Welcome to London Art Walk!
London Art Walk brings you the latest happenings in the art world. We offer Guided Tours into art exhibitions hosted in galleries and museums, as well as visits to artists’ studios and art fairs. Our main hubs are London and São Paulo, Brazil, where we continue to deepen our focus and expertise, although our eyes and ears remain always tuned to the global art market.
Our Art Advisory projects are central to our work, providing bespoke guidance and curatorial expertise to collectors and institutions in both London and São Paulo. We help connect emerging and established artists with discerning audiences and support the building of meaningful, culturally rich art collections.
On our Editorials page, you’ll find thoughtful reviews written by our editors about exhibitions in São Paulo and London, offering firsthand insights and reflections on the art scenes in both cities. The Articles page features diverse topics related to the art world—covering various themes and trends that complement our broader mission.
In the What’s On section, we present curated selections of upcoming art events in London and São Paulo, ensuring you stay up to date with key exhibitions, openings, and cultural happenings in these vibrant markets.
Come walk with us!
Ibiza (Castilian), also known as Eivissa (Catalan), takes its name from Ibossim, as the Phoenicians called the island when they settled there around the 7th century BCE, naming it for Bes, god of the household, dance, and joy.
In recent weeks, two unrelated events in the art world have drawn attention to questions about the art market and the ways in which it operates.
Arte para Arte is a charity auction now in its fourth edition and this one ended with a new record: R$5.2 million raised, the highest total since the project began.
Lines that become signs, essential forms and colours of great intensity: Miró built a visual language as singular as it is immediately familiar.
Anish Kapoor’s aesthetic exploration of how objects inhabit, distort, and negate space is on full show at his Hayward Gallery exhibition, inviting visitors to immerse themselves in the ideas that have pre-occupied him for the past four decades.
As we do every semester, we’ve put together a selection of exhibitions and events planned for the second half of 2026 in São Paulo.
One of the exhibitions we visited during these opening days in Venice was Erwin Wurm’s major solo show at Museo Fortuny, the artist’s first monographic exhibition in Italy.
What I found most interesting was the way Wurm uses humour and absurdity to question sculpture itself. Everyday objects become distorted, inflated or strangely human, blurring the line between the ordinary and the surreal. Inside the historic rooms of Palazzo Fortuny, the exhibition constantly shifts between playfulness and critique, transforming familiar objects into reflections on contemporary life, excess and desire.
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May 10
It is Mother’s Day in many countries today, and we selected an image from Jenny Saville’s current exhibition in Venice that speaks powerfully to motherhood today.
In Aleppo (2017–18), Saville revisits the long tradition of Christian “Virgin and Child” imagery through a contemporary lens, echoing the compositions and emotional intensity of artists such as Leonardo da Vinci, Caravaggio, and Michelangelo. But rather than portraying idealized religious devotion, she turns her attention to the lived realities of motherhood today. The work reflects both the physical and emotional demands of raising children while sustaining a professional life, offering a raw and deeply human portrayal of maternal experience.
Instead of a sacred biblical scene, Saville presents a devastating contemporary image: a headless figure cradling the bodies of children killed in the Syrian conflict. By transforming familiar Christian iconography in this way, she creates a powerful meditation on grief, compassion, and collective responsibility. The work suggests that the empathy embodied by the Virgin Mary transcends religion, urging us all to confront the suffering and injustice behind the deaths of children everywhere.
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May 10
ALIGHIERO BOETTI
SMAC Venice
7 May — 22 November 2026
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May 10
There is something especially powerful happening at the Arsenale this year. Less spectacle for spectacle’s sake, and more works grounded in memory, spirituality, ancestry and collective repair.
Walking through the exhibition, I kept noticing how many artists are turning to craft, textile, clay, weaving, ritual and organic forms, not as nostalgia, but as a way of rebuilding meaning in a fractured world. Even the most political works often speak through softness, poetry and symbolism rather than confrontation.
Koyo Kouoh’s curatorial vision becomes clearer inside the space itself: a Biennale built through resonance instead of excess. One that asks for time, attention and emotional presence.
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May 7
Years ago, while writing about Adriana Varejão’s work and its relationship to Brazilian history, I kept returning to one idea: there’s no way of speaking about her practice without speaking about Brazil itself.
The colonial past, the Baroque, the violence hidden beneath surfaces, the construction of identity, the contradictions of cultural inheritance, all of this has always been there.
And seeing her work now, here in Venice, feels particularly powerful.
What strikes me most is how relevant these investigations still feel today. Long before decolonial discourse became central to the global art world, Varejão was already revisiting history from the perspective of rupture, scar, mixture and displacement.
The cracked azulejos, the exposed “flesh”, the tensions between beauty and violence, her works continue to operate between seduction and discomfort in a way that very few artists sustain over decades.
And perhaps that’s what makes this moment so meaningful: seeing an artist I’ve researched, written about and followed for years occupying this space with such strength and consistency.
Not only as a Brazilian artist in Venice, but as someone who helped shape how Brazilian contemporary art is understood internationally today.
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May 6
If there’s an artist made for Venice, it’s Jenny Saville. Her exuberant work has long been in dialogue with the Venetian masters, and seeing it at the Ca’ Pesaro, a grand baroque palazzo facing the Grand Canal, it’s like an encounter that was always meant to happen.
The exhibition presents 30 paintings and drawings, including some of her most seminal works of the past few decades. Venetian painting runs through all of the works in her handling of colour, in the dense, layered rendering of matter, in the way the paint itself seems to breathe.
Her most recent works turn to war and collective grief, drawing on news images from Aleppo and a series of Pietàs that transform specific suffering into something universal. Classical in composition, visceral in tone.
In the final room, we see new works created specifically for Venice: a love letter to painting, and to this city.
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May 5
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