What's On: London

Our top three picks for this penultimate 2011 edition of What’s On: London are as follows: KK Outlet have released a heap of “season’s greetings” on us like a fat man falling down a chimney with their festive jumper-loving O Come All Ye Hackers, the Serpentine presents Brazilian artist Lygia Pape and the New Bond Street Richard Green gallery has an LS Lowry exhibition.

Oh Come All Ye Hackers KK Outlet

Nothing is more festive than novelty knitwear – that’s a universal truth. Less well-known is that Bill Cosby owns the rights to at least 90% of the knit patterns in the world and in honour of that (lie – but could be true), Andrew Salomone and his Brother KH930 have hacked this Yuletide institution to excellent effect. With designed contributions from the likes of Siggi Eggertsson, Nous Vous, Geneveive Gaukler and a woollen interpretation of that most Xmas-y of events – the Slayer Christmas Lights Lightorama 2009 – Oh Come All Ye Hackers makes Santa look like the Easter Bunny. Showing until December 22.
www.kkoutlet.com/o-come-all-ye-hackers

Lygia Pape: Magnetized Space Serpentine

Neo-Concretism – widely regarded as the movement that started contemporary art in Brazil – was in part founded by Lygia Pape whose practical and aesthetic determination to include art in everyday life was at the very heart of the movement. Magnetized Space denotes the charged political, social and ethical motivations behind her pieces which include drawings, wall works and sculptures, performances, poems and film. Pape, who died in 2004, is seen in retrospect through her decades of art, bringing together “daring experimentation and formal rigour.” Showing until February 19.
www.serpentinegallery.org/lygia-pape

LS Lowry Richard Green

Scathingly described as a “Sunday painter” LS Lowry is one of the most contested of household artists – something that understandably annoyed him. He studied under a French Impressionist (thanks Wikipedia) and so his re-imagining of the vapid industrial landscape in a perspective-challenged outlook occupied by stick-people has some roots in a more ephemeral, subjective style of painting. Authentically primitive or naively so, this latest Lowry exhibition will undoubtedly go some way in compounding public opinion by its reappearance on the London scene alone, highlighting his extraordinarily large output. That and some rather interesting rumours about a Tate retrospective on the horizon… Showing until December 17.
www.richard-green.com/lowry