︎
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
00112
An earthen church vessel: Gabriel Chaile & Laura Ojeda Bär
Will Jennings
Adobe
,
Juliet Barada
,
Tomás Bargao Henriques
,
Manuel Barros Brito
,
Joaquin Biglione
,
Gabriel Chaile
,
Church
,
Clay
,
Craft
,
Earth
,
Will Jennings
,
Lisbon
,
London
,
Material
,
Mesh
,
Mud
,
Laura Ojeda Bär
,
Post-colonial
,
Scaffolding
,
Studio Voltaire
,
Jorge Tomasi
,
Venice Biennale
,
Carlo Zambon
00057
Theaster Gates’ Black Chapel: the sacred in motion
Marwa El Mubark
David Adjaye
,
Adjaye Associates
,
Blackness
,
Chicago
,
Church
,
Darkness
,
Marwa El Mubark
,
Theaster Gates
,
Hyde Park
,
Inhabitation
,
Kiln
,
Philip Larkin
,
London
,
Loss
,
Movement
,
Oculus
,
Ritual
,
Sacred
,
Serpentine Gallery
,
Serpentine Pavilion
,
Shadow
,
Temple
,
Timber
00028
Simon Roberts’ photographs of Cuban religious architecture
Simon Roberts
Another Place Press,
Cathedral
,
Church
,
Cuba
,
Cultuurcentrum Mechelen
,
Religious architecture
,
Photography
,
Simon Roberts
.
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