Elegant, provocative and intellectually dressed to kill, Role Play reminds us that fashion reaches its highest form not when it sells clothes, but when it quietly dismantles certainty. The garments may change. The performance never ends.
art
Scandinavian fashion has spent years perfecting understatement. James Lazar Braathen gives it a pulse. Presented inside Oslo’s extraordinary Vigeland Museum, Cupid Carries a Gun trades predictable minimalism for sculptural glamour, sensual tailoring and the effortless confidence of a rock icon after midnight. Sophisticated, seductive and unmistakably Norwegian, this is the collection that reminds us true luxury never raises its voice—it simply commands the room.
In an age of second screens and algorithmic feeds, London-based critic, broadcaster and cultural curator Ashanti Omkar argues that the real crisis facing cinema is not access, but attention. Audiences have never had more films and series at their fingertips, yet the patience required to experience them fully is under pressure. Drawing on her work across BAFTA juries, festival stages and interviews with actors and filmmakers, Omkar makes the case for curiosity, deep listening and the human encounters that streaming platforms cannot replicate. In a city that remains both a major global media market and a home to enduring cultural institutions, she explores why British film culture — with its tradition of rigorous criticism, public-service values and live festival conversations — still offers a distinctive counterweight to the increasingly fragmented attention economy.
Frieze London 2026 has grown tired of the art world’s favourite slogans.
After years of panels on “resilience,” “impact” and “connection,” the fair returns to Regent’s Park with a quieter, more demanding proposition. At its centre sits Theo Triantafyllidis’s climbable spider sculpture — a multiplayer game in which the only way to succeed is to cooperate with strangers. In a market that has become expert at absorbing the appearance of radicalism, this edition asks whether a major commercial fair can still generate real friction. The language of culture has collapsed into polite noise. For five days in October, Frieze tests whether anyone is ready to notice.
THERAPEUTIC DENIM NYC
HE ESTABLISHED WWW.CACHOFALCON.COM AS A WAY TO SHOW HIS WORK AND MEANS TO CONTINUE GATHERING STORIES FROM OTHERS. FALCON DISCOVERED IT WAS MUCH EASIER FOR PEOPLE TO SHARE THEIR DARK EXPERIENCES WITH A STRANGER. HE RECEIVED MANY ANONYMOUS EMAILS FROM PEOPLE TELLING THEIR STORIES OF LOSS, HOPE, REGRET, AND LOVE, WHICH IN COMBINATION WITH HIS OWN PERSONAL STORIES, BECAME THE BASIS FOR A MASSIVE COLLECTION OF DRAWINGS AND PAINTINGS.
Arthur Sopin & Andreas Rod’s No, It Is Not; Not Always (DT500mag, London) is a sharp post-conceptual rupture disguised as an exhibition — where portraiture, performance, and moving image collapse into controlled instability. Born from a 150+ artist open call, it reframes eccentricity as structure, not exception, and turns identity into a flickering system rather than a fixed subject. Positioned between Venice Biennale discourse and post-internet fatigue, it doesn’t explain the contemporary condition — it destabilises it, elegantly and without apology.
” IS IT IMPORTANT TO BE A SEER? MAKE ONESELF A SEER? THE ARTIST BECOMES A SEER THROUGH A LONG, BOUNDLESS AND REASONED EXPLOSION OF ALL THE SENSES. ALL SHAPES OF LOVE SUFFERING AND ALL KINDS OF MADNESS. HE SEARCHES HIMSELF, HE EXHAUSTS ALL POISONS IN HIMSELF, TO PURE HIS UNIQUE QUINTESSENCES. A HEAVY TORTURE WHERE HE BECOMES AMONG ALL MEN THE GREAT PATIENT, THE GREAT CRIMINAL, THE GREAT ACCUSED ONE -AND THE SUPREME SCHOLAR! THUS HE REACHES THE UNKNOWN!… -THE ARTIST, A THIEF OF FIRE! “
CURATORIAL STATEMENT
Photography today is abundant, immediate, and largely forgettable. This exhibition begins from that condition, not in resistance to it, but in recognition of it: documentary image-making no longer delivers certainty — only negotiated versions of it.
NO, IT IS NOT; NOT, ALWAYS reframes contemporary photography as a space between witness and performance, sincerity and construction. Drawing on the emotional proximity of Nan Goldin, the formal control of Richard Avedon, the rigor of Robert Mapplethorpe, and the performative downtown sensibility associated with Maripol, the exhibition treats the photograph as an unstable encounter rather than a fixed record.
Here, the camera is not neutral. It participates, stages, distorts, and occasionally reveals in spite of itself. Identity appears as something performed under observation, never fully resolved.
Against a culture addicted to clarity, this work insists on ambiguity as a method. Documentary photography, in this reading, is not a failed truth — but a contemporary one.
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