Things to do in London today

The Alexandra Palace Fireworks and Drone Festival (as it’s now called) is easily one of the biggest, baddest displays in town. It sends hundreds of drones and fireworks into the air over north London, making it a spectacular place to ring in Bonfire Night. But it’s not just what’s going on in the sky that’s the attraction here (although, with Ally Pally’s panoramic view of London, it is a fairly big pull). Entertainment at Alexandra Palace Fireworks There’s plenty more to see and do besides watching the fireworks and drones. This year, the fun is split across two dates: an adult-centric party night on Saturday, and then a family day on Sunday where under-10s go free. For the Saturday, there's a music line-up headlined by special guests Eats Everything, plus a roaring bonfire, ice skating, and funfair rides on offer. There’s also the UK’s largest German beer festival in the Great Hall, where you’ll also find oompah bands and a Queen tribute act. On Sunday, families will find a quieter firework and drone display at the earlier time of 6pm, plus entertainment including marshmallow-toasting on a firepit, Junior Jungle Kids Rave, and BARRIOKE, with Shaun Williamson, star of Eastenders. Food and drink at Alexandra Palace Fireworks Spectators have plenty of options when it comes to staying fed and watered, with a more than 35 of London’s best street food traders, plus craft beer bars and cocktails available at the alfresco StrEATlife Village, while beer festival ticketholders...

We’ve all heard of Sid Vicious, Joe Strummer and Iggy Pop. But what about Gina Birch, Ari Up and Gaye Black? Although not completely unknown, these women pioneers of punk often go unsung. In a new free exhibition, the Museum of Youth Culture (MOYC) is finally giving them their safety pin-adorned flowers with a show dedicated entirely to the ‘she punks’ of the past 50 years.  Taking place in a single room at the MOYC, God Save the Queens brings together rare and previously unseen artwork, photography, fashion, film and archival material. A large chunk of the exhibition comes from the archive of the late Poly Styrene – the braces-wearing frontwoman of X-Ray Spex – and is curated by her daughter Celeste Bell.  The museum crams a lot into the fairly compact space. On the far wall is a gallery of larger-than-life photos – the highlight of the exhibition. Vivienne Westwood, shot by Dennis Morris (1978), leans nonchalantly against the SEX shop counter with her iconic spiked hair. Debbie Harry, by Bob Gruen (1977), looks at the camera in her Wayfarers, while sitting in a car smoking a cigarette. Jayne County of the Electric Chairs squats down on stage, holding the mic stand to her crotch like an appendage, shot by Jill Furmanovsky. Poly Styrene, Siouxsie Sioux and Soo Catwoman are also all here.  The women in these photos look like the coolest people on earth The women in these photos look like the coolest people on earth, and what’s most striking is how they all appear...

Every winter the Southbank Centre turns the banks of the Thames into a frosty wonderland, full of little wooden Alpine-style cabins selling gifts, warming drinks, and snacks. You’ll find huts serving up truffle burgers, duck wraps, mulled wine, Dutch pancakes, churros and many more tasty morsels to nibble on while you look through gifts, jewellery and decorations made by independent craft traders. Or, once you’re done browsing, snuggle up at pop-up king Jimmy Garcia’s riverside venue Fire And Fromage, where you can snaffle all you can eat raclette, sip on seriously decadent hot chocolates, and even toast your own marshmallows round a cosy fire pit.  When is Southbank Christmas Market open? The market opens on November 2, and will stay open until January 3 in the New Year. Do you need to buy a ticket? No, it's free to enter and have a wander. 

Wandsworth Council’s annual display is back for 2026, and will once again take place over two nights this year. Go on Saturday for the regular fireworks plus a disco ceilidh, a DJ set from Rudimental and a live Latin band playing salsa, classic dura, and Afro-Cuban rhythms. Alongside the fireworks, Sunday’s entertainment will feature a Taylor Swift tribute, an electrifying performance by Lords of Lightning and a pop anthems afterparty. On both days, there’ll also be street food, cosy drinks and fairground rides. There’ll also be mulled winter warmers and autumnal comfort food.  What time do the fireworks start in Battersea? On Saturday, gates open at 6pm and last entry is at 8pm, before a display that begins at 8.30pm. On Sunday, gates open at 4.30pm, last entry is at 6.30pm, and the display begins at 7pm.  How much do tickets for the Battersea Park fireworks cost? Tickets are available now, from £18.60 for adults and £11.50 for children age 5 to 15. Book here.  What is the capacity of Battersea Park fireworks? One of the largest displays in the city, Battersea Park fireworks can accommodate 50,000 ticketed spectators per night.  Find more fireworks displays in London.

This major exhibition from the V&A will transport visitors to one of the world’s great cities, exploring its best-known landmarks, from the Hippodrome and Hagia Sophia to Topkapı Palace and the Galata Tower. Constantinople to Istanbul: One City, Two Empires will explore 1,600 years of this influential city. Once called Constantinople and now called Istanbul it was the imperial and religious capital at the heart of two successive empires: the Byzantine (AD 330– 1453) and the Ottoman (1453–1922), and this show will span AD 330 to 1922, it will bring together remarkable works of art, design and architecture to reveal the enduring creative legacy of an imperial capital that shaped the Mediterranean world and far beyond.  This will be the first exhibition in the UK to tell this story in full, serving up a new perspective on a city defined by artistic excellence across more than a millennium. Expect rarely seen objects dating back to 4th century, drawn from the V&A collection as well as national and international loans, including decorative arts such as fine silks and textiles, ceramic tiles, mosaics and tableware, precious metalwork and jewellery, as well as sculpture and architectural furnishings, works on paper, manuscripts and paintings. 

Oxford Street is one of the most iconic areas for London’s Christmas lights, and for good reason, given that a hefty proportion of us Londoners will see them lighting our way as we do battle for Yuletide gifts. This year, the lights are Harry Potter-themed to mark the release of Harry Potter and the Philosopher’s Stone TV show, scheduled to premiere on HBO on Christmas Day. Alongside the usual display, look out for the Hogwarts-themed designs. As is now tradition, the lights will be made from eco-friendly materials, including LED lights and recycled plastic. Featuring 5000 twinkling stars – they shine from 4pm to midnight daily until early January.  The switch-on, on November 4, will also coencide with the opening of the new Harry Potter Shop Oxford Street, which will be the largest shop in the UK to sell memorabilia from the magical franchise. 

A hat in the shape of an upside-down shoe; a dress resembling an inside-out human body; embroidered jackets covered with gorgeous pink roses, sparkling zodiac symbols and vibrant vegetables. Elsa Schiaparelli made clothes that were as surprising as they were beautiful. The V&A has plundered the well of ingenuity that is Maison Schiaparelli in its latest landmark fashion exhibition – the first British exhibition dedicated to the Italian designer, who rose to fame in Paris between the World Wars – and there are some real treasures to be found.  With over 400 objects, including 100 ensembles and 50 artworks (by the likes of Salvador Dalí, Picasso and Man Ray), as well as accessories, jewellery, photographs, perfumes and an excellent collection of buttons, Schiaparelli: Fashion Becomes Art presents a deep dive into the fantastical and surreal world of the fashion house. Founded on Paris’ Place Vendôme in 1927, the exhibition spans the 1920s to the present day, showing glorious garments from Creative Director Daniel Roseberry, who has been at the helm since 2019.  Excitingly, many of Schiaparelli’s 20th-century creations appear astoundingly contemporary. Knits from 1927, some of the designer’s first works, are patterned with pretty bows that the TikTok girlies of today would die for. There’s also an incredible gold chainmail headdress which wouldn’t look amiss on Florence Pugh in Dune, or on a ‘medievalcore’ Pinterest board. A shirred form-fitting dress with a visible zip – a...

People of the world: it’s time to celebrate 30 years of the most iconic girl group in British music history. The Spice Girls are marking the special anniversary with a pop-up at the UMusic Shop in Camden, where fans can get their hands on a ‘Wannabe’ hoodie exclusive to the store, among other nostalgic merch. It all coincides with the release of The Singles Collection, which packs all of their classic hits into a 14 x 7” Coloured Vinyl Box Set and 14 x CD Box Set. A dedicated listening area, behind-the-scenes footage and all the music videos we know and love will bring this Spice World to life, and there are even Spice Girls-inspired cocktails and mocktails at the in-store bar. The celebration runs for three days only, from 6-8 November, so don’t miss your chance to relive your ‘90s pop dreams. Zig-a-zig-ah!

Dreaming of a kitsch Christmas? New York’s famous Miracle on Ninth Street bar is popping up in London for its eighth year, ‘50s Christmas decorations, nostalgic accessories and creative new spins on beloved cocktail favourites in tow. For festive season 2026, it’s taking over 9 Russell Street in Covent Garden. Past years have seen the bar slinging the likes of a Snowball Old Fashioned or a Christmapoliton, which includes cranberry sauce and absinthe mist – a take on Christmas trimmings that’s not for the faint-hearted. If you’re failing to get into the Christmas spirit, this is one great place to find it.

Father Christmas clearly enjoys his posh new-ish Chelsea digs as for 2026 he’s returning to Anya Hindmarch’s Village store for the third year on the trot. In it, visitors will be guided through a wintry wonderland of candy cane forests and icicle caves. When they make it to their destination, they’ll be rewarded with a festive story by the fire and a gift from Saint Nick. Grown-ups get a free hot drink from the Anya Cafe, where there will be piles of mince pies, gingerbread men and Christmas cakes on sale. Exit through the gift shop to buy limited-edition Anya Hindmarch gifts and Christmas decorations, including ceramic tree baubles, crackers, puzzles, mugs, crayons and teddy bears. 

‘Tis the season: master mentalist Derren Brown is back on the West End, this time with a disorienting show that sets out to challenge the illusion of free will and our ownership of the future. Pretty classic Brown stuff, right? Well, indeed. You might think that, some 30-odd years into his career, you know exactly what Brown’s shtick is. He’ll put someone to sleep with a tap on the head; he’ll plumb the depths of a stranger’s mind with a single glance; he’ll predict what will happen in five minutes’ time with uncanny accuracy. But, of course, the thing you can always expect from Brown is the unexpected. His stunts, however routine they might be, still manage to confound. The first half of Only Human cycles through a circus of tricks, some more convoluted than others, some requiring physical participation from the entire audience. It’s complete chaos in the theatre at times, particularly compared to the decidedly more solemn Showman, his last Apollo show which centered on themes of grief and death.  Having been to both shows, I found Only Human far more unsettling. The first half is disorienting but still buoyant, thanks to Brown’s excellent comedic timing and disarming warmth. The second half takes a drastic turn; a sense of alarm no doubt helped by masterful stage effects, lighting and sound design, but largely down to Brown taking some of his more extreme psychological manipulation, usually reserved for television, to the stage. Without giving too much away, trigger...

Is this what the world needs right now: another conspiracy drama about how we were lied to over the Kennedys and Marilyn? Torben Betts' new play Speculations does at least have a fresh historical protagonist: Dorothy Kilgallen, the Pulitzer-nominated journalist who interviewed Jack Ruby in prison after he gunned down JFK's assassin Lee Harvey Oswald in public and was herself found dead, like Marilyn, from an overdose of booze and barbituates. It also has the reliably luminous Janie Dee as Kilgallen, and heavyweight director Trevor Nunn at the helm. Kilgallen's a fascinating figure to disinter, and Nunn's production has gravitas, and a couple of outstanding performances, but ultimately I wasn't persuaded: by the speculations on whodunnit, or by the drama. Betts' play is subtitled On the Unexplained Deaths of Several American Icons - which is a lot of speculation to wrap up in a two hour stage play. There are three scenes, which unfold in instalments. First, Kilgallen's New York apartment where she types, swigs vodka and confides her theories to a fictional Black babysitter she's only just met; then Lee Newby's fantasic modular set swivels open to reveal an underworld bar where Lee Harvey Oswald (a nicely twitchy Joseph Potter) is being groomed by a crime boss; finally Marilyn's last night on earth, imagined as a deadly confrontation with Bobby Kennedy. Betts' play is more of a whydunnit than a whodunnit: we know from the get go that Bobby, Marilyn, Dorothy, and Lee will...

This review is from 2025. An Oak Tree returns yet again for 2026 as part of a season at The Other Palace curated by producer Francesca Moody. Guests this time include Hammed Animashaun, Bessie Carter, Rosalie Craig, Sacha Dhawan, George Fouracres, Clare Perkins, Tom Mothersdale and Gemma Whelan. New shoots keep growing from Tim Crouch’s An Oak Tree, its legend quietly bubbling away for 20 years and its strange, unsettling magnificence never wavering. First performed in 2005, it was a solid rejection of stuffy plays where the actors say their memorised words each night in the same way. Instead, every performance has a different actor performing alongside experimental theatremaker Crouch, now almost 400 of them, including Hugh Bonneville, Mike Myers and Alanis Morrissette. They come on stage, follow Crouch’s instructions, take on the part of a grieving father and generally look very nervous while doing it. The actor has never seen or read the play before, and the audience doesn’t know which star guest they’ll get. For this twentieth anniversary production, the list of actors eager to submit themselves to this grief-laden improv show is impressive: David Tennant and Indira Varma are on the roster, while on press night it was Jessie Buckley pulled up from the front row.The performer is instructed very precisely by Crouch what to do and say. She is Andy, a middle aged man, grieving the recent loss of his daughter who was killed by a driver. The driver was a stage hypnotist –...

A Catholic upbringing has left me both terrible at lying and capable of looking guilty about more or less anything. As such I was morbidly convinced that I would get the tap on the shoulder designating me a traitor in this live recreation (you could call it immersive theatre if you wanted) of the smash BBC game show. This proved to be entirely correct and long story short I lasted four rounds until I was rumbled (though it was a close thing and involved me being inexplicably betrayed by my fellow traitor). And speaking as somebody who has barely watched the show: I had a blast. If you can swallow the cost (a little under £50 in the evening, but cheaper by day) and go in prepared to be eliminated early then The Traitors Live Experience is extremely good fun. As much as anything, this adaptation from Immersive Everywhere is extremely well organised. Clearly you can’t make a note-perfect recreation of a show that involves 25 contestants staying at a remote Scottish castle for three weeks. But what they’ve done captures a sense of it very nicely. In this much shorter format, a large number of participants book in for a given time slot and are then divided into groups of around 12. Each is spirited away to their own round table, which comes complete with its own Claudia Winkleman-substitute host. Ours was a chipper young man who did a great job of geeing things along with help from a pre-recorded Winkleman (wisely she’s only used sparingly). It’s such a rock-solid conceit that...

This review is from 2022. My Neighbour Totoro is now running at the Gillian Lynne Theatre in the West End with a mostly new cast. Studio Ghibli’s 1988 cartoon masterpiece My Neighbour Totoro is a stunningly beautiful, devastatingly charming film, in which not a huge amount happens per se.  It follows two young sisters who move to the countryside with their dad and basically get up to a lot of extremely normal things… while also fleetingly encountering a succession of astounding otherworldly creatures, most notably Totoro, a gigantic furry woodland spirit, and the Cat Bus, a cat that is also a bus (or a bus that is also a cat, whatever). Its most iconic scene involves young heroines Mei and Satsuki waiting at a bus stop, and Totoro shuffling up behind them, chuckling at their umbrella (a new concept to him) and then hopping on his unearthly public transport. So if you’re going to adapt it for the stage you’re going to have to absolutely nail the puppets you use to portray Totoro and co.  The RSC absolutely understood the brief here, although you’ll have to take my word for it, as for this first ever stage adaption – by Tom Morton-Smith, overseen by legendary Ghibli composer Joe Hisaishi – the company hasn’t allowed a single publicity photo of a single puppet (bar some chickens) to be released.  Nonetheless, the puppets – designed by Basil Twist, assembled by Jim Henson's Creature Workshop – are fucking spectacular. They have to be fucking spectacular because that’s the...

It’s difficult to pinpoint why the moment Paddington walks on stage at the start of his new musical is quite so moving.  Spoiler alert: ‘Paddington’ is a small woman (Arti Shah) in a bear costume (by Tahra Zafar), with a regular-sized man (James Hameed) doing the voice and remote controlling the facial expressions from backstage. Which doesn’t sound groundbreaking but it’s enough to make us believe that Paddington is really in the room with us. Which is surely the point of the endeavor. He’s not the Paddington of the films: he looks different, more teddy-like, and Hameed’s voice is much younger and more boyish than Ben Whishaw’s. He looks more like the Paddington of Michael Bond’s books, but he’s not really him either, on account of all the singing he does and how much more wordy that makes him. He is a new Paddington. But he is, fundamentally, Paddington, right there in the room with us. Does that make it a good performance? I mean sure, he’s a triple threat: adorable, polite and also a bear. The normal rules for a musical theatre lead are suspended here. But Hameed can sing well, and there’s enough expression in both face and body for Paddington to feel genuinely alive to us. Shah doesn’t really dance, but a couple of elaborately choreographed sequences in which our hero pings around causing chaos are impressively physical. Main attraction aside, a fine creative team led by director Luke Sheppard has created a very enjoyable show indeed. It’s by and large a stage...

Ask any millennial how they feel about High School Musical, the world-conquering made-for-Disney Channel teen movie, celebrating its twentieth anniversary this year, and their reaction will likely be equal parts misty-eyed and horrified. Nonetheless, there’s clearly big business in nostalgia, as is made blatantly clear with the brand new High School Musical stage production running at the Troubadour Wembley Park Theatre this autumn. From the set recreation photo opps outside the venue to the stunt casting of a former teen heartthrob (McFly’s Harry Judd) and original supporting cast member (KayCee Stroh) in the adult roles, High School Musical (the musical) is being aimed squarely at millennials who as kids went there, did that, got the t-shirt – and the mug and the stickerbook and the CD and the novelisation of the script, in my case. Cynicism is a natural response, particularly when it comes to a musical best described as ‘Grease, but with Sandy learning to embrace her what makes her special rather than grabbing the nearest packet of cigarettes and skin-tight lycra trousers in an attempt to be accepted’. But as cheesy exercises in nostalgia bait go, the Manchester Hope Mill production of High School Musical is about as impressive as they come. It’s a mammoth undertaking, with an astonishing ensemble, slick choreography by Aaron Renfree, and impressive leads. You can’t watch and not be wowed. For that, the first credit must go to Andrew Exeter. After all, it's his vibrant...

This review is from 2024. What a long, strange trip it’s been. Indie-folk musician Anaïs Mitchell’s musical retelling of the Orpheus story began life in the mid-’00s as a lo-fi song cycle, which she gigged around New England before scraping the money together to record it as a critically acclaimed 2010 concept album that featured the likes of Bon Iver’s Justin Vernon and Ani DiFranco on guest vocals as the various mythological heroes and villains. Going through the next 14 years blow-by-blow would be time-consuming, but in short thanks to what I can only describe as THEATRE MAGIC, Hadestown is now a full-blown musical directed by the visionary Rachel Chavkin, its success as a show vastly outstripping that of the record. It played the National Theatre in 2018, on its way to becoming the most unusual Broadway smash of the modern era. And it’s finally come back to us. Now in a normcore West End theatre, its otherness feels considerably more pronounced than it did at the NT. The howling voodoo brass that accompanies opener ‘Road to Hell’ is like nothing else in Theatreland. Mitchell”s original songs are still there but have mutated and outgrown the original folk palette thanks to the efforts of arrangers Michael Chorney and Todd Sickafoose. Rachel Hauck’s set – which barely changes – is a New Orleans-style saloon bar, with the cast all dressed like sexy Dustbowl pilgrims. It’s virtually sung through. It is essentially a staged concert, but it’s done with such pulsing musical...

Come Alive is a tricky one to review because the question here is less ‘is this a good example of a mash up of a circus and the songs from The Greatest Showman?’ and more ‘what the hell are the criteria for a good mash up of a circus and the songs from The Greatest Showman?’ Conceived and directed by Simon Hammerstein, the brains behind posh strip club The Box, Come Alive occupies a huge building in Earl’s Court dubbed the Empress Museum, formerly called the Daikin Centre and home to an immersive David Attenborough documentary.   The actual big top-style performance space is comparatively intimate: 700 seats is not tiny, but if an obvious point of comparison is Cirque du Soleil’s annual shows at the Royal Albert Hall, then Come Alive offers similarly skilled acrobats at appreciably closer range – you can see each muscle contort and flex. The rest of the building has been given over to a sort of Greatest Showman-themed mini-mall: overpriced food, overpriced drinks, overpriced fancy dress clobber - but done in high travelling-circus style and there’s a little bit of gratis pre-show acrobatics in one corner of it that’s well worth catching. Anyway. Circus. And the songs from The Greatest Showman. I think one basic point here is that presumably literally every person who has bought a ticket to Come Alive will love the Benj Pasek and Justin Paul tunes from the film already. They’re done well – performed live and with personality, but also very faithfully, ie no drastic sonic...

The first thing that grabs you about Aardman Animation’s new immersive documentary Larger than Life is that yes, it is larger than life. All your Aardman faves – Wallace, Gromit, Shaun, various chickens – are blown up to a gargantuan scale on the Lightroom's walls. To an adult Aardman lover, it looks amazing. And the sprinkling of pre-schoolers in the house when I saw it were clearly having a whale of a time, joyously booping into their claymation faves. Larger than Life is a triumph visually and no more so than in its opening moments: it's delightful when the walls transform into row upon row of the extremely recognisable eyes of dozens of your Aardman faves, staring at us through peepholes (a la the cardboard box Gromit hides in during The Wrong Trousers); it’s sublime when we get a full blown song-and-dance sequence featuring everyone from Morph to the Creature Comforts gang. It is of course delightful: it’s Aardman. The problems with Larger than Life as a complete film are twofold. On the one hand, there isn’t that much original claymation, and most of it is confined to the beginning. This is perfectly understandable as it famously takes Aardman years to make their films. But it does mean it peaks early. On the other it can feel a bit diffuse: more often than not it’ll be trying to explain some point about the studio’s history and the walls will be covered in loads of little frames, each with something different going on in it, a disembodied voice from a member of Team...

If Tate’s 2025 programme was big on the 80s – thanks to Photographing Britain and Leigh Bowery! – then 2026 is all about The 90s! Following on from a major Tracey Emin retrospective at Tate Modern, its sister gallery Tate Britain will host a blockbuster autumn show about British art, fashion, photography and pop culture in the final decade of the last millenium. And if that isn’t already a tasty enough prospect, it’s being curated by none other than former British Vogue editor Edward Enninful OBE. Expect flashy photography from the likes of Juergen Teller, Nick Knight, David Sims and Corrine Day, iconic looks from Vivienne Westwood and Alexander McQueen, and era-defining artworks by Damien Hirst, Gillian Wearing, and Yinka Shonibare. The opening party will no doubt give the Met Gala a run for its money.

In a massive coup for the British Museum and for London as a whole, the Bayeux Tapestry is on display in Britain for the first time in 900 years. The 70-metre-long artwork is an intricately embroidered depiction of the 1066 Battle of Hastings, in which William the Conquerer took the English throne, and it’s coming to the British Museum. Although it’s believed to have been embroidered in Canterbury, the tapestry has resided in Bayeux, Normandy for the past nine centuries. Despite numerous attempts from Brits to borrow the masterpiece over the past century, it is finally on show on British soil for the first time, nearly 1000 years after it was made. You absolutely don’t want to miss an exhibition which feels like the most significant thing British Museum has done in our lifetimes. Read our full review of the exhibition here.

The Wellcome Collection’s big spring exhibition is a deep dive into perceptions of ageing. Expect the Euston Road institution’s typical blend of art, science and pop culture in the 120+ artworks and objects on display, which range from16th century woodcuts made by German printmaker Sebald Beham to Deborah Roberts’ contemporary collages exploring Black childhood. There’ll also be a spotlight on the Wellcome Trust-funded health research project Age of Wonder – one of the largest studies of adoloscence in the world – and an exploration of how societies can adapt to improve everyone’s experience of ageing.

Henry Moore’s bulbous and undulating sculptures were designed to be seen outside and surrounded by nature. So we’re happy to say that Kew is displaying a huge collection of his works as they were intended at this mega exhibition. The world’s biggest ever exhibition of Moore will open at the botanical gardens, with 30 sculptures on show in the open air and more than 90 works including carvings and drawings displayed in the Shirley Sherwood Gallery. Several of his famous and iconic reclining figures will be on view, as well as more abstract and amorphous pieces like the massive bronze marvel ‘Large Two Forms’. 

In our age of mind-boggling CGI and AI-optimised everything, it’s easy to forget how much pleasure can be had from the simple optical tricks of mirrors and lights. But not for Julio Le Parc. A key figure of the Kinetic and Op Art movements of the 1960s, the late Argentinian artist spent seven pioneering decades making illuminated, kinetic and participatory works, and was still making art at the ripe old age of 97 before his death this past May. This major retrospective celebrates his visionary seven-decade career, spanning from from his arrival in Paris in the late 1950s to his resurgence in the 2010s, with over 60 colourful, immersive (and extremely Instagrammable) works.

Painters have been being dazzled by the glorious natural light and sparkling azure sea of the French Riviera for centuries. This autumn, you’ll be able to feel like you’re taking in the sea air on the Côte d’Azur from London, as the Royal Academy brings together artworks depicting the French southern coast from greats including Monet, Braque, Picasso, Matisse, Cézanne, Renoir and Klein. Spanning the Impressionists, Post-Impressionists and Modernists, Painting the French Riviera will not only transport you to the SAD-beating coastline, but explore how the riviera was inextricably linked to the rise of modern art. 

‘This painting makes me so happy,’ said my usually gallery-averse friend, pulling me over to Salman Toor’s ‘The Women’, on display in the painter’s first solo museum show in Europe, at the Courtauld Gallery. ‘We’ve had so many Sunday mornings like this.’ In the painting in front of us were three women slumped across a bed, each propping her head up with one arm. In our version, we’d probably be debriefing on the events of the night before. The painting is small, the room cosy and cocooned from the outside world in Toor’s characteristic velvety green, laid down in thick, parallel strokes of oil paint. At the dresser stands a boy. Toor has said that if he were to write a collection of stories, this image would be the first: ‘a coming-of-age moment for the boy experiencing a blossoming sense of self.’ Toor was born in Lahore, Pakistan, into a middle-class Muslim family. At 20, he moved to the US to study painting, and eventually settled in New York. It was there that he began painting the world that now fills his canvases: queer South Asian men drinking, dancing, flirting, scrolling, lying around with friends, falling in love and being alone. His figures aren’t portraits of real people, but they come from a world he knows. They occupy the sometimes uncomfortable territories between intimacy and exposure, belonging and estrangement. His work draws as much from the Old Masters and the traditions of Western painting as it does from the art history of Pakistan and South Asia,...

Right, this one is good. But it’s not easy. Then again, I don’t think any of Jenkin van Zyl’s films – or performances, or sculptures, for that matter – are meant to be. The worlds he creates aren’t easy to make sense of, and they’re not places you’d want to live in. They’re grotesque, chaotic, and filled with technologies, rituals and systems that seem to have taken on lives of their own.  His latest creation, Enclosure, has taken over a wing of Somerset House, and comprises of a film and narrative installation that spills out from the screen and into the surrounding rooms, filling them with the signage, photographs and general detritus of a fictional universe. In this world, people known as ‘Donors’ can have replicas of themselves made, called ‘Cherubs’, grown from a single tooth. Stay with me. These doubles were once the basis of a strange kind of tourism where visitors could temporarily inhabit somebody else’s life (‘a little holiday inside someone extraordinary’), as one of the facility’s workers (dressed in a pink milkmaid outfit) puts it. The installation's narrative focuses on Mercy, a former starlet who lent her likeness to the programme, and appears to have been something of a Cherub sensation. ‘Never before has a Cherub attracted such attention’ reads one peeling poster bearing five stars. But by the time Mercy returns to the facility, the good times are over. The place is decaying, the programme has become obsolete, and Mercy is there to terminate her contract –...

2026 is, according to the Chinese zodiac, the Year of the Fire Horse. In 19th-century London, however, there were real-life fire horses galloping through the city, hauling fire engines and firefighters to burning buildings. Peckham Road Fire Station opened in 1867 to accommodate them, and is the earliest surviving purpose-built fire station in London. Since 2014, though, it has been South London Gallery’s second site (following a 73-year stint as a sausage factory), and for the next few months, it and the gallery’s main building across the road are home to a series of twisted architectural works by Polish artist Monika Sosnowska. The building’s past feels relevant to the exhibition: Sosnowska has made a career probing how architecture shapes us, outlives its purpose and bears witness to a changing city. The Weight of Matter, her first solo show at a London institution in more than 20 years, brings together 14 years of her work across the SLG’s two sites. Her fascination with cities in flux stems from her own experience. Coming of age as Poland’s communist regime collapsed in 1989, Sosnowska watched Warsaw transform as one political and economic order gave way to another. That upheaval became raw material for her sculpture. Steel, concrete, rebar, staircases, handrails and gates – the functional stuff of modernist architecture – are bent, buckled and twisted into strange new forms. In the old engine room, a contorted heap of black steel sprawls across the floor At the Fire...

Tim Walker is a phenomenal fashion photographer. The 55-year-old has created iconic spread after iconic spread for the likes of British Vogue, i-D and Vanity Fair, and he’s shot famous faces including Tilda Swinton, Kate Moss and Harry Styles. Walker's surreal, Alice in Wonderland-inspired style is whimsical, always surprising, and somehow still cool. So then, why is the majority of this landmark show made up of boring celebrity portraits taken on plain grey backgrounds? The premise of Fairyland: Love and Legends is simple: a celebration of queerness comprising 250 portraits, all shot by Walker, of LGBTQ+ activists, artists, actors, singers and allies, taken across six years. Walker got the idea for the exhibition when he stumbled across the plaque commemorating the first gay rights demonstration in Britain while walking in Highbury Fields. A replica of this triangular plaque is displayed proudly at the entrance to the exhibition.  Some of it is subversive and exciting Fairyland opens with stronger works, in a room dedicated to gay rights campaigners of the ‘70s and ‘80s, all defiantly posing in portraits that mimic the style of Tudor painters Hans Holbein the Younger and Nicholas Hilliard. Olivette Cole-Wilson, a founding member of Stonewall, delicately holds a blackbird in jewellery-encrusted hands that are framed by a thick gilded frame. Musician and longtime supporter of the London Lesbian and Gay Switchboard Tom Robinson smirks at the camera, holding a kestrel and...