The West End is celebrating International Women’s Day with a vibrant public art initiative called Piccadilly Un:Plugged. The event features telescopes across central London, interactive soundscapes, and illuminated sculptures designed by a diverse group of female, queer, transgender, and non-binary artists. Notably, giant sculptures of asteroids and fluorescent cats adorn Leicester Square, bringing a cosmic theme to the celebration.

The initiative aims to revitalise London’s nightlife, with over 3,000 establishments having closed since the pandemic, as reported by the Night Time Industries Association. Galleries like the National Gallery and Royal Academy of Arts are participating by extending their hours on Friday.

Piccadilly Un:Plugged introduces a unique sound experience, showcasing music and heartbeats that have been transmitted from Piccadilly Circus to the moon and back, creating an extraordinary audio environment. Participants can utilise telescopes to observe celestial phenomena during this “galaxy season” when distant galaxies are most visible.

Nelly Ben Hayoun-Stépanian, the project’s lead artist, encourages guests to “break free from the everyday” and engage with the cosmos. She refers to nightlife as a crucial part of London’s culture and acknowledges its struggles post-Covid. Musicians, like Ayssea Hussan, share their radical interpretations of London life in an artistic gesture aimed towards the moon.

Kirsty Tullett-Jones from Art of London highlights the event’s ambition to blend art with science, aiming to captivate the audience with bold and imaginative installations. The exhibition not only showcases unique artistic expressions but also promotes values of inclusivity and sustainability, aiming for reflection on humanity’s role in the greater universe. It runs from 6–8 March, delivered by Heart of London Business Alliance and Westminster City Council.

Piccadilly Un:Plugged is a creative celebration of International Women’s Day, featuring unique art installations and interactive experiences aimed at revitalising London’s nightlife. This initiative showcases a diverse array of talent and promotes inclusivity while encouraging a connection between arts, science, and the cosmos. Amidst a challenging time for nightlife, it aspires to inspire reflection on humanity’s place in the universe.

Original Source: www.bbc.co.uk

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As the Red Bull Culture Clash event approaches, excitement levels are high. Set for 8 March 2025 at London’s DRUMSHEDS, this year’s clash will highlight UK Rap, Electronic, Caribbean, and Afrobeats, hosted by Yinka Bokinni and Dotty.

In collaboration with Umbro, four exclusive jerseys have been launched, with each one representing a different music crew. Umbro, with its rich heritage in UK culture, showcases its influence through this vibrant collection.

The designs were captured by photographer Mohamed Abdulle, whose work illustrates key moments in sport and music. His visuals will accompany a pre-event exhibition, enhancing the overall experience.

Cultural icons from music and football, including Yusuf Ntihilaja, Shayna Marie, Kruz Leone, and Ayshe Zaifoglu, embody the essence of each musical genre showcased. The jerseys are currently available for purchase only via umbro.co.uk and at the event itself.

The Umbro and Red Bull collaboration for the Culture Clash jerseys highlights the fusion of music and fashion, celebrating diverse UK sounds. The event promises to be a cultural spectacle, with renowned hosts and noteworthy visuals enhancing the experience. Attendees can currently purchase the unique jerseys online and during the event.

Original Source: www.soccerbible.com

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Dada Khanyisa’s latest exhibition, titled “this is for you,” is currently on display at Sadie Coles HQ in London until April 12. The artist, hailing from Joburg and based in Cape Town, creates captivating “sculptural paintings” that reflect the vibrancy of their immediate community. Khanyisa merges pop and youth culture with South Africa’s political history, offering a lively visual experience that resonates with contemporary themes.

The works featured in “this is for you” draw on nostalgia and collective experiences to probe the present. Constructed from hand-carved wood and found objects, each piece conveys a scrapbook-like essence. Khanyisa’s artistic foundation in both traditional and digital animation shines through, resulting in dynamic figurative compositions where painted panels and three-dimensional aspects interact seamlessly.

Khanyisa emphasises the importance of including local elements in their art, stating, “I try to include local items in my work. I think it’s important as far as grounding the work in a location. I wouldn’t say the people are particular or specific, but these are the people I’m around, and I’m interested in presenting a wider image of the people I have around.” – Juxtapoz

The exhibition is hosted at Sadie Coles HQ, located at 1 Davies St, London W1K 3DB, UK, and invites viewers to engage with the culture and history of Khanyisa’s community through their innovative artistry.

Dada Khanyisa’s exhibition at Sadie Coles HQ showcases a fusion of culture, history, and artistry through unique sculptural paintings. Focusing on local elements and community representation, the works connect personal narratives to broader societal themes. This exhibition offers an insightful exploration of contemporary South African life through a vibrant and engaging lens.

Original Source: hypebeast.com

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The “Cloud of Witnesses” exhibition runs from 4 March to 27 April at St John’s Waterloo, featuring a collection of artwork that explores themes of faith and divinity. This initiative, curated by St John’s Waterloo and the Catholic Bishops’ Conference with guidance from Art + Christianity, aims to promote dialogue and understanding among various faiths through artistic expression. The exhibition encourages viewers to reconsider traditional representations of spirituality through a diverse array of two-dimensional artworks that reflect different religions and cultures.

Artists submitting work for this exhibition responded to an open call issued in Autumn 2024. A panel of five judges, including experts from various backgrounds, selected the artworks based on their thematic relevance and creative quality, particularly relating to inter-faith and racial justice narratives. The judges for the exhibition include The Right Revd Peter M Brignall, Monica Bohm-Duchen, Graeme Mortimer Evelyn, Alexis Stones, and Hassan Vawda.

Euchar Gravina, Artistic Director of St John’s Waterloo, emphasized the importance of this exhibition during the church’s 200th anniversary. He stated the aim to celebrate not just the church building but also the diversity present in its congregation and the surrounding multifaith community. The exhibition is part of an ongoing commitment to engage creatively with a vibrant community.

On 4 March 2025, during the launch event from 6-8pm, three artists will be awarded small cash prizes for their featured works. The event will take place at St John’s Church, located at 73 Waterloo Road, London. To learn more about the exhibition, visit www.godwhospeaks.uk/cloud-of-witnesses-art-exhibition/.

“Cloud of Witnesses” receives support from multiple organisations, including Art + Christianity, God Who Speaks, St John’s Church, the Catholic Bishops’ Conference, Culham St Gabriel Trust, and the Bible Society, showcasing a commitment to inter-faith dialogue through art.

The “Cloud of Witnesses” exhibition at St John’s Waterloo promotes inter-faith understanding through diverse artworks exploring faith and divinity. Running from 4 March to 27 April 2025, it highlights the church’s 200th anniversary while fostering dialogue among various faiths. With a panel of esteemed judges and awards for artists, the event symbolizes a celebration of community and creativity across cultures.

Original Source: www.indcatholicnews.com

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Justice’s 2025 live show is a dynamic update of their earlier work, focusing on their present instead of nostalgia. Dressed in custom gold jackets, the duo creates an electric atmosphere at London’s Alexandra Palace, amplifying their established sound while embracing innovation. With over two decades in music, they remain influential figures, winning Grammys, collaborating with stars, and serving as icons for a new wave of party-goers.

Throughout their performance, Justice blend their classic hits with newer tracks from their latest album, Hyperdrama. By remixing their own songs into fresh arrangements, they keep the audience engaged without relying on mere nostalgia. Opening with a medley like “Genesis/Phantom”, they immediately evoke nostalgia but elevate it with modern production techniques.

Their show captivates with compelling visuals and intricate soundscapes as they develop their songs into thrilling live edits. Notably, “Neverender” featuring Kevin Parker is transformed into a powerful anthem, demonstrating their talent for fusing different musical styles. The performance escalates as they revisit hits like “D.A.N.C.E.” and “TTHHEE PPAARRTTYY”, creatively altering tempos to give classic tracks a new flavour.

Justice’s approach showcases how they can redefine their legacy while pushing boundaries in modern electronic music. Their commitment to innovation over nostalgia signifies their evolution as artists, ensuring they remain relevant and respected within the music scene.

Justice’s 2025 live show successfully merges past and present, showcasing their evolution as artists unafraid to manipulate their legacy. Their creative reimagining of classic hits alongside contemporary tracks defines their forward-thinking approach to music. By avoiding reliance on nostalgia, Justice establishes themselves as enduring icons in the evolving electronic landscape.

Original Source: www.thefader.com

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Music critic Anna Frankland shares her experience at ATEEZ’s concert in London as part of their world tour, ‘Towards the Light: Will to Power’. ATEEZ is known for pushing K-pop boundaries and their popularity has expanded globally, marking their fourth performance in the UK. The European leg began in January 2025 following the release of their latest EP, and the energy in the crowd during the first London show was electric.

In the concert pit at O2 Arena, the excitement was palpable, especially after the group’s soundcheck where they interacted with fans. The K-pop experience was enriched by community spirit, extravagant outfits, and friendship exchanges, creating a festive atmosphere filled with mutual appreciation for the artists.

ATEEZ opened with a dynamic performance of ‘Crazy Form,’ showcasing their powerful vocals and choreographed dancing. Notably, members Yunho and San demonstrated impressive stage presence while maintaining energised choreography throughout the two-and-a-half-hour show. The concert’s staging effectively incorporated their music’s lore, creating a unique and immersive experience.

Live performances enhance ATEEZ’s discography, especially with songs like ‘Guerrilla,’ where the bass and guitars amplify its anthem-like qualities. The crowd passionately chanted ‘Break The Wall’ during the song, creating a memorable moment that exemplifies ATEEZ’s concert legacy.

A standout moment was the collaboration of Hongjoong and Seonghwa on ‘MATZ,’ which transformed my perception of the song. Hongjoong’s lively rapping combined with Seonghwa’s unexpected rap contribution captivated the audience, brilliantly complemented by dramatic lighting and special effects.

The concert also featured lighter moments, with ATEEZ interacting with fans, expressing gratitude, and sharing experiences. Hongjoong notably engaged fans with a sing-along of Oasis’s ‘Wonderwall,’ highlighting the sincere bond between the group and their audience.

ATEEZ showcased their extraordinary performance skills in London, delivering an unforgettable live show that perfectly blends energy, artistry, and fan interaction. Their ability to engage audiences transcends both cultural and geographical boundaries, setting high standards for future performances. Both their dynamic choreography and heartfelt connections with fans made each moment memorable, affirming their place as exceptional live performers.

Original Source: www.redbrick.me

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Palazzo Strozzi in Florence will host an exhibition titled “Time for Women! Empowering Visions in 20 Years of the Max Mara Art Prize for Women,” celebrating two decades of this significant award for women-identified artists. The collaboration between Max Mara, Whitechapel Art Gallery, and Collezione Maramotti showcases works from nine past winners, illustrating women’s evolution in contemporary art.

Featured artists include:
– Margaret Salmon (b. 1973, NY)
– Hannah Rickards (b. 1979, UK)
– Andrea Büttner (b. 1972, Germany)
– Laure Prouvost (b. 1978, France)
– Corin Sworn (b. 1976, UK)
– Emma Hart (b. 1974, UK)
– Helen Cammock (b. 1970, UK)
– Emma Talbot (b. 1969, UK)
– Dominique White (b. 1993, UK)

Organised with Fondazione Palazzo Strozzi, the exhibition will take place in La Strozzina, highlighting two decades of female creativity across various media. It showcases projects developed during the artists’ Italian residency at the heart of the prize, featuring videos, installations, and sculptures.

The Max Mara Art Prize for Women, established in 2005, is the first visual arts award dedicated to emerging women artists in the UK. It provides necessary time and space for artists to create ambitious projects, culminating in exhibitions at Whitechapel Gallery and Collezione Maramotti that feature works acquired over the years.

The exhibition “Time for Women! Empowering Visions” runs from 17th April to 31st August 2025, reflecting the profound support the award offers for women’s artistic practices. Max Mara stands as the main supporter, with additional thanks to Whitechapel Gallery.

The exhibition “Time for Women! Empowering Visions in 20 Years of the Max Mara Art Prize for Women” at Palazzo Strozzi highlights the impact of women artists over two decades. Featuring notable past winners and their unique projects, it illustrates the importance of the award in supporting female creativity, showcasing their contributions to contemporary art. Running from April to August 2025, it is supported by Max Mara and others.

Original Source: fadmagazine.com

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Chinese television productions are making strides in the global market, as demonstrated at the inaugural MIP London TV festival from February 23 to 27. The event brought together international industry participants including producers, distributors, and buyers. Organised by Jiangsu Radio and Television International Communication Co., Ltd., the “China Joint Exhibition Stand” showcased Chinese culture through nearly 100 productions, attracting significant international interest.

During the “Seeing China” forum, industry experts discussed collaboration opportunities in documentaries, children’s programming, and dramas. Richard Bradley of Lion Television expressed his enthusiasm, stating, “I really enjoy my collaborations with China, telling stories about China for the wider world.” The pavilion drew over 300 professionals daily, highlighting the potential of China’s television industry.

The Chinese drama “Banr,” centred on a mother’s battle with Alzheimer’s, premiered at the Slamdance Film Festival in Los Angeles, reflecting China’s cinematic growth following the success of “Ne Zha 2.” Erica Xia-Hou’s film emphasises authenticity, blending documentary styles with non-professional actors to capture real-life scenarios. Paul Sbrizzi remarked, “It feels like a very authentic film, both authentic to its characters, but also to the community and to the culture.”

Experts predict a significant year for Chinese cinema in 2025, with a blend of commercial and independent films enhancing global recognition of Chinese culture. Will Zang noted the impact of films like “Ne Zha 2” and “Banr,” as they offer unique insights into contemporary Chinese life. The success of these productions illustrates the potential for broader cultural understanding worldwide.

The MIP London TV festival showcased the potential of Chinese television and film to engage global audiences, with the “China Joint Exhibition Stand” highlighting a diverse range of productions. The world premiere of “Banr” aligns with the upward trend of Chinese cinema, emphasising both commercial and independent narratives that resonate with international viewers, suggesting a strong future for Chinese storytelling on the global stage.

Original Source: www.bastillepost.com

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At Gucci’s Fall 2025 fashion show in Milan, Jin from BTS showcased a distinctive workwear-inspired look, donning a distressed aviator jacket layered over a blue striped shirt and black tie, paired with flared trousers. He was seen in the front row alongside other stars including Jessica Chastain, Yara Shahidi, and Parker Posey. Previously, Jin modelled a vibrant knit sweater and brown pleated trousers at Gucci’s Spring 2025 show.

In 2024, Jin became Gucci’s global brand ambassador, praising the fashion house as “iconic” with its heritage infused with modernity. Creative director Sabato De Sarno commended Jin’s “warm and kind personality,” acknowledging his unique style and ability to connect with people through his music.

Gucci has been reinforcing its relationship with South Korea, showcased by the “Gucci Cultural Month” initiative launched in Seoul last October, celebrating local artists from various creative fields. Recently, Gucci announced De Sarno’s departure, with the current collection designed by an in-house team pending the appointment of a successor.

Stefano Cantino, Gucci’s CEO, expressed gratitude for De Sarno’s contributions: “I would like to express my deep gratitude to Sabato for his passion and dedication to Gucci.” This leadership change follows a notable decline in revenues, with a 25% drop in organic sales during the third quarter, exceeding analysts’ expectations for a 21% decrease.

Jin’s presence at Gucci’s fashion show highlights his evolving role as a brand ambassador and the brand’s dedication to connecting with South Korean culture. The recent changes in Gucci’s leadership reflect deeper challenges within the luxury sector. Continuing to prioritise innovative collaborations may be key to revitalising the brand.

Original Source: wwd.com

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A new exhibition, titled “The Face Magazine: Culture Shift”, has opened at the National Portrait Gallery to commemorate the first 25 years of The Face magazine, which operated from 1980 to 2004. The exhibition features iconic photography of celebrities like Kate Moss and David Bowie. The gallery highlights The Face as a groundbreaking British publication that significantly influenced youth culture and trends in music, fashion, and art. The magazine was relaunched in 2019 in both print and online formats.

Ekow Eshun, former assistant editor, stated, “The Face was probably the most influential magazine when it came to style culture.” Organisers aim to illustrate the magazine’s substantial impact on the cultural landscape from the 1980s to the early 2000s. Eshun noted that prior to the internet, magazines held vast sway over style and culture, enriching Britain’s visual sophistication.

Eshun recalled how The Face allowed for a unique juxtaposition of small and large ideas, blending fashion trends with complex theories. Nick Logan, who founded The Face, recognised a gap in the market for a publication catering to youth’s diverse interests, aligning with the rise of rave culture.

Lee Swillingham, former art director, described The Face in the 1990s as a vibrant workplace where he was granted creative freedom. He transformed its aesthetic by incorporating colourful and energetic design while embracing digital technologies for enhanced photography. He attributed the magazine’s closure in 2004 to shifts in culture and competition from the internet.

Sabina Jaskot-Gill, senior curator of photographs at the gallery, remarked that The Face has consistently pushed cultural boundaries, documenting and shaping contemporary culture with its innovative fashion and portrait photography. Its contributors were granted the freedom to challenge norms and generate cultural shifts.

The exhibition “The Face Magazine: Culture Shift” at the National Portrait Gallery celebrates the influential legacy of The Face magazine. Featuring iconic photography, it highlights the publication’s significant role in shaping British youth culture from the 1980s to 2000s. Key figures associated with The Face emphasise its lasting impact and its ability to blend various cultural ideas and concepts.

Original Source: www.bbc.com

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