Turner-Prize-winner Lubaina Himid returns to the Tate Modern with a high-impact exhibition, conceived to place the spectator at centre stage and backstage of art itself. Ever more popular at international fairs and a protagonist of recent years with important exhibitions in the United Kingdom, Europe and the United States, Himid is known for an innovative approach to painting and a commitment to social issues. At the heart of her studies, there is a desire to finally offer worthy recognition to the “contribution made by blacks to European cultural life over the last hundred years” with special regard for the feminine sphere. For the vigour with which she pursued these goals through art, in 2018, she was awarded the honorary title of CBE (Commander of the Order of the British Empire) by Her Majesty Elizabeth II. Her works - paintings, drawings, prints, installations - take on, in an exuberant and fantastical way, themes such as colonialism and the persistence of racism, exploring the past in search of forgotten stories and bringing to light invisible aspects of contemporary daily life. To the visitors of the Tate Modern, Himid reveals new works and salient moments from a thirty-year career, begun as a scenographer and matured during the Eighties within the British Black Arts Movement. It is something to truly behold, scene by scene, just like at the theatre.
At the National Gallery in London, a remarkable exhibition brings back into focus one of the most enigmatic figures of eighteenth-century British painting, George Stubbs, exploring his quiet revolution in the depiction of the horse, an animal that, for the artist, became far more than a symbol of status or aristocratic refinement.
Last Days returns to the Linbury Theatre with an intensely intimate reinterpretation of the final days of an artist inspired by Kurt Cobain. Matt Copson and Oliver Leith avoid biographical narrative in favour of a study of silence, obsession and disorientation, turning the stage into a suspended psychological landscape.
The exhibition retraces the encounter between the Hawaiian Kingdom and Great Britain through journeys, symbols, and memories. Feather cloaks, sacred sculptures, and contemporary works come together to restore the voice of a people who crossed both the Pacific and history.
The exhibition Death Hope Life Fear at the Gilbert & George Centre revisits the years in which the duo forged their visual language. A concise selection of works from 1984 to 1998 reveals the shift toward a more monumental artistic presence. An opportunity to re-examine a pivotal chapter in their aesthetic identity.