IMG_7774.jpg

‘Photo London 2018-savvy’: who and what to look out for this year by Tiziana Maggio

Look Lateral reporting from the opening night on the artists and galleries to discover this year.

At its fourth edition, the UK photography event of the year opened with a preview yesterday Thursday and promised to wow its visitors until May 20th at Somerset House in in the heart of London. After a very successful third edition, the fair is in fact coming back this year with more than 100 national and international specialist galleries and publishers from 18 countries and establishing itself as a must for all art and prints hunters and lovers.

Magnum Photos at stand G6 is presenting a selection of prints, from the contemporary to the classic, from Bieke Depoorter, Alex Majoli, Matt Black, to Jim Goldberg, Carolyn Drake and  Mikhael Subotzky. In particular with the last one, well-renowned for being an innovative creator, the visitors can actively be captured by the gigantic images. By just downloading the Avara application on their devices or borrowing an available iPad, they can direct them at the print and an Augmented Reality (AR) will bring the still photo alive, showing what was happening during the shoot.

We recommend getting lost in the Discovery section, curated by art consultant Tristan Lund and hosting 22 emerging galleries and artists in a newly expanded dedicated space. First Chinese gallery in the Discovery, ON/Gallery from Beijing is presenting works by Shen Wei, which have a oneiric allure in their glossy fashion-magazine with a photo-journal’s authenticity. Rubber Factory (New York) is instead bringing an america allure with Pacifico Silano’ works where from few very measured details the viewer is free to guess an untold story of images.

Also this year Photo London is hosting a compelling talk-programme, installations, book signings and two awards, Magnum Photos Graduate Photographers’ Award and the MACK First Book Award. As it happens for the most popular fairs, also this fair is magnetising an increasing number of satellite events all over London: from Peckham 24 to Offprint at the Turbine Hall at Tate Modern, lovers of this medium will be ensured to have a busy weekend.

Before leaving, we stopped for a Japanese sake at the ‘Lip bar’ hosted by Hamiltons Gallery, which we recumbent and not just for the liquor. Replicating Bar Kuro in Shinjuku where the Tokyo’s independent photographer Daido Moriyama, recognised as one of the few living modern masters photographer from Japan, used to go for many years, this intimate special installation allows visitors to enter in a travel capsule where they can get closer to Daido’s oeuvre. It cannot be missed!

Go: to feed your mental database with the most solid reference for prints and to feel part of the always more demanding photography community.

Don’t go: if you don’t like the overwhelming Louvre’s effect.

Untitled by Najma Abukar..jpg
 
which i which... by Layla-Roxanne Hill..jpg

Glasgow International 2018, what a fair! 

The short post-guide: Glasgow International finishes and this is our take.

After almost three very busy weeks, the free GI festival finished yesterday, on a very fortunate combination of the Bank holiday weekend and temperatures reaching a high of 22 degrees. Glaswegians and fair visitors in fact have made the most of this warm weekend visiting and enjoying the festival fully for the last few days.

From artists’ studios through to major museums, several locations across the city were involved, including the Forth and Clyde Canal and Glasgow’s network of subway stations and carriages. The art-hunters started every day touring from the city centre hub of Trongate 103 in the Merchant City where they could grab a coffee and GI map and plan their art walk and even bike tours leading to Tramway, Kelvingrove Art Gallery and Museum, Kelvin Hall and the Gallery of Modern Art and many other locations.

As the director Parry said ‘I got the Subway this morning and came out at St Enoch and the whole floor of the station was covered in these vinyl artworks. They have transformed the space while not being overpowering. It lets everyone get on with their thing while being very beautiful.’

The performance and works displayed by Yon Afro Collective- YAC (Najma Abukar, Layla Roxanne Hill, Rhea Lewis, Sekai Machache, and Adebusola Debora Ramsay) appeared one of the post-brexit most significant events of this Biennial. Hosted by Govanhill Baths Community Trust and titled (Re)imagining Self and Raising Consciousness of Existence through Alternative Space and (Re)imagined Place, it very effectively pointed the attention on the lives of women of colour in Scotland narrating stories often ignored and and how the Black Other is viewed.

Each YAC artist self founded the event and explored the topic through their media and craft, from paintings, photography to sculpture and text exploring the challenges of women of colour living in different socio-political environments.

Planning already the next fair, the director Parry said he wants to increase access. “Within England, across Europe and internationally, Glasgow is really respected in terms of the artwork on show. And while there are a lot of people who know and love the festival, I think the biggest thing for us to do is to reach and invite as many people as possible to come and discover the amazing work being made here.”

We can definitely say that also this year the festival has again succeeded in drawing a wider attention on the city vibrant artistic production and in positioning the Scottish artistic power-house in the centre of the international art plethora.

Published on Look Lateral Magazine

 
louiselong_gi_vogue_01.jpg
 
The office of a coffee maker, and then the beach.jpg

Glasgow International 2018: 

How knew Glasgow could be the city to go for contemporary art too!?

20 Apr 2018 - 7 May 2018

The international biennial opened last week its eighth edition and it is already showing an ambitious programme under the direction of Richard Parry: more than 80 events, 45 group shows, 40 solo exhibitions, pop-up performances, talks in conventional venues and unusual locations too. They are popping all across Glasgow, placing the art and the city itself among the most talked-about for the next two weeks internationally. How knew?

In the last ten years actually, the Scottish festival has been featuring hundreds of contemporary visual art by established and emerging Scottish and international artists and site-specific exhibitions, becoming soon a not-to-be-missed event in the international calendar of most art fair connoisseurs. Formerly the curator of the Grundy Art Gallery in Blackpool, Parry in fact says ‘Glasgow has a contemporary art scene to rival that of any city in the world and Glasgow International has played an increasingly significant role since its inception over a decade ago.’

Combining art by more than 260 artists from 33 countries, this year the event is showcasing exhibitions reflecting on critical topics like politics, identity, fatherhood, race, queer feminist photography. It appears like an important sign of the current times, where it is impossible to not reflect topics that have been so drastically redefined and discussed recently. In this Scotland’s hyper art-fair, this is surprisingly made by biblical figures, dragons and elephants!

Highlights will see a major new group exhibition at the Gallery Of Modern Art (GoMA) and solo exhibitions by international artists including Esther Ferrer, Urs Fischer, the group of black female artists from Cape Town iQhiya Collective as well as commissions by two Turner Prize winners, Lubaina Himid with Breaking in, Breaking out, Breaking up, Breaking down in the main hall of the Kelvingrove and Mark Leckey, the ‘artist of the YouTube generation’ with Nobodaddy (after William Blake’s poem). 

In particularly Lecky’s work has been the most much-anticipated and talked about: in the darkness of an empty room at Tramway a morbid figure echoing the pose of Rodin’s Thinker expresses melancholy and solitude. Job, this is its name, seems to be the personification of old sorrows and technologically new inputs coming from surrounding screens and speakers in its body. It is a mystical figures and it is creating an hypnotic space for appreciation.

Alongside the official GI calendar, the buzz is ensured all over the city to visitors, me included, in a quest for other spectacular art and some free teas and whiskey too (!), in fact they will have the opportunity to dive into emerging local art promoted by independent galleries and by the alternative platform Glasgow Why Open House Arts Festival (GYFest).

Published on Look Lateral Magazine

IMG_6469.jpg
 
IMG_6489.jpg

THE EY EXHIBITION: PICASSO 1932 – LOVE, FAME, TRAGEDY

London, Tate Modern, 8 March – 9 September 2018

Tate Modern recently opened a new exhibition and its curatorial concept immediately caught my curiosity. It is the first ever solo Picasso exhibition at the Tate and the curators are offering a fascinating focus on a specific year in the career of the master: 1932. I decided to pay a visit, along with my friend and artist Christina.

Visitors are afforded a very privileged opportunity to appreciate over 100 paintings, drawings, sculptures, and photographs displayed in a month-by-month journey through Picasso’s ‘year of wonders’. As soon as I enter the first room, I am already ecstatic: 

The Great Depression is about to hit the art market and the Master is in his fifties and at the peak of his success, going around in a chauffeur-driven car and living in grand apartments in Paris with Olga Khokhlova, the Russian ballet dancer and mother of his son.

His talent has reached a new height of sensuality now, mainly inspired by his 17 year old muse and mistress Marie-Thérèse Walter, featured in numerous works, from Nude, Green Leaves and Bust, to Nude in a Black Armchair and The Mirror.

At the end of our viewing, I turn to my friend Christina with my elated smile of fulfilment and an unexpected comment breaks my euphoria: ‘Although prolific, he was a narcissistic, macho, lavish, misogynistic, exploitative, over-idolized , male dominatrix of an artist! Sadly this is what Western art society and art educational system still admire and promote…!!’ 

I was speechless. In only one comment, she opened a vortex of thoughts that I couldn’t suppress for days. I rewinded the whole exhibition in my mind several times and in the end I came to a conclusion. If on one hand this exhibition shows us the magnificent artistic peak reached by Picasso, on the other it opens the archives of his love life. This allows us to put them both under the scrutiny of today’s #MeToo sensitivity and there is nothing better than an exhibition that is able to create debate and open discussions.

Published on Look Lateral Magazine

 
Art-Basel-Hong-Kong-2018-4.jpg
 
Maggio Art Consultancy Art-Basel-Hong-Kong-2018-2.jpg

ART BASEL HONG KONG 2018: a quick guide

On March 29th the sixth edition of Art Basel Hong Kong (ABHK) will open its doors at the Hong Kong Convention Centre and we will be there. Some 250 galleries from 32 countries will feature masterpieces and contemporary artworks, attracting artists, dealers and collectors from all over the world, confirming this city as one of the most attractive art destinations and the third-largest art auction market in the world, after New York and London. The  three-day show will offer to visitors seven sections: Galleries, Discoveries, Insights, Encounters, Kabinett, Magazines, Film. Also, as it happens in Miami and Basel, the main fair will also accompanied by concurrent exhibitions and events, like ASIA ONE and ART FUTURES.

We look forward to seeing some multimillion-dollar works: Levy Gorvy Gallery will display the $35 million Willem de Kooning’s Untitled XII from Paul Allen’s private collection, while Lehmann Maupin will have Gilbert & George’s “Beard Junction” and Jeff Koons will wow visitors as usual with the enormous Bluebird Planter and the Swan at David Zwirner Gallery’s booth.Then, if we will be lucky enough, we could also have the chance to encounter the artists themselves, from Tracy Emin to Jeff Koons who will definitely seduce potential buyers’ attention.

Published on Look Lateral Magazine

 
Consolidation-and-innovation-2.jpg
 
 
 
Consolidation-and-innovation-1.jpg

CONSOLIDATION AND INNOVATION | THE FUTURE OF THE GALLERY MODEL
MARCH 8, 2018, Armory Live Theater
Panel Discussion


As part of The Armory’s programme of talks, this one hour panel focused on possible new strategies to support the future of mid-level galleries.

Panellists were all US-based, with two New York gallery owners, Marianne Boesky and Wendy Olsoff (both booth-holders at this year’s Show), collector Marguerite Hoffman and two art financiers, Evan C. Beard, from the U.S. Trust for Bank of America, and Andrea Danese, CEO of Athena Art Finance Corporation, lead sponsor of this year's Armory.

The panel started by agreeing on one fundamental point: the traditional gallery business model, firmly rooted in outdated 19th Century strategies, is inherently capital intensive and high risk in its approach. This model leaves many struggling in what is an almost Darwinian fight for survival.   
This is why it is financially unviable for many mid-tier galleries to even join international fairs, let alone the number needed to build and maintain a competitive advantage in the market. 
Instead, it is likely more beneficial to stick to a calendar of in-house exhibitions, where a wider and active local community is engaged in the promotion and acquisition of art.

Another way to boost a gallery’s future may be to create scale by establishing or joining gallery networks. This may lead to less profits per sale, but could allow a wider vision of shared resources, intelligence, cross-promotion agreements and regional partnerships.

Evan Beard, however, was of a different opinion, focussing more on strong capitalisation and effective real estate strategy. In general, he favours a more corporate and institutional gallery model, also emphasising the importance of good succession planning so that galleries may outlive their often charismatic founders well into the future.

That said, Wendy Olsoff expressed concern with this approach. If gallerists and artists lose control of how their art is presented and traded, the art itself could risk becoming a pure financial commodity or  consumer product. These two diametrically opposite opinions are clearly based on different interests and expertise: a ‘go big and corporate’ strategy where the gallery brand comes first (viz. Larry Gagosian), as opposed to a more collaboration and artist-driven model (viz. Marian Goodman).

The panel finished on the subject of cryptocurrencies, with all seeming to agree that these could well become an important form of tender. Beard noted the growth of securitisation as one factor, whilst Olsoff added that the new generation of artist’s interest in crypto might be another. Hoffman finished by confessing that she was herself a crypto investor saying “I don’t want to become a dinosaur”.

Article published on Look Lateral

The-Modigliani-VR-The-Ochre-Atelier-3.jpg
 
 
 
 
 
Modigliani VR The Ochre Atelier  still Courtesy of Preloaded.png
 
 
 
jeanne_hebuterne_1919_web_1.jpg

The Modigliani VR: The Ochre Atelier, a personal experience..

I have to admit: I’m a bit of an exhibition nerd. When there is a new show in town, I do my research on the artist, on the works displayed, on the curator, on the curator’s statement, on the sponsors, etc.. Yep, I want to be ready to absorb all the knowledge possible from the display and immerse myself in it.

With Modigliani’s exhibition at Tate Modern, I stuck to my routine with all the more passion, given the Italian connection, and my soft spot for the elongated necks of his female portraits. Oh, and then there was also what recently happened with the Modigliani exhibition in Genoa, where police found that 20 of the 21 works displayed were forgeries (no comment). This last event made me think on how sometimes the urge or vanity to curate and organise a blockbuster exhibition can lead to failing results.

So here I am, strolling happily through the beautiful rooms of the Tate, browsing from the sketched Caryatids to the Chinese Terracotta Army-like display of the head sculptures to the reclining nudes on cushions paintings, until I pass by a small room, seemingly empty, but with a long queue and a ‘minimum 30 minutes wait’ sign. It was the The Modigliani VR: The Ochre Atelier room.

Considering my geeky old school approach to exhibitions, I thought ‘No way, I am not going to queue for something artificial and not related to Amedeo!’

However, when I visited the exhibition for the second time, armed with a little more patience and hi-tech curiosity, I queued for the room. After 10 minutes, I was buckled up on a VR headset and immersed in Modigliani’s small Ochre atelier in Paris – his last before passing.

As soon as ‘I was in the studio’, sitting on a virtual chair, I felt the urge to stand up and virtually browse through the paintings I could see, to peek from the window and reach out for the rain. Saying that I was like a little girl in a fantastic gluten-free patisserie is an understatement.

Created by games company Preloaded, the experience is mind-blowingly captivating: with just a look at the virtual indicated objects, the artist’s friends and Tate’s experts will start talking to you, giving immersive insights on his art and life, based on meticulous historical and technical research.

What I have experienced is a full VR immersion into art and history, from humble insights into the artist’s daily life like wine bottles and cans of sardine on the floor to a long lasting testimony of his talent like two of his late works, Jeanne Hébuterne 1919 and Self-Portrait 1919, all in Modigliani’s small and modest space.

When it came to the end, I felt like I had experienced something completely new and empowering, an epiphany almost. This VR experience made me think about the evolution in the exhibition business: from the paper guides, to the audio guide to the VR reality. Also, this technology is definitely answering to the millenials’ needs and lifestyle habits. It’s enriching the traditional exhibition experience moving towards a more holistic gallery offer, where is not just the art to talk about the artists but also his lifestyle and living and working spaces too.

Article published on Look Lateral

for-website-649x900.jpg
a-reversed-retrogress-scene-1-1200x795.jpg
am_2012_stabile_03-600x900.jpg

 

The Armory Show/ 24th edition (New York, NY, Piers 92&94)

This year, a queue of black-and-white spectral silhouetted figures rising on a 25 feet marquee highlights the plight of Syrian immigrants whilst welcoming visitors to the 24th edition of the Armory. This highly topical and site-specific installation by French street artist JR is titled ‘So Close’ and was commissioned by Artsy in partnership with curator Jeffrey Deitch and adds an important socio-political dimension to this year’s show.

Opening to the public this Thursday, March 8th, the show is now helmed by Nicole Berry, replacing former Artnet News editor Benjamin Genocchio who was dismissed following allegations of sexual harassment. The four-day show will offer five curated sections which are set to initiate much debate on the state of the market and art affairs, as well as showcasing some of the most sought-after 20th and 21st Century art ranging from masterpieces to bleeding-edge avant-garde art.

Within the Galleries section, the fair will assemble some 198 galleries from 31 countries, with a stronger gallery presence from Asia this year. The Armory has registered 66 new exhibitors, with the likes of Gagosian, Perroti, Regen Projects and Van Doren Waxter all returning after a long absence, along with new entrants Paragon, Pearl Lam Galleries, Galerija Gregor Podnar, Night Gallery to name but a few. Meantime, the Insights section is focusing exclusively on 20th century artworks whilst Presents is showcasing emerging artists from galleries which are no more than ten years’ old. Then, the Focus section is reflecting on the intertwined relationship between body and the digital world and the last section, Platform, is making space for site specific and large-scale artworks across the Piers 92 & 94. 

All in all, this is a strong return to form for Armory, which promises to be one of the highlights of this year’s art calendar.

Article published on Look Lateral Magazine

IMG_5952.jpg
 
 
 
 
IMG_5945.JPG

Andreas Gursky’s exhibition at Hayward Gallery

For an artoholic Londoner like me, there is no better way to start the year than by discovering the opening (or, technically, a re-opening) of a public art gallery. In fact, when I realised that after visiting Modigliani’s exhibition I’d have to wait till April to see a new exhibition at the Tate Modern, I was starting to feel a longing to return to the South Bank. But, the sky answered my prayers and so it happened: the re-birth of the gloriously brutalist Hayward Gallery tucked between The National and The Royal Festival Hall.

And what better way to show-off this spectacular architecture than to hold the first major UK retrospective of the work of acclaimed German photographer Andreas Gursky.  Around 60 photographs, many renowned for their scale that can often exceed three metres in height, stand beautifully in the gallery’s immense rooms. Gursky’s illusory and boundless landscapes, created by clever digital manipulation, appear like tapestries, creating abstract worlds from gigantic ‘99 Cent’ shops  (my dream), to frantic Formula 1 tracks (my nightmare) and artificially abstracted landscapes such as Rhine II (which, just in case you started picturing it in your living room, fetched over £3 million at Christie’s New York in 2011, so becoming the most expensive photograph ever sold).

With Gursky, photography becomes a medium for birds-eye imaginary spaces, where the perspective is not singular but multiple, colours are not natural but enhanced and details are not casual but artificially kept crystalline. In his hands, Photography is not intended to represent reality. Instead, it is a means of heightening it, and perhaps giving the viewer another perspective on everyday life.

Go: because it is not just about size, but so much more

Don’t go: if you believe photography should just be a documentary tool. Ok, we need to sit down and have a chat.

Tiziana Maggio Art Consultancy Photo by David O'Donoghue.jpg
 
 
MONCLER-ADV-CAMPAIGN-FW-17-18_BTS-5-1024x683.jpg
 
 
MONCLER-ADV-CAMPAIGN-FW-17-18-1-1024x683.jpg

Venice and Liu Bolin: Disappearing in Venice

I was recently in Venice and as soon as I landed and hoped off the water shuttle something struck me. It wasn’t the beautiful symmetry of the Doge Palace’s herringbone walls or the shadowy twin domes of the Basilica of Saint Mary.

It was something more humble: the maxi advertising scaffolding wrap of Santa Maria della Pietà church’s façade. Why, oh why? Well, for multiple reasons.

Every art, architecture and history lover knows that sinking feeling of seeing a beautiful landmark hidden away under a tarpaulin for what seems like interminable restoration. Sometimes, the building becomes like ghost, enveloped in a bland white plastic flapping endlessly in the wind or, worse still, daubed in some dreary ad for some new washing powder or super fast car.

Not so for our Santa Maria ’s wrap I saw. The church, built between 1745 and 1760, sits on the atmospheric promenade along the waterfront few minutes from Saint Mark's Square, and since 2014 it is been undergoing a complex restoration intervention. The church is managed by a private organisation, Instituto della Pieta’, that did not have the means to cover the cost of a needed EUR1.5m restoration. This is where our advertising wrap comes in as the revenue is fully financing the costs. But not only that, they’ve complimented this necessary wrap with the exceptionally beautiful photographic work by Liu Bolin and Annie Liebovitz’s ‘Iceberg’ campaign for Moncler.

The invisible man ‘has disappeared’ for the Italian apparel manufacturer and lifestyle brand in the surrounding glacial nature under Leibovitz’s lenses. The Chinese performer, who since 2005 has been an undetectable human canvas, has created another memorable work of camouflage where his silhouette quietly disappears, becoming part of the Icelandic backdrop.

Of course the wrap in question has a very clear impact on the Venetian river walk, visible from almost everywhere you are on the city’s front, however I believe that we need to be unconventionally practical and accept the best amongst the worst in the name of the restoration’s urgency, in particularly when the temporary maxi advert is sponsoring a long term and needed restoration.

Also, I believe that this last creation circles back to ‘Hiding in the City: Lagoon City of Venice’ (2010) where Liu Bolin blended in Venice’s famous spots like St. Mark Square or Rialto’s bridge to draw the public attention to the precarious state of this unique city.

“Venice is a very beautiful place, near the ocean and the view of it is unique. What’s more is that with the melting of the polar ice caps, there’s a prediction that such a beautiful city will disappear,” Bolin says.

It shows how the ad I encountered in Venice is not just a wrap nor an aesthetically beautiful work of art embodied by the invisible man, it is also a subtly wise reminder for all tourists of Venice, the so called slowly disappearing city, and a needed call for action.

 
 Photo by the baldwin gallery

Photo by the baldwin gallery

 Photo by the baldwin gallery

Photo by the baldwin gallery

Betwixt at the Hospital

I was recently invited to a private view of the Baldwin Gallery’s ‘Betwixt’ and once again I was impressed by the bold curatorial choice of the fantastic Hospital Club.

With this very elegant temporary exhibition, photographic works by two Canadians artists, Meryl McMaster and David Ellingsen, are mesmerising the Club’s members as they drink & dine.

The young Canadian Meryl, despite her cute shyness during the Q&A, shows a great maturity of visual challenge. The allure of the colour and motion in her works really steal the limelight. David’s works, whilst promising, suffer rather from the ‘not-another-skull’ feeling, due to the over-exposed Damien Hirst variant that has bewitched diamond lovers and caused art consultant nightmares since 2007.

Go: if you like to be challenged by oneiric images in beautiful spaces and if you want to start using words like ‘betwixt’ and ‘anthropocene’ in your 2018 vocabulary.

Don’t go: if you think that skulls ‘shouldn’t be objectified’ or that ‘photography should primarily document real life’… (Yes, I am quoting you my friend, who ditched me on the day of the private view!)

maxresdefault.jpg

The EY Exhibition: Impressionists in London,    Tate Britain, London

A very familiar story of talented people who had to flee to Britain to escape war in France

In Brexit times, this exhibition is a very useful reminder of how Britain was perceived by some talented people, threatened in their own countries. Britain was the place to be, to emerge and to be appreciated more than anywhere else in Europe at that time.

Nowadays, can we still say the same?

Without getting too political, this exhibition is an incredible collection of great pieces by DeNittis, Monet, Tissot, Sisley, Derain and Legros.

Go: if you want to have the great confirmation that art has always been with no barriers or borders. 

Don’t go: if you think that history doesn’t teach us much.

Maggio Art Consultancy London

Robert Rauschenberg Exhibition, Tate Modern, until 2 April 2017

When you studied a little bit of American Contemporary Art but everything feels blurry but exciting, you go to the Robert Rauschenberg Exhibitions.

The interest, the number of mesmerised people visiting and reading and staring then, convince you that you are in the right show.

But then, images become less and less communicative, to you only apparently, and videos of dancers are not able to uplift you from the very much craved white rabbit hole.

Go: To learn at least one name for the American Modern Art movement.

Don't Go: if you need cardboard for your moving and you feel they could have a better use with you instead of at the Tate.

LAPADA Art & Antiques Fair in Berkeley Square, Mayfair, 2016? No, Thank you.

The art displayed at LAPADA 2016 was like your bookshelf: you know your books, you know the story and you know if they are interesting or NOT.

When you are tired of them though, you display some always fashionable Lalique vases, some overpriced African art and vintage diamond rings.

Done! the fee for the stand is almost covered.

Don't go: if you have some gardening to do.

Go: if you missed all the Art Fairs in 2015 and 2016.

Painting by Phil Shaw.  (Same old same old.)

 

 

 

Where my Toys are..

Newport Street Gallery: Jeff Koons exhibition

When your name is Damien and you are wealthy, arty and with some 'toys' to show off, you open a gallery.

Possibly, you ask very talented architects to transform your listed storage into a vast airy white cube.

Then, you ask your friends to bring their bright and (spoiler alert) sexually explicit toys along...and the party of  'are they really worth my time?' is ON !

Don't go: for your first date or if your parents are in town.

Go for: the flights of stairs! Excellent example of design, wood, plaster and brick combination. 

KusamaYayoi in Victoria Miro

If you had an argument with your boyfriend and you just want to feel efficient and proactive, you can immerse yourself in a cosmic field of pumpkins and disappear in them..

Go for: the Instagram photo of the month.

Don't go: if you are claustrophobic