Facing, Broadley Street, London, 22nd February 2025 (2025). Credit: Carl Freedman Gallery
The Wick Culture - Tracey Emin, I Am Protected (2025). Credit: Carl Freedman Gallery.
Above  Tracey Emin, I Am Protected (2025). Credit: Carl Freedman Gallery.
The Wick Culture - Lindsey Mendick, It Eats Away At Me (2025). Credit: Carl Freedman Gallery
Above  Lindsey Mendick, It Eats Away At Me (2025). Credit: Carl Freedman Gallery
The Wick Culture - Johnnie Shand Kydd, Deben 03 12 2021 (2021). Credit Carl Freedman Gallery
Above  Johnnie Shand Kydd, Deben 03 12 2021 (2021). Credit Carl Freedman Gallery
The Wick Culture - Tracey Emin, like I Vanished and Reappeared (2024). Credit: Carl Freedman Gallery
Above  Tracey Emin, like I Vanished and Reappeared (2024). Credit: Carl Freedman Gallery
The Wick Culture - Joline Kwakkenbos, Self-Portrait as a Painter as Lucretia (2025). Credit: Carl Freedman Gallery
Above  Joline Kwakkenbos, Self-Portrait as a Painter as Lucretia (2025). Credit: Carl Freedman Gallery
The Wick Culture - Anna Pakosz, Almost Disturbed (2025). Credit: Carl Freedman Gallery
Above  Anna Pakosz, Almost Disturbed (2025). Credit: Carl Freedman Gallery
The Wick Culture - Janice Nowinski, Bending Nude (2025). Credit: Carl Freedman Gallery
Above  Janice Nowinski, Bending Nude (2025). Credit: Carl Freedman Gallery
The Wick Culture - Celia Hempton, Demolition – West Facing, Broadley Street, London, 22nd February 2025 (2025). Credit: Carl Freedman Gallery
Above  Celia Hempton, Demolition – West Facing, Broadley Street, London, 22nd February 2025 (2025). Credit: Carl Freedman Gallery
The Wick Culture - Tracey Emin, I Am Protected (2025). Credit: Carl Freedman Gallery.
Above  Tracey Emin, I Am Protected (2025). Credit: Carl Freedman Gallery.
The Wick Culture - Lindsey Mendick, It Eats Away At Me (2025). Credit: Carl Freedman Gallery
Above  Lindsey Mendick, It Eats Away At Me (2025). Credit: Carl Freedman Gallery

Carl Freedman Gallery
28 Union Crescent
Margate
CT9 1NS
18th January – 12th April, 2026

Curated by the indomitable Dame Tracey Emin, Crossing Into Darkness is a powerful and timely group exhibition at Carl Freedman Gallery bringing together an extraordinary roster of international artists — including Louise Bourgeois, Francisco Goya, Marlene Dumas, Georg Baselitz, Antony Gormley, Gilbert & George, Edvard Munch, Anselm Kiefer and others, alongside works by Emin herself — whose practices explore the profound and often unsettling dimensions of human experience.

Rather than presenting darkness as something merely fearful, the exhibition frames it as a necessary threshold toward renewal and insight. The works confront feelings of melancholy, despair, fragmentation, uncertainty and transformation — experiences that feel especially resonant in the current era of upheaval. Within this context, darkness becomes a metaphoric space for reflection and emotional immersion, rather than an endpoint. Emin’s selection emphasises art’s capacity to penetrate and resonate with the soul, underscoring her belief that encountering difficult emotions through art can be a deeply human and cathartic process.

Presented across the gallery’s spacious three exhibition rooms in the converted Thanet Press building, Crossing Into Darkness is free and promises to be an immersive experience — one that asks us to consider how confronting the shadowy aspects of life can ultimately lead toward light, empathy and understanding.
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Viewing London Art Fair

The Wick Culture - Ilhak Altiparmak, Birini Yumuşakça Sevmek Mümkün mü? VIII / Is it Possible to Love Someone Softly? (2025). Credit: London Art Fair
Above  Ilhak Altiparmak, Birini Yumuşakça Sevmek Mümkün mü? VIII / Is it Possible to Love Someone Softly? (2025). Credit: London Art Fair
The Wick Culture - Rose Electra Harris. 2024. Not everything is as it seems. Courtesy of London Art Fair.
Above  Rose Electra Harris. 2024. Not everything is as it seems. Courtesy of London Art Fair.
The Wick Culture - Isabel Fletcher, Satin Overlap (2023). Credit: London Art Fair
Above  Isabel Fletcher, Satin Overlap (2023). Credit: London Art Fair
The Wick Culture - Lynn Chadwick, Sitting Woman in Robes III 1987. Courtesy of the Artist and Pangolin London
Above  Lynn Chadwick, Sitting Woman in Robes III 1987. Courtesy of the Artist and Pangolin London
The Wick Culture - Ilhak Altiparmak, Birini Yumuşakça Sevmek Mümkün mü? VIII / Is it Possible to Love Someone Softly? (2025). Credit: London Art Fair
Above  Ilhak Altiparmak, Birini Yumuşakça Sevmek Mümkün mü? VIII / Is it Possible to Love Someone Softly? (2025). Credit: London Art Fair
The Wick Culture - Rose Electra Harris. 2024. Not everything is as it seems. Courtesy of London Art Fair.
Above  Rose Electra Harris. 2024. Not everything is as it seems. Courtesy of London Art Fair.
The Wick Culture - Isabel Fletcher, Satin Overlap (2023). Credit: London Art Fair
Above  Isabel Fletcher, Satin Overlap (2023). Credit: London Art Fair
The Wick Culture - Lynn Chadwick, Sitting Woman in Robes III 1987. Courtesy of the Artist and Pangolin London
Above  Lynn Chadwick, Sitting Woman in Robes III 1987. Courtesy of the Artist and Pangolin London

Business Design Centre
Islington,
N1 0QH
21 – 25 January, 2026

The London Art Fair 2026 is one of the premier events in the UK art calendar, returning for its 38th edition from 21–25 January 2026 (with a preview evening on 20 January) at the Business Design Centre in Islington, London. This annual fair has become a key moment for both seasoned collectors and new audiences to explore the best in modern and contemporary art at the start of the year.

At the heart of the fair is the Main Fair Galleries section, where over 120 galleries from the UK and around the world present a wide range of works spanning from early twentieth-century modern masters to cutting-edge contemporary art. Highlights this year include displays of works by notable figures such as Tracey Emin, Sean Scully, Barbara Hepworth, William Kentridge and rare prints by David Hockney, alongside group and solo presentations that reflect diverse artistic voices In addition to the main exhibitions, the fair’s Platform section—curated in 2026 by Dr. Ferren Gipson under the theme The Unexpected—showcases innovative and experimental work that challenges traditional definitions of art through material, process and form. Don’t miss talks too – among them, a panel lead by TF Chan on collecting the unexpected, and a panel discussion on radial care moderated by Victoria Comstock-Kershaw, Editor of FETCH London. With around 24,000 visitors expected, London Art Fair 2026 remains an essential destination for anyone interested in the vibrancy and diversity of today’s art world, from a distinctly London point of view. The London Art Fair 2026 is one of the premier events in the UK art calendar, returning for its 38th edition from 21–25 January 2026 (with a preview evening on 20 January) at the Business Design Centre in Islington, London. This annual fair has become a key moment for both seasoned collectors and new audiences to explore the best in modern and contemporary art at the start of the year.

With around 24,000 visitors expected, London Art Fair 2026 remains an essential destination for anyone interested in the vibrancy and diversity of today’s art world, from a distinctly London point of view.
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Viewing Hawaiʻi: a kingdom crossing oceans

The Wick Culture - 'Ahu 'ula (cloak), Hawai'i, likely made before 1778. Credit: British Museum
Above  ‘Ahu ‘ula (cloak), Hawai’i, likely made before 1778. Credit: British Museum
The Wick Culture - Kapulani Landgraf, ''Au'a Haunani-Kay Trask' (2019). Copyright Kapulani Landgraf 2025
Above  Kapulani Landgraf, ”Au’a Haunani-Kay Trask’ (2019). Copyright Kapulani Landgraf 2025
The Wick Culture - Kapa (barkcloth), Hawai'i, possibly late 1700s-early 1800s. Credit: British Museum
Above  Kapa (barkcloth), Hawai’i, possibly late 1700s-early 1800s. Credit: British Museum
The Wick Culture - 'Umeke ki'i (bowl with figure), Hawai'i, possibly late 1700s. Credit: British Museum
Above  ‘Umeke ki’i (bowl with figure), Hawai’i, possibly late 1700s. Credit: British Museum
The Wick Culture - Mahiole hulu manu (feathered helmet), Hawai'i, possibly late 1700s. Credit: British Museum
Above  Mahiole hulu manu (feathered helmet), Hawai’i, possibly late 1700s. Credit: British Museum
The Wick Culture - Turtle ornament, Hawai'i, possibly late 1700s. Credit: British Museum
Above  Turtle ornament, Hawai’i, possibly late 1700s. Credit: British Museum
The Wick Culture - 'Ahu 'ula (cloak), Hawai'i, likely made before 1778. Credit: British Museum
Above  ‘Ahu ‘ula (cloak), Hawai’i, likely made before 1778. Credit: British Museum
The Wick Culture - Kapulani Landgraf, ''Au'a Haunani-Kay Trask' (2019). Copyright Kapulani Landgraf 2025
Above  Kapulani Landgraf, ”Au’a Haunani-Kay Trask’ (2019). Copyright Kapulani Landgraf 2025
The Wick Culture - Kapa (barkcloth), Hawai'i, possibly late 1700s-early 1800s. Credit: British Museum
Above  Kapa (barkcloth), Hawai’i, possibly late 1700s-early 1800s. Credit: British Museum
The Wick Culture - 'Umeke ki'i (bowl with figure), Hawai'i, possibly late 1700s. Credit: British Museum
Above  ‘Umeke ki’i (bowl with figure), Hawai’i, possibly late 1700s. Credit: British Museum
The Wick Culture - Mahiole hulu manu (feathered helmet), Hawai'i, possibly late 1700s. Credit: British Museum
Above  Mahiole hulu manu (feathered helmet), Hawai’i, possibly late 1700s. Credit: British Museum
The Wick Culture - Turtle ornament, Hawai'i, possibly late 1700s. Credit: British Museum
Above  Turtle ornament, Hawai’i, possibly late 1700s. Credit: British Museum

The British Museum
Great Russell Street
London
WC1B 3DG
15 January – 25 May 2026

The British Museum’s Hawaiʻi: a kingdom crossing oceans, is a major exhibition celebrating the rich history and culture of the Hawaiian Kingdom and its long-standing ties with the United Kingdom. The show brings together more than 150 extraordinary objects, many never seen in the UK before, blending historic treasures from the Museum’s own collection with significant international loans. Among the highlights is a stunning ʻahu ʻula feathered cloak sent in 1810 by King Kamehameha I to King George III—on public display for the first time in over 100 years—alongside the Hawaiian king’s original letter requesting British support.

Visitors are greeted by a striking nine-foot statue of the god Kū, and the galleries feature finely carved drums, barkcloth (kapa), powerful shark-toothed weapons, feathered helmets (mahiole), and intricate deity figures (kiʻi akua). At its heart is the story of the 1824 royal voyage of King Liholiho (Kamehameha II) and Queen Kamāmalu to London—a diplomatic mission that marked a turning point in Hawaiʻi’s global relationships. This narrative thread allows the exhibition to explore themes of movement, alliance and cultural exchange, while acknowledging the complex histories of colonial contact and museum collecting practices.

The exhibition was co-created with Native Hawaiian knowledge-bearers, artists and scholars, centering indigenous perspectives and using ʻōlelo Hawaiʻi (Hawaiian language) throughout. This collaborative approach highlights not just the artistic mastery of the objects but their ongoing cultural significance for the people of Hawaiʻi today. It is a visually dazzling and thoughtful re-framing of Hawaiian heritage within a global context, bringing often overlooked Pacific histories to a broad international audience.
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The Wick Culture - Yeonjoon Yoon, Gavin Poole, Conrad Shawcross, Tristram Hunt at UMBILICAL

Happenings Conrad Shawcross: UMBILICAL at Here East

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The Wick Culture - Gallery view of the 2025 Summer Exhibition Photo: © David Parry/ Royal Academy of Arts

Happenings RA Summer Party

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The Wick Culture - Katy Wickremesinghe at Dulwich Picture Gallery

Happenings Rachel Jones at Dulwich Picture Gallery

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The Wick Culture - Katy Wickremesinghe at Dulwich Picture Gallery

Happenings Rachel Jones at Dulwich Picture Gallery

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The Wick Culture - The Weston Collections Hall at V&A East Storehouse, including over 100 mini curated displays ‘hacked’ into the ends and sides of the storage racking. Image by Hufton + Crow for V&A

Happenings V&A East Storehouse

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The Wick Culture - Shezad Dawood

Happenings Chain of Hope at Saatchi Gallery

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