In a contemporary art world increasingly dictated by market forces and institutional hierarchies, the role of a young curator should be tracking down new voices and connecting dots the mainstream hasn’t yet noticed. Today’s curators don’t just haunt openings and flip through portfolios; they’re also running between studio visits, curating digital archives and personal accounts, and, just as often, hopping on late-night Zooms with artists across continents. Their role is as much about curiosity as it is about stamina: a tireless attitude that echoes the legendary pace of Hans Ulrich Obrist (who famously never sleeps, or so the story goes). The five UK-based curators featured here channel that energy: building alternative art worlds, assembling new constellations of artists, paving the way for new art movements, and ensuring fresh ideas are seen and connected.
Isabella Greenwood
London-based curator Isabella Greenwood has one of the most interesting lines of research when it comes to mixing digital cultures, philosophy and contemporary art. With a focus on the everlasting connections between technology and spirituality, her two exhibitions, God Willing and Virgil: Death and the Afterlife at Shipton Gallery, brought together a group of emerging artists exploring faith, ritual, and transcendence within the contemporary internet-infused art landscape. As a writer, Greenwood collaborates with magazines such as Elephant, Dazed, and Plaster Magazine, which are platforms actively shaping a new generation of researchers and curators interested in questioning our technologically mediated world and how art can thrive.
Izzy Bilkus
Like Greenwood, writer Izzy Bilkus recently debuted as a curator by looking closely at how young artists, many of them at the very start of their careers, are trying to emerge outside of the institutionalised art world. Plaster, the magazine Bilkus writes for and for which she curated the exhibition THE RADAR, has the same goal within the London art scene: breaking from the overcomplex art-world-talk and bringing some realness and honesty into art writing. Inspired by a popular column on Plaster, THE RADAR took place at 20 Great Chapel Street in London, running from late May to early June. The show brought together a carefully curated group of UK-based emerging artists, including Ada Bond’s haunting paintings and Fern O’Carolan’s hybrid keychains. With Bilkus as their in-house curator and talent scout, it looks like Plaster Magazine will inaugurate a new season of exhibitions with the same goal at their heart: finding new, unheard voices within the London art scene.
Charlie Fox
Halfway between the camp odyssey of John Waters’ films and the prosthetic makeup in 90s horror, Charlie Fox’s artistic research is definitely one of a kind. His book This Young Monster (2017), published by iconic London-based publishing house Fitzcarraldo Editions, explores how monstrous figures in media reflect “alterity”, a key concept in queer studies. In 2021, Fox curated My Head Is a Haunted House at Sadie Coles HQ, an exhibition bringing together artists - from Ed Atkins to Larry Clark - who investigate the creepy and liminal dimensions of memory and of fear itself. In fall 2024, he curated Flowers of Romance: Act One at Lodovico Corsini (Brussels), which delved into the aesthetic of the “uncanny” and how it can be represented both through the erotic and the horrific. Through his curatorial and writing work, Fox has established himself as one of the most interesting protagonists of the counter-cultural art world to observe in the future.
Olivia Aherne
Chisenhale Gallery curator Olivia Aherne is a young yet already established curator in the London art scene: her latest project, Five Defence Towers, a solo exhibition by Barcelona-based artist Claudia Pagès, explores the layered geography of Catalonia’s physical and political landscape. Presented by Chisenhale, the exhibition explored urban transformation, memory, and resistance, with Aherne shaping the project thanks to long conversations with the artist about the concepts of cartography and mythology. Aherne also co-founded The Department of Love, a platform and commissioning body which is currently publishing a series of Love Letters: a bunch of epistolary commissions by international artists and writers in the form of a monthly newsletter.
Kostas Stasinopoulos
Originally from Greece, Stasinopoulos established his role in the UK art scene as curator of Live Programmes at Serpentine, London, looking after the institution’s interdisciplinary program alongside Hans Ulrich Obrist, with whom he co-edited the book 140 Artists’ Ideas for Planet Earth – a collection of artistic propositions for sustainable futures. Stasinopoulos’ research explores performance and time-based art, such as dance and film, often dealing with legacies of oppression, queer politics, and ecology. His latest curated project, Bornsick, which took place in London in May and will land in Edinburgh in August 2025, is a performance by choreographer and dancer Lewis Walker about the concept of illness, co-commissioned by Serpentine and the Edinburgh Art Festival.
In a contemporary art world increasingly dictated by market forces and institutional hierarchies, the role of a young curator should be tracking down new voices and connecting dots the mainstream hasn’t yet noticed. Today’s curators don’t just haunt openings and flip through portfolios; they’re also running between studio visits, curating digital archives and personal accounts, and, just as often, hopping on late-night Zooms with artists across continents. Their role is as much about curiosity as it is about stamina: a tireless attitude that echoes the legendary pace of Hans Ulrich Obrist (who famously never sleeps, or so the story goes). The five UK-based curators featured here channel that energy: building alternative art worlds, assembling new constellations of artists, paving the way for new art movements, and ensuring fresh ideas are seen and connected.
Isabella Greenwood
London-based curator Isabella Greenwood has one of the most interesting lines of research when it comes to mixing digital cultures, philosophy and contemporary art. With a focus on the everlasting connections between technology and spirituality, her two exhibitions, God Willing and Virgil: Death and the Afterlife at Shipton Gallery, brought together a group of emerging artists exploring faith, ritual, and transcendence within the contemporary internet-infused art landscape. As a writer, Greenwood collaborates with magazines such as Elephant, Dazed, and Plaster Magazine, which are platforms actively shaping a new generation of researchers and curators interested in questioning our technologically mediated world and how art can thrive.
Izzy Bilkus
Like Greenwood, writer Izzy Bilkus recently debuted as a curator by looking closely at how young artists, many of them at the very start of their careers, are trying to emerge outside of the institutionalised art world. Plaster, the magazine Bilkus writes for and for which she curated the exhibition THE RADAR, has the same goal within the London art scene: breaking from the overcomplex art-world-talk and bringing some realness and honesty into art writing. Inspired by a popular column on Plaster, THE RADAR took place at 20 Great Chapel Street in London, running from late May to early June. The show brought together a carefully curated group of UK-based emerging artists, including Ada Bond’s haunting paintings and Fern O’Carolan’s hybrid keychains. With Bilkus as their in-house curator and talent scout, it looks like Plaster Magazine will inaugurate a new season of exhibitions with the same goal at their heart: finding new, unheard voices within the London art scene.
Charlie Fox
Halfway between the camp odyssey of John Waters’ films and the prosthetic makeup in 90s horror, Charlie Fox’s artistic research is definitely one of a kind. His book This Young Monster (2017), published by iconic London-based publishing house Fitzcarraldo Editions, explores how monstrous figures in media reflect “alterity”, a key concept in queer studies. In 2021, Fox curated My Head Is a Haunted House at Sadie Coles HQ, an exhibition bringing together artists - from Ed Atkins to Larry Clark - who investigate the creepy and liminal dimensions of memory and of fear itself. In fall 2024, he curated Flowers of Romance: Act One at Lodovico Corsini (Brussels), which delved into the aesthetic of the “uncanny” and how it can be represented both through the erotic and the horrific. Through his curatorial and writing work, Fox has established himself as one of the most interesting protagonists of the counter-cultural art world to observe in the future.
Olivia Aherne
Chisenhale Gallery curator Olivia Aherne is a young yet already established curator in the London art scene: her latest project, Five Defence Towers, a solo exhibition by Barcelona-based artist Claudia Pagès, explores the layered geography of Catalonia’s physical and political landscape. Presented by Chisenhale, the exhibition explored urban transformation, memory, and resistance, with Aherne shaping the project thanks to long conversations with the artist about the concepts of cartography and mythology. Aherne also co-founded The Department of Love, a platform and commissioning body which is currently publishing a series of Love Letters: a bunch of epistolary commissions by international artists and writers in the form of a monthly newsletter.
Kostas Stasinopoulos
Originally from Greece, Stasinopoulos established his role in the UK art scene as curator of Live Programmes at Serpentine, London, looking after the institution’s interdisciplinary program alongside Hans Ulrich Obrist, with whom he co-edited the book 140 Artists’ Ideas for Planet Earth – a collection of artistic propositions for sustainable futures. Stasinopoulos’ research explores performance and time-based art, such as dance and film, often dealing with legacies of oppression, queer politics, and ecology. His latest curated project, Bornsick, which took place in London in May and will land in Edinburgh in August 2025, is a performance by choreographer and dancer Lewis Walker about the concept of illness, co-commissioned by Serpentine and the Edinburgh Art Festival.
In a contemporary art world increasingly dictated by market forces and institutional hierarchies, the role of a young curator should be tracking down new voices and connecting dots the mainstream hasn’t yet noticed. Today’s curators don’t just haunt openings and flip through portfolios; they’re also running between studio visits, curating digital archives and personal accounts, and, just as often, hopping on late-night Zooms with artists across continents. Their role is as much about curiosity as it is about stamina: a tireless attitude that echoes the legendary pace of Hans Ulrich Obrist (who famously never sleeps, or so the story goes). The five UK-based curators featured here channel that energy: building alternative art worlds, assembling new constellations of artists, paving the way for new art movements, and ensuring fresh ideas are seen and connected.
Isabella Greenwood
London-based curator Isabella Greenwood has one of the most interesting lines of research when it comes to mixing digital cultures, philosophy and contemporary art. With a focus on the everlasting connections between technology and spirituality, her two exhibitions, God Willing and Virgil: Death and the Afterlife at Shipton Gallery, brought together a group of emerging artists exploring faith, ritual, and transcendence within the contemporary internet-infused art landscape. As a writer, Greenwood collaborates with magazines such as Elephant, Dazed, and Plaster Magazine, which are platforms actively shaping a new generation of researchers and curators interested in questioning our technologically mediated world and how art can thrive.
Izzy Bilkus
Like Greenwood, writer Izzy Bilkus recently debuted as a curator by looking closely at how young artists, many of them at the very start of their careers, are trying to emerge outside of the institutionalised art world. Plaster, the magazine Bilkus writes for and for which she curated the exhibition THE RADAR, has the same goal within the London art scene: breaking from the overcomplex art-world-talk and bringing some realness and honesty into art writing. Inspired by a popular column on Plaster, THE RADAR took place at 20 Great Chapel Street in London, running from late May to early June. The show brought together a carefully curated group of UK-based emerging artists, including Ada Bond’s haunting paintings and Fern O’Carolan’s hybrid keychains. With Bilkus as their in-house curator and talent scout, it looks like Plaster Magazine will inaugurate a new season of exhibitions with the same goal at their heart: finding new, unheard voices within the London art scene.
Charlie Fox
Halfway between the camp odyssey of John Waters’ films and the prosthetic makeup in 90s horror, Charlie Fox’s artistic research is definitely one of a kind. His book This Young Monster (2017), published by iconic London-based publishing house Fitzcarraldo Editions, explores how monstrous figures in media reflect “alterity”, a key concept in queer studies. In 2021, Fox curated My Head Is a Haunted House at Sadie Coles HQ, an exhibition bringing together artists - from Ed Atkins to Larry Clark - who investigate the creepy and liminal dimensions of memory and of fear itself. In fall 2024, he curated Flowers of Romance: Act One at Lodovico Corsini (Brussels), which delved into the aesthetic of the “uncanny” and how it can be represented both through the erotic and the horrific. Through his curatorial and writing work, Fox has established himself as one of the most interesting protagonists of the counter-cultural art world to observe in the future.
Olivia Aherne
Chisenhale Gallery curator Olivia Aherne is a young yet already established curator in the London art scene: her latest project, Five Defence Towers, a solo exhibition by Barcelona-based artist Claudia Pagès, explores the layered geography of Catalonia’s physical and political landscape. Presented by Chisenhale, the exhibition explored urban transformation, memory, and resistance, with Aherne shaping the project thanks to long conversations with the artist about the concepts of cartography and mythology. Aherne also co-founded The Department of Love, a platform and commissioning body which is currently publishing a series of Love Letters: a bunch of epistolary commissions by international artists and writers in the form of a monthly newsletter.
Kostas Stasinopoulos
Originally from Greece, Stasinopoulos established his role in the UK art scene as curator of Live Programmes at Serpentine, London, looking after the institution’s interdisciplinary program alongside Hans Ulrich Obrist, with whom he co-edited the book 140 Artists’ Ideas for Planet Earth – a collection of artistic propositions for sustainable futures. Stasinopoulos’ research explores performance and time-based art, such as dance and film, often dealing with legacies of oppression, queer politics, and ecology. His latest curated project, Bornsick, which took place in London in May and will land in Edinburgh in August 2025, is a performance by choreographer and dancer Lewis Walker about the concept of illness, co-commissioned by Serpentine and the Edinburgh Art Festival.
In a contemporary art world increasingly dictated by market forces and institutional hierarchies, the role of a young curator should be tracking down new voices and connecting dots the mainstream hasn’t yet noticed. Today’s curators don’t just haunt openings and flip through portfolios; they’re also running between studio visits, curating digital archives and personal accounts, and, just as often, hopping on late-night Zooms with artists across continents. Their role is as much about curiosity as it is about stamina: a tireless attitude that echoes the legendary pace of Hans Ulrich Obrist (who famously never sleeps, or so the story goes). The five UK-based curators featured here channel that energy: building alternative art worlds, assembling new constellations of artists, paving the way for new art movements, and ensuring fresh ideas are seen and connected.
Isabella Greenwood
London-based curator Isabella Greenwood has one of the most interesting lines of research when it comes to mixing digital cultures, philosophy and contemporary art. With a focus on the everlasting connections between technology and spirituality, her two exhibitions, God Willing and Virgil: Death and the Afterlife at Shipton Gallery, brought together a group of emerging artists exploring faith, ritual, and transcendence within the contemporary internet-infused art landscape. As a writer, Greenwood collaborates with magazines such as Elephant, Dazed, and Plaster Magazine, which are platforms actively shaping a new generation of researchers and curators interested in questioning our technologically mediated world and how art can thrive.
Izzy Bilkus
Like Greenwood, writer Izzy Bilkus recently debuted as a curator by looking closely at how young artists, many of them at the very start of their careers, are trying to emerge outside of the institutionalised art world. Plaster, the magazine Bilkus writes for and for which she curated the exhibition THE RADAR, has the same goal within the London art scene: breaking from the overcomplex art-world-talk and bringing some realness and honesty into art writing. Inspired by a popular column on Plaster, THE RADAR took place at 20 Great Chapel Street in London, running from late May to early June. The show brought together a carefully curated group of UK-based emerging artists, including Ada Bond’s haunting paintings and Fern O’Carolan’s hybrid keychains. With Bilkus as their in-house curator and talent scout, it looks like Plaster Magazine will inaugurate a new season of exhibitions with the same goal at their heart: finding new, unheard voices within the London art scene.
Charlie Fox
Halfway between the camp odyssey of John Waters’ films and the prosthetic makeup in 90s horror, Charlie Fox’s artistic research is definitely one of a kind. His book This Young Monster (2017), published by iconic London-based publishing house Fitzcarraldo Editions, explores how monstrous figures in media reflect “alterity”, a key concept in queer studies. In 2021, Fox curated My Head Is a Haunted House at Sadie Coles HQ, an exhibition bringing together artists - from Ed Atkins to Larry Clark - who investigate the creepy and liminal dimensions of memory and of fear itself. In fall 2024, he curated Flowers of Romance: Act One at Lodovico Corsini (Brussels), which delved into the aesthetic of the “uncanny” and how it can be represented both through the erotic and the horrific. Through his curatorial and writing work, Fox has established himself as one of the most interesting protagonists of the counter-cultural art world to observe in the future.
Olivia Aherne
Chisenhale Gallery curator Olivia Aherne is a young yet already established curator in the London art scene: her latest project, Five Defence Towers, a solo exhibition by Barcelona-based artist Claudia Pagès, explores the layered geography of Catalonia’s physical and political landscape. Presented by Chisenhale, the exhibition explored urban transformation, memory, and resistance, with Aherne shaping the project thanks to long conversations with the artist about the concepts of cartography and mythology. Aherne also co-founded The Department of Love, a platform and commissioning body which is currently publishing a series of Love Letters: a bunch of epistolary commissions by international artists and writers in the form of a monthly newsletter.
Kostas Stasinopoulos
Originally from Greece, Stasinopoulos established his role in the UK art scene as curator of Live Programmes at Serpentine, London, looking after the institution’s interdisciplinary program alongside Hans Ulrich Obrist, with whom he co-edited the book 140 Artists’ Ideas for Planet Earth – a collection of artistic propositions for sustainable futures. Stasinopoulos’ research explores performance and time-based art, such as dance and film, often dealing with legacies of oppression, queer politics, and ecology. His latest curated project, Bornsick, which took place in London in May and will land in Edinburgh in August 2025, is a performance by choreographer and dancer Lewis Walker about the concept of illness, co-commissioned by Serpentine and the Edinburgh Art Festival.
In a contemporary art world increasingly dictated by market forces and institutional hierarchies, the role of a young curator should be tracking down new voices and connecting dots the mainstream hasn’t yet noticed. Today’s curators don’t just haunt openings and flip through portfolios; they’re also running between studio visits, curating digital archives and personal accounts, and, just as often, hopping on late-night Zooms with artists across continents. Their role is as much about curiosity as it is about stamina: a tireless attitude that echoes the legendary pace of Hans Ulrich Obrist (who famously never sleeps, or so the story goes). The five UK-based curators featured here channel that energy: building alternative art worlds, assembling new constellations of artists, paving the way for new art movements, and ensuring fresh ideas are seen and connected.
Isabella Greenwood
London-based curator Isabella Greenwood has one of the most interesting lines of research when it comes to mixing digital cultures, philosophy and contemporary art. With a focus on the everlasting connections between technology and spirituality, her two exhibitions, God Willing and Virgil: Death and the Afterlife at Shipton Gallery, brought together a group of emerging artists exploring faith, ritual, and transcendence within the contemporary internet-infused art landscape. As a writer, Greenwood collaborates with magazines such as Elephant, Dazed, and Plaster Magazine, which are platforms actively shaping a new generation of researchers and curators interested in questioning our technologically mediated world and how art can thrive.
Izzy Bilkus
Like Greenwood, writer Izzy Bilkus recently debuted as a curator by looking closely at how young artists, many of them at the very start of their careers, are trying to emerge outside of the institutionalised art world. Plaster, the magazine Bilkus writes for and for which she curated the exhibition THE RADAR, has the same goal within the London art scene: breaking from the overcomplex art-world-talk and bringing some realness and honesty into art writing. Inspired by a popular column on Plaster, THE RADAR took place at 20 Great Chapel Street in London, running from late May to early June. The show brought together a carefully curated group of UK-based emerging artists, including Ada Bond’s haunting paintings and Fern O’Carolan’s hybrid keychains. With Bilkus as their in-house curator and talent scout, it looks like Plaster Magazine will inaugurate a new season of exhibitions with the same goal at their heart: finding new, unheard voices within the London art scene.
Charlie Fox
Halfway between the camp odyssey of John Waters’ films and the prosthetic makeup in 90s horror, Charlie Fox’s artistic research is definitely one of a kind. His book This Young Monster (2017), published by iconic London-based publishing house Fitzcarraldo Editions, explores how monstrous figures in media reflect “alterity”, a key concept in queer studies. In 2021, Fox curated My Head Is a Haunted House at Sadie Coles HQ, an exhibition bringing together artists - from Ed Atkins to Larry Clark - who investigate the creepy and liminal dimensions of memory and of fear itself. In fall 2024, he curated Flowers of Romance: Act One at Lodovico Corsini (Brussels), which delved into the aesthetic of the “uncanny” and how it can be represented both through the erotic and the horrific. Through his curatorial and writing work, Fox has established himself as one of the most interesting protagonists of the counter-cultural art world to observe in the future.
Olivia Aherne
Chisenhale Gallery curator Olivia Aherne is a young yet already established curator in the London art scene: her latest project, Five Defence Towers, a solo exhibition by Barcelona-based artist Claudia Pagès, explores the layered geography of Catalonia’s physical and political landscape. Presented by Chisenhale, the exhibition explored urban transformation, memory, and resistance, with Aherne shaping the project thanks to long conversations with the artist about the concepts of cartography and mythology. Aherne also co-founded The Department of Love, a platform and commissioning body which is currently publishing a series of Love Letters: a bunch of epistolary commissions by international artists and writers in the form of a monthly newsletter.
Kostas Stasinopoulos
Originally from Greece, Stasinopoulos established his role in the UK art scene as curator of Live Programmes at Serpentine, London, looking after the institution’s interdisciplinary program alongside Hans Ulrich Obrist, with whom he co-edited the book 140 Artists’ Ideas for Planet Earth – a collection of artistic propositions for sustainable futures. Stasinopoulos’ research explores performance and time-based art, such as dance and film, often dealing with legacies of oppression, queer politics, and ecology. His latest curated project, Bornsick, which took place in London in May and will land in Edinburgh in August 2025, is a performance by choreographer and dancer Lewis Walker about the concept of illness, co-commissioned by Serpentine and the Edinburgh Art Festival.
In a contemporary art world increasingly dictated by market forces and institutional hierarchies, the role of a young curator should be tracking down new voices and connecting dots the mainstream hasn’t yet noticed. Today’s curators don’t just haunt openings and flip through portfolios; they’re also running between studio visits, curating digital archives and personal accounts, and, just as often, hopping on late-night Zooms with artists across continents. Their role is as much about curiosity as it is about stamina: a tireless attitude that echoes the legendary pace of Hans Ulrich Obrist (who famously never sleeps, or so the story goes). The five UK-based curators featured here channel that energy: building alternative art worlds, assembling new constellations of artists, paving the way for new art movements, and ensuring fresh ideas are seen and connected.
Isabella Greenwood
London-based curator Isabella Greenwood has one of the most interesting lines of research when it comes to mixing digital cultures, philosophy and contemporary art. With a focus on the everlasting connections between technology and spirituality, her two exhibitions, God Willing and Virgil: Death and the Afterlife at Shipton Gallery, brought together a group of emerging artists exploring faith, ritual, and transcendence within the contemporary internet-infused art landscape. As a writer, Greenwood collaborates with magazines such as Elephant, Dazed, and Plaster Magazine, which are platforms actively shaping a new generation of researchers and curators interested in questioning our technologically mediated world and how art can thrive.
Izzy Bilkus
Like Greenwood, writer Izzy Bilkus recently debuted as a curator by looking closely at how young artists, many of them at the very start of their careers, are trying to emerge outside of the institutionalised art world. Plaster, the magazine Bilkus writes for and for which she curated the exhibition THE RADAR, has the same goal within the London art scene: breaking from the overcomplex art-world-talk and bringing some realness and honesty into art writing. Inspired by a popular column on Plaster, THE RADAR took place at 20 Great Chapel Street in London, running from late May to early June. The show brought together a carefully curated group of UK-based emerging artists, including Ada Bond’s haunting paintings and Fern O’Carolan’s hybrid keychains. With Bilkus as their in-house curator and talent scout, it looks like Plaster Magazine will inaugurate a new season of exhibitions with the same goal at their heart: finding new, unheard voices within the London art scene.
Charlie Fox
Halfway between the camp odyssey of John Waters’ films and the prosthetic makeup in 90s horror, Charlie Fox’s artistic research is definitely one of a kind. His book This Young Monster (2017), published by iconic London-based publishing house Fitzcarraldo Editions, explores how monstrous figures in media reflect “alterity”, a key concept in queer studies. In 2021, Fox curated My Head Is a Haunted House at Sadie Coles HQ, an exhibition bringing together artists - from Ed Atkins to Larry Clark - who investigate the creepy and liminal dimensions of memory and of fear itself. In fall 2024, he curated Flowers of Romance: Act One at Lodovico Corsini (Brussels), which delved into the aesthetic of the “uncanny” and how it can be represented both through the erotic and the horrific. Through his curatorial and writing work, Fox has established himself as one of the most interesting protagonists of the counter-cultural art world to observe in the future.
Olivia Aherne
Chisenhale Gallery curator Olivia Aherne is a young yet already established curator in the London art scene: her latest project, Five Defence Towers, a solo exhibition by Barcelona-based artist Claudia Pagès, explores the layered geography of Catalonia’s physical and political landscape. Presented by Chisenhale, the exhibition explored urban transformation, memory, and resistance, with Aherne shaping the project thanks to long conversations with the artist about the concepts of cartography and mythology. Aherne also co-founded The Department of Love, a platform and commissioning body which is currently publishing a series of Love Letters: a bunch of epistolary commissions by international artists and writers in the form of a monthly newsletter.
Kostas Stasinopoulos
Originally from Greece, Stasinopoulos established his role in the UK art scene as curator of Live Programmes at Serpentine, London, looking after the institution’s interdisciplinary program alongside Hans Ulrich Obrist, with whom he co-edited the book 140 Artists’ Ideas for Planet Earth – a collection of artistic propositions for sustainable futures. Stasinopoulos’ research explores performance and time-based art, such as dance and film, often dealing with legacies of oppression, queer politics, and ecology. His latest curated project, Bornsick, which took place in London in May and will land in Edinburgh in August 2025, is a performance by choreographer and dancer Lewis Walker about the concept of illness, co-commissioned by Serpentine and the Edinburgh Art Festival.
In a contemporary art world increasingly dictated by market forces and institutional hierarchies, the role of a young curator should be tracking down new voices and connecting dots the mainstream hasn’t yet noticed. Today’s curators don’t just haunt openings and flip through portfolios; they’re also running between studio visits, curating digital archives and personal accounts, and, just as often, hopping on late-night Zooms with artists across continents. Their role is as much about curiosity as it is about stamina: a tireless attitude that echoes the legendary pace of Hans Ulrich Obrist (who famously never sleeps, or so the story goes). The five UK-based curators featured here channel that energy: building alternative art worlds, assembling new constellations of artists, paving the way for new art movements, and ensuring fresh ideas are seen and connected.
Isabella Greenwood
London-based curator Isabella Greenwood has one of the most interesting lines of research when it comes to mixing digital cultures, philosophy and contemporary art. With a focus on the everlasting connections between technology and spirituality, her two exhibitions, God Willing and Virgil: Death and the Afterlife at Shipton Gallery, brought together a group of emerging artists exploring faith, ritual, and transcendence within the contemporary internet-infused art landscape. As a writer, Greenwood collaborates with magazines such as Elephant, Dazed, and Plaster Magazine, which are platforms actively shaping a new generation of researchers and curators interested in questioning our technologically mediated world and how art can thrive.
Izzy Bilkus
Like Greenwood, writer Izzy Bilkus recently debuted as a curator by looking closely at how young artists, many of them at the very start of their careers, are trying to emerge outside of the institutionalised art world. Plaster, the magazine Bilkus writes for and for which she curated the exhibition THE RADAR, has the same goal within the London art scene: breaking from the overcomplex art-world-talk and bringing some realness and honesty into art writing. Inspired by a popular column on Plaster, THE RADAR took place at 20 Great Chapel Street in London, running from late May to early June. The show brought together a carefully curated group of UK-based emerging artists, including Ada Bond’s haunting paintings and Fern O’Carolan’s hybrid keychains. With Bilkus as their in-house curator and talent scout, it looks like Plaster Magazine will inaugurate a new season of exhibitions with the same goal at their heart: finding new, unheard voices within the London art scene.
Charlie Fox
Halfway between the camp odyssey of John Waters’ films and the prosthetic makeup in 90s horror, Charlie Fox’s artistic research is definitely one of a kind. His book This Young Monster (2017), published by iconic London-based publishing house Fitzcarraldo Editions, explores how monstrous figures in media reflect “alterity”, a key concept in queer studies. In 2021, Fox curated My Head Is a Haunted House at Sadie Coles HQ, an exhibition bringing together artists - from Ed Atkins to Larry Clark - who investigate the creepy and liminal dimensions of memory and of fear itself. In fall 2024, he curated Flowers of Romance: Act One at Lodovico Corsini (Brussels), which delved into the aesthetic of the “uncanny” and how it can be represented both through the erotic and the horrific. Through his curatorial and writing work, Fox has established himself as one of the most interesting protagonists of the counter-cultural art world to observe in the future.
Olivia Aherne
Chisenhale Gallery curator Olivia Aherne is a young yet already established curator in the London art scene: her latest project, Five Defence Towers, a solo exhibition by Barcelona-based artist Claudia Pagès, explores the layered geography of Catalonia’s physical and political landscape. Presented by Chisenhale, the exhibition explored urban transformation, memory, and resistance, with Aherne shaping the project thanks to long conversations with the artist about the concepts of cartography and mythology. Aherne also co-founded The Department of Love, a platform and commissioning body which is currently publishing a series of Love Letters: a bunch of epistolary commissions by international artists and writers in the form of a monthly newsletter.
Kostas Stasinopoulos
Originally from Greece, Stasinopoulos established his role in the UK art scene as curator of Live Programmes at Serpentine, London, looking after the institution’s interdisciplinary program alongside Hans Ulrich Obrist, with whom he co-edited the book 140 Artists’ Ideas for Planet Earth – a collection of artistic propositions for sustainable futures. Stasinopoulos’ research explores performance and time-based art, such as dance and film, often dealing with legacies of oppression, queer politics, and ecology. His latest curated project, Bornsick, which took place in London in May and will land in Edinburgh in August 2025, is a performance by choreographer and dancer Lewis Walker about the concept of illness, co-commissioned by Serpentine and the Edinburgh Art Festival.
In a contemporary art world increasingly dictated by market forces and institutional hierarchies, the role of a young curator should be tracking down new voices and connecting dots the mainstream hasn’t yet noticed. Today’s curators don’t just haunt openings and flip through portfolios; they’re also running between studio visits, curating digital archives and personal accounts, and, just as often, hopping on late-night Zooms with artists across continents. Their role is as much about curiosity as it is about stamina: a tireless attitude that echoes the legendary pace of Hans Ulrich Obrist (who famously never sleeps, or so the story goes). The five UK-based curators featured here channel that energy: building alternative art worlds, assembling new constellations of artists, paving the way for new art movements, and ensuring fresh ideas are seen and connected.
Isabella Greenwood
London-based curator Isabella Greenwood has one of the most interesting lines of research when it comes to mixing digital cultures, philosophy and contemporary art. With a focus on the everlasting connections between technology and spirituality, her two exhibitions, God Willing and Virgil: Death and the Afterlife at Shipton Gallery, brought together a group of emerging artists exploring faith, ritual, and transcendence within the contemporary internet-infused art landscape. As a writer, Greenwood collaborates with magazines such as Elephant, Dazed, and Plaster Magazine, which are platforms actively shaping a new generation of researchers and curators interested in questioning our technologically mediated world and how art can thrive.
Izzy Bilkus
Like Greenwood, writer Izzy Bilkus recently debuted as a curator by looking closely at how young artists, many of them at the very start of their careers, are trying to emerge outside of the institutionalised art world. Plaster, the magazine Bilkus writes for and for which she curated the exhibition THE RADAR, has the same goal within the London art scene: breaking from the overcomplex art-world-talk and bringing some realness and honesty into art writing. Inspired by a popular column on Plaster, THE RADAR took place at 20 Great Chapel Street in London, running from late May to early June. The show brought together a carefully curated group of UK-based emerging artists, including Ada Bond’s haunting paintings and Fern O’Carolan’s hybrid keychains. With Bilkus as their in-house curator and talent scout, it looks like Plaster Magazine will inaugurate a new season of exhibitions with the same goal at their heart: finding new, unheard voices within the London art scene.
Charlie Fox
Halfway between the camp odyssey of John Waters’ films and the prosthetic makeup in 90s horror, Charlie Fox’s artistic research is definitely one of a kind. His book This Young Monster (2017), published by iconic London-based publishing house Fitzcarraldo Editions, explores how monstrous figures in media reflect “alterity”, a key concept in queer studies. In 2021, Fox curated My Head Is a Haunted House at Sadie Coles HQ, an exhibition bringing together artists - from Ed Atkins to Larry Clark - who investigate the creepy and liminal dimensions of memory and of fear itself. In fall 2024, he curated Flowers of Romance: Act One at Lodovico Corsini (Brussels), which delved into the aesthetic of the “uncanny” and how it can be represented both through the erotic and the horrific. Through his curatorial and writing work, Fox has established himself as one of the most interesting protagonists of the counter-cultural art world to observe in the future.
Olivia Aherne
Chisenhale Gallery curator Olivia Aherne is a young yet already established curator in the London art scene: her latest project, Five Defence Towers, a solo exhibition by Barcelona-based artist Claudia Pagès, explores the layered geography of Catalonia’s physical and political landscape. Presented by Chisenhale, the exhibition explored urban transformation, memory, and resistance, with Aherne shaping the project thanks to long conversations with the artist about the concepts of cartography and mythology. Aherne also co-founded The Department of Love, a platform and commissioning body which is currently publishing a series of Love Letters: a bunch of epistolary commissions by international artists and writers in the form of a monthly newsletter.
Kostas Stasinopoulos
Originally from Greece, Stasinopoulos established his role in the UK art scene as curator of Live Programmes at Serpentine, London, looking after the institution’s interdisciplinary program alongside Hans Ulrich Obrist, with whom he co-edited the book 140 Artists’ Ideas for Planet Earth – a collection of artistic propositions for sustainable futures. Stasinopoulos’ research explores performance and time-based art, such as dance and film, often dealing with legacies of oppression, queer politics, and ecology. His latest curated project, Bornsick, which took place in London in May and will land in Edinburgh in August 2025, is a performance by choreographer and dancer Lewis Walker about the concept of illness, co-commissioned by Serpentine and the Edinburgh Art Festival.
In a contemporary art world increasingly dictated by market forces and institutional hierarchies, the role of a young curator should be tracking down new voices and connecting dots the mainstream hasn’t yet noticed. Today’s curators don’t just haunt openings and flip through portfolios; they’re also running between studio visits, curating digital archives and personal accounts, and, just as often, hopping on late-night Zooms with artists across continents. Their role is as much about curiosity as it is about stamina: a tireless attitude that echoes the legendary pace of Hans Ulrich Obrist (who famously never sleeps, or so the story goes). The five UK-based curators featured here channel that energy: building alternative art worlds, assembling new constellations of artists, paving the way for new art movements, and ensuring fresh ideas are seen and connected.
Isabella Greenwood
London-based curator Isabella Greenwood has one of the most interesting lines of research when it comes to mixing digital cultures, philosophy and contemporary art. With a focus on the everlasting connections between technology and spirituality, her two exhibitions, God Willing and Virgil: Death and the Afterlife at Shipton Gallery, brought together a group of emerging artists exploring faith, ritual, and transcendence within the contemporary internet-infused art landscape. As a writer, Greenwood collaborates with magazines such as Elephant, Dazed, and Plaster Magazine, which are platforms actively shaping a new generation of researchers and curators interested in questioning our technologically mediated world and how art can thrive.
Izzy Bilkus
Like Greenwood, writer Izzy Bilkus recently debuted as a curator by looking closely at how young artists, many of them at the very start of their careers, are trying to emerge outside of the institutionalised art world. Plaster, the magazine Bilkus writes for and for which she curated the exhibition THE RADAR, has the same goal within the London art scene: breaking from the overcomplex art-world-talk and bringing some realness and honesty into art writing. Inspired by a popular column on Plaster, THE RADAR took place at 20 Great Chapel Street in London, running from late May to early June. The show brought together a carefully curated group of UK-based emerging artists, including Ada Bond’s haunting paintings and Fern O’Carolan’s hybrid keychains. With Bilkus as their in-house curator and talent scout, it looks like Plaster Magazine will inaugurate a new season of exhibitions with the same goal at their heart: finding new, unheard voices within the London art scene.
Charlie Fox
Halfway between the camp odyssey of John Waters’ films and the prosthetic makeup in 90s horror, Charlie Fox’s artistic research is definitely one of a kind. His book This Young Monster (2017), published by iconic London-based publishing house Fitzcarraldo Editions, explores how monstrous figures in media reflect “alterity”, a key concept in queer studies. In 2021, Fox curated My Head Is a Haunted House at Sadie Coles HQ, an exhibition bringing together artists - from Ed Atkins to Larry Clark - who investigate the creepy and liminal dimensions of memory and of fear itself. In fall 2024, he curated Flowers of Romance: Act One at Lodovico Corsini (Brussels), which delved into the aesthetic of the “uncanny” and how it can be represented both through the erotic and the horrific. Through his curatorial and writing work, Fox has established himself as one of the most interesting protagonists of the counter-cultural art world to observe in the future.
Olivia Aherne
Chisenhale Gallery curator Olivia Aherne is a young yet already established curator in the London art scene: her latest project, Five Defence Towers, a solo exhibition by Barcelona-based artist Claudia Pagès, explores the layered geography of Catalonia’s physical and political landscape. Presented by Chisenhale, the exhibition explored urban transformation, memory, and resistance, with Aherne shaping the project thanks to long conversations with the artist about the concepts of cartography and mythology. Aherne also co-founded The Department of Love, a platform and commissioning body which is currently publishing a series of Love Letters: a bunch of epistolary commissions by international artists and writers in the form of a monthly newsletter.
Kostas Stasinopoulos
Originally from Greece, Stasinopoulos established his role in the UK art scene as curator of Live Programmes at Serpentine, London, looking after the institution’s interdisciplinary program alongside Hans Ulrich Obrist, with whom he co-edited the book 140 Artists’ Ideas for Planet Earth – a collection of artistic propositions for sustainable futures. Stasinopoulos’ research explores performance and time-based art, such as dance and film, often dealing with legacies of oppression, queer politics, and ecology. His latest curated project, Bornsick, which took place in London in May and will land in Edinburgh in August 2025, is a performance by choreographer and dancer Lewis Walker about the concept of illness, co-commissioned by Serpentine and the Edinburgh Art Festival.
In a contemporary art world increasingly dictated by market forces and institutional hierarchies, the role of a young curator should be tracking down new voices and connecting dots the mainstream hasn’t yet noticed. Today’s curators don’t just haunt openings and flip through portfolios; they’re also running between studio visits, curating digital archives and personal accounts, and, just as often, hopping on late-night Zooms with artists across continents. Their role is as much about curiosity as it is about stamina: a tireless attitude that echoes the legendary pace of Hans Ulrich Obrist (who famously never sleeps, or so the story goes). The five UK-based curators featured here channel that energy: building alternative art worlds, assembling new constellations of artists, paving the way for new art movements, and ensuring fresh ideas are seen and connected.
Isabella Greenwood
London-based curator Isabella Greenwood has one of the most interesting lines of research when it comes to mixing digital cultures, philosophy and contemporary art. With a focus on the everlasting connections between technology and spirituality, her two exhibitions, God Willing and Virgil: Death and the Afterlife at Shipton Gallery, brought together a group of emerging artists exploring faith, ritual, and transcendence within the contemporary internet-infused art landscape. As a writer, Greenwood collaborates with magazines such as Elephant, Dazed, and Plaster Magazine, which are platforms actively shaping a new generation of researchers and curators interested in questioning our technologically mediated world and how art can thrive.
Izzy Bilkus
Like Greenwood, writer Izzy Bilkus recently debuted as a curator by looking closely at how young artists, many of them at the very start of their careers, are trying to emerge outside of the institutionalised art world. Plaster, the magazine Bilkus writes for and for which she curated the exhibition THE RADAR, has the same goal within the London art scene: breaking from the overcomplex art-world-talk and bringing some realness and honesty into art writing. Inspired by a popular column on Plaster, THE RADAR took place at 20 Great Chapel Street in London, running from late May to early June. The show brought together a carefully curated group of UK-based emerging artists, including Ada Bond’s haunting paintings and Fern O’Carolan’s hybrid keychains. With Bilkus as their in-house curator and talent scout, it looks like Plaster Magazine will inaugurate a new season of exhibitions with the same goal at their heart: finding new, unheard voices within the London art scene.
Charlie Fox
Halfway between the camp odyssey of John Waters’ films and the prosthetic makeup in 90s horror, Charlie Fox’s artistic research is definitely one of a kind. His book This Young Monster (2017), published by iconic London-based publishing house Fitzcarraldo Editions, explores how monstrous figures in media reflect “alterity”, a key concept in queer studies. In 2021, Fox curated My Head Is a Haunted House at Sadie Coles HQ, an exhibition bringing together artists - from Ed Atkins to Larry Clark - who investigate the creepy and liminal dimensions of memory and of fear itself. In fall 2024, he curated Flowers of Romance: Act One at Lodovico Corsini (Brussels), which delved into the aesthetic of the “uncanny” and how it can be represented both through the erotic and the horrific. Through his curatorial and writing work, Fox has established himself as one of the most interesting protagonists of the counter-cultural art world to observe in the future.
Olivia Aherne
Chisenhale Gallery curator Olivia Aherne is a young yet already established curator in the London art scene: her latest project, Five Defence Towers, a solo exhibition by Barcelona-based artist Claudia Pagès, explores the layered geography of Catalonia’s physical and political landscape. Presented by Chisenhale, the exhibition explored urban transformation, memory, and resistance, with Aherne shaping the project thanks to long conversations with the artist about the concepts of cartography and mythology. Aherne also co-founded The Department of Love, a platform and commissioning body which is currently publishing a series of Love Letters: a bunch of epistolary commissions by international artists and writers in the form of a monthly newsletter.
Kostas Stasinopoulos
Originally from Greece, Stasinopoulos established his role in the UK art scene as curator of Live Programmes at Serpentine, London, looking after the institution’s interdisciplinary program alongside Hans Ulrich Obrist, with whom he co-edited the book 140 Artists’ Ideas for Planet Earth – a collection of artistic propositions for sustainable futures. Stasinopoulos’ research explores performance and time-based art, such as dance and film, often dealing with legacies of oppression, queer politics, and ecology. His latest curated project, Bornsick, which took place in London in May and will land in Edinburgh in August 2025, is a performance by choreographer and dancer Lewis Walker about the concept of illness, co-commissioned by Serpentine and the Edinburgh Art Festival.
In a contemporary art world increasingly dictated by market forces and institutional hierarchies, the role of a young curator should be tracking down new voices and connecting dots the mainstream hasn’t yet noticed. Today’s curators don’t just haunt openings and flip through portfolios; they’re also running between studio visits, curating digital archives and personal accounts, and, just as often, hopping on late-night Zooms with artists across continents. Their role is as much about curiosity as it is about stamina: a tireless attitude that echoes the legendary pace of Hans Ulrich Obrist (who famously never sleeps, or so the story goes). The five UK-based curators featured here channel that energy: building alternative art worlds, assembling new constellations of artists, paving the way for new art movements, and ensuring fresh ideas are seen and connected.
Isabella Greenwood
London-based curator Isabella Greenwood has one of the most interesting lines of research when it comes to mixing digital cultures, philosophy and contemporary art. With a focus on the everlasting connections between technology and spirituality, her two exhibitions, God Willing and Virgil: Death and the Afterlife at Shipton Gallery, brought together a group of emerging artists exploring faith, ritual, and transcendence within the contemporary internet-infused art landscape. As a writer, Greenwood collaborates with magazines such as Elephant, Dazed, and Plaster Magazine, which are platforms actively shaping a new generation of researchers and curators interested in questioning our technologically mediated world and how art can thrive.
Izzy Bilkus
Like Greenwood, writer Izzy Bilkus recently debuted as a curator by looking closely at how young artists, many of them at the very start of their careers, are trying to emerge outside of the institutionalised art world. Plaster, the magazine Bilkus writes for and for which she curated the exhibition THE RADAR, has the same goal within the London art scene: breaking from the overcomplex art-world-talk and bringing some realness and honesty into art writing. Inspired by a popular column on Plaster, THE RADAR took place at 20 Great Chapel Street in London, running from late May to early June. The show brought together a carefully curated group of UK-based emerging artists, including Ada Bond’s haunting paintings and Fern O’Carolan’s hybrid keychains. With Bilkus as their in-house curator and talent scout, it looks like Plaster Magazine will inaugurate a new season of exhibitions with the same goal at their heart: finding new, unheard voices within the London art scene.
Charlie Fox
Halfway between the camp odyssey of John Waters’ films and the prosthetic makeup in 90s horror, Charlie Fox’s artistic research is definitely one of a kind. His book This Young Monster (2017), published by iconic London-based publishing house Fitzcarraldo Editions, explores how monstrous figures in media reflect “alterity”, a key concept in queer studies. In 2021, Fox curated My Head Is a Haunted House at Sadie Coles HQ, an exhibition bringing together artists - from Ed Atkins to Larry Clark - who investigate the creepy and liminal dimensions of memory and of fear itself. In fall 2024, he curated Flowers of Romance: Act One at Lodovico Corsini (Brussels), which delved into the aesthetic of the “uncanny” and how it can be represented both through the erotic and the horrific. Through his curatorial and writing work, Fox has established himself as one of the most interesting protagonists of the counter-cultural art world to observe in the future.
Olivia Aherne
Chisenhale Gallery curator Olivia Aherne is a young yet already established curator in the London art scene: her latest project, Five Defence Towers, a solo exhibition by Barcelona-based artist Claudia Pagès, explores the layered geography of Catalonia’s physical and political landscape. Presented by Chisenhale, the exhibition explored urban transformation, memory, and resistance, with Aherne shaping the project thanks to long conversations with the artist about the concepts of cartography and mythology. Aherne also co-founded The Department of Love, a platform and commissioning body which is currently publishing a series of Love Letters: a bunch of epistolary commissions by international artists and writers in the form of a monthly newsletter.
Kostas Stasinopoulos
Originally from Greece, Stasinopoulos established his role in the UK art scene as curator of Live Programmes at Serpentine, London, looking after the institution’s interdisciplinary program alongside Hans Ulrich Obrist, with whom he co-edited the book 140 Artists’ Ideas for Planet Earth – a collection of artistic propositions for sustainable futures. Stasinopoulos’ research explores performance and time-based art, such as dance and film, often dealing with legacies of oppression, queer politics, and ecology. His latest curated project, Bornsick, which took place in London in May and will land in Edinburgh in August 2025, is a performance by choreographer and dancer Lewis Walker about the concept of illness, co-commissioned by Serpentine and the Edinburgh Art Festival.
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