Arts, culture and side projects, curated with a wink.
The private view card is the exhibition’s most honest artefact: cheap, urgent, occasionally smudged, and free at the door. A practical, slightly obsessive guide to spotting the good ones, storing them without damp, and getting them onto your wall without a conservation degree.
Every B&Q in the country has a shelf where colours go to be forgiven: mistints, end-of-line tins, the green nobody ordered. A growing number of UK artists and makers are building whole practices out of them. Here's what the reject aisle actually costs, what it teaches you about colour, and how to raid it without turning your studio into a craft-shop crime scene.
Somewhere between the degree show and the private view, the artist statement became a bar between the work and the person looking at it. A wry case for the biro-on-the-back-of-a-beermat bio, the handwritten label and the studio note that says what it means.
Evening classes, life rooms and community darkrooms are quietly filling up again — and they're doing the job the gallery circuit can't. A case for the draughty church hall as the most useful room in British art right now.
While the art world frets about footfall, a quieter school of curation is happening on hallway walls and above radiators from Sheffield to Somerset. We spent a season with the collectors who buy at 7am, spend under a tenner, and arrange like their living room is on loan from a museum.
A curator-led rummage through the shoeboxes, sketchbooks and bottom drawers where six UK makers stash the stuff that hasn't found a home yet. Less clutter, more compost heap: the personal archive as a quiet creative engine.
A field guide to the church halls, railway arches and community centres where UK zine culture is still photocopied, stapled and swapped in person. Because the best algorithm in 2026 is a table with a wobbly leg and a pile of paper.
Behind every decent pint sits a scruffy rectangle of cork doing more for local visual culture than most white cubes manage in a season. Here's how to read a pub noticeboard properly — the quiz flyers, the missing-cat portraits, the tear-off tabs — and why the whole thing deserves a closer look.
In church halls and community centres up and down the country, people are taking broken kettles apart with a screwdriver and a flask of tea. The fixes are often ugly. They're also the most honest design practice in Britain right now.
Cheap leases, curved walls and the 18:42 thundering overhead: why artist-run spaces under Britain's viaducts keep producing the most interesting shows in the country — and three arches worth a Saturday detour.
An opinionated, faintly obsessive guide to sourcing pictures and frames from charity shops, car boot sales and house clearances — and assembling something that looks collected rather than coordinated.
Forget the blockbuster show — the museum shop tells you what an institution really values. A curator's tour of eight independent-minded shops from Glasgow to Cornwall, with notes on what to buy, what to leave on the shelf, and how to read a shop in ninety seconds.
Hand-painted signage is creeping back onto British high streets, one fascia at a time. We spoke to three working signwriters about craft, pricing and why a brush edge can feel more honest than a template — plus a field guide to reading the lettering on your own doorstep.
The best cultural destinations in Britain right now are often run out of launderettes, canal boats and borrowed back rooms. We rounded up nine UK side projects that began as weekend whims and turned into proper things to plan your Saturday around, plus a few notes if you fancy making your own.
Britain's cultural sector has mistaken reverence for seriousness, and it is making us boring. A plea for cheek, mischief and the kind of curation that knows when to wink, featuring the artists and spaces getting the balance right.