Plinth

Plinth Contemporary art consultancy, magazine and shop, based in London For the art curious | Collect and explore London's best contemporary art.

“We live amid an endless circulation of cute animals: cats, dogs and rescued wildlife flattened into swipeable content, ...
24/06/2026

“We live amid an endless circulation of cute animals: cats, dogs and rescued wildlife flattened into swipeable content, endlessly reassuring us that nature is still on our side. Piccinini’s work refuses that comfort. It drags those impulses back toward something stranger and less easily consumed – where fear and care are not opposites but adjacent responses. Holding Tight and Letting Go suggests that compassion may begin precisely at the point where instinct tells us to recoil – and that what we call monstrous might simply be the moment before recognition.” —

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.piccinini

"First envisaged in 1968 but never realised until now, Air at features Air Package on a Ceiling – monumental in scale, ...
16/06/2026

"First envisaged in 1968 but never realised until now, Air at features Air Package on a Ceiling – monumental in scale, yet inherently ephemeral, the installation conceived by Christo and Jeanne-Claude nearly sixty years ago hangs just above the heads of gallery visitors.

While the sculpture invites its audience to move beneath and around it, it also pushes them to ask what they’re looking at in the first place – after all, the air named in the work’s title is invisible, only rendered legible by its polyethylene and rope constraints.
Presented alongside archival materials including preparatory drawings, Air Package on a Ceiling is accompanied in the space’s second gallery by Wrapped Automobile—Volvo, Model PV-544, 1981. With one work making visible what can’t be seen and the other hiding it, Air truly has everything covered. " — Emily Watkins

On view until 21 August 2026

"The title of Ravelle Pillay’s solo show Revisitations at Goodman Gallery operates on two planes of meaning – 'revisitin...
14/06/2026

"The title of Ravelle Pillay’s solo show Revisitations at Goodman Gallery operates on two planes of meaning – 'revisiting', as in poring over reference materials, and “visitation”, as in haunting.

Emerging after the sudden death of her father in late 2025, Pillay’s latest body of painting extends her practice’s use of personal archives as well as British national ones, investigating the complexities of her lineage (South African Indian, British) through the lens of colonial history. In the artist’s words, these public repositories are 'the centre of knowledge for any place that has been colonised'. She continues: 'if you want to learn more about your [identity], go to where it is kept.'" — Emily Watkins

Revisitations is at until 16 July 2026

"Appropriated from gay erotic magazines made between the late 1960s and early 80s, Paul P.’s inimitable portraits of ano...
13/06/2026

"Appropriated from gay erotic magazines made between the late 1960s and early 80s, Paul P.’s inimitable portraits of anonymous young men are heartrending. Divorced from their pornographic source material, and drawing on the coded q***r visual language of his predecessors from John Singer Sargent to Marcel Proust, P’.s subjects are caught between the self-consciousness of being observed and the abandon of pleasure that we cannot see.

In The Fugitive Marvels of Sunset at Maureen Paley, these latest portraits are presented alongside unpeopled, semi-abstract paintings of hazy skies, bats, laundry on a line; casting his refined, somehow-shimmering lens over scenes and boys alike, P. invites his audience to view both as contextless snapshots in time, as well as part of more eternal stories of freedom and constraint; beauty and demise. " — Emily Watkins

Read more on the 6 Must-See Shows During London Gallery Weekend via the link in our bio

Paul P.'s The Fugitive Marvels of Sunset at until 25 July 2026

"Mark Corfield-Moore’s first solo exhibition with Kate MacGarry Gallery, wryly named Swan Song features the artist’s int...
11/06/2026

"Mark Corfield-Moore’s first solo exhibition with Kate MacGarry Gallery, wryly named Swan Song features the artist’s interpretation of traditional ikat weaving techniques refined during his time in Thailand. Painting directly onto the fibres before they are woven together, Corfield-Moore’s images emerge in parallel with the surfaces they sit on: as such, the work combines extraordinary precision with stoic surrender to inevitable blurriness.

Words and phrases featured on the pieces straddle a similar ambivalence – drawing on intergenerational misunderstandings, and the specificities of meaning that are lost in translation, Corfield-Moore draws on his experience as part of the Thai-British diaspora to implicate viewers in highly specific memories, intelligible only to him.

With the textile works accompanied by smaller oil impasto paintings resembling embroidered embellishments, Swan Song calls attention to the ground its images sit on as much as the images themselves."— Emily Watkins

Read more on the 6 Must-See Shows During London Gallery Weekend via the link in our bio

Swan Song is on view at until 18 July 2026

“Maren Hassinger’s installation Love anchors Raven Row’s new exhibition Nomenclature for the Time Being. The interventio...
10/06/2026

“Maren Hassinger’s installation Love anchors Raven Row’s new exhibition Nomenclature for the Time Being. The intervention takes place in the seldom-used top floor flat – a space that, much to my surprise, resembles an eclectic time capsule of the 1970s.” –

"The second collaborative exhibition between Sid Motion Gallery and artist Rose Davey, This and That presents artworks t...
09/06/2026

"The second collaborative exhibition between Sid Motion Gallery and artist Rose Davey, This and That presents artworks that become legible only in the presence of something else.

Activated by a seated person, the collaborative piece around which the show orbits – a table made by Gary Woodley (), painted by Davey and accompanied with stools by – exemplifies the proposition at its core: things exist in relation to one another, beyond the gallery as well as within.

Extending that logic by coaxing meaning from the contrasts and spaces between forms, the table is surrounded by wall works from , and . Meanwhile, paintings by Davey illustrate the intersecting impact of colours upon each other, just as a diptych by Alan Charlton investigates painted canvas by presenting it alongside the unworked material." — Emily Watkins

Read more on the 6 Must-See Shows During London Gallery Weekend via the link in our bio

This and That co-curated by is on view at until 10 July 2026

"Baby Blue Benzo is a portrait of the visual cultures that shape our desire. When, in one scene, the artist herself appe...
07/06/2026

"Baby Blue Benzo is a portrait of the visual cultures that shape our desire. When, in one scene, the artist herself appears in front of the Mercedes, any risk of self-portrait is immediately deflected as she lies down like One of Your French Girls, playing the girl-in-a-music-video-posing-in-front-of-an-expensive-car, refocusing the viewer’s attention on mediation itself. Underscoring the idea that it is not what is wanted but how and why, at one point Pamela Anderson is substituted for the Mercedes, as the voiceover glosses, ‘The referent is not Pam, it is just generalised desire.’ Another recurring image is a plastic, Playboy-esque, bunny-shaped money box with a vaginal coin slot in the back of its head so overdetermined that rather than, say, toys, s*x, or money, it reads as, all of the above, as all the things you’re supposed to want – in theory. Dulled libido is a common side effect of benzos, after all. This is indeed ‘generalised desire’: want soup." —

Read more via the link in our bio

is at until 7 June 2026

"Orbs and teardrops, globules and cells mid-splitting. In Never Ends, Gabriele Beveridge’s practice splices together org...
06/06/2026

"Orbs and teardrops, globules and cells mid-splitting. In Never Ends, Gabriele Beveridge’s practice splices together organic forms with industrial materials; hardness with softness, transparency with obscurity, monumentalising the momentary." — Emily Watkins

Read more on the 6 Must-See Shows During London Gallery Weekend via the link in our bio

Never Ends on view until 27th June 2026

“In Vinegar & P**s, the Margate-based sculptor Dominic Watson has constructed a hulking, life-sized galleon in the lower...
05/06/2026

“In Vinegar & P**s, the Margate-based sculptor Dominic Watson has constructed a hulking, life-sized galleon in the lower floor of The Sunday Painter gallery in Vauxhall. The ship is fashioned from reclaimed children’s playhouses salvaged from across southeast England, and inside its hull visitors can walk among a motley yet strangely charming crew, all formed from papier-mâché and wax: a grinning sailor with curly locks sporting a false nose and with custard tarts for ni***es; a baldheaded seaman seemingly trapped in the belly of the ship; a collection of suspended feet in oversized shoes belonging to unseen figures dangling from trapdoors and climbing ladders and, at the back of the hull, a humungous bald head vomiting a slurry of lurid yellow filth, in which custard cream biscuits, somehow still perfectly intact, are in the process of being regurgitated.” —

Read the full article via the link in our bio
watson Vinegar & P**s is at until 11 July

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