In Shoreditch, Street Art is a way of life. Trendy, lively, creative, this neighbourhood in the East End is an open-air workshop where the most interesting British and international talent try to outdo one another with murales, stickers and window paintings. Like a continually evolving canvas, the walls of Shoreditch change almost daily. But there is one place where the best of London’s Urban Art is never at risk of being annulled by new graffiti or maintenance workers - the courtyard of the Cargo Club, a café during the day and trendy nightclub at night. Through the defunct railroad tunnel have passed artists the likes of Eine, Bastardilla and SAM3. Works by Spain’s Opere Ozmo, France’s C215 and Israel’s Broken Fingaz Crew are all part of this forge of styles in this unique exhibition space. However, what really makes it holy ground are the two works by Banksy, a longstanding fixture in the neighbourhood. Protected by a sheet of perspex, His Master’s Voice and Designated Graffiti Area seem to contradict the improvised nature and illegality of Street Art. An aspect that doesn’t elude the tagger from Bristol - Banksy waxes ironic on the question, placing a police officer with a poodle to look after this odd art park.
A journey to discover the Indian sculptor Mrinalini Mukherjee revisited through the works, drawings and sculptures of the artists who have most influenced her and with whom she has collaborated.
For the first time, a monographic exhibition retraces the work of Joseph Wright of Derby, focusing on the cycle of candlelit paintings created between 1765 and 1773.
Marking the 250th anniversary of their births, a landmark exhibition explores the intertwined lives and legacies of Turner and Constable, two of the most important 19th-century British landscape painters.
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