At London’s Serpentine South, Peter Doig: House of Music (October 10, 2025–February 8, 2026) expands the painter’s practice into sound and space. The exhibition brings together Doig’s paintings, prints, films, and a selection of restored analogue speakers from his personal collection, including rare Klangfilm Euronor and Western Electric systems originally used in cinemas. The result is a multisensory environment where sound operates not as accompaniment, but as material.
According to the Serpentine, House of Music explores the intersection of visual art and listening culture. The gallery will host “Sound Service,” a live program of Sunday listening sessions curated by guest artists and musicians. These events are designed to activate the space through collective experience rather than spectacle.
Doig’s approach reflects a wider institutional interest in sound as a spatial and social medium. Recent Serpentine projects—from Ryoji Ikeda’s Test Pattern to Grace Wales Bonner’s Dream in the Rhythm—have similarly treated sound as an architectural force. Rather than isolating artworks, such exhibitions emphasize how sensory experience can reframe the gallery’s function.
By foregrounding listening as a form of engagement, House of Music positions the gallery as an active site of resonance. The exhibition’s fusion of painting, film, and analogue sound asks what happens when the walls that contain art also begin to listen back.
