This March, St. Katharine Docks will debut a free outdoor exhibition celebrating its rich heritage, marking 200 years since its redevelopment began in 1825. The project, led by engineer Thomas Telford, transformed the 23-acre estate into a vibrant maritime destination.

Starting on March 17th, the exhibition showcases the unique history and modernity of St. Katharine Docks, allowing visitors to uncover hidden stories throughout the estate. The site is named after the historic 12th-century hospital of St. Katharine’s by the Tower, reflecting its deep-rooted past.

The exhibition covers four key areas:
1. The People of SKD – Highlighting influential figures, especially women, including Queen Matilda, who enriched the community’s legacy.
2. Engineering at SKD – Celebrating the innovative feats of Thomas Telford and Philip Hardwick that formed the docks’ landscape.
3. Trade at SKD – Illustrating the bustling trade centre once thriving with goods from global connections.
4. The Arts at SKD – Showcasing a diverse range of artworks that encapsulate the estate’s artistic history.

Visitors can enjoy waterfront dining while learning about the docks’ transformation from a humble beginning to a cultural hub. The exhibition will run for a month, inviting guests to immerse themselves in the area’s history.

For more information and updates, visit https://www.skdocks.co.uk/.

The free outdoor exhibition at St. Katharine Docks is a remarkable opportunity to explore its historical significance and transformation over 200 years. By showcasing the people, engineering, trade, and arts of the docks, visitors will gain insight into its vibrant legacy. Running from March 17th for one month, it invites the public to experience both history and leisure.

Original Source: www.allatsea.co.uk

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An exhibition showcasing 20th-century graphic design in the Czech Republic highlights the nation’s evolving identity amid political turmoil. This display illustrates the transition from the constraints of Communist rule to a period of creative freedom following its collapse. The exhibition features typefaces and design changes over the decades, laid out in a non-linear fashion that allows visitors to engage with the material at their own pace.

In addition to the visual elements, the exhibition offers insightful text descriptions exploring the emergence of these designs. Questions addressed include the evolution of graphic design education in post-Communist society and how promotional strategies adapted to the new market conditions. Visitors can observe the challenges faced when balancing traditional designs with modern innovations.

For transport enthusiasts, the exhibition includes information about wayfinding and Metro signage in Prague. A notable piece is a communist children’s book about London, intriguing for its perspective on democratic values. Design and typography aficionados will appreciate the overall offering, which also reflects society’s response to political change.

Nearby, another gallery features Czechoslovakian film posters promoting Hollywood films, showcasing unique cultural interpretations. One surprising poster relates to “Jaws,” which incorporates an abstract shark representation. These posters are available for purchase from Terry Posters.

The exhibition, titled “Identity – The Story of Czech Graphic Design,” is on display at the Czech Centre in Notting Hill until June 2025, open Tuesday to Friday from 10 am to 5 pm, and entry is free. Additional interest awaits as the display outside the Czech Embassy currently features silhouette graphics from David Zane Mairowitz’s adaptation of Franz Kafka’s “The Castle,” with a nearby green plaque marking a historic location used by the Czech government in exile during WWII.

The ‘Identity – The Story of Czech Graphic Design’ exhibition presents a rich exploration of the Czech Republic’s graphic design history from communism to capitalism. Through its engaging displays and informative texts, it invites visitors to consider the impact of political changes on artistic expression. The accompanying gallery of film posters and nearby historical markers further enrich the cultural experience, making it a must-visit for design enthusiasts and those interested in Czech history.

Original Source: www.ianvisits.co.uk

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The Tower of London is set to welcome back its stunning ceramic poppies installation to commemorate the 80th anniversary of VE Day. This display will be open from 6th May to 11th November 2025, allowing visitors a chance to reflect on WWII.

Originally created for the 2014 exhibit ‘Blood Swept Lands and Seas of Red’, the poppies were the work of artist Paul Cummins. The Tower will showcase a fresh design by Tom Piper, featuring 30,000 poppies in a crater formation symbolising the impact of bombing during the Blitz.

This new exhibition offers a shared space for remembrance and reflection on the sacrifices made during the war. It is anticipated to be a beautiful addition, especially for those who missed the original display.

Note that access requires an admission ticket to the Tower, as most of the installation will be within the Tower’s walls, rather than the moat like in the previous exhibit.

The return of the ceramic poppies to the Tower of London serves as a poignant reminder of WWII’s impact. Running from May to November 2025, this installation offers a unique opportunity for reflection. It combines historical significance with artistic expression, ensuring a moving experience for all who visit.

Original Source: londontheinside.com

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An exhibition of portraits by Polish artist Stanisław Wyspiański will be held in London, showcasing his works created using pastel, charcoal, crayon, and pencil. The collection includes portraits of his family and notable figures from the Young Poland movement, such as writer Jerzy Żuławski and actress Irena Solska, alongside portraits of his friends like playwright Stanisław Przybyszewski and his wife, Dagny Juel-Przybyszewska. Self-portraits by Wyspiański will also be featured.

The exhibition, which includes twelve pieces from the National Museum in Kraków, three from the National Museum in Poznań, and one from a private collection, marks a significant event as it is the first time Wyspiański’s portraits will be displayed in the UK, many of which have never left Poland. The event is a partnership between the National Museum in Kraków, the National Portrait Gallery, and the Polish Cultural Institute in London.

According to the National Museum in Kraków, Wyspiański’s portraits provide an intriguing glimpse into the cultural life of Poland under partition, reflecting a quest for independence. His works are known for their vibrant colours and innovative styles, influenced by Symbolism, Art Nouveau, and Impressionism while maintaining his unique artistic voice.

Born in 1869, Wyspiański was integral to the Young Poland movement, advocating for national identity through culture as Poland faced partitioning. He was not only a painter but also a poet and playwright whose significant works laid the groundwork for modern Polish theatre. He passed away in 1907.

The exhibition at the National Portrait Gallery in London will be open until 13 July.

This exhibition of Stanisław Wyspiański’s portraits in London is a significant cultural event, showcasing his influence on Polish identity and modern theatre. With works from notable institutions and private collections, this is a rare opportunity to view many pieces outside of Poland. Wyspiański’s legacy as an artist and playwright continues to resonate in contemporary culture.

Original Source: www.polskieradio.pl

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An artwork commissioned by the Malta Book Council for the London Book Fair has sparked outrage online. The digital piece by artist Kristina Zammit Endrich shows figures throwing books from windows, prompting critical responses from the literary community. Joseph Mizzi, managing director of Midsea Books, expressed disbelief over the council’s choice, stating, “This is the National Book Council’s branding for the London Book Fair – people ripping up and throwing away books. I can’t believe it!”
Critics included PN economy spokesperson Jerome Caruana Cilia, who called the artwork ‘surreal’, and Mark Sagona from the University of Malta, who labelled it embarrassing. A commentator even linked it to Nazi book burnings of the 1930s.
The Book Council described the intention behind the artwork to symbolize the spirit of literary export, emphasising the promotional goals for the fair. Teodor Reljic, the council’s marketing manager, clarified that they did not anticipate such a negative reaction and clarified that they do not support the portrayal of books being discarded.
During its 50th edition from March 11 to 13, the London Book Fair aims to help promote Maltese literature to UK publishers.

The Malta Book Council’s promotional artwork for the London Book Fair has faced significant backlash, with critics claiming it misrepresents literary values. The council stands by its intention for the illustration, aiming to celebrate the spirit of literary export despite the controversy. The event remains an important platform for promoting Maltese literature internationally.

Original Source: timesofmalta.com

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Isaac Newton’s cherished wooden beer mug is set to be displayed for the first time in 160 years at the Royal Society in London, starting 4 March. This unveiling will take place alongside significant artifacts like Newton’s Principia and his death mask. The exhibition is a product of two decades of research by Carmichael Wallace and Stephen Snobelen, who collected information through various historical documents and records.

Their findings indicate that Newton’s use of beer was limited, but the mug significantly contributes to his scientific work, potentially linking it to his famous Principia, which may have been written with beer-infused ink. The mug, which Newton gifted to his roommate John Wickins, was discovered among his possessions at Trinity College, Cambridge.

Additionally, their research uncovers Newton’s fascination with fermentation and his use of beer in writing ink, which remains legible in his notes. While it is understood that Newton had a modest drinking habit, surviving records reference his discussions on various alcoholic beverages, such as cider and ale.

“The mug was venerated by the Wickins family because it was owned by Newton. It was a kind of holy relic.” – Snobelen. Keith Moore from the Royal Society remarked on Newton’s congenial side, despite speculation on his drinking habits while engaged in scientific thought.

This upcoming exhibition at the Royal Society highlights the intersection of Newton’s scientific legacy and his personal history with alcohol. The wooden beer mug not only showcases his social interactions but also offers insight into his work methods, linking everyday objects to groundbreaking scientific ideas. Newton’s careful experimentation with beer has therefore found a fitting place in the historical narrative of his contributions to science.

Original Source: www.theguardian.com

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A new London exhibition titled “Edvard Munch Portraits” at the National Portrait Gallery will showcase the Norwegian Expressionist artist’s lesser-known work—his portraits. Unlike his famous, solitary pieces like “The Scream,” this exhibition highlights Munch’s connections with family and friends throughout his life.

Curator Alison Smith notes that this is the first UK exhibition focused solely on Munch’s portraiture, depicting both personal relationships and his experiences in artistic circles in Kristiania, Paris, and Berlin. Many portraits reflect a poignant personal history, as Munch lost close family members to tuberculosis during a period marked by artistic evolution.

Munch’s capacity to capture hidden personalities is a central theme. His 1885 portrait of Karl Jensen-Hjell sparked controversy with its critical portrayal, and Walther Rathenau, a prominent industrialist, remarked on how Munch’s work revealed deeper truths: “That’s what you get for having your portrait done by a great artist—you look more like yourself than you really are.”

By the early 20th century, Munch had gained popularity and fame, simultaneously creating multiple versions of his works, which he considered akin to his own children due to his emotional attachment. The exhibition will also include self-portraits and highlight relationships with people who supported and inspired Munch.

According to Smith, the exhibition aims to reframe Munch not as a solitary figure but as someone deeply integrated into a vibrant European community, celebrating both the artist and those who influenced him.

The upcoming exhibition “Edvard Munch Portraits” at the National Portrait Gallery will illuminate the artist’s connections with family, friends, and patrons, positioning him within a rich European network. It aims to showcase his exploration of individual identity and emotional depth through portraiture, offering a fresh perspective on his work beyond his iconic pieces.

Original Source: www.theartnewspaper.com

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The National Portrait Gallery in London presents “Edvard Munch Portraits,” the first UK exhibition dedicated to the Norwegian Expressionist’s portraiture. Curated by Alison Smith, the exhibition highlights Munch’s personal connections through a range of portraits depicting his family, friends, and patrons, contrasting with his well-known darker works like “The Scream”. The show delves into Munch’s life in Bohemian circles across cities like Oslo, Paris, and Berlin, emphasizing his artistic development during challenging times.

Munch’s family portraits reflect a difficult past, having lost both his mother and sister to tuberculosis. These artworks illustrate significant artistic growth, featuring naturalistic depictions like his aunt Karen in somber attire and his sister Laura gazing contemplatively in “Evening.” Smith notes how influences from French and Japanese art begin to emerge in Munch’s style, foreshadowing later themes in his work such as melancholy.

A central theme of the exhibition is Munch’s ability to glimpse the underlying truths of his subjects, reflected in his often frank portrayals. His controversial portrait of Karl Jensen-Hjell exemplifies this, provoking outrage during its debut. Similarly, industrialist Walther Rathenau remarked on his portrait, acknowledging how Munch captures more than mere appearances, stating, “That’s what you get for having your portrait done by a great artist—you look more like yourself than you really are.”

By the early 20th century, Munch had gained considerable recognition as a prominent artist and savvy businessman. His connection to his artwork was profound, often producing multiple versions to explore different facets of his creations. Munch used self-portraits to delve into his identity and included hidden narratives, such as in the portrait of lawyer Thor Lütken, emphasising the depth of his subject matter.

The exhibition also highlights Munch’s relationships with influential individuals who supported him both financially and personally. Through his portraits, Munch is positioned not as an isolated figure but as a connected and cosmopolitan artist within a broad European network. This exhibition runs from 13 March to 15 June at the National Portrait Gallery.

The exhibition “Edvard Munch Portraits” at the National Portrait Gallery offers a fresh perspective on the artist’s life through his portraiture, revealing the significant relationships that shaped his work. It showcases his family and friends, examines the complexities of his character, and redefines Munch as a connected figure in European artistic circles. This portrayal challenges the notion of Munch as the lonely artist, instead highlighting his vibrant social milieu.

Original Source: www.theartnewspaper.com

The post Discovering the Connections in Edvard Munch’s Portraits first appeared on The London Bell.

London’s National Portrait Gallery will unveil a new exhibition, “Edvard Munch Portraits,” highlighting the less-explored facet of the Norwegian Expressionist’s work—his portraiture. Featuring Munch’s connections with family, friends, and patrons, this marks the first UK showcase dedicated to his portraits, presenting art created in intimate moments with his subjects. Curator Alison Smith notes that Munch’s portraits reflect both his personal losses and artistic evolvement, including works depicting influential family members and friends from his bohemian life in Oslo, Paris, and Berlin.

Among the highlights are “Evening” (1888), showcasing one of Munch’s sisters, and the moody portrait of his aunt Karen. Smith elaborates on Munch’s engagement with various influences, particularly hinting at Japanese art, which shaped his style. The exhibition also addresses Munch’s perception of people, illustrated through portraits like the 1885 portrayal of artist Karl Jensen-Hjell, which incited controversy for its candid representation.

Additionally, Munch’s ability to delve deeper, seeing “behind everyone’s mask,” is evident, notably in his 1907 portrait of industrialist Walther Rathenau. Rathenau’s quip about his portrait expressing a more genuine self underscores Munch’s skill in portraying psychological depth. Munch had evolved into a popular artist by the early 20th century, yet faced emotional difficulties in parting with his paintings, treating them as his children.

The exhibition also features Munch’s self-portraits, revealing his introspective nature, along with a notable work of lawyer Thor Lütken adorned with symbolic imagery on his sleeve. The subjects of Munch’s portraits were instrumental in his career, providing inspiration and support while contributing to a network of friendships that Munch fostered throughout his life. The exhibition overall portrays him as part of a rich European artistic community, contrasting with the loneliness often associated with his most famous works.

The “Edvard Munch Portraits” exhibition at the National Portrait Gallery offers a fresh perspective on Munch, showcasing his intimate connections with family and friends. Through this lens, it highlights both his artistic evolution and the supportive network that surrounded him, challenging the notion of his solitude and celebrating the relationships that shaped his work.

Original Source: theartnewspaper.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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