Jagoda

“WHAT’S LEFT | WHAT’S GONE” curated by Lucia Jurikova @_luciajurikova_ & Jagoda Witkowska @__allora_ 🗓 Open: 30th January - 7th March 2026, Thursday – Sunday, 12 – 6pm 📍Hypha Gallery 3 / No. 1 Poultry, EC2R 8EN 💭 WHAT’S LEFT | WHAT’S GONE is a group exhibition that considers what materials retain and what slips away over time. Bringing together artists working through process and material experimentation, the exhibition approaches making as a way of thinking through memory, fiction, and lived experience. Across sculpture, ceramics, and installation, materials are treated as responsive—registering time, labour, and repetition through acts of handling and reworking. Memory emerges as fragmented and provisional, surfacing through objects and gestures rather than fixed narratives. Fiction functions as a means of engaging with what is remembered, distorted, or lost, opening space for ambiguity rather than resolution. 👤 Featured artists: Ewelina Bartkowska @clay_diwa @rochestersquareofficial Adele Williams @hackney_potter Catarina Moura @catarinamoura___ Emily Hana @emily.hana Charlotte Worthington @charlotworthington Barbara Beyer @beyer.ba Siw Thomas @mountainwomanpottery 🗓 Open: 30th January - 7th March 2026 Thursday – Sunday, 12 – 6pm Kindly supported by @cheapsideba Image Credit: Carlo Zambon @carlozambon #emergingartist #hyphastudios #contemporaryart

Congrats to the curators and artists that opened the 3 galleries in No. 1 Poultry last night! It was wonderful to see the spaces come to life again with artists and audiences. Supported by @cheapsideba 🙏 📍Hypha Galleries x No. 1 Poultry, London EC2R NOW OPEN - Running until 7th March 2026 💥Gallery 1 INTERNET CAFE curated by Juliet Wilson @julietmwilson Open: Wednesday - Saturday, 11am - 6pm, Sunday, 12 - 6pm 💭 Spanning contemporary painting, drawing, sculpture and installation, INTERNET CAFE invites us to reflect upon how new media has accelerated the disappearance of social and cultural customs associated with hand-held technology. 👤 Featured artists: Honey Baker, Lily Bloom, Naomi Boiko-Stapleton, Charlie Chesterman, Eva Dixon, Olivia England, Archie Fooks-Smith, Elliot Fox, Harry Freegard, Sam Keelan, Max King, Sam King, Yuming Lu, Judy Maxwell-McNicol, Nell Mitchell, Faye Rita Robinson, Georgia Semple 💥Gallery 2 What lasts doesn’t always hold shape curated by curated by Taylor Hall @___taylorhall & Rebecca Jak @r__jak Open: Thursday – Sunday, 12 – 6pm, and by appointment 💭 What lasts doesn’t always hold shape asks what it means to endure when change is the only constant. The artists respond directly to No. 1 Poultry by engaging with the physical and symbolic life of the stone that envelops the building’s façade. 👤 Featured artists: Marian Drew, Levent Ozruh, and Jobe Burns, Isabelle Razumovskaya 💥Gallery 3 WHAT’S LEFT | WHAT’S GONE curated by Lucia Jurikova @_luciajurikova_ &
Jagoda Witkowska @__allora_ Open: Thursday – Sunday, 12 – 6pm 💭 WHAT’S LEFT | WHAT’S GONE is a group exhibition that considers what materials retain and what slips away over time. Bringing together artists working through process and material experimentation, the exhibition approaches making as a way of thinking through memory, fiction, and lived experience. 👤 Featured artists: Ewelina Bartkowska, Adele Williams, Catarina Moura, Emily Hana, Charlotte Worthington, Barbara Beyer, Siw Thomas 📸 @carlozambon

📣 OPENING TODAY “WHAT’S LEFT | WHAT’S GONE” curated by Lucia Jurikova @_luciajurikova_ &�Jagoda Witkowska @__allora_ 🎟️ PV: Thursday, 29th January 2026, 6 - 9pm Please RSVP via Hypha Studios’ Eventbrite 📍Hypha Gallery 3 / No. 1 Poultry, EC2R 8EN 💭 WHAT’S LEFT | WHAT’S GONE is a group exhibition that considers what materials retain and what slips away over time. Bringing together artists working through process and material experimentation, the exhibition approaches making as a way of thinking through memory, fiction, and lived experience. Across sculpture, ceramics, and installation, materials are treated as responsive—registering time, labour, and repetition through acts of handling and reworking. Memory emerges as fragmented and provisional, surfacing through objects and gestures rather than fixed narratives. Fiction functions as a means of engaging with what is remembered, distorted, or lost, opening space for ambiguity rather than resolution. 👤 Featured artists: Ewelina Bartkowska @clay_diwa @rochestersquareofficial Adele Williams @hackney_potter Catarina Moura @catarinamoura___ Emily Hana @emily.hana Charlotte Worthington @charlotworthington Barbara Beyer @beyer.ba Siw Thomas @mountainwomanpottery 🗓 Open: 30th January - 7th March 2026, Thursday – Sunday, 12 – 6pm Kindly supported by @cheapsideba

📸 @a_klos

Last night we celebrated the opening of "Of Hands and Matter" — a stunning exhibition that brings together an exceptional group of makers, including our talented ceramic technicians and tutors. Curated by the brilliant Jagoda Witkowska (@_allora_ ) and Lucia Jurikova (@luciajurikova ), the show explores clay beyond form and function — each work bearing the trace of touch, experimentation, imperfection, and care. Moving beyond traditional views of ceramics, Of Hands and Matter reimagines clay as a language of process, relation, and transformation — where material becomes memory, emotion, and experience. Congratulations to all the exhibiting artists on this beautifully curated show. On view until 16 November Art Academy Gallery, Bankside Campus, 185 Park Street, London SE1 9BL Come by and experience the incredible work in person! @leannevieira @clay_diwa @vvceramics @ella_cairns @fintycahill @lisa_sjukur_ceramic @hackney_potter #ArtShow #ArtExhbition #ArtAcademy #Ceramics

Gardens welcome silence and repetition, making space for care and exclusion. And yet, despite the apparent tranquillity, they are never neutral. Every cultivated plot reflects a series of choices about what is allowed to grow, what is removed, and who is permitted to tend, linger, or belong. In conversation with Gabriella Hirst (@gabriellahirst ), we explored how gardens in her work emerge as charged, cultivated spaces where histories surface through cycles of care, extraction, and power. Growth is never merely organic. Acts of planting, pruning, naming, and preserving carry political intent. Read more in the article by @__allora_ in the second issue of our exclusive series MINDSCAPES 👉 click the link in our bio! ___ Przedsięwzięcie finansowane w ramach Krajowego Planu Odbudowy i Zwiększenia Odporności (KPO) ze środków Unii Europejskiej - NextGenerationEU w ramach inwestycji A2.5.1 "Program wspierania działalności podmiotów sektora kultury i przemysłów kreatywnych na rzecz stymulowania ich rozwoju". #KPOdlakultury #NextGenerationEU #FunduszeEuropejskie . Photos: (1) Gabriella Hirst, photo by Gary Grealy. Courtesy of the artist; (3) Gabriella Hirst, Body Garden for Ellipse and Ellipsis at the Nicoletta Fiorucci Foundation, London, 2025. Photo by Eva Herzog. Courtesy of the artist; (4) Gabriella Hirst, Battlefield at Kunsthalle Osnabrück, 2022-23, research drawing by Gabriella Hirst. Courtesy of the artist; (5) Gabriella Hirst, Rosa floribunda ‘Atom Bomb’. Courtesy of the artist.

My beautiful Horniman Gardens

In 1570, Andrea Palladio unveiled I Quattro Libri dell’Architettura, a four-volume treatise that distilled Renaissance ideals into architecture’s very blueprint: order, symmetry, permanence, and clarity of purpose. For Palladio, a house was a moral construct, a physical manifestation of rational design harmonised with cosmic order and social structure. His villas, raised on classical columns and bound by precise proportions articulated a way of life rooted in stability and hierarchy. Today, within the vast industrial shell of Tate Modern, Do Ho Suh presents an architecture of a wholly different kind. Thin, translucent polyester rooms emerge as delicate spaces woven from tangible traces of memory. Colourful threads pierce through the paper, quietly telling stories behind the façades. Walls of mulberry paper bear persistent graphite rubbings, a gesture intent on preserving the whispers embedded within elevations. The elusive experience of home, a space forever in motion and always partially elsewhere. These carefully chosen materials speak a language of impermanence and tactility, embodying the tension between fragility and resilience. They both reveal and conceal, capturing the fluid and shifting nature of home and belonging, a universal feeling that transcends language and geographies. @dohosuhstudio

Solo travel but make it dead French artist real estate tourism... Not to be dramatic, but I might be spiritually renting these places

The exhibition opening is now behind us, emotions have settled, and Duane and Tanya are (sadly) no longer in London. What stays with me is the memory of a deeply rewarding collaboration — their generosity in sharing knowledge, their patience, and the unwavering commitment they brought to every part of the process.Thank you

W czwartek razem z @newcurators wybraliśmy się do Whitworth Gallery w Manchesterze @whitworthart , żeby zobaczyć wystawę Małgorzaty Mirgi-Tas. Prace Gosi działają na mnie w wyjątkowy sposób. Nie opowiadają z dystansu — wciągają w samo centrum codzienności, relacji i opowieści utkanych z obrazów i tkanin. To codzienność, która jako Polce jest mi bliska, a jednocześnie bardzo odległa. W rytmie jej prac odnajduję wytrwałość i troskę o osobiste doświadczenia. Skupienie i czułość wobec historii swojej społeczności. Mirga-Tas nie ogranicza się do prostego odtwarzania narracji i opowieści. Przesuwa je z marginesu do centrum, z intymnością, uwagą i siłą formy wprowadza do przestrzeni publicznej na własnych warunkach. Najpiękniejszy przykład wizualnego storytellingu. Dziękuję @gosiamirga