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Plinth Contemporary art consultancy, magazine and shop, based in London For the art curious | Collect and explore London's best contemporary art.

”Green is not a simple colour. It is the colour of envy and the natural world, at times magical and dangerous. In Toor’s...
15/10/2026

”Green is not a simple colour. It is the colour of envy and the natural world, at times magical and dangerous. In Toor’s complicated palette it can be playful and warm, while conjuring an at times hedonistic acid fantasy that elevates his figures beyond the banalities of the everyday into the thrill of nightlife, passion and raw connection.” — Emily Steer

Read the full story via the link in bio

Salman Toor Someone Like You is at the Courtauld London until 10 January 2027

“If Made in Chelsea is smooth plastic, then this is the crude oil. Radical in the spirit of the genre’s earliest origins...
02/10/2026

“If Made in Chelsea is smooth plastic, then this is the crude oil. Radical in the spirit of the genre’s earliest origins, Lizzy Deacon’s ‘Ad Victorem Spolias’ at 243 LUZ & CO has the air of an unattended live stream or CCTV footage; a thrillingly mundane exposée. With her own face occasionally pictured as the wristwatch camera moves, Deacon’s physical presence on set both highlights and problematises the influencer ouroboros: I am filmed, so I am famous. I am famous, so I am filmed. Footage of people on this set is enough to launch careers – so what about this footage of me?

More uncomfortably, the fact of the film itself asks: where does an artist end and a content creator begin?

In ‘Knot Eye’ at Sadie Coles HQ 赛迪HQ画廊, meanwhile, Martine Syms presents ‘RW-LO ‘(2026), a 22-minute ‘docu-fantasy’ set in the year 2000. Blending reenactments with vintage camcorder footage, the film follows a teenager obsessed with one Melissa Howard, an outspoken Real World castmate. Per the show’s press release, ‘RW-LO’ is an inquiry ‘into what happens when people start being celebrities, and they stop being real’ – a vital question, given the state of reality TV today, not least because the gap between celebrity and ‘realness’ is hurtling shut before our eyes, or even inverting.” — Emily Watkins

Read the full article via the link in our bio

For Tanoa Sasraku, contemporary conflicts are often sustained by myths of protection and control - by the idea that inva...
25/09/2026

For Tanoa Sasraku, contemporary conflicts are often sustained by myths of protection and control - by the idea that invasion can be recast as defence, settlement, even the creation of a better world.

She calls these conquered terrains “potential rivieras”: places where war and leisure begin to occupy the same imaginative space.

Her sculptures “are constructed from sheets of blank newsprint that have been cut and layered to resemble military flak jackets,” writes . They “might be read as military trophies or souvenirs of victorious campaigns.”

Read more via the link in our bio

Tropical Ken

, Soho
11 September–31 October 2026

Ndidi Emefiele’s women have something of the Bratz doll about them: huge heads, enormous eyes, tiny bodies and outfits s...
24/09/2026

Ndidi Emefiele’s women have something of the Bratz doll about them: huge heads, enormous eyes, tiny bodies and outfits styled at full volume.

Emefiele’s exaggerated heads draw on Yoruba sculptural traditions in which the head carries particular spiritual and intellectual significance. The oversize glasses that recur throughout her work are similarly more than accessories, acting as a barrier between the painted figures and the gaze that wants to size them up.

Posed and enlarged but not especially available to us, these works have the slightly unnerving quality of fashion imagery in which the model has stopped performing for the camera.

This is glamour as camouflage (glamourflage?); looking as a way of withholding.

Last chance to catch : Behind the Glass, curated by Péjú Oshin , is at No.9 Cork Street until 26 September

1. Ndidi Emefiele
Search party, 2018
acrylic, pasted print papers, textile, compact disk and plastic trim on canvas
180x180cm

2. Ndidi Emefiele
Pool side kebab, 2022
mixed media on canvas
220x200cm

3. Ndidi Emefiele
As we were II, 2023
acrylic, compact disk, metal strings, clock bezels, gold/silver ink and textile on archival paper
140x140cm

4-6. Installation views

“What I find the most interesting is the tensions between things. The natural world versus the artificial. Sometimes it’...
17/09/2026

“What I find the most interesting is the tensions between things. The natural world versus the artificial. Sometimes it’s landscape imagery and horizon lines, but then sometimes it looks like phone screens and I think that paradox is really interesting.” - Fleur Simon

Check out the new video interview with Fleur Simon Artist, as part of her collaboration with British design institution Heal’s Heal's, facilitated by Plinth. 

Plinth is delighted to champion CURED – a solo show by Fleur Simon, curated by Sammi Gale (Sammi Gale) and Emily Watkins, at 65a Charlotte Street, W1T 4PJ, October 13-18.

🔪 For those who like their art with a touch of menace
12/09/2026

🔪 For those who like their art with a touch of menace

“Rakyat Pasti Menang is Taring Padi’s first solo exhibition in London celebrating their nearly three decades-long practi...
31/08/2026

“Rakyat Pasti Menang is Taring Padi’s first solo exhibition in London celebrating their nearly three decades-long practice of utilising art and artmaking as a tool for collective action, education, and transformation. The exhibition title, which translates to ‘people united will never be defeated,’ refers to a political chant used throughout their mass public demonstrations.” — kennnedyrandall

Read more via the link in bio

Rakyat Pasti Menang is Ibraaz until 22 Nov 2026

“Big Tech seems set on colonising taste itself – the idea being that when AI can make more and more things instantaneous...
25/08/2026

“Big Tech seems set on colonising taste itself – the idea being that when AI can make more and more things instantaneously, what you decide to make will become all the more important.” — Sammi Gale

Read more on tech bros and tastewashing via the link in our bio

21/08/2026

Read the latest from the London art scene at plinth.uk.com

“On its by turns craggy, clotty and slick surface, Anish Kapoor’s Hayward Gallery exhibition is an attempt to produce th...
28/07/2026

“On its by turns craggy, clotty and slick surface, Anish Kapoor’s Hayward Gallery exhibition is an attempt to produce the sublime. Standing before something vast, overwhelming and beyond comprehension, ordinary perception is interrupted and the viewer should be stopped in her tracks. But these artworks have the opposite effect: staged one after the other, the encounters are propulsive.” — Sammi Gale

Read more via the link in bio

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