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.
The Gipsy Kings featuring Nicolas Reyes bring their distinctive blend of Gitano tradition and global pop back to the Royal Albert Hall. The London concert reasserts the vitality of a repertoire that continues to resonate across audiences and generations.
The London exhibition devoted to Diane Arbus focuses on the intimate, domestic settings where the American photographer created some of her most compelling portraits. It reveals the power of a gaze that confronts the viewer without compromise, bringing to light the complexity of lives often overlooked.
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.
Triple Trouble at Newport Street Gallery stages a collision between Shepard Fairey, Damien Hirst and Invader. The exhibition treats collaboration as a field of friction, exposing tensions and sharp contrasts between three visual languages that do not seek harmony but a direct, uncompromising encounter.
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