NOVEMBER PLAYLIST
SP LIST: ART EXHIBITIONS & BOOKS
Juergen Teller, you are invited, at Onassis Ready, Athens
from October 19 to December 30, 2025
In a former plastics factory turned gallery and creative hub in Athens Agios Ioannis Rentis district, is Juergen Teller’s most expansive solo presentation in Greece to date. You’re invited, I’m invited, everyone’s invited, to see the photographer’s mid-career survey, spanning three decades of his career, blending iconic works with previously unseen material. Weaving together decades of Teller’s visual oeuvre, from self-portraits and still-lifes to a ‘90s pink-haired Kate Moss in bed, unreleased film, iPhone photographs of Iggy Pop and Charlotte Rampling to Pope Francis in a Venetian women’s prison in 2024 captured during the Venice Biennale. Curated in collaboration with his wife, Dovile Drizyte, the show also explores Teller’s reflections on fatherhood, love, spirituality and transformation. As you move between the polished concrete walls of the impressive new space, you move through Teller’s translations of his personal journey and the result is a powerful interplay of contrasting tones, tracing the intimate, emotive, provocative, unfiltered and humorous, through his ever-shifting creative approach,
“Set on the edge of the city, Onassis Ready is set to be a meeting place where stories simmer, boundaries blur and unexpected encounters emerge. Juergen Teller’s show will be more than an exhibition. It’s an invitation: to feel, to question, to belong.” — Afroditi Panagiotakou, Artistic Director of Onassis Foundation.
Left top Pope Francis in Venice, 2024, © Juergen Teller, All rights Reserved
Left bottom Nuts No.21, London, 2020, © Juergen Teller, All rights Reserved
Right Iggy Pop No.23, Miami, 2022, © Juergen Teller, All rights Reserved
Left Peter Saville, Ferragamo Autumn Winter 2024 campaign, Florence, 2024, © Juergen Teller, All rights Reserved
Right, from left to right: Dovile pregnant, London, 2023 ; Guten Morgen Sonnenschein No.5, 2025 ; The Path of Hope No.41, Italy 2025 ; Forest No.93, South Tyrol, 2020 ; all © Juergen Teller, All rights Reserved
Isabelle Albuquerque & Louise Bourgeois, The Wandering Womb, at Lumber Room, Portland
from October 11, 2025 to January 31st, 2026
This exhibition features Albuquerque’s sculptures and drawings from three separate body-centric works – the artist uses her own body to investigate female identity centred around the connection to desire, sexuality and embodiment. Bourgeois’ intimate, organic and rigid sculptures explore creativity, feminine power, repression, control and independence. Bringing both visionaries together, the show spans generations, tracing the body as a site of memory, transformation, and original invention. Inviting viewers into a cross-temporal exchange on feminine subjectivity, both artists engage shared themes of interiority, transformation and material intelligence, and the psychic terrain of questioning: what wanders through a body?
Left Isabelle Albuquerque, Lovers I, 2025, patinated bronze, courtesy of the artist ; Louise Bourgeois, Pregnant Woman, 2002, fabric on aluminum base with glass vitrine, courtesy of the Miller Meigs Collection ; exhibition view, courtesy of the lumber room, picture by Mario Gallucci
Right Isabelle Albuquerque, Mother and Child, 2025, stainless steel, courtesy of the artist, detail of exhibition view, courtesy of the lumber room, picture by Mario Gallucci
Left Isabelle Albuquerque, Orgy For Ten People In One Body: Two, 2020, plaster, beeswax, mattress, flame and Isabelle The Seeding, 2025, courtesy of the artist ; exhibition view, courtesy of the lumber room, picture by Mario Gallucci
Right Isabelle Albuquerque, Fallen Limb, 2023, bronze, cupric nitrate, pine, courtesy of the artist ; Louise Bourgeois, Prisons, 1945-47, oil on canvas, courtesy of the Miller Meigs Collection ; exhibition view, courtesy of the lumber room, picture by Mario Gallucci
Jack Pierson: The Miami Years, The Bass Museum of Art, Miami
from September 24, 2025 to August 16, 2026
Known for blurring the lines between fine art and pop culture in his photography, sculpture and installations, this exhibition traces Pierson’s first visit to Miami in the winter of 1984, which documents a period of both professional experimentation and personal discovery. Set among South Beach’s queer community, at a time where the city was a gritty, electrifying place where pastel-coloured Art Deco buildings rubbed shoulders with a burgeoning party and celebrity scene – it was a backdrop that both liberated and inspired Pierson’s practice with an undercurrent of wanderlust and escapism. He is an artist that came of age alongside contemporaries such as Nan Goldin and David Armstrong, chronicling queer life and bohemian culture in the late twentieth century.
© Jack Pierson, courtesy of the artist and Lisson Gallery
© Jack Pierson, courtesy of the artist and Lisson Gallery
Butoh by Tom Johnson at 1014 gallery, London
until November 28, 2025
Johnson’s mesmerising photographic journey into Japanese Butoh reveals performers as both otherworldly spirits and deeply human beings. In case you’re unfamiliar with Butoh, it’s a revolutionary dance form which emerged from post-war Japan, that transforms the human body into a vessel for primal expression. Butoh is characterised by slow and expressive dance moves, and straddles both beauty and horror, as Johnson’s lens follows these ghostly figures navigating between performance and reality, documenting moments both sublime and surprisingly mundane.
All pictures by Tom Johnson, from the book Butoh edited by Sixteen
Danny Fox, BIG LOVE BABY at Hannah Barry Gallery, London
from October 2nd to November 15
This is the first solo exhibition by Fox, featuring a mix of still life paintings, family and self-portraits, all installed sequentially in blush-coloured rooms inspired by his studio-home in Penzance, Cornwall. Transporting you into his world with sensitivity, tenderness and poignancy, the 31 new paintings trace real and familiar life events, with a sense of grace, composure and compassion. There will also be a sequence of imaginary interiors on display: staid and strange antique rooms, painted in cobalt, acid yellow and luminous green, with big mirrors decorated in ornamentation and pattern, high windows, fireplaces and furniture with stripped back brushwork to compose scenes of dream and fantasy for the here and now.
Peaches Alabama Ivy, © Danny Fox, courtesy of the artist and Hannah Barry Gallery, London, UK, picture by Damian Griffiths
I Don’t Like Dream Paintings But I Like You, © Danny Fox, courtesy of the artist and Hannah Barry Gallery, London, UK, picture by Damian Griffiths
Close Enough: Perspectives by Women Photographers of Magnum at C/O Berlin, in Berlin
from September 27, 2025 to January 28, 2026
This exhibition showcases the work of 12 of Magnum’s best female photographers, with its title inspired by a famous quote from the iconic photographic agency’s co-founder Robert Capa — “If your pictures aren’t good enough, you’re not close enough”.
Challenging his observation, the central thread running through the works is their investigation of the relationship between photographers and their motif.
Left Looking for tenderness, Beirut, Lebanon, 2018, by Myriam Boulos, Magnum Photos
Right Dragonflies catching mosquitoes, Yakutia, Russia, July 2021, by Nanna_Heitmann, Magnum Photos
All of Us Stars by Bobby Busnach, published by Reference Point
In 1974, as Andy Warhol and his Factory acolytes dominated the NYC art scene, a young, unknown photographer called Bobby Busnach began transforming a decaying Upper West Side apartment into an alternative Factory – a theatrical dreamscape capturing hundreds of photographs of his family of friends.
Shooting right up until 1980, Busnach used dramatic lighting, cinematic angles, and a mix of vintage and modern fashion, styling and posing his subjects for portraits which explored shifting personalities and identities. The images offered a window into a private world, where his home was seen as a queer, transgressive and transformative space of communion and celebration – a place where fierce friends, runaways and wannabe stars came together to play out their fantasies of fame and identity, through photography and performance.
Top, from left to right: Gerry © Estate of Bobby Busnach, 2025 ; Gerry © Estate of Bobby Busnach, 2025 ; Fayja and Gerry © Estate of Bobby Busnach, 2025
Bottom, from left to right: Andrea and Arisa © Estate of Bobby Busnach, 2025 ; Nelson © Estate of Bobby Busnach, 2025 ; Gerry © Estate of Bobby Busnach, 2025
Top, from left to right: Gerry © Estate of Bobby Busnach, 2025 ; Andrea, Gerry and Arisa © Estate of Bobby Busnach, 2025 ; Gerry © Estate of Bobby Busnach, 2025
Bottom, from left to right: Gerry © Estate of Bobby Busnach, 2025 ; Gerry © Estate of Bobby Busnach, 2025 ; Gerry and Chuckie © Estate of Bobby Busnach, 2025
Annie Lennox, Retrospective, published by Rizzoli
Vocalist, songwriter, musician, campaigner and all-round powerhouse, Annie Lennox, is captured in this stunning new book, which includes over two hundred images and memories of the music icon.
Having blurred and flirted with sexual boundaries and gender stereotypes in her dress and in the way she held herself, her experimental and unique style brought a new energy and diversity to the pop scene. This retrospective, made in collaboration with Lennox herself, moves chronologically through the entirety of her life and career—from the early 1970s when she first met Dave Stewart following through with Eurythmics in the 80s, and then as a solo artist starting in the 90s and onwards. Extracts of her lyrics accompany the photographs throughout. Engrossing captions and personal anecdotes shine light on periods of her life, to tell the stories behind the pictures.
All pictures of Annie Lennox, from the book Retrospective
Lisa Brice, Keep Your Powder Dry, Sadie Coles HQ, London
until 20 December 2025
Marking the opening exhibition of Coles’ grand new townhouse gallery space on Savile Row, South African artist Lisa Brice’s new works are like coming across a gang of buxom broads, with fags hanging out their mouths and a whole lot of f**k you ‘tude! Known for her depictions of feminine actors in interior spaces and working environments, the characters in this show are powerful, assertive, and proactive, championing the willing and triumph of the underdog… along with some moody, hissing cats you wouldn’t want to mess with either. She reflects on the erosion of safety in the current socio-political climate and gives an emboldened and defensive response, in a palette of sobering tones of black, red, brown and grey, in a departure from the vibrancy of her earlier works. Her inspiration is drawn from images of violence depicted in art history from Gentileschi and Caravaggio to Manet and Magritte, and Honor Blackman’s 1965 Book of Self Defence.
Arranged in three distinct groups sequentially in the spaces of the building using a repeated viewpoint to form an architectural horizon across the paintings, Brice’s audience is offered a parade of dynamic empowerment.
Left Untitled, 2025, pigment and natural water soluble binders on linen, © Lisa Brice. Courtesy the Artist and Sadie Coles HQ, London. picture by Katie Morrison
Right Untitled, 2025, watercolour and Flashe on Claybord, © Lisa Brice. Courtesy the Artist and Sadie Coles HQ, London. picture by Katie Morrison
1985 by Jamie Morgan, published by IDEA
If like me you were super young and in love with model Nick Kamen after he starred in Levi’s famous 1985 launderette advert – you’ll also remember it was the year that changed and rewrote the rules of style and culture forever, when along came the ‘Buffalo’ look. Masterminded by stylist Ray Petri and photographer Jamie drawing from what they saw on the streets and in the nightclubs, they had a post-punk DIY approach to fashion and were radical in their adoption of sportswear and use of non-white models.
They often took to the streets to find models for their shoots, one of whom was a pre-fame, Naomi Campbell.
Their black-and-white photographic aesthetic with a cinematic feel, tested the limits of fashion imagery, reflecting the culture and creativity of London at the time, predominantly shaped through fashion magazines including The Face, including images of a then-unknown Kate Moss, Neneh Cherry, Alice Temple and Simon de Montfort among others.
Now, for the first time, a striking new book brings together Morgan’s photographs captured under the Buffalo flag in that era-defining year. Iconic shots sit alongside never-before-seen pics and original contact sheets, and in our current moment of cultural recycling, these images remind us of what authentic rebellion looks like.
Left Felix Killer by Jamie Morgan
Right Kate Moss by Jamie Morgan
Kids in car by Jamie Morgan
Sound & Vision 2025, Iconic Images Gallery, London
from November 4-8, 2025
When Kate Bush asked 52 leading British artists to respond to her iconic lyric, “If I only could, I’d make a deal with God” to raise money for children caught up in global conflicts… art and music came together to answer her call.
Taken from her 1985 anthem, Running Up That Hill, which celebrates its 40th anniversary this year, and inspired a new gen of fans when it featured in the fourth season of the cult US TV series Stranger Things – the lyric has been visually interpreted by artists including Maggi Hambling, Peter Doig, Unskilled Worker aka Helen Dowdie and Corbin Shaw (who I interviewed for Issue 7 of Shadowplay Magazine), and others, including Hannah Lim, Kate McCrickard, Erin Lawlor, Gill Button, Adam Dix, David Harrison, Gideon Rubin and Boo Saville.
The works are in aid of War Child for the fundraiser Sound & Vision, (named after David Bowie’s 1977 hit), and will appear in an online auction from 28 October to 13 November (still time as you read this to snap up your own part of pop culture history).
You can also see the works in an exhibition at Iconic Images Gallery in London, but be quick, it ends on 8 November.
Left Nick Grindrod, Army Dreamers (Reverse), Gered Mankowitz / Iconic Images
Right top David Harrison, I’d Make A Deal With God (Reverse), Gered Mankowitz / Iconic Images
Right bottom Ben Walker, A Rhythmic Backing For The Fool’s Gymnast II, Gered Mankowitz / Iconic Images
Left Claire Partington, Untitled (Apple), Gered Mankowitz / Iconic Images
Right top Adam Dix, Light At The End Of The Tunnel, Gered Mankowitz / Iconic Images
Right bottom Elsa Rouy, Untitled, Gered Mankowitz / Iconic Images
Diane Arbus, Sanctum Sanctorum, at David Zwirner, London
from November 6 to December 20, 2025
In this exhibition of forty-five photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971, Arbus illuminates her singular ability to enter private worlds and her desire to know people, embracing a vast spectrum of humanity. Her subjects include debutantes, nudists, celebrities, aspiring celebrities, socialites, transvestites, babies, widows, circus performers, lovers, female impersonators, and a blind couple in their bedroom. The exhibition brings together little-known works, such as Girl sitting in bed with her boyfriend, N.Y.C. 1966; Ozzie and Harriet Nelson on their bed, Los Angeles 1970; and Interior decorator at the nudist camp in his trailer, New Jersey 1963, alongside celebrated images like ¨Mexican dwarf in his hotel room, N.Y.C. 1970* and A naked man being a woman, N.Y.C. 1968.
Female impersonator on bed, N.Y.C. 1961, © The Estate of Diane Arbus
Tilda Swinton – Ongoing, published by Rizzoli and Hannibal Books
As part of the exhibition, Ongoing, at Eye Filmmuseum (which we announced in our May PLAYLIST), an accompanying monograph has also been released, which invites you into the avant-garde world of Tilda Swinton, tracing the icon's early evolution and extraordinary career.
Across the pages, the Oscar-winning actor's transformative roles are celebrated, through her fearless approach to performance including early film work with former mentor Derek Jarman and director Joanna Hogg, to later projects with Luca Guadagnino, Jim Jarmusch, Bong Joon Ho, and Pedro Almodóvar.
As a fashion muse her daring photography collaborations with Olivier Saillard, Jerry Stafford, Peter Lindbergh and Tim Walker are cinematic and striking in style, capturing Swinton's unique and otherworldly presence. Weaving together film stills and previously unpublished photography from short and feature-length films, along with texts by Olivia Laing and Rajendra Roy, and messages and conversations exchanged in her close creative partnerships, this intimate archive shows that friendship has always been the true starting ground for Swinton's art.
Left top Tilda Swinton on the set of Caprice (dir. Joanna Hogg). Photo: Ari Ashley, 1986 © Joanna Hogg, Ari Ashley
Left bottom Still from Derek Jarman’s Super8 recording of a bluebell field, 1990 © Derek Jarman, James Mackay
Right Tilda Swinton Cover
Left Tilda Swinton photographed by Casper Sejersen © Casper Sejersen
Right top Tilda Swinton photographed by Daniel Riera for Candy Magazine, September 2024 © Daniel Riera, Candy Magazine
Right bottom Tilda Swinton on the set of Orlando (dir. Sally Potter). Photo: Jacqueline Lucas Palmer, 1992 © Jacqueline Lucas Palmer
Zofia Rydet: Sociological Record, The Photographers’ Gallery, London
from October 10,2025 to February 22, 2026
Being of Polish descent via my Grandparents, I’m all for championing the country’s vibrant creative culture, both past and present. So, naturally I’m all for this deep dive into the work of Polish photographer Zofia Rydet. In 1987, she set out on a mission to capture the lives of her countrypeople up close, knocking on the doors of families in the hopes they would let her in. The project – titled Sociological Record – continued up to her death in 1997, and what remains is an intimate portrait of domesticity in her home nation. Although nearly 20,000 negatives were taken, just a fraction of them were printed in Rydet’s lifetime, and you can view 100 of those, alongside a selection of books and personal letters in this beautifully poignant and nostalgic exhibition.
All pictures from Sociological Record © Zofia Rydet, courtesy of the Zofia Rydet Foundation
Text by Kate Lawson