Barbican Art Gallery has invited conceptual documentary photographer and Deutsche Börse Photography Prize winner Richard Mosse to create an immersive multi-channel video installation in the Curve. In collaboration with composer Ben Frost and cinematographer Trevor Tweeten, Mosse has been working with an advanced new thermographic weapons and border imaging technology that can see beyond 30km, registering a heat signature of relative temperature difference. Classed as part of advanced weapons systems under International Traffic in Arms Regulations (ITAR), Mosse has been using this export controlled camera against its intended purpose, to create an artwork about the refugee crisis unfolding in the Aegean Sea, off the coast of Libya, in Syria, the Sahara, the Persian Gulf, and other locations.
Mosse is renowned for work that challenges documentary photography. In his recent work The Enclave (2013) – a six-channel installation commissioned by the Irish Pavilion for the 2013 Venice Biennale – Mosse employed a now discontinued 16mm colour infrared film called Kodak Aerochrome that transformed the green landscape of the eastern Democratic Republic of Congo into vivid hues of pink to create a surreal dreamscape. Questioning the ways in which war photography is constructed, Mosse’s representation of the ongoing armed conflict in eastern Congo advocates a new way of looking.
Exploring the role of digital technology in transcending the physical and conceptual boundaries that exist between different artworks, with imagery from one work breaking free of the frame and entering the space of another.
The installations also dissolve distinctions between artwork and exhibition space, and involve the viewer through interactivity.
The largest room in the exhibition will include six works and feature Universe of Water Particles, Transcending Boundaries (2017), a virtual waterfall that extends beyond the gallery wall onto the floor, flowing through the exhibition space and around the feet of the viewer. It engages with the concept of Ultra Subjective Space, central to teamLab’s practice, referencing the non-perspectival depiction of space in premodern Japanese art and situating the viewer directly within the realm of the artwork.
Encompassing the second room, Dark Waves (2016) is a simulation of the movement of waves based on the behaviour of hundreds of thousands of water particles. The waves are created in a three-dimensional virtual space, expressing water as a living entity that immerses the viewer and suggests an intrinsic connection with nature.
In the last room, the darkened space is transformed by the presence of the viewer, which activates Flowers Bloom on People (2017). With the body as a canvas for the projections, flowers are in a process of continuous change—growing, decaying and scattering in direct response to the viewer’s movements.
Delve back in time to your childhood. 👶 What made you wonder? Remember a time when your eyes were wide and your mind was full and racing with each new aspect of the world around you?
Revisit your sense of scientific wonder at Wonderlab: The Statoil Gallery, as well as enjoy a scientific see-saw, toy car racing, voice Pong, bee home-building and much, much more.
Plus, the regular Lates highlights are waiting for you to enjoy, including live music and the best silent disco in town.
Science Museum Lates are adults-only, after-hours theme nights that take place in the Museum on the last Wednesday of every month. Each entry in this hugely popular ongoing series of events centres on a different theme: from sex to climate change, from big data to childhood.
Follow the rise and fall of the mental asylum and explore how it has shaped the complex landscape of mental health today. Reimagine the institution, informed by the experiences of the patients, doctors, artists and reformers who inhabited the asylum or created alternatives to it.
Today asylums have largely been consigned to history but mental illness is more prevalent than ever, as our culture teems with therapeutic possibilities: from prescription medications and clinical treatment to complementary medicines, online support, and spiritual and creative practices. Against this background, the exhibition interrogates the original ideal that the asylum represented – a place of refuge, sanctuary and care – and asks whether and how it could be reclaimed.
Taking Bethlem Royal Hospital as a starting point, ‘Bedlam: the asylum and beyond’ juxtaposes historical material and medical records with individual testimonies and works by artists such as David Beales, Richard Dadd, Dora García, Eva Kotátková, Madlove: A Designer Asylum, Shana Moulton, Erica Scourti, Javier Téllez and Adolf Wölfli, whose works reflect or reimagine the institution, as both a physical and a virtual space.
Marvel at a dramatic live contemporary circus performance from NoFit State. An immersive promenade show directed by Firenza Guidi, it takes place above, behind and all around a standing audience, with a constantly evolving narrative set to a pounding soundtrack performed by a live band.
See the best in journalistic photography in this renowned exhibition.
Since 1955, World Press Photo has invited press photographers of the world to participate in the premier annual international competition in press photography.
The World Press Photo of the Year competition honours the photographer whose visual creativity and skills made a picture that captures or represents an event or issue of great journalistic importance in the last year.
This year, 5,775 photographers from 128 countries submitted 82,951 images and the jury gave prizes in eight categories to 41 photographers from 21 countries.
Be moved and inspired by the images from these talented photographers, in this exhibition of the finalists’ work.
A free day of art, music and performance inspired by art on display at Tate Britain.
Featuring artist-led workshops, music, performance curated by Tate Collective London. This year’s theme explores shifts and emerging transitions in identity politics, gender and race inspired by artwork on display in the gallery.
SHIFT kicks off with a set from talented DJ and radio host A.G. the DJ whose origins are firmly rooted in UK Grime. Join one of Radar Radio’s most fearsome selectors, self-taught DJ, model and presenter Snoochie Shy for a special set as she takes over the UK underground music scene one step at a time. Raising the bar for female rappers, catch special guest artist Nadia Rose’s headline performance, bringing her magic and rhymes to the historic Room 1840. Relax with Brixton-based House of Pharaohs collective and hear them share their life stories in a Q+A followed by a special live performance.
12.00–17.30 Badgemaking Octagon
12.00–17.30 Drawing Booth Room 1540
12.00–17.30 Jack Sachs Taylor Digital Studio
12.00–17.30 Jerkcurb Clore Studio
12.30–14.00 A.G the DJ Room 1840
14.00–15.00 Snoochie Shy Room 1840
15.00–15.45 House of Pharaohs Room 1840
16.00–16.45 gal-dem Room 1840
17.00-17.30 Nadia Rose Room 1840
Despite spending his whole professional life in the Belgian seaside town of Ostend, James Ensor was very successful in his lifetime and exerted considerable influence on the development of Expressionism. An innovator and an outsider, he rebelled against the conservative art teachings of the late 19th century academy in Brussels, drawn instead to the avant-garde salons where his radical creative vision could thrive.
Ensor’s childhood spent among the fantastical treasures of his family’s curiosity shop offers a clue as to how the seeds of this wild imagination were sown. The imagery of masks and carnivals runs through much of his work, from vibrant colours and flamboyant costumes to an ever-present sense of drama and satire.
We invited the artist Luc Tuymans, a fellow Belgian and admirer of Ensor, to curate this unique exhibition. Taking a personal view, Tuymans looks back at Ensor’s singular career through a selection of his most bizarrely brilliant and gloriously surreal creations.
The BFG in Pictures is an exhibition of original Quentin Blake illustrations, prepared for Roald Dahl’s classic story The BFG.
The exhibition, curated by Quentin Blake, contains 40 original artworks, including unpublished illustrations of The BFG which have never been exhibited in public before.
The illustrations were included in first designs but were not used when the book was published for the first time in 1982. They provide a unique insight into the character development of one of the most iconic characters in children’s literature.
These unpublished illustrations are exhibited alongside the final illustrations for the book, providing a fascinating insight into the collaboration between author and illustrator, and a glimpse of a BFG that might have been…