The new exhibition at the Gilbert & George Centre in London dedicated to the cycle Death Hope Life Fear turns the spotlight back onto a decisive phase in Gilbert & George’s production, between 1984 and 1998. It revisits the years in which the duo shaped their visual vocabulary: saturated colours, panel-based compositions and the constant presence of their own bodies as both symbol and narrative device. The title, drawn from a key work, refers to the universal themes running through this group of pieces, from mortality to hope, approached not as abstract concepts but as everyday tensions filtered through irony, strict formal discipline and a theatricality that remains deliberately direct. The selection of 18 works offers a compact reading of that period, showing how their language had grown more monumental compared to their earlier experiments. In the images on display, the artists are no longer mere observers of the city but central, almost hieratic figures who occupy the scene with a deliberately imposing presence. The exhibition space itself, the artists’ own centre in the East End where they have lived since the late Sixties, reinforces this sense of self-representation and shapes an experience aligned with their idea of “art for all”. It is not a retrospective or a celebratory tribute, but an opportunity to revisit a crucial chapter in their story, a moment in which form tightened, colour became a language, and the duo’s visual identity took definitive shape. A concise yet revealing exhibition that allows viewers to observe up close the moment in which Gilbert & George defined themselves as icons of their own aesthetic universe.
At the Saatchi Gallery, a group exhibition explores the domestic space as an emotional archive. Everyday objects, fragments and gestures become traces of memory and transformation. A restrained exhibition reflecting on the relationship between intimacy and contemporary narrative.
The London exhibition on Cosprop reveals the work of the renowned British costume house, an invisible force behind decades of period films and series. Costumes, sketches and archival materials highlight the craftsmanship that continues to shape historical imagery on screen. A journey inside the workshop that has dressed some of cinema’s and t
Boris Godunov returns to the Royal Opera House as a vast historical and political fresco. Mussorgsky’s opera portrays power as a fragile and conflicted condition, with the chorus and the raw musical language giving voice to a restless and unstable Russia.
The National Gallery presents an exhibition on Ferdinand Georg Waldmüller’s landscapes. The show highlights his direct observation of nature and a rigorous approach to composition. Light, seasons and structure define a modern vision of the landscape.
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