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RICHARD SERRA: THE FINAL WORKS AT CRISTEA ROBERTS
The Final Works at Cristea Roberts Gallery is a profound tribute to an artist who reshaped contemporary art, writes Avantika Pathania....

HONG KONG'S SPECTACULAR RETURN TO LONDON FASHION WEEK
With the infectious energy of the show still pulsing through me like an electric current, I was already searching for ‘[cheap] flights to...


"MOST COLLECTORS WE KNOW COLLECT ART FOR THE LOVE OF IT": MEET THE COLLECTIVE BREAKING DOWN BARRIERS TO ART BUYING
London’s art scene can often feel intimidating to newcomers, but a new initiative is setting out to change that. Home on Me , a small...


JIM DINE’S 'TOOLS AND DREAMS' AT CRISTEA ROBERTS
Installation images courtesy of Cristea Roberts Gallery What is art without its tools? Can the objects of making themselves become the...


FETCH FAVES: GERTRUDE'S INTERNATIONAL WOMEN'S DAY COLLECTION
"A writer should write with his eyes and a painter paint with his ears." - Gertrude Stein American novelist and poet Gertrude Stein saw...


THE BASTARD ARISTOCRATS OF HECTOR MACLEAN
A beautiful concoction of experimental looks emblazoned with varying degrees of the Union Jack, Hector Maclean ’s Autumn/Winter 2025...

WHAT DO WE DO WITH LEIGH BOWERY?
The abysmally bad Tate Modern exhibition tells us a lot about the untouchability of queer visual culture, writes Victoria...

BARRUS AW25 BRINGS ANCIENT EPHESUS TO LFW
Barrus ’ Autumn/Winter 202 5 collection debuted at London Fashion Week with 30 new looks. The collection drew inspiration from the...

MY LOVE/HATE LETTER TO PVs
Ruby Mitchell examines the highs and lows of PV culture.


TITIAN'S OWN ARCHITECTURE: PUSHER PRESENTS DANAË BY LA MÉDITERRANÉE
‘ The exhibition is a space for action and the works that we gather are the first intuition of it ’' states La Méditerranée , the...

INTERVIEW WITH A SEX DOLL
Olga Jürgenson discusses her vision for vision for the world’s first democratically unisex, entirely synthetic brothel.

REVIEW | RODNEY BLACK: WHO CARES? IT'S WORKING!
Photography courtesy of Full Frontal Theatre Language is the most powerful tool. This was the most poignant sentiment that ran through ...


IN CONVERSATION WITH UDITH DEMATAGODA
There is a scene in Donizetti’s 1832 romantic opera L'elisir d'Amore wherein the leading couple finally admit that they’re in love with...

MALQUERIDAS: NOTES ON 'THE UNLOVED'
In conversation with the devastating prose writer Fernanda Melchor for Granta , her English translator Sophie Hughes recalls a few...

FACELESS PORTRAITS OF GEN Z: BOBBI ESSERS IS ON A HUNT FOR DELEUZIAN CONNECTIONS AND MEANINGFUL ADVENTURES
Photography of Essers courtesy of UNIT London The shiny black leather of a coat morphs into the bruised knee, while the top right panel...

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