︎
The house as self-portrait: John Soane’s words through an artistic gaze
Rochelle Roberts
The Orobie Biennial puts art into the Bergamasque Prealps
Will Jennings
recessed.space: Ground Collective communicate with silent rivers
Venice Biennale 2025: part 3, the
ugly
Venice Biennale 2025: part 2, the b
ad
Venice Biennale 2025: part 1, the good
00170
A night-time
flâneuse
of the nonplace: Tales of Estrangement by Effie Paleologou
Absence
,
Athens
,
Covid
,
Darkness
,
Brian Dillon
,
Lauren Elkin
,
Flâneur
,
Flâneuse
,
Light
,
London
,
Mack Books
,
Night
,
Night-time
,
Effie Paleologou
,
Photography
,
Shadows
,
Iain Sinclair
,
Walking
,
Windows
00070
Queer Spaces: A world cruise of creative LGBTQ placemaking
AIDs
,
Andreas Angelidakis
,
Athens
,
Bangladesh
,
Biltmoderne
,
Bogotá
,
Buenos Aires
,
Community
,
Cruising
,
Dancing
,
Dhaka
,
Disco
,
Adam Nathaniel Furman
,
Gay
,
Homophobia
,
Homosexuality
,
Derek Jarman
,
LGBTQ
,
London
,
Joshua Mardell
,
Makati City
,
Melbourne
,
Mexico City
,
Timothy Moore
,
Nature
,
New York
,
RIBA
,
Rio de Janeiro
,
San Juan
,
Sex
,
Sexuality
,
Temporality
,
Tokyo
,
Transexual
,
Yannis Tsarouchis
,
Queer
00022
Deeper than surface: an interview with Navine G. Khan-Dossos
Navine G. Khan-Dossos
Will Jennings
Athens
,
Athens Bienniale
,
CCTV
,
Communication
,
Crossrail
,
Decoration
,
Desert
,
Geometry
,
House of Saint Barnabas
,
Murals
,
Navine Dossos
,
Kuwait
,
Landscape
,
Language
,
Nature
,
Orientalism
,
Ottoman
,
Painting
,
Palm Tree
,
Render
,
Sculpture
,
Walter Segal
,
Surveillance
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