{"id":1690732,"date":"2026-01-30T11:32:00","date_gmt":"2026-01-30T08:32:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1690732"},"modified":"2026-01-30T11:32:00","modified_gmt":"2026-01-30T08:32:00","slug":"art-shows-to-leave-the-house-for-in-february-2026","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1690732","title":{"rendered":"Art shows to leave the house for in February 2026"},"content":{"rendered":"<article class=\"main-article standard \">\n<div class=\"article-main-content article-wrapper has-media-but-its-an-image\" data-status=\"loaded\" data-primary-article=\"true\" data-url=\"\/art-photography\/article\/69510\/1\/art-shows-leave-the-house-february-2026-london-new-york-berlin\" data-article-id=\"69510\">\n<header class=\"article-header has-landscape-image no-media\">\n<div class=\"wrapper dg-max-width\">\n<div class=\"inner\">\n<figure class=\"main-img has-figcaption\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.33\" data-template=\"Standard Article\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"82609_Lynch\" class=\"img\" height=\"1054\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433961-1.jpeg\" width=\"1398\" title=\"1433961-1\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"inner\"><span class=\"credit\">\u00a9 The David Lynch Estate , courtesy <span class=\"nowrap\">Pace Gallery<\/span><\/span><\/span><\/figcaption><\/figure>\n<aside class=\"meta\">\n<div class=\"inner\"><time datetime=\"2026-01-30T11:32:00+00:00\" class=\"timestamp\" title=\"30 January 2026\"><span class=\"month\">January<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"30\">30,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/div>\n<\/aside>\n<div class=\"titles\">\n<div class=\"tags\">\n<div class=\"sections\"><a class=\"category vertical - art-photography\" href=\"https:\/\/www.dazeddigital.com\/art-photography\">Art &amp; Photography<\/a><br \/>\n\/<br \/>\n<a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/lists\">Lists<\/a><\/div>\n<\/div>\n<div class=\"standard-tag-container\"><a class=\"standard-category\" href=\"https:\/\/www.dazeddigital.com\/art-photography\">Art &amp; Photography<\/a> \/<br \/>\n<a class=\"standard-series\" href=\"https:\/\/www.dazeddigital.com\/lists\">Lists<\/a><\/div>\n<h1 class=\"title\"><span>Art shows to leave the house for in <span class=\"nowrap\">February 2026<\/span><\/span><\/h1>\n<div class=\"standfirst\">\n<h2>Photo book speed dating, an exploration of how identity is constructed in the US, and a delve into artists\u2019 <span class=\"nowrap\">experimental \u2018outtakes\u2019<\/span><\/h2>\n<\/div>\n<p><time datetime=\"2026-01-30T11:32:00+00:00\" class=\"timestamp\" title=\"30 January 2026\"><span class=\"month\">January<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"30\">30,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/div>\n<\/div>\n<p><time datetime=\"2026-01-30T11:32:00+00:00\" class=\"timestamp\" title=\"30 January 2026\"><span class=\"month\">January<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"30\">30,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/p>\n<div class=\"providers\">\n<div class=\"contributors\"><span class=\"contributor\" data-contributor-role=\"Text\"><span class=\"contributor-role\">Text<\/span><a class=\"contributor-name\" href=\"https:\/\/www.dazeddigital.com\/user\/AshleighKane\">Ashleigh Kane<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/header>\n<div class=\"article-body-container\">\n<div class=\"article-body wrapper\">\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>February\u2019s shows raise questions of power, memory, labour, image-making, and who gets to be seen. Moving between archive and absence, spectacle and refusal, we see fashion stripped of performance, photography untethered from truth, monuments pulled from their pedestals, bedrooms relocated into galleries, and bus shelters repurposed as sites of intimacy. But there\u2019s also a shared impatience with nostalgia, with perfection, and with accepting easy narratives. Instead, these shows sit in the mess of bodies under pressure, images that leave a residue, and histories that won\u2019t stay quiet. Until next month!<\/span><\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<h1><em>AMERICAN BACCHANAL<\/em>, LONDON, UK<\/h1>\n<p><span>Curated by Mavourneen Dooley,<\/span><em><span> American Bacchanal<\/span><\/em><span> treats US identity as something to be sweetened, staged, and consumed. Taking cues from Roman bacchanalia, the group show \u2013 including Dooley, Jordan Kelly, Juliet Cook, Paige Miller, Zakkiyyah Najeebah, Ester Freider, Mickey Demas, and Isaac Harris \u2013 leans into excess to probe decadence, imperial appetite, and the soft-focus nostalgia that props it all up. Sugar, steel, dolls, and flags recur throughout as loaded materials, exposing how violence is often disguised as innocence. On 13 February, the exhibition tips into full revelry with a live bacchanal fundraiser with performances, readings, and music. Proceeds will go to the National Immigrant Justice Center, which is doing important work in the face of all the atrocities being committed by ICE by giving immigrants much-needed access to legal representation.<\/span><\/p>\n<p><em><span>American Bacchanal runs 12\u201314 February 2026, 162 Holloway Road, London, UK<\/span><\/em><\/p>\n<h1><em>HELMUT LANG: S\u00c9ANCE DE TRAVAIL 1986\u20132005, <\/em>VIENNA, AUSTRIA<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Drawing from the MAK\u2019s Helmut Lang Archive, <\/span><em><span>S\u00e9ance de Travail <\/span><\/em><span>tracks how the designer reprogrammed fashion between 1986 and 2005 \u2013 stripping it of spectacle and rebuilding it as a system of ideas. Presented as a mixed-media installation rather than a runway replay, the exhibition follows Lang\u2019s thinking across identity, space, media, collaboration, and backstage process. Clothes sit alongside images, interventions, and architectures, revealing fashion as a method as opposed to a product. Cool without irony, rigorous without nostalgia, it\u2019s a reminder of how much contemporary visual culture still borrows from Lang\u2019s refusal to perform.<\/span><\/p>\n<p><a href=\"https:\/\/www.mak.at\/exhibition\/helmutlang\"><em><span>S\u00e9ance de Travail 1986\u20132005<\/span><\/em><\/a><em><span> runs 10 December 2025 \u2013 3 May 2026 at the MAK \u2013 Museum of Applied Arts, Vienna, Austria\u00a0<\/span><\/em><\/p>\n<h1><em>DAVID LYNCH<\/em> AT PACE GALLERY<\/h1>\n<\/div>\n<div class=\"dazed-gallery has-9-images \">\n<div class=\"inner\">\n<header>\n<div class=\"info\"><span class=\"heading\">David Lynch<\/span><\/div>\n<\/header>\n<div class=\"gallery\">\n<div class=\"gallery-thumbs\">\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/gallery\/36532\/0\/david-lynch\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"97317_Lynch\" class=\"img\" height=\"2000\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433964.jpeg\" width=\"3000\" title=\"1433964\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/gallery\/36532\/1\/david-lynch\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"82577_Lynch\" class=\"img\" height=\"1498\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433958.jpeg\" width=\"2247\" title=\"1433958\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/gallery\/36532\/2\/david-lynch\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"97643_Lynch\" class=\"img\" height=\"1268\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433966.jpeg\" width=\"1902\" title=\"1433966\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/gallery\/36532\/3\/david-lynch\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"82597_Lynch-crop\" class=\"img\" height=\"658\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433959.jpeg\" width=\"988\" title=\"1433959\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/gallery\/36532\/4\/david-lynch\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"82604_Lynch\" class=\"img\" height=\"648\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433960.jpeg\" width=\"972\" title=\"1433960\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/gallery\/36532\/5\/david-lynch\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"82609_Lynch\" class=\"img\" height=\"932\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433961-2.jpeg\" width=\"1398\" title=\"1433961-2\"><\/span><\/span><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"gallery-footer\">Gallery \/ 9 images<\/div>\n<\/div>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Stripping David Lynch back to his first love: the image as material problem. Bringing together paintings, drawings, sculptures, photographs, and early short films, the show foregrounds the uneasy logic that runs beneath Lynch\u2019s entire practice. Smokestacks, lamps, bodies, and text hover between narrative and abstraction, charged with a mood that can only be his. Lynch\u2019s Berlin factory photographs from 1999 anchor the exhibition in place, tracing his attraction to decay, industry, and latent menace. On the heels of the one-year anniversary of the legend\u2019s passing, it\u2019s a must-see pilgrimage to pay your respects.<\/span><\/p>\n<p><em><span>David Lynch runs 29 January \u2013 29 March 2026, at Pace Gallery Berlin, Germany<\/span><\/em><\/p>\n<h1><em>MING SMITH: JAZZ REQUIEM \u2013 NOTATIONS IN BLUE<\/em><\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Tracing the legend that is Ming Smith\u2019s early years as an artist moving between the US and Europe in the 1970s and 80s, <\/span><em><span>Jazz Requiem<\/span><\/em><span> features works many printed for the first time. The exhibition foregrounds Smith\u2019s intuitive, jazz-inflected approach to photography, where blur, motion, and abstraction resist fixed narratives of Black life. Shaped by travel, music and dance, her images slip between visibility and disappearance, refusing photography\u2019s demand for clarity or proof.<\/span><\/p>\n<p><a href=\"https:\/\/www.portlandmuseum.org\/magazine\/ming-smith-jazz-requiem-notations-in-blue-exhibit\"><em><span>Jazz Requiem<\/span><\/em><\/a><em><span> runs 6 February \u2013 7 June 2026 at the Portland Museum of Art, Maine, USA<\/span><\/em><\/p>\n<h1><em>ON THE FLIP SIDE<\/em>, NYC, CHICAGO, BOSTON<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><em><span>On the Flip Side<\/span><\/em><span> turns the city into a gallery, hijacking JCDecaux bus shelters to showcase fine art photography where ads usually live. Featuring a stellar line-up of Kennedi Carter, Loug\u00e8 Delcy, Camila Falquez, Ruby Okoro, Dana Scruggs and Juan Veloz, the exhibition brings intimate, personal work into the public realm through spaces usually reserved for advertising.\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/www.publicartfund.org\/exhibitions\/view\/on-the-flip-side\/\"><em><span>On the Flip Side<\/span><\/em><\/a><em><span> runs 4 February \u2013 5 April 2026 across New York City, Chicago, and Boston, USA<\/span><\/em><\/p>\n<h1><em>BOUCHRA KHALILI: CIRCLES AND STORYTELLERS<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>In <\/span><em><span>Circles and Storytellers<\/span><\/em><span>, Bouchra Khalili turns theatre into a rehearsal space for alternative civic life. Her first UK public solo exhibition revisits the radical legacy of the Mouvement des Travailleurs Arabes and its theatre collectives Al Assifa and Al Halaka, active in 1970s France. Through film and installation, Khalili focuses on the overlooked 1974 presidential run of Djelalli Kamal, a \u201ccandidate of those who cannot vote\u201d. Circular formations structure both the works and the gallery, proposing storytelling as a political technology.<\/span><\/p>\n<p><a href=\"https:\/\/mosaicrooms.org\/exhibitions-2026#bouchra-khalili-1\"><em><span>Circles and Storytellers<\/span><\/em><\/a><em><span> runs 18 February \u2013 14 June 2026 at Mosaic Rooms, London, UK<\/span><\/em><\/p>\n<h1>AKINOLA DAVIES JR., <em>MY FATHER\u2019S SHADOW<\/em> + LIVE SCORE, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>A single day, a city on edge, and a family trying to hold together, <\/span><em><span>My Father\u2019s Shadow<\/span><\/em><span> \u2013 the debut feature by Akinola Davies Jr. \u2013 lands at Tate Modern for a live-scored screening, just in time for the film\u2019s much-anticipated UK release. Set during Nigeria\u2019s 1993 election crisis, the semi-autobiographical film follows a father and his two sons moving through Lagos as unrest closes in. The original score will be performed live by Duval Timothy and collaborators.<\/span><\/p>\n<p><a href=\"https:\/\/www.tate.org.uk\/whats-on\/tate-modern\/my-fathers-shadow--live-score\"><em><span>My Father\u2019s Shadow + Live Score<\/span><\/em><\/a><em><span> screens 7 February 2026, 19:00\u201321:00 at Tate Modern, London, UK<\/span><\/em><\/p>\n<h1><em>KARIMAH ASHADU: TENDERED<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>For the artist\u2019s first UK institutional solo, <\/span><em><span>Tendered<\/span><\/em><span> brings together three films that sit inside labour, masculinity, and performance. From the Makoko abattoir (<\/span><em><span>King of Boys<\/span><\/em><span>) to a lone horseman (<\/span><em><span>Cowboy<\/span><\/em><span>), Ashadu films work as something bodily, durational, and shaped by place. A new commission <\/span><em><span>MUSCLE<\/span><\/em><span> turns its gaze on Lagos bodybuilders, tracing patriarchy, aspiration, and survival at close range. Ashadu\u2019s strength lies in restraint, letting gesture, rhythm, and environment do the work here.<\/span><\/p>\n<p><a href=\"https:\/\/camdenartcentre.org\/whats-on\/tendered\"><em><span>Tendered<\/span><\/em><\/a><em><span> runs 10 Oct 2025 \u2013 22 Mar 2026 at Camden Art Centre, London, UK<\/span><\/em><\/p>\n<h1><em>B-SIDES<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><em><span>b-sides<\/span><\/em><span> is a group show devoted to the work that usually stays off-record. Organised by Hannah Perry, it brings together studio pieces made between projects, outside deadlines, and art markets. With artists including Jesse Darling, Mark Leckey, Tai Shani, Hannah Perry and Jenkin Van Zyl, the works on show are described as \u201c<\/span><span>made between projects, alongside exhibitions, are the outlaws of the studio\u201d. With the intention of being more experimental, unresolved, or searching than what we might be used to seeing from each.<\/span><\/p>\n<p><em><span>b-sides runs 24 January \u2013 27 February 2026 at Calcio, London, UK<\/span><\/em><\/p>\n<h1><em>GUANYU XU: I DREAMT OF THIS AND THERE WILL BE MORE<\/em>, SAN FRANCISCO<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>A regular on this list, in photographer Guanyu Xu\u2019s <\/span><em><span>I dreamt of this and there will be more<\/span><\/em><span>,\u00a0 borders, homes, windows and paperwork become quiet instruments of control, shaping how queer and migrant bodies learn where they can \u2013 and can\u2019t \u2013 exist. Collage and photographic fragments slide between public and private, fantasy and administration to expose a condition of managed freedom where identity and intimacy are constantly renegotiated.\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/minnesotastreetproject.com\/exhibitions\/1275-minnesota-st\/guanyu-xu-i-dreamt-and-there-will-be-more\"><em><span>I dreamt of this and there will be more<\/span><\/em><\/a><em><span> runs 10 January \u2013 28 February 2026 at re.riddle, Minnesota Street Project, San Francisco, USA<\/span><\/em><\/p>\n<h1><em>KALPESH LATHIGRA: THE LIVES WE DREAM IN PASSING<\/em>, MUMBAI, INDIA<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>London-based Kalpesh Lathigra brings his quietly searching photographic practice back to India for his first solo exhibition there. Spanning three interlinked bodies of work, the exhibition moves between Mumbai\u2019s streets, found studio portraits from Gujarat, and the interior spaces of Junagadh hotels \u2013 places where memory, migration and inheritance overlap. Working between documentary and fiction, Lathigra resists neat ideas of home, nostalgia or belonging. Instead, photographs drift, repeat, and reappear, carrying the weight of family history while alert to distance, dislocation, and the impossibility of return.<\/span><\/p>\n<p><em><span>The Lives We Dream in Passing runs 12 February \u2013 3 March 2026 at NCPA Photography Gallery, Mumbai, India<\/span><\/em><\/p>\n<h1>JOSH ARONSON, <em>PHOTOBOOK SPEED DATE<\/em>, SAN FRANCISCO<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span><em>Photobook Speed Date<\/em> flips the awkwardness of networking into something genuinely worth leaving the house for. Devised by Miami-based artist Josh Aronson, the format borrows from speed dating, but instead, participants bring a photo book or art book and rotate through short, timed conversations. Here, the photo book isn\u2019t simply a commodity or status object; it\u2019s a social tool to meet new people over shared interests.<\/span><\/p>\n<p><a href=\"https:\/\/www.sfmoma.org\/event\/photobook-speed-date-with-josh-aronson\/\"><em><span>Photobook Speed Date<\/span><\/em><\/a><em><span> takes place on 12 February 2026 at SF MoMA, San Francisco, USA<\/span><\/em><\/p>\n<h1><em>LAISUL HOQUE: THE GROUND BENEATH ME<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Laisul Hoque relocates his bedroom into the gallery, built to the exact footprint of the original; the room becomes a holding space for a year spent moving between London and Dhaka, amid political unrest and a father\u2019s failing health. Here, its absence that does most of the work: the unmade bed, a lampshade shaped like Bangladesh\u2019s parliament, boarding passes drawn over with fragments of memory. Part installation, part archive, part confession, <\/span><em><span>The Ground Beneath Me<\/span><\/em><span> treats domestic space as a pressure point where grief, migration and politics coalesce.<\/span><\/p>\n<p><a href=\"https:\/\/bowarts.org\/nunnery-gallery\/\"><em><span>The Ground Beneath Me<\/span><\/em><\/a><em><span> runs 6 February \u2013 12 April 2026 at The Nunnery Gallery London, UK<\/span><\/em><\/p>\n<h1><em>CHRIS GLICKMAN: THE LAST AMERICAN PASTORAL<\/em>, LONDON<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>An exhibition of new works by Chris Glickman dissects how American identity is rehearsed, staged, and endlessly re-performed. Drawing on photo-conceptualism and the visual afterlife of the Classical Western canon, the images move from civic architecture to artists\u2019 colonies and curated nostalgia, tracing the myths that prop up empire long after belief in it has thinned. It\u2019s sharp, funny, and uncomfortable by design, treating spectacle as both subject and symptom. An exhibition of the works will be shown at (lab)oratory, a new space by photographer Jordan Hemingway and Purple Martin Studio. While the book launch will take place at the beloved Reference Point.<\/span><\/p>\n<p><em><span>The Last American Pastoral (exhibition) runs 13 February 2026, Ezra Street, London, UK. The book launch takes place on 6 February at Reference Point, London, UK<\/span><\/em><\/p>\n<h1><em>EMPIRE<\/em>, NEW YORK CITY, USA<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Curated by Jed Moch, <\/span><em><span>Empire<\/span><\/em><span> looks at what power leaves behind when its centre slips away.\u00a0 The exhibition threads together works by Sarah Charlesworth, Richard Prince, Sam Lipp, Nicholas Sullivan and Valentina Vaccarella to probe how images circulate, settle, and linger. Drawing a line from the Pictures Generation to now, appropriation becomes a tool for exposing the seams in mass media, identity and control.\u00a0<\/span><\/p>\n<p><em><span>Empire runs 23 January \u2013 28 February 2025 at Anonymous Gallery, New York City, USA<\/span><\/em><\/p>\n<h1><em>ASAMOTO: GRILLED DIAGRAMS<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Aki Sasamoto\u2019s first UK institutional solo turns cooking into choreography and systems into hazards. The site-specific exhibition centres on a custom-built, oversized griddle \u2013 part sculpture environment, part performance set \u2013 activated through live performances where ingredients are turned into temporary compositions, and Sasamoto continues her exploration of the poetics of everyday actions. Drawing from street food carts and televised kitchens, here, any attempt at control is immediately undermined.\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/studiovoltaire.org\/whats-on\/aki-sasamoto-grilled-diagrams\/\"><em><span>Grilled Diagrams<\/span><\/em><\/a><em><span> runs 4 February \u2013 19 April 2026 at Studio Voltaire, London, UK<\/span><\/em><\/p>\n<h1><em>ANG\u00c9LIQUE HEIDLER: ANGER ABBEY<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Anger Abbey<\/span><span>\u00a0brings together sculpture, printmaking, painting, and Paris-based artist Ang\u00e9lique Heidler\u2019s first short story in her most expansive exhibition to date. Anchored by her largest painting so far, the show unfolds across image, object, and text.<\/span><\/p>\n<p>Anger Abbey <em>runs 30 January \u2013 27 February 2026 at Dorp Projects, London, UK<\/em><\/p>\n<\/div>\n<div id=\"newsletter-inline-last\">\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<footer class=\"article-footer\">\n<div class=\"wrapper\">\n<div class=\"article-series\">\n<h4 class=\"heading\">More on these topics<\/h4>\n<\/div>\n<div class=\"article-series\"><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/art-photography\">Art &amp; Photography<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/lists\">Lists<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/tag\/david-lynch\">David Lynch<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/tag\/akinola-davies\">Akinola Davies<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/tag\/exhibitions\">Exhibitions<\/a><\/div>\n<\/div>\n<\/footer>\n<div class=\"grid\">\n<div class=\"lava-lamp\">\n<div class=\"lava-lamp-text-container\">\n<h3 class=\"lava-lamp-subheading\">Expand your creative community and connect with 15,000 creatives from around the world.<\/h3>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"grid section-header\">\n<div class=\"section-header__link\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69510\/1\/art-photography\"><\/p>\n<h2 class=\"section-header__title\">READ MORE<\/h2>\n<p><\/a><\/div>\n<\/div>\n<div class=\"grid tag-article-list\">\n<div class=\"swiper swiper-latest\">\n<div class=\"swiper-wrapper\">\n<div class=\"swiper-slide list-element\">\n<div class=\"scard-latest__section\">\n<div class=\"card-latest__wrapper\"><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69507\/1\/dazed-club-artists-zines-emerging-creatives-los-angeles-new-york-london\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Untitled_001\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1435751.png\" title=\"1435751\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">Dazed Club artists and zine-makers for your radar<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69500\/1\/pierre-huyghe-uncanny-epic-liminals-berghain-entry-point-alternate-realities-las\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Pierre Huyghe, Liminals (2026) at Halle am Berghain\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1435553.jpg\" title=\"1435553\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">Pierre Huyghe\u2019s uncanny epic offers an entry point to alternate realities<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/projects\/article\/69487\/1\/airport-aesthetics-and-the-timeless-appeal-of-the-rimowa-case\"><\/p>\n<div class=\"card-latest__img-wrapper\">\n<p class=\"optional-paragraph\"> RIMOWA<\/p>\n<p><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"04_MASTER_04_CLASSIC_TITANIUM_392_FINAL_LR\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1435590-1.jpg\" title=\"1435590-1\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">Airport aesthetics and the timeless appeal of the RIMOWA case<\/h3>\n<\/div>\n<p><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"swiper-slide list-element\">\n<div class=\"scard-latest__section\">\n<div class=\"card-latest__wrapper\"><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69484\/1\/most-loved-photo-stories-january-2026-nan-goldin-love-dolls-kink-club-tokyo\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"1434277-1 copy\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1435308.jpg\" title=\"1435308\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">The most loved photo stories from January 2026<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69468\/1\/photos-lucia-maya-spangler-contradictions-girlhood-la-los-angeles-adolescence\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"The Flesh That Says Yes\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1434792.jpeg\" title=\"1434792\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">LA girls: These photos capture the dizzying flux of adolescence<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/life-culture\/article\/69472\/1\/what-went-down-at-jim-beam-nyc-bash-new-york\"><\/p>\n<div class=\"card-latest__img-wrapper\">\n<p class=\"optional-paragraph\">Jim Beam<\/p>\n<p><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"jb_cover\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1434902.jpg\" title=\"1434902\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">What went down at Jim Beam\u2019s NYC bash<\/h3>\n<\/div>\n<p><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"swiper-slide list-element\">\n<div class=\"scard-latest__section\">\n<div class=\"card-latest__wrapper\"><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69463\/1\/step-into-claudia-mates-cyber-dreamworld-ad-for-the-make-space-network\"><\/p>\n<div class=\"card-latest__img-wrapper\">\n<p class=\"optional-paragraph\">Lenovo &amp; Intel<\/p>\n<p><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Make Space Network\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1434770.jpg\" title=\"1434770\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">See Claudia Mat\u00e9&#8217;s cyber dreamworld ad for the Make Space Network<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69444\/1\/kink-night-department-h-inside-tokyo-longest-fetish-night-sex-club-photography\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Kinky Love\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433813.jpg\" title=\"1433813\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">Uncensored photos from Tokyo\u2019s longest-running fetish night<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69441\/1\/cova-da-moura-loan-lamoureux-lisbon-hip-hop-photographs-portugal\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Lamoureux, Kova M\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1434318.jpg\" title=\"1434318\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">Cova da Moura: Vibrant portraits from the hip-hop capital of Lisbon<\/h3>\n<\/div>\n<p><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"swiper-slide list-element\">\n<div class=\"scard-latest__section\">\n<div class=\"card-latest__wrapper\"><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69438\/1\/gabriel-chiu-breathe-me-in-asian-diaspora-portraits-new-york-photography\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Gabriel Chiu, Breathe Me In\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1434365.jpg\" title=\"1434365\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">These dreamy portraits rebel against stereotypes of Asian youth culture<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69417\/1\/watch-how-three-artists-make-space-for-ai-creativity-and-worldbuilding\"><\/p>\n<div class=\"card-latest__img-wrapper\">\n<p class=\"optional-paragraph\">Lenovo &amp; Intel<\/p>\n<p><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Osean_Editorial\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1434313.jpg\" title=\"1434313\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">Watch: How three artists make space for AI, creativity and worldbuilding<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69418\/1\/dazed-club-callout-apply-curators-exhibition-project-hackney-downs-gallery\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"DClub x HDS Newsletter\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1434315.jpg\" title=\"1434315\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">Dazed Club callout! Apply to bring your exhibition project to life<\/h3>\n<\/div>\n<p><\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"newsletter-inline\" data-newsletter hidden>\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n<div class=\"article-body wrapper\">\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>February\u2019s shows raise questions of power, memory, labour, image-making, and who gets to be seen. Moving between archive and absence, spectacle and refusal, we see fashion stripped of performance, photography untethered from truth, monuments pulled from their pedestals, bedrooms relocated into galleries, and bus shelters repurposed as sites of intimacy. But there\u2019s also a shared impatience with nostalgia, with perfection, and with accepting easy narratives. Instead, these shows sit in the mess of bodies under pressure, images that leave a residue, and histories that won\u2019t stay quiet. Until next month!<\/span><\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<h1><em>AMERICAN BACCHANAL<\/em>, LONDON, UK<\/h1>\n<p><span>Curated by Mavourneen Dooley,<\/span><em><span> American Bacchanal<\/span><\/em><span> treats US identity as something to be sweetened, staged, and consumed. Taking cues from Roman bacchanalia, the group show \u2013 including Dooley, Jordan Kelly, Juliet Cook, Paige Miller, Zakkiyyah Najeebah, Ester Freider, Mickey Demas, and Isaac Harris \u2013 leans into excess to probe decadence, imperial appetite, and the soft-focus nostalgia that props it all up. Sugar, steel, dolls, and flags recur throughout as loaded materials, exposing how violence is often disguised as innocence. On 13 February, the exhibition tips into full revelry with a live bacchanal fundraiser with performances, readings, and music. Proceeds will go to the National Immigrant Justice Center, which is doing important work in the face of all the atrocities being committed by ICE by giving immigrants much-needed access to legal representation.<\/span><\/p>\n<p><em><span>American Bacchanal runs 12\u201314 February 2026, 162 Holloway Road, London, UK<\/span><\/em><\/p>\n<h1><em>HELMUT LANG: S\u00c9ANCE DE TRAVAIL 1986\u20132005, <\/em>VIENNA, AUSTRIA<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Drawing from the MAK\u2019s Helmut Lang Archive, <\/span><em><span>S\u00e9ance de Travail <\/span><\/em><span>tracks how the designer reprogrammed fashion between 1986 and 2005 \u2013 stripping it of spectacle and rebuilding it as a system of ideas. Presented as a mixed-media installation rather than a runway replay, the exhibition follows Lang\u2019s thinking across identity, space, media, collaboration, and backstage process. Clothes sit alongside images, interventions, and architectures, revealing fashion as a method as opposed to a product. Cool without irony, rigorous without nostalgia, it\u2019s a reminder of how much contemporary visual culture still borrows from Lang\u2019s refusal to perform.<\/span><\/p>\n<p><a href=\"https:\/\/www.mak.at\/exhibition\/helmutlang\"><em><span>S\u00e9ance de Travail 1986\u20132005<\/span><\/em><\/a><em><span> runs 10 December 2025 \u2013 3 May 2026 at the MAK \u2013 Museum of Applied Arts, Vienna, Austria\u00a0<\/span><\/em><\/p>\n<h1><em>DAVID LYNCH<\/em> AT PACE GALLERY<\/h1>\n<\/div>\n<div class=\"dazed-gallery has-9-images \">\n<div class=\"inner\">\n<header>\n<div class=\"info\"><span class=\"heading\">David Lynch<\/span><\/div>\n<\/header>\n<div class=\"gallery\">\n<div class=\"gallery-thumbs\">\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/gallery\/36532\/0\/david-lynch\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"97317_Lynch\" class=\"img\" height=\"2000\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433964.jpeg\" width=\"3000\" title=\"1433964\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/gallery\/36532\/1\/david-lynch\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"82577_Lynch\" class=\"img\" height=\"1498\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433958.jpeg\" width=\"2247\" title=\"1433958\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/gallery\/36532\/2\/david-lynch\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"97643_Lynch\" class=\"img\" height=\"1268\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433966.jpeg\" width=\"1902\" title=\"1433966\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/gallery\/36532\/3\/david-lynch\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"82597_Lynch-crop\" class=\"img\" height=\"658\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433959.jpeg\" width=\"988\" title=\"1433959\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/gallery\/36532\/4\/david-lynch\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"82604_Lynch\" class=\"img\" height=\"648\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433960.jpeg\" width=\"972\" title=\"1433960\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/gallery\/36532\/5\/david-lynch\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"82609_Lynch\" class=\"img\" height=\"932\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2026\/02\/1433961-2.jpeg\" width=\"1398\" title=\"1433961-2\"><\/span><\/span><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"gallery-footer\">Gallery \/ 9 images<\/div>\n<\/div>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Stripping David Lynch back to his first love: the image as material problem. Bringing together paintings, drawings, sculptures, photographs, and early short films, the show foregrounds the uneasy logic that runs beneath Lynch\u2019s entire practice. Smokestacks, lamps, bodies, and text hover between narrative and abstraction, charged with a mood that can only be his. Lynch\u2019s Berlin factory photographs from 1999 anchor the exhibition in place, tracing his attraction to decay, industry, and latent menace. On the heels of the one-year anniversary of the legend\u2019s passing, it\u2019s a must-see pilgrimage to pay your respects.<\/span><\/p>\n<p><em><span>David Lynch runs 29 January \u2013 29 March 2026, at Pace Gallery Berlin, Germany<\/span><\/em><\/p>\n<h1><em>MING SMITH: JAZZ REQUIEM \u2013 NOTATIONS IN BLUE<\/em><\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Tracing the legend that is Ming Smith\u2019s early years as an artist moving between the US and Europe in the 1970s and 80s, <\/span><em><span>Jazz Requiem<\/span><\/em><span> features works many printed for the first time. The exhibition foregrounds Smith\u2019s intuitive, jazz-inflected approach to photography, where blur, motion, and abstraction resist fixed narratives of Black life. Shaped by travel, music and dance, her images slip between visibility and disappearance, refusing photography\u2019s demand for clarity or proof.<\/span><\/p>\n<p><a href=\"https:\/\/www.portlandmuseum.org\/magazine\/ming-smith-jazz-requiem-notations-in-blue-exhibit\"><em><span>Jazz Requiem<\/span><\/em><\/a><em><span> runs 6 February \u2013 7 June 2026 at the Portland Museum of Art, Maine, USA<\/span><\/em><\/p>\n<h1><em>ON THE FLIP SIDE<\/em>, NYC, CHICAGO, BOSTON<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><em><span>On the Flip Side<\/span><\/em><span> turns the city into a gallery, hijacking JCDecaux bus shelters to showcase fine art photography where ads usually live. Featuring a stellar line-up of Kennedi Carter, Loug\u00e8 Delcy, Camila Falquez, Ruby Okoro, Dana Scruggs and Juan Veloz, the exhibition brings intimate, personal work into the public realm through spaces usually reserved for advertising.\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/www.publicartfund.org\/exhibitions\/view\/on-the-flip-side\/\"><em><span>On the Flip Side<\/span><\/em><\/a><em><span> runs 4 February \u2013 5 April 2026 across New York City, Chicago, and Boston, USA<\/span><\/em><\/p>\n<h1><em>BOUCHRA KHALILI: CIRCLES AND STORYTELLERS<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>In <\/span><em><span>Circles and Storytellers<\/span><\/em><span>, Bouchra Khalili turns theatre into a rehearsal space for alternative civic life. Her first UK public solo exhibition revisits the radical legacy of the Mouvement des Travailleurs Arabes and its theatre collectives Al Assifa and Al Halaka, active in 1970s France. Through film and installation, Khalili focuses on the overlooked 1974 presidential run of Djelalli Kamal, a \u201ccandidate of those who cannot vote\u201d. Circular formations structure both the works and the gallery, proposing storytelling as a political technology.<\/span><\/p>\n<p><a href=\"https:\/\/mosaicrooms.org\/exhibitions-2026#bouchra-khalili-1\"><em><span>Circles and Storytellers<\/span><\/em><\/a><em><span> runs 18 February \u2013 14 June 2026 at Mosaic Rooms, London, UK<\/span><\/em><\/p>\n<h1>AKINOLA DAVIES JR., <em>MY FATHER\u2019S SHADOW<\/em> + LIVE SCORE, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>A single day, a city on edge, and a family trying to hold together, <\/span><em><span>My Father\u2019s Shadow<\/span><\/em><span> \u2013 the debut feature by Akinola Davies Jr. \u2013 lands at Tate Modern for a live-scored screening, just in time for the film\u2019s much-anticipated UK release. Set during Nigeria\u2019s 1993 election crisis, the semi-autobiographical film follows a father and his two sons moving through Lagos as unrest closes in. The original score will be performed live by Duval Timothy and collaborators.<\/span><\/p>\n<p><a href=\"https:\/\/www.tate.org.uk\/whats-on\/tate-modern\/my-fathers-shadow--live-score\"><em><span>My Father\u2019s Shadow + Live Score<\/span><\/em><\/a><em><span> screens 7 February 2026, 19:00\u201321:00 at Tate Modern, London, UK<\/span><\/em><\/p>\n<h1><em>KARIMAH ASHADU: TENDERED<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>For the artist\u2019s first UK institutional solo, <\/span><em><span>Tendered<\/span><\/em><span> brings together three films that sit inside labour, masculinity, and performance. From the Makoko abattoir (<\/span><em><span>King of Boys<\/span><\/em><span>) to a lone horseman (<\/span><em><span>Cowboy<\/span><\/em><span>), Ashadu films work as something bodily, durational, and shaped by place. A new commission <\/span><em><span>MUSCLE<\/span><\/em><span> turns its gaze on Lagos bodybuilders, tracing patriarchy, aspiration, and survival at close range. Ashadu\u2019s strength lies in restraint, letting gesture, rhythm, and environment do the work here.<\/span><\/p>\n<p><a href=\"https:\/\/camdenartcentre.org\/whats-on\/tendered\"><em><span>Tendered<\/span><\/em><\/a><em><span> runs 10 Oct 2025 \u2013 22 Mar 2026 at Camden Art Centre, London, UK<\/span><\/em><\/p>\n<h1><em>B-SIDES<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><em><span>b-sides<\/span><\/em><span> is a group show devoted to the work that usually stays off-record. Organised by Hannah Perry, it brings together studio pieces made between projects, outside deadlines, and art markets. With artists including Jesse Darling, Mark Leckey, Tai Shani, Hannah Perry and Jenkin Van Zyl, the works on show are described as \u201c<\/span><span>made between projects, alongside exhibitions, are the outlaws of the studio\u201d. With the intention of being more experimental, unresolved, or searching than what we might be used to seeing from each.<\/span><\/p>\n<p><em><span>b-sides runs 24 January \u2013 27 February 2026 at Calcio, London, UK<\/span><\/em><\/p>\n<h1><em>GUANYU XU: I DREAMT OF THIS AND THERE WILL BE MORE<\/em>, SAN FRANCISCO<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>A regular on this list, in photographer Guanyu Xu\u2019s <\/span><em><span>I dreamt of this and there will be more<\/span><\/em><span>,\u00a0 borders, homes, windows and paperwork become quiet instruments of control, shaping how queer and migrant bodies learn where they can \u2013 and can\u2019t \u2013 exist. Collage and photographic fragments slide between public and private, fantasy and administration to expose a condition of managed freedom where identity and intimacy are constantly renegotiated.\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/minnesotastreetproject.com\/exhibitions\/1275-minnesota-st\/guanyu-xu-i-dreamt-and-there-will-be-more\"><em><span>I dreamt of this and there will be more<\/span><\/em><\/a><em><span> runs 10 January \u2013 28 February 2026 at re.riddle, Minnesota Street Project, San Francisco, USA<\/span><\/em><\/p>\n<h1><em>KALPESH LATHIGRA: THE LIVES WE DREAM IN PASSING<\/em>, MUMBAI, INDIA<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>London-based Kalpesh Lathigra brings his quietly searching photographic practice back to India for his first solo exhibition there. Spanning three interlinked bodies of work, the exhibition moves between Mumbai\u2019s streets, found studio portraits from Gujarat, and the interior spaces of Junagadh hotels \u2013 places where memory, migration and inheritance overlap. Working between documentary and fiction, Lathigra resists neat ideas of home, nostalgia or belonging. Instead, photographs drift, repeat, and reappear, carrying the weight of family history while alert to distance, dislocation, and the impossibility of return.<\/span><\/p>\n<p><em><span>The Lives We Dream in Passing runs 12 February \u2013 3 March 2026 at NCPA Photography Gallery, Mumbai, India<\/span><\/em><\/p>\n<h1>JOSH ARONSON, <em>PHOTOBOOK SPEED DATE<\/em>, SAN FRANCISCO<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span><em>Photobook Speed Date<\/em> flips the awkwardness of networking into something genuinely worth leaving the house for. Devised by Miami-based artist Josh Aronson, the format borrows from speed dating, but instead, participants bring a photo book or art book and rotate through short, timed conversations. Here, the photo book isn\u2019t simply a commodity or status object; it\u2019s a social tool to meet new people over shared interests.<\/span><\/p>\n<p><a href=\"https:\/\/www.sfmoma.org\/event\/photobook-speed-date-with-josh-aronson\/\"><em><span>Photobook Speed Date<\/span><\/em><\/a><em><span> takes place on 12 February 2026 at SF MoMA, San Francisco, USA<\/span><\/em><\/p>\n<h1><em>LAISUL HOQUE: THE GROUND BENEATH ME<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Laisul Hoque relocates his bedroom into the gallery, built to the exact footprint of the original; the room becomes a holding space for a year spent moving between London and Dhaka, amid political unrest and a father\u2019s failing health. Here, its absence that does most of the work: the unmade bed, a lampshade shaped like Bangladesh\u2019s parliament, boarding passes drawn over with fragments of memory. Part installation, part archive, part confession, <\/span><em><span>The Ground Beneath Me<\/span><\/em><span> treats domestic space as a pressure point where grief, migration and politics coalesce.<\/span><\/p>\n<p><a href=\"https:\/\/bowarts.org\/nunnery-gallery\/\"><em><span>The Ground Beneath Me<\/span><\/em><\/a><em><span> runs 6 February \u2013 12 April 2026 at The Nunnery Gallery London, UK<\/span><\/em><\/p>\n<h1><em>CHRIS GLICKMAN: THE LAST AMERICAN PASTORAL<\/em>, LONDON<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>An exhibition of new works by Chris Glickman dissects how American identity is rehearsed, staged, and endlessly re-performed. Drawing on photo-conceptualism and the visual afterlife of the Classical Western canon, the images move from civic architecture to artists\u2019 colonies and curated nostalgia, tracing the myths that prop up empire long after belief in it has thinned. It\u2019s sharp, funny, and uncomfortable by design, treating spectacle as both subject and symptom. An exhibition of the works will be shown at (lab)oratory, a new space by photographer Jordan Hemingway and Purple Martin Studio. While the book launch will take place at the beloved Reference Point.<\/span><\/p>\n<p><em><span>The Last American Pastoral (exhibition) runs 13 February 2026, Ezra Street, London, UK. The book launch takes place on 6 February at Reference Point, London, UK<\/span><\/em><\/p>\n<h1><em>EMPIRE<\/em>, NEW YORK CITY, USA<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Curated by Jed Moch, <\/span><em><span>Empire<\/span><\/em><span> looks at what power leaves behind when its centre slips away.\u00a0 The exhibition threads together works by Sarah Charlesworth, Richard Prince, Sam Lipp, Nicholas Sullivan and Valentina Vaccarella to probe how images circulate, settle, and linger. Drawing a line from the Pictures Generation to now, appropriation becomes a tool for exposing the seams in mass media, identity and control.\u00a0<\/span><\/p>\n<p><em><span>Empire runs 23 January \u2013 28 February 2025 at Anonymous Gallery, New York City, USA<\/span><\/em><\/p>\n<h1><em>ASAMOTO: GRILLED DIAGRAMS<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Aki Sasamoto\u2019s first UK institutional solo turns cooking into choreography and systems into hazards. The site-specific exhibition centres on a custom-built, oversized griddle \u2013 part sculpture environment, part performance set \u2013 activated through live performances where ingredients are turned into temporary compositions, and Sasamoto continues her exploration of the poetics of everyday actions. Drawing from street food carts and televised kitchens, here, any attempt at control is immediately undermined.\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/studiovoltaire.org\/whats-on\/aki-sasamoto-grilled-diagrams\/\"><em><span>Grilled Diagrams<\/span><\/em><\/a><em><span> runs 4 February \u2013 19 April 2026 at Studio Voltaire, London, UK<\/span><\/em><\/p>\n<h1><em>ANG\u00c9LIQUE HEIDLER: ANGER ABBEY<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Anger Abbey<\/span><span>\u00a0brings together sculpture, printmaking, painting, and Paris-based artist Ang\u00e9lique Heidler\u2019s first short story in her most expansive exhibition to date. Anchored by her largest painting so far, the show unfolds across image, object, and text.<\/span><\/p>\n<p>Anger Abbey <em>runs 30 January \u2013 27 February 2026 at Dorp Projects, London, UK<\/em><\/p>\n<\/div>\n<div id=\"newsletter-inline-last\">\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p> Source URL: https:\/\/www.dazeddigital.com\/art-photography\/article\/69510\/1\/art-shows-leave-the-house-february-2026-london-new-york-berlin<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00a9 The David Lynch Estate , courtesy Pace Gallery January\u00a0 30,\u00a0 2026 Art &amp; Photography \/ Lists Art &amp; Photography \/ Lists Art shows to leave the house for in February 2026 Photo book speed dating, an exploration of how identity is constructed in the US, and a delve into artists\u2019 experimental \u2018outtakes\u2019 January\u00a0 30,\u00a0 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1690738,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[226,76],"class_list":["post-1690732","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-politics","tag-crawlmanager","tag-dazeddigital-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1690732","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1690732"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1690732\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/media\/1690738"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1690732"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1690732"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1690732"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}