This exhibition was really informative for me. From the paintings, to the installations, to the video documentation of the performance art that the artist performed/involved in planning himself. Together with the large explanatory text next to it, it gives a strong visual impact and a sense of power.
For Carolee Schneemann, turning her body into a part of her work and using it to show the subtle and wide world of human emotions is a way to gain freedom.
She uses her body boldly, respects it in the same way she respects her mind, and records physical pleasure from a female perspective. Bold and fierce, she shows what she thinks and feels in an unapologetic and more than 'direct' way, in a way that seems 'out of character' to the world.
Perhaps it was her poignancy that broke the bonds that had been built up in my mind over time, as if my body from the head down had suddenly gained a soul, was one and full of sovereignty, and was no longer being scrutinised.
That feeling was truly magical, free and full of power. I was like someone suddenly saved from Medusa's curse, incredulously moving a finger that was no longer stone, feeling forked with amazement and firm peace inside, feeling blessed and guided by the oracle.
You are disappointed to find that decades have passed and she is still a 'pioneering artist', that this reflection of social reality is still grotesque and bizarre, that the 'normal status quo and thinking' is still old and decrepit.

NATURAL HISTORY

March 9, 2022 – January 7, 2023

Britannia Street, London

The space inside the exhibition is a vast white space, where all life and time are frozen in formalin.
The only human language is the phrase "Shutup, eat your fucking dinner" in front of the butcher's shop, which is truly eye-catching and rebellious.
In the fragile glass, intelligent cows and suckling pigs are all cut up intact, lambs without fur are staggeringly cast, and distant sea fish and tiger sharks meet on land without colliding. The works in these glass cabinets are rooted in a fear of vulnerability and the desire for isolation and protection that accompanies it.
Damien Hirst does not intend formalin to be an effective medium for preserving objects and the ideas they convey, rather Hirst believes that the idea of preservation is futile in the face of inevitable death.
Looking back at the epidemic that has surrounded us for three years, the artist's work brings up a philosophical reflection on the courage to stand guard, to face life and death, to cherish the present and to live seriously.

THE BRITISH MUSEUM

11.00–17.00 (Fridays: 20.30)

Great Russell Street, London

The Sumerians of the two river valleys might tell of their cuneiform writing, the Assyrian cavalry would demonstrate their bravery, the mummies would say that ancient Egypt had the most advanced technology in the world at the time, and the marble sculptures would say that ancient Greece reached the highest level of all art.
I have always believed that the greatness of the British Museum is that it breaks down cultural barriers, allowing artefacts from all over the world to appear simultaneously under one roof and even in the same display case, transcending time and space. The moment I saw the exhibits, it was as if I had looked through an era, and a few steps forward, a thousand years had passed.
I also understood that perhaps the original purpose of the British Museum was to show the world the evolution of human civilisation.
The reason why museums have survived to the present is because the reason why modern museums exist is to let the past have the future. History books can be vague, but artefacts will take us closer to the most authentic past.
I wonder how many dusty stories lie beneath the earth and sky, waiting for a chance to be unlocked.
We can get infinitely closer to history, but we can never restore it.

MUSEUM OF LONDON

No1 Warehouse, London

I took the opportunity to visit the Museum of London before it closed to see the complete history of London from prehistoric times to modern London, through the Industrial Revolution to the World Wars that followed.
I had heard that it was the largest city history museum in the world, with a collection of over 7 million items, and I really felt like I knew and loved the city even more when I came here to see it for myself.

DAVID ALTMEJD

November 23,2022 –January 21,2023

White Cube Mason's Yard

A symbiotic exhibition of dissonant emotions
Each sculpture is characterised by its own vitality and visual impact
The chiaroscuro artist David Altmeid once said.
"For me, a perfect object is something that is both seductive and extremely repulsive".
In his work decay and regeneration are balanced, the delicate and the grotesque coexist.
His juxtaposition of finely sculpted realism with gritty gestures gives an immediate sensual pleasure.
Each of the rabbit in the house seems to have a different extreme emotion that belongs to them
The proximity of crystals and delicate gold chains to furs and lower matter suggests ever-present decay.

V&A

South Kensington, Cromwell Road , London

Founded in 1982, the V&A has lost the old-fashioned and clichéd approach of a traditional museum
It is more about social, living and decorative meaning
The collection is 2000 years old
It goes beyond the mere display of the collection and makes a serious effort to recreate what it was like
The Victorian architecture of the museum itself is breathtaking enough to make me wonder if romance might be engraved in the bones of the V&A.
My favourite part of the museum is the stone carving gallery, which is really the best part of the museum, and it's brilliant that the Athenaeum is located behind the David statue.

LUKE JERRAM

MOON OF MUSEUM

December 13,2022 –February 5,2023

Painted Hall, Old Roval Naval College, Greenwich

The moon of museum in the exhibition are all NASA photographs of the real lunar surface.
The moon has had different meanings in different cultures, sometimes as the beginning of a myth, sometimes as a nautical coordinator, or as an inspiration for musicians.
Lean back on a visitor's lounger and gaze at the beautiful, bright view of the moon hanging in the painted hall against the unique baroque backdrop of the Old Royal Naval College! A truly wonderful experience!

This PhD graduate from the Royal College of Art strongly intrigued me so I planned to visit the exhibition.
I really enjoyed the immersive experience she created with the fabric sculptures.
It was like walking into a sea of strange creatures wandering around or a jungle of giant creatures. Huge traditional flat hanging wool tapestries were suspended all over the pavilion, and the way she turned the traditional warp in all directions was breathtaking to watch, the intricacy of the process was hard to imagine how she did it.
She is able to weave different materials, tensions and densities at the same time, seamlessly stitching pieces together. Combining wool, horsehair, cotton and rayon, rough patchwork, variations between light and dark, colour, material and texture.
Abakanowicz's work as a whole feels to me like an intimacy that precedes language, an almost primal charm. Ambiguous, organic, but at the same time permeated with a certain vitality.

A CLEARING IN THE FOREST

20 March 2022 – 29 January 2023

Tate Modern，Bankside，London

The exhibition is a conceptual 'clearing in the forest', which emphasises the concepts of environmentalism, cyclicality and regeneration, and is curated with these in mind.
The tank is a space created in the past to convert oil into fuel, itself a natural product from the earth. And now The tank is like the soil that the museum cultivates for art to become the new fuel.
What struck me most was the use of alternating videos to explore the relationship between ritual, circular time, the body, the land and labour. The video takes a feminist approach to ancestral knowledge and ritual. The artist stands in a field with light shining on a wooden pole forming a clock of light and shadow on the land, marking the time with the light and shadow of the human body, communicating with our ancestors and negotiating the various relationships between our bodies and the earth.

The work presented by the London College of Fashion students did not really wow me as a student who is also studying Fashion. However, I did enjoy the way each student presented their projects and the details of the production process, which taught me a lot about the different points of entry and development of ideas. Everyone was learning to develop their own style and I am very happy to join this exhibition and look forward to the next ready-to-wear collection.

JONATHAN BALDOCK

WE ARE FLOWERS OF ONE GARDEN

20 January 2023 – 25 February 2023

Stephen Friedman Gallery, 28 Old Burlington,  London

The anthropomorphisation of the plants in the garden in the exhibition is a really interesting thing.
Throughout the exhibition there is a narrative around nature and the cycle of life, all inspired by Baldock's relationship with his mother and her garden, Baldock examines the spectrum of human emotion, reflecting on what it really means to be alive and how we can find a role on earth that is truly our own.
Each sculpture is in the form of a flower or some part of the human body adorning a vase, with far-reaching roots crawling through the ground.
I was most struck by a large sculpture called 'mother flower', which reflects Baldock's dramatic and immersive style. He commented: "I like my flowers to look like they could eat you".

STEPHAN BALKENHOL

20 January 2023 - 25 February 2023

Stephen Friedman Gallery, 26 Old Burlington, London

The pavilion was entered by chance and only four works of art were displayed in it.
Each piece is made by Stephan from a single block of wood and is created entirely without the use of machinery. Each piece therefore retains the grooves, cracks and gaps from the process of creation, demonstrating Stephan's original approach to the block.
Stephan's raw approach to the block of wood and his emotions are expressed in the most primitive way possible.
The 'anonymous figures' are painted in simple colour combinations and appear both alive and lifeless, to which Stephan says: "I don't want chatty, expressive figures, so I look for an open expression, where all states are possible. "

TANYA SCHULTZ

WHEN FLOWERS DREAM

21 May 2022–5 March 2023

Shirley Sherwood Gallery of Botanical Art, Kew Gardens

When Flowers Dream is the first exhibition in London by Australian artist Tanya Schultz.
With Pip & Pop, she draws inspiration from imaginary utopias and magical places of plenty.
Everyday materials such as candy, sequins, and plastic flowers are frequently featured in this exhibition. This is the first time I have seen a childlike sculpture made from candy flowers, and her work juxtaposes the illusory nature of an imaginary world with the promise and allure of it.
We are enticed to participate in a happy, never-ending consumption. It also encourages us to question whether this abundance is real, and whether it can last forever.

JENKIN VAN ZYL

SURRENDER

19 January 2023 – 4 March 2023

Edel Ashanti, London

The exhibition is an entrance exhibition through the open mouth bar of a giant inflatable rat sculpture , whose innards form a sculptural walkway that leads to the secret room of a love hotel. At the centre of the installation, four beds reflect a scene from Van Zyl film and serve as viewing platforms for the screening. A single-frequency screening of this 50-minute film.
The film is characterised by his spiritual style, in which four rat couples play out their physical limitations and expansiveness in a dazzling contest until they are consumed. The film's absurd music strikes fear into the heart, a carnivalesque exploration of abandoned neoliberalism and a tribute to the 20th century dance marathon phenomenon.

LCF WOMENSWEAR 2023 X LONDON FASHION WEEK

2023.2.17

As a viewer, I was actually a little numb to this lcf show because once upon a time the graduates of my dream school made something that was not very different from what came out of our other institutions. There were a few graduates whose work I admired in the less than an hour show, but it also led me to think, is the graduation show the last madness as a student? Or is it more important to make more commercially viable ready-to-wear.

RAY CHU AW23

2023.2.18

This season, Ray Chu presents a new collection 'What the T' in collaboration with Tenga to highlight that no matter who you are, you can always find yourself in love. Through their collaboration, they hope to explore the world of bliss in an artistic way, where people can find freedom through love and joy. Making sex more natural and relaxed by integrating it into everyday life.

I had the opportunity to be part of the show as a backstage intern in February this year. But there was a new definition of fashion week, which was different from the Japanese fashion week I attended during my undergraduate years, and this time the experience would be more intense, probably also because of the progression of age. Does it really pay off for the designers themselves to have their clothes on the catwalks each season? Are fashion designers today creating for the sake of creativity or money each year? This is something to ponder.

UOS X LFW -RUNWAY SHOW

2023.2.18

MA Fashion Design from the University of Salford Thirteen designers from the University of Salford's MA Fashion Design programme showcased their latest collections at London Fashion Week's Phonica Records venue in Soho, London.
Records in Soho, London, showcasing 13 of their latest ready-to-wear collections. The designers
Through extensive research and innovative design thinking, the designers created clothing that was both original and multifaceted clothing and explored a range of inspirations and interests.

The new designers express cultural and political issues through innovative designs. Themes cover body modification, LGBT raves, Femme Fatale history and more. This is kind of the graduation work of students related to my major, in fact, I saw their views and visions for the future of the fashion industry in my conversation with them, in fact, in contrast to my own confusion about the fashion industry, I think looking forward is the most crucial

ANDY WARHOL: 20 UNDER 20

6 February 2023 -25 March 2023

Shapero Modern, Middlesex, London

The exhibition features 20 works by Andy Tenhall, who, while at Carnegie
Polytechnic Institute (now Carnegie Mellon University), combined his drawing and basic printmaking skills to create his characteristic mottled line technique. The process of stippling lines involves copying a pencil drawing onto a piece of non-absorbent paper, for example, tracing paper. Next, Honore pastes this paper onto a second, more absorbent sheet, hinging them together by pressing their edges to one side. Warhol then used a pen to apply ink to a small portion of the drawn lines on the non-absorbent paper. Finally, Honhall transferred the ink to a second, more absorbent sheet of paper by folding it along the hinge and gently pressing or 'rubbing' the two sheets together. This process produced the dotted, subtly broken lines that would become characteristic of Honhall's early illustrations.
Thanks to his unique style of the vignetting line technique, Honhall would go on to
use this technique with great success in his commercial illustration work of the 1950s. This process enabled Warhol to create multiple pieces for different clients, repeating the process several times with the same master image, thus increasing the chances of his work being selected, and the distinctive style of the smudged line became the hallmark of Tenhall, his calling card.

DELPHINE HENNELLY

THROUGH PERSEUS' SHIELD

25 January 2023 - 4 March 2023

45 Maddox St, London

This is Delphine Hennelly's first solo exhibition in the UK.
Monumental figures are depicted in palette and with heavily wrought, dip-stained brushstrokes.
She re-adopts the art historical motif of the mirror, using these as a unique symbol of the confident modern woman.
At the centre of each composition is the same theme of woman and mirror, and in this way she uses repetition as an artistic echo.
Each canvas provides information for the next in a self-referential loop, and I like the storytelling to really follow the information one by one.

VOGUE X SNAPCHAT

REDEFINING THE BODY

18 February 2023 - 05 March 2023

84-86 Regent Street, London

The groundbreaking collaboration between vogue and Snapchat- Redefining the Body, demonstrates how reality is driving the field of physical fashion, expanding and transforming clothing design through innovative digital experiences for an inclusive global audience on Snapchat.
This stunning exhibition showcases six of the world's leading fashion brands and designers: Dior, Kenneth Izzie, Richar Quinn, Stella McCartney, Tabby Magugu and Versace. Each is a leader in reconfiguring the concept of the body today, exploring race, gender, age, sexuality and body type.
The tour Vogue x snapchat: Redefining the Body showed how different interpretations of physical form can be enhanced using snapchat's interactive augmented reality lenses that have the ability to animate, reflect, refract and evolve the person or image in the view, and it was interesting to see the interactive sessions set up within each of the showrooms, leaving me in awe of how digital media is now the power of.

WITHIN+WITHOUT GROUP EXHIBITION

7 March 2023 – 6 April 2023

4 Hanover Sq, London

Within+without  is an extension of curator Ferren Gipson's an extension of her research for her book Women's Work addresses the continuing legacy of modern and contemporary women artists working in textiles and ceramics.
By using a medium historically considered 'feminine' and 'traditional' artists can challenge patriarchal hierarchies and subvert stereotypes of 'elegant' or 'fine' art.
The 12 artists in this exhibition engage in different practices highlighting how these materials and methods can be used as powerful tools to address the complexities of our public and private lives. The work of these artists contrasts and intersects with each other, offering the opportunity to investigate internal and external relationships.
Claire Lindner's work evokes the imagery found in nature, while Daisy Colingridge and Janice Redman incorporate materials and references from the interior. Similarly, Anya Paintsil, Sarah Zapata and Ferren Gipson reflect on cultural influences, making connections between family, heritage and materials. Looking inwards inwards, Bea Bonafini, Armina Howada Mussa and Paloma Proudfoot examine themes such as grief, memory and the stories we tell ourselves.