The new immersive show navigates the interplay between imagination and reality, from ancient worlds to modern times, unravelling how storytelling and wonder can help make sense of inner narratives – from joy and sorrow to greed and hope – in order to better understand the world around us.

Artists Riya Mahajan and Ruby Bell’s Moody Monsters artwork began as a workshop with 12-14 year-olds from Kensington Aldridge Academy, where young people crafted clay monsters to reflect different emotions. From the joy of first friendships to their initial encounters with anxiety, by harnessing digital technology, they are brought to life in an immersive playground of imagination.

The new 3-month residency, starting on 25^th October at 1pm, comes as part of an ongoing partnership between FRAMELESS and the Royal College of Art’s Digital Direction MA programme, with the shared goal of platforming emerging talent in the world of digital and immersive art.

Riya Mahajan said, “By personifying feelings and bringing them to life through art, we can help young people nurture positive relationships with their friends, families, and even their own thoughts. Bringing emotions to life encourages children to connect with their feelings, highlighting the importance of making art appealing to kids by offering them an engaging connection to imagined worlds, all while helping them confront their own realities.”

Vivian Li’s chapter, ‘From the Ground / Lost in Synthetic’, takes visitors on a journey through a mythological world, blending traditional narratives with hyper modern content. The re-imagining of the ‘Legend of the White Snake’: a Chinese myth of a white snake looking for the magic reishi mushroom (the mushroom of immortality), invites audiences to embark on a magical journey through the shared challenges that can be observed throughout history and mythology that remain relevant to the modern-day human experience.

Imagined Realities builds on the success of FRAMELESS’ Let’s Talk About Art campaign, inviting children to critically engage with the artworks featured within the galleries. During half term visitors will be able to review the artworks in the galleries to be in with a chance to win a seat at the FRAMELESS Creative Table, as well as a lifetime membership to FRAMELESS.

Access to Imagined Realities will be part of any standard ticket to FRAMELESS, meaning visitors to the show will also have access to the full FRAMELESS experience, embarking on an emotionally charged journey, experiencing 42 immersive artworks from some of the world’s most revered artists including Hokusai and Van Gogh, which have been reimagined in collaboration with BAFTA award-winning VFX studio and FRAMELESS’ Official Production Partner Cinesite, whose previous work includes the Harry Potter and James Bond films.

‘Imagined Realities’ at FRAMELESS is open from:

• Monday to Friday: 11:00 am – 5:30 pm
• Saturday to Sunday: 10:00 am – 6:00 pm
  (last entry at 4:00 pm)
• Frameless Lates (18+ only) is open from:
• Friday to Saturday: 6:00 pm – 10:00 pm

©2024 FRAMELESS

Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

This year it will focus on 10 early-career artists gaining international traction, who were selected based on their original work, growing influence among galleries and institutions, insightful Artsy data—such as follows and commercial interest on Artsy—as well as interest from private collectors, in addition to other factors.

The Artsy Vanguard 2025 includes: Agnes Waruguru (b. 1994, Nairobi, Kenya), Chris Oh (b. 1982, Portland, USA), Emily Kraus (b. 1995, New York, USA), Hettie Inniss (b. 1999, London, UK), Holly Hendry (b. 1990, London, UK), Laís Amaral (b. 1993, Rio de Janeiro, Brazil), Melissa Joseph (b. 1980, Pennsylvania, USA), Moka Lee (b. 1996, Incheon, South Korea), Taylor Simmons (b. 1990, Atlanta, USA), and Xin Liu (b. 1991, Xinjiang, China).

Commenting on the much-anticipated Artsy Vanguard 2025, Artsy’s Director of Content, Editor-in-Chief, and Curator-at-Large, Casey Lesser, who was responsible for selecting the artists and conceptualizing the feature—now in its seventh year—said: “Artsy’s 2025 Vanguard includes a diverse and talented group of contemporary artists, spanning geographies, generations, artistic practices, and messages. Each year, The Artsy Vanguard attracts huge interest among collectors, and we look forward to shining a much-deserved spotlight on these standout artists, each of whom we’re honored to celebrate.”

Every year, the Vanguard selection is made by Artsy’s Editorial and Curatorial teams, which handpick the 10 decisive rising stars of the art world based on their expertise and an open call to galleries; the 2025 edition resulted in more than 500 nominations.

The criteria for this year’s nominees included: recent or upcoming solo exhibitions at esteemed galleries; and/or participation in group exhibitions at major institutions and biennials. The team also thoughtfully reviewed the candidates’ recent artistic output, CVs, and websites, as well as their Instagram accounts, paired with insightful Artsy data.

Artworks by all 10 selected artists will be featured on a digital billboard in New York City’s Times Square for two weeks (until November 3). Additionally, each artist will be profiled on Artsy Editorial, and available works will be featured on Artsy by their representing galleries. Past Artsy Vanguard lists included notable names who are now some of today’s leading artists.

Many have gone on to show with some of the biggest galleries in the world—for example, within the past three months, Li Hei Di (Vanguard 2023–24) gained representation with Pace Gallery; Sasha Gordon (Vanguard 2022) gained representation with David Zwirner; and Michaela Yearwood-Dan (Vanguard 2022) gained representation with Hauser & Wirth.

Many Vanguard artists have also gone on to receive mainstream recognition, as seen in the recent 2024 TIME100 Next list, which featured three Vanguard artists: Sable Elyse Smith (Vanguard 2018), Lawrence Abu Hamdan (Vanguard 2019), and Jadé Fadojutimi (Vanguard 2020).

View the full feature of The Artsy Vanguard 2025 Edition here

©2025 Artsy

Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

I’m excited to be helping to shape Olympia’s broader art strategy ahead of its anticipated reimagining in 2025. As Frieze descends on London this October, we’re looking forward to inaugurating the first of our creative roundtables with artist Remi Ajani in Olympia’s London Design Festival pavilion, which serves as both an architectural attraction and as a hub for cultural conversation

Charlene Prempeh

The regeneration of Olympia

The regeneration of Olympia is one of the most ambitious projects in London. Built as an events and exhibitions venue almost 140 years ago, it will soon become a new destination celebrating creativity in all forms, from public art to theatre and music, to education and business. Alongside the events and exhibitions taking place in the beloved halls, Olympia will be home to a 4,000-capacity music venue, the largest new purpose-built theatre in London for almost 50 years, two lifestyle hotels, 30+ restaurants and bars, a new school, state-of-the-art offices, and new public spaces for visitors to enjoy.

About Charlene Prempeh

Since A Vibe Called Tech’s establishment in 2018, Charlene and her Creative Director Lewis Dalton Gilbert have worked with many prestigious brands including Gucci, Stine Goya, Faber and Frieze, alongside institutions like Whitechapel Gallery, White Cube, RA and V&A East to deliver ambitious creative output that nourishes communities. In her role at Olympia, Charlene will look to create an open and inclusive approach to public art and design, producing creative solutions that position Olympia as a pioneer and host to world-class creativity. 

Roundtable Talks

Kicking off during Frieze 2024, Charlene will host the first in a series of roundtables at Olympia, the inaugural of which will see Charlene in conversation with artist Remi Ajani. Charlene has been a collector of Remi’s work since her early days as an artist, with the two sharing a history as flatmates as well as artist and collector. They will discuss their long-standing relationship, the impact of space in Remi’s work (finished and unfinished) and will debate the impact that structures can have on our psyche.

John Hitchcox, Chairman and co-founder, Yoo Capital, the developer behind Olympia: “Charlene has long been a trailblazer in the creative industries and her commitment to art, accessibility and to intersectionality is hugely inspiring. As Olympia undergoes this significant transformation, restoring the historical halls and adding exciting new buildings, the appointment of Charlene underscores Olympia’s commitment to creativity, community and art.”

Charlene’s appointment follows Olympia’s first-ever London Design Festival pavilion with “Off The Shelf“, a new creation by renowned artist and craftsperson Rio Kobayashi and award-winning engineering firm Webb Yates. Heralding Olympia’s transformation into a new destination for culture and creativity, the pavilion will be open to the public until the 28th of February 2025, daily from 10 am to 6 pm, and will act as a showcase for prominent artists and designers.

©2024 Olympia

Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

Over the past 3 years, this major AHRC-funded project has combined historical and museological research with creative computing and machine learning to surface suppressed histories in collections and amplify marginalised voices. At its core, the project has been underpinned by the belief that a ‘national collection’ cannot be imagined without addressing structural inequalities and systemic biases in the arts.

The Museum x Machine x Me conference will examine some of the longstanding and new challenges facing museums; the accelerating risks – and potential – of machine learning in the work of transforming collections; and the critical and creative interventions that can help us to reimagine art, nation and heritage. Tickets are available now via Tate’s website.

The conference will open with a keynote conversation between artist and Professor Stephanie Dinkins and Professor Roopika Risam, followed by four themed sessions across two days. These aim to share some of the practice research, insights and findings generated by the project, through discussions on ‘What museums “want”?’, ‘Giving, Keeping, Caring and Giving Back’, ‘Looking, Listening, Reading and Writing Otherwise’ and ‘Re/voicing, Re/sounding, Rejoicing Collections’.

“We’re thrilled to be collaborating on this ambitious public programme, and excited to share some of the critical and creative ideas, interventions and developments that have emerged through the Transforming Collections project. How can ‘we’ usefully, seriously, playfully and ethically make or remake the ‘museum’ and ‘machine’ – to better reflect ‘us’, as individuals, in all our histories and futures?” – susan pui san lok, Principal Investigator and Director, Decolonising Arts Institute UAL

An array of other public events and activities will take place from 30 September to 6 October at Tate Modern and Tate Britain, including artist displays and thought-provoking talks, a special Tate Late evening with performances at Tate Britain, and opportunities to get hands-on with the project’s machine learning tool throughout the week. This programme will invite visitors to engage with the research, artworks and software that have been developed throughout the project, exploring how technology can help challenge, complicate and enrich existing collections data.

Museum x Machine x Me public programme is taking place across Tate Britain and Tate Modern. It includes the following events: 

• 2 Oct | 11am-2pm | Tanks Studio at Tate Modern: a machine-learning interactive workshop, where guests can join the creative computing team to sample their machine learning software. 
• 2 Oct – 03 Oct | Tate Modern: A two-day conference with keynote conversations and four themed sessions exploring some of the challenges facing museums and the critical and creative interventions that can help.
• 02 – 06 Oct | South Tanks at Tate Modern: An exhibition of artworks from the projects four artists in residence, exploring how the Transforming Collections research can enable new stories to be told.
• 4 Oct | 6pm-9pm | Tate Britain: a special Tate Late on machine learning in museums, featuring artistic interventions, performances, and pop-up talks by artists and researchers.
• 5 Oct | 12pm-5pm | Tate Modern: an archival display, screening and discussion of Maud Sulter’s art and legacy with Evan Ifeyoka. 

Tate and University of the Arts London’s Museum x Machine x Me is on the 2nd of October, 2024 and 3rd October, 2024 at Tate Modern

©2024 Tate, University of the Arts London

Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

Sin Wai Kin’s visually striking and immersive work Dreaming the End uses a range of characters to explore binaries and the categories we create to make sense of experience. Through the lens of archaeology, and the illicit trade of ancient relics, Maeve Brennan’s An Excavation looks at history’s interaction with our modern life, giving context to the present moment. 

Shot on a hacked Game Boy camera, Larry Achiampong’s film A Letter (Side B) negotiates urgent issues of depression, digital anxiety and inter-generational trauma, as it looks at institutional structures that threaten the lives of migrants and refugee families. Melanie Manchot’s mesmerising nocturnal film Liquid Skin shines a light on night-time workers in Germany’s Rhine region, allowing the people she collaborates with to have a voice and to tell their own story.

Drawing from William Blake’s 1794 poem ‘The Sick Rose’, Rosalind Nashashibi allowed her film The Invisible Worm to grow like a weed out of the daily life of her own community – an exploration of non-linear time and corruption. Maryam Tafakory’s work layers archival films, text and images to explore issues of censorship and prohibition. Her film Nazarbazi, translating as ‘The play of glances’, posits that if we try to erase something it inevitably becomes more pronounced and expands.

The 2024 tour will visit venues across England, Wales, Scotland and Northern Ireland, with screenings and artist talks at 7 major arts venues in Glasgow, Belfast, Nottingham, Eastbourne, London, Cardiff and Bristol, accompanied by the opportunity to watch recent works by all the artists. The tour will include a special showcase weekend with all the six artists on 16 & 17 November at Whitechapel Gallery, London.

The tour will visit: Barbican Centre, London; The MAC, Belfast; LUX Scotland, Glasgow; g39, Cardiff; Nottingham Contemporary; Spike Island, Bristol; Towner Eastbourne and Whitechapel Gallery, London.
 
The Jury who selected this year’s shortlist are: Matthew Barrington, Cinema Curator, Barbican; Shaminder Nahal, Commissioning Editor, Arts and Topical, Channel 4; 2023 Jarman Award shortlisted artist, Julianknxx; Ali Roche, Chief Curator, Nottingham Contemporary and Eve Gabereau, Founder and Chief Executive Officer at Modern Films and Film London Board Member.

The recipient of the £10,000 award will be announced on at a special celebration in London on 25 November.

Films in the 2024 Touring Programme:

Larry Achiampong, A Letter (Side B) (2023), 20’
Maeve Brennan, An Excavation (2022), 20’
Melanie Manchot, Liquid Skin (2023), 23’
Rosalind Nashashibi, The Invisible Worm (2024), 17’
Sin Wai Kin, Dreaming the End (2023), 21’
Maryam Tafakory, Nazarbazi (2022), 19’

g39, Cardiff
Thursday 3 October
Screening and Q&A with Larry Achiampong and Cinzia Mutigli, CEO, g39
Learn more
 
Nottingham Contemporary
Tuesday 15 October
Screening and Q&A with Maryam Tafakory and Ali Roche, Chief Curator, Nottingham Contemporary
Learn more

Barbican Centre, London
Monday 4 November
Screening of new works by Sin Wai Kin and Q&A with the artist and Lotte Johnson, Curator, Barbican Centre
Learn more

LUX Scotland, Glasgow
Tuesday 5 November
Screening and Q&A with Rosalind Nashashibi and David Upton, Public Programme Manager, LUX Scotland
Learn more

Towner Eastbourne
Wednesday 6 November
Screening and Q&A with Maeve Brennan and Sam Kaufman, artist and researcher
Learn more
 
Spike Island, Bristol
Thursday 14 November
Screening and Q&A with Melanie Manchot and Carmen Juliá, Curator, Spike Island
Learn more
 
Whitechapel Gallery, London
Saturday 16 & Sunday 17 November
Weekend of events and screenings from all shortlisted artists
Learn more
 
The MAC Belfast
Friday 22 November
Learn more

Whitechapel Gallery, London
Saturday 30 November & Sunday 1 December
Looped screenings of touring programme films
Learn more

Film London Jarman Award tour will open venues across the UK from 3rd of October, 2024 until the 1st of December, 2024

©2024 Film London Jarman Award

Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

To coincide with ‘National Inclusion Week’, the Trust has released the series of Keith’s portraits highlighting the diversity of its staff and the diversity of the roles they fill.

Open Britain: Portrait of a Diverse Nation

Through the ongoing project ‘Open Britain: Portrait of a Diverse Nation,’ JJ Keith has embarked on a journey to capture the essence of multiculturalism in Britain. Over the past 18 months, Keith has documented the lives and experiences of over 130 first-generation migrants, showcasing the rich tapestry of cultures that make up the fabric of British society.

In collaboration with The Imperial College Healthcare NHS Trust, Open Britain is proud to present the stories of 23 NHS workers who contribute to keeping the NHS running. From porters to trauma surgeons the societal impact of these individuals is invaluable.

It is estimated that 17% of the NHS workforce are non-British nationals but the figure for first generation migrants is likely to be many more, possibly double that. The NHS is under severe pressure, as highlighted by Lord Dazi’s recent report, and arguably it may have already failed without the sacrifices many of these people make moving
to the UK.

I want people to be reminded of just how diverse the NHS workforce is, how important those people are, and how they fill every role from top to bottom. The feelings and thoughts I want to inspire are as diverse as the people and stories themselves but if I had to pick just one it would be gratitude.

JJ Keith

The series was initiated by a chance meeting of JJ Keith and one of the paediatricians at the Trust, Professor Bob Klaber. As one of the Executive team leading the Trust, Bob was excited about the photographic project ‘Open Britain: Portrait of a Diverse Nation’ and could see the value of a building a collaboration with JJ with a specific focus on the amazing contribution migrant workers give to the NHS.

“Healthcare has people at its heart – our patients, the communities we serve and the wonderful staff who deliver the care. JJ’s beautiful portraits bring to life the remarkable stories of so many of our incredible colleagues who have brought their compassion, kindness and expertise, from across the globe, to everything we do across our hospitals at Imperial College Healthcare.” – Professor Bob Klaber OBE

Keith’s colour photographs are relaxed portraits that confront viewer providing a connection to the subject and help to tell the stories.

Rhona Eslabra was born in the Cagayan Valley in the Philippines. Rhona was 30 when the NHS recruited her to come to UK, leaving her baby daughter and husband behind. The difference in the working environment and more importantly the culture, can make it very difficult for migrant nurses to progress and can affect their confidence. Rhona arrived as an adaptation nurse where mentors make an informed decision if one can be signed off as a registered nurse and eventually get their Nursing and Midwifery Council registration.

Rhona has done well to advance to matron and continues to widen her capabilities and enhance her expertise. She’s currently completing her ‘Go further’ healthcare leaders fellowship – a targeted leadership development programme to develop and nurture talent in our healthcare professionals from BAME backgrounds. Important with such a diverse workforce. Her daughter followed her to the UK and recently completed her medicine degree. She will join St Mary’s Hospital in August as a doctor.

Her daughter followed her to the UK and recently completed her medicine degree. She will join St Mary’s Hospital in August as a doctor.

It is estimated that 17% of the NHS workforce are non-British nationals but the figure for first generation migrants is likely to be many more, possibly double that. The NHS is under severe pressure, as highlighted by Lord Dazi’s recent report, and arguably it may have already failed without the sacrifices many of these people make moving
to the UK.

Zubeid was born in Peshawar, Pakistan in 2000. His parents fled Afghanistan for Pakistan during the Soviet war as refugees and moved to the UK when he was seven. Zubeid graduated in biomedical sciences in 2022 and now works in cellular pathology, providing tissue samples for consultants to make their diagnosis.

Coming from a traditional Muslim background, Zubeid had the choice of whether he wanted an arranged marriage or not and was introduced to his bride on Zoom. They got to know each other remotely over three years before Zubeid travelled to Afghanistan in 2021 to meet her and marry.

Zubeid was meant to stay for three months to get his wife’s papers for the UK sorted but eighteen days in, on his wife’s birthday, there was a change of government and the Taliban took over. Zubeid and his wife were evacuated on a military plane. The sudden uprooting has meant it’s been a tough assimilation process for Zubeid’s wife, but they now have a nine-month-old daughter to focus their attention on and keep them busy.

Alicia Weekes was born in Barbados in 1957. Her mother came to work in the UK for Lyons Cakes as part of the Windrush Generation. Initially, Alicia didn’t see her mother for five years, however Alicia and her two brothers were reunited with her mother in London when Alicia was 10.

When she arrived Alicia cried a lot because she missed the freedom of Barbados. However, looking out the window, the fascination and novelty of seeing the milkman arrive everyday somehow helped. Aged 16, Alicia left school and trained as a chef. A variety of jobs followed before she joined the NHS in 1993.

Alicia has been a ward administrator for thirty-one years, making appointments, discharging patients and helping the doctors. She loves helping people and solving problems. The NHS has changed a lot over this time, but Alicia has been a constant.

JJ Keith continues to look for first generation immigrants that have settled in the UK and are contributing or have contributed to the UK – whether culturally, socially or economically.

jjkeith.com

©2024 JJ Keith

Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

The inaugural StART Digital exhibition, curated by Chinese curator Huang Yi and titled Global Digital Art: Walter Benjamin’s Dialogue with Digital Intelligence, will examine the evolving relationship between technology and art across historical contexts. Featuring photographic, video, and digital intelligence artworks, the exhibition invites audiences to reflect on the impact of digital art on society, culture, and politics. Yi’s approach highlights digital art as both a product of technological advancement and a critical medium that challenges social realities, prompting viewers to consider art’s role in an era increasingly shaped by digital intelligence.

I am excited to be able to bring such a collection of artists together for this special moment

Huang Yi

Inspired by Walter Benjamin’s essay The Work of Art in the Age of Its Technical Reproducibility, the exhibition places digital art within the larger narrative of art’s interaction with technology—a dynamic that has continually pushed the boundaries of traditional art forms since Benjamin’s time.

Since its inception, StART has introduced groundbreaking international artists to the UK, including the digital collective teamLab in 2015 and Liu Bolin’s first live performance in 2017. Last year, the fair attracted over 15,000 visitors, showcasing 100 artists from diverse countries such as South Africa, Ecuador, India, and Korea.

With its new venue and bold ventures, StART is set to redefine its place in London’s art ecosystem, reaffirming its commitment to championing global voices and expanding the ways art is experienced. Looking ahead, the next decade promises further innovation and impact as StART continues to push boundaries.

About Huang Yi

Based in Shanghai, Huang Yi is a prominent curator known for his influence on both national and international art scenes. As an Advisory Council member for the 19th Arte Laguna Prize and chief curator of the Metaverse Art Exhinition of the 14th Gwangju Biennale, he has redefined contemporary art through digital dialogue. At the 9th Shanghai Youth Art Fair, he nurtures emerging talents, shaping the future of Chinese art. Educated in Shanghai and refined at France’s École d’Art et de Culture, Huang adeptly bridges traditional and digital art.

StART KX opens on the 8th October, 2024 until the 13th October 2024, at the Town Hall, King’s Cross

©2024 Huang Yi, StART

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.

The partnership initiative – entitled ‘Beyond the Matrix’ – is the second showcase co-created by Brookfield Properties and AWITA and signifies their continued commitment to the visual arts and supporting the work and labour of female creatives. The commissions were selected by a panel of experts and the first pairing starred artist Jodie Carey and curator Eve Miller (of Edel Assanti gallery). This second pairing has gifted artist Amelia Bowles a new platform to show newly commissioned and conceived, site-specific artworks in collaboration with curator Millie Jason Foster, Director of Gillian Jason Gallery.

A matrix describes a flow of energy. Curator Millie Jason Foster therefore proposed a series of sculptures by Amelia that will record the continuous flow of energy that passes back and forth through the entrance hall of 100 Bishopsgate.  The sculptures adapt and are never static, their in-between states are highly responsive to their surroundings. As visitors walk around the sculptures the works will compress and release, this interaction, between the sculptures and people in the building that walk past them, invites the necessity for exchange. When thinking about the connections between passing bodies, light becomes an important part of the work. 

“I am interested in the possibility that the experience of the different degrees and temperatures of light, shadow and colour can cause biological and cognitive shifts. Neurobiological research states that the experience of varying degrees of light and shadow positively impacts the circadian rhythm functioning (our body clock). What interests me is this internal system regulates our mood and wellbeing, therefore affecting the way we perceive and interact with the world around us.” – Amelia Bowles, Artist. 

Amelia Bowles is known for her site-specific installations that engage with their environment, creating immersive and interactive experiences. Her works often explore the relationship between natural phenomena and urban spaces, inviting viewers to reflect on their surroundings and the impact of light and colour on their emotional well-being. ‘Komorebi’ is a direct response to the architectural nuances of 100 Bishopsgate. The installation explores the entrance hall as a permeable space, connecting the outside hustle with the architecture and interiors of the impressive building.

Inspired by the natural phenomenon of ‘Komorebi’, which describes sunlight filtering through the leaves of trees, Bowles’ sculptures weave light and shadow through flowing bands, creating rhythmic shifts that mimic the calming effect of sunlight in a forest. Neurobiological research highlights that such patterns can reduce stress and improve cognitive performance – a theme Bowles integrates into her work to offer contemplative relief from the daily grind. Bowles’ use of colour personifies the temperature of sunlight at different times of day, with hues of yellow, blue, and pink inviting new encounters and perspectives. The repeated motif throughout the site evolves, presenting a familiar structure in an ever-changing palette.

The judging panel for Beyond the Matrix were Helen Pheby, Associate Director, Programme at Yorkshire Sculpture Park, artists Jane and Louise Wilson of Nancy Durrant, Culture Editor of the Evening Standard, Sigrid Kirk, Co-Founder AWITA and Saff Williams, Curatorial Director Brookfield Properties Europe. They chose work that responds to the geometries of the architecture and the matrices of the building as a public realm and site for new connections. 100 Bishopsgate is one of the many premier real estate properties developed and managed by Brookfield Properties in the City of London.

The Matrix was selected as a curatorial narrative since it has a long-standing feminist legacy in the city from the 80s when the London-based feminist architects’ practice Matrix was one of the first worldwide to bring issues of gender centre-stage to the design of the built environment. Building upon this legacy, the Matrix thus becomes the imaginary place where cultural innovation happens, and 100 Bishopsgate is the space where everybody is welcome to experience and connect with it. 

By placing art within the lobby of shared-use work spaces, Brookfield Properties celebrates the office space as alternative galleries, giving workers and visitors a moment for looking and a reminder to pause – if only for a moment.  At the same time, creatives are presented with dynamic new platforms to respond to.

Amelia Bowles’ ‘Komorebi’ sculptures are on view at 100 Bishopsgate until February 2025.

©2024 Amelia Bowles

Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

Designed in collaboration with K67 Berlin and The Loss Project, the colourful and interactive kiosk acts as a safe space and sanctuary for passers-by and will be in situ in Coal Drops Yard (Opposite Cos mezzanine level) from 6 September until 3 December 2024, running in parallel with London Design Festival.

The multi-sensory kiosk is a mini refuge that uses colour, light and music to help people explore one of the most complex human emotions: shame. Hard to pinpoint and even harder to unravel, shame cunningly masks our most vulnerable feelings, both individually and collectively. It is a taboo emotion that is often felt but rarely acknowledged, especially in public. 

Frost Nicholson uses the versatile design of the kiosk to ask: “How can we release our shame and develop the skills to be more vulnerable and dispel thoughts of self-loathing and ego?” 

Frost Nicholson has collaborated with K67 Berlin (a company dedicated to bringing the K67 modules back into contemporary life) to build the structure, which houses a thoughtfully curated public programme with resource support by The Loss Project. Their aim is to personally support the individual visitor and give them the agency to interact with the artwork at their own pace.

“The Juicy Booth is a meditation on our collective need for safety and micro-moments of sanctuary in an ever-complex world. We are, as artists and as human beings, responding to geopolitics and socioeconomics in every aspect of our existence, whether we know it or not. Everything is political. The Juicy Booth offers a moment of stillness, a secular meditation on existence and a microdose of peace in an otherwise struggling world.” – Annie Frost Nicholson

Previously known as The Fandangoe Kid, Frost Nicholson used her alter ego to explore complex emotions around grief. She has developed a practice of creating small, accessible and safe spaces in the public realm through kiosks, ice cream vans and skips. The Juicy Booth continues this exploration, providing a space for collective reflection on shame and the need for safety in an ever-complex world.

“We selected a vibrant exterior to contrast with its serene and minimalist interior. A soft seat paired with a futuristic console invites visitors to interact with the Juicy Booth.” – Norman Wassmuth, K67 Berlin

The Kiosk K67, designed in 1966 by Slovenian architect Saša Mächtig, is a global icon of utilitarian architecture and design. Its versatility has seen it used for various purposes, from newspaper stands to retail shops. The K67 continues to be celebrated for its adaptability and various installations, including information desks and now The Juicy Booth.

We have always envisaged a trio of existential kiosks, beginning with The Fandangoe Discoteca, the world’s smallest club, to shake out your grief (2023, London and Berlin). Following on from this is The Juicy Booth, a non-secular confessional booth to release your shame and immerse yourself in a sensory catharsis, emerging a little lighter. The third booth is a secret! But rest assured it will address what it means to be alive in this complex world, and, without offering any prescriptive solutions, will again become a space for reflection, release and sanctuary. Watch this space!

Annie Frost Nicholson’s The Juicy Booth will be in Coal Drops Yard (Opposite Cos mezzanine level) from 6th September, 2024 until 3rd December 2024, running in parallel with London Design Festival.

©2024  Annie Frost Nicholson

Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

Autumn Winter 24 draws inspiration from the couple’s vivid imagination exploring a deeper connection to the world, blurring the veil between myth and reality, drawing us into a world where ancient symbols and modern visions collide, revealing the timeless dance of creation and destruction.

This notion brought to life within artworks such as the story of Argus and his hundred eyes, painted in stark lithographs, lays bare the twisted, jealous hearts of the gods who were supposed to be better than us but never were. “Medusa” bursts forth with raw intensity, capturing the severed head of the Gorgon. Her lifeless gaze and the twisted crown of serpents capture the transformative nature of myth, as the sinister becomes a symbol of protection.

As the collection unfolds, it shifts from mythic dread to surreal introspection. The skull in “Mandarin Dream” speaks quietly of mortality, wrapped in the transient sweetness of life. “Palms” captures the carefree sway of tropical trees, symbols of life and fertility. The “Cat,” with its wild eyes beneath a purple sky, embodies the mystery of night and the untamed spirit. In “Landscape with Shadows,” a Jungle scene unfolds in monochrome, where shadows dance in harmony with the land, a quiet ode to the eternal bond between man and nature.

“Arcadia” and “Down by the river” reach into the primal, the wild, where man is a small figure against the vastness of nature, a fleeting presence in a world that doesn’t need him. Through these images, the thin veil between myth and reality blurs, drawing us into a world where ancient symbols and modern visions collide, revealing the timeless dance of creation and destruction.

Hand painted by Stevie & Alexandra Anderson each Artwork is carefully printed on a range of garments: Shirts, Trousers, Shorts, silk scarves, blankets and Jacquard woven outerwear become the canvas. Each garment is made in a LTD edition of 100 or less. Crafted from the finest organic fabrics such as Satin silk, Organic cotton and French linen, each piece is designed for longevity, with pieces embellished with Mother of Pearl detailing for a touch of luxury. For every garment sold 3 trees are planted.

In a world of throwaway culture, where people seek a more profound and unique existence and yearn to engage with narrative, Endless Joy offers just that—a deeper connection to the world.

About Endless Joy

Endless Joy is an Art Project founded by Stevie and Alexandra Anderson. Born on the wind and made with love, original artworks adorn carefully selected eco-friendly fabrics.

Each piece is imbued with imagery drawn from the rich tapestry of world culture and comparative mythology, evoking cryptic symbology, myth, and mystery while paying deep respect to the history of human symbolism and the veneration of nature. Committed to an eco-friendly mindset, the pair’s journey of discovery leaves no trace. Armed with a suitcase full of art, paper, pencils, sketchbooks and cameras, every illustration is hand-drawn. All garments are exclusively made in Bali, available in strictly limited editions of 100 or fewer.

Endless Joy actively supports a network of craftspeople, artisans, textile experts, and
environmental stewards. Furthermore, 1% of all profits is donated to charity, and for every garment sold, three trees are planted.

The Endless Joy Autumn Winter 24 collection, drop 1, launches on the 30th August 2024, available on www.endlessjoy.co.uk alongside selected retailers. Prices start from £245 for rayon shirts.

©2024 Endless Joy

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