The Best London Shows This Weekend

"It is, in fact, a terrifically exciting narrative. It shows the pity as well as the brutality of war… and all in sophisticated needlework. Go, if you can."

The Standard

"In parts of the show, Moore's love of natural forms seems to run counter to the Victorian splendour of Kew. One of his bone-like pieces, Three Piece Sculpture: Vertebrae (1968-69), sits in front of the Palm House. Moore's irregular, undulating tripartite form seems to echo – or mock – the pane-glass and wrought-iron symmetry of the older building."

The Telegraph

"It’s a savage, merciless vision of modern history with feelings of horror, disgust and irreparable guilt hanging heavy in the poisoned air. But there’s a terrible joy too, the thrill of speaking the truth."

The Guardian

"He can do everything. And yet, whatever he does, you know it's him."

TimeOut

"Atoui has grabbed the opportunity to work in this vast space with both hands, creating something rich, ingenious, funny, sad, mystical. This is a Turbine Hall installation to lose yourself in for hours, dreaming and wondering."

The Guardian

"The painting is overwhelming, not only for its scale but also for its dazzling variety of tones and textures, from the schematic design of the planets to its impasto treatment of the moss on the stones, which blooms from the surface of the canvas in wild green clumps. The effect is sublime."

The Guardian

"With its evocation of woman as nature, the work reinforces the woman-nature/man-culture dichotomy"

The Arts Desk

"Famously he was a painter of fairies, yet he was far from being away with the fairies"

The Arts Desk

"But in Pierre-Auguste’s paintings, there’s no punishment. Nobody gets syphilis or drinks themselves to death, or drowns in the Seine. This is the happiest art exhibition of the year."

The Guardian

"All that is certain is that Pope.L cannot be pinned down. Best known for his gruelling “crawl” across New York, this influential artist and writer didn’t use art to make himself understood. Instead, he used its tools to dismantle the liberal presumption that other people and communities can easily be understood, categorised and explained away."

The Guardian

"Zoom out and the wreckage becomes a series of huge three-dimensional abstract paintings, drawn in steel across the gallery. The Weight of Matter is a reminder of the possibilities and joy that can come with a second life."

TimeOut

"He could paint like Jan van Eyck when he wanted but sometimes preferred to paint like a clumsy moron. Magritte was too intelligent to respect anything, least of all art."

The Guardian

"Like much of Kanwar’s work, Such a Morning makes demands on your patience. Anyone attempting to make simple sense of the film is likely to sympathise with the professor groping blindly around in the dark. But it is worth putting in the time, because Kanwar’s commitment to doubt as a precursor of knowledge carries a political charge in the present."

The Guardian

"The show does not psychoanalyse or overly contextualise the work. Rather, All That Goes Unnoticed presents Eggleston simply and unpretentiously. His work is banal, and extraordinary."

TimeOut

"They’re weird, suffocating, intimate things, like you’ve been allowed into her weakest moments, like you’re interrupting her mid-weep. You feel like you have to back out of the gallery quietly to let her get on with it."

The Guardian