︎
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
Temporary & permanent culture finds a place in Middlesbrough
Will Jennings
The recessed.space highlights from Frieze Art Fair 2025
00295
Post-industrial clay: the British Ceramics Biennial in Stoke-on-Trent
Veronica Simpson
British Ceramics Biennial
,
Kyra Cane
,
Capital and Centric
,
Fernando Casasempere
,
Ceramics
,
Noor Ali Chagani
,
Clay
,
Community
,
Factory
,
Hannah Fastrich
,
Tim Fluck
,
Susan Halls
,
Industry
,
Leah Jensen
,
Clio Lloyd-Jacob
,
Charlotte Moore
,
Jane Perryman
,
Post-industrial
,
Alison Rees
,
Regeneration
,
Samsoum Studio
,
Mella Shaw
,
Daniel Silver
,
Veronica Simpson
,
Spode
,
Stoke
,
Stoke-on-Trent
,
Jo Taylor
,
The Great Pottery Throw Down
,
Tuckey Design Studio
,
University of Staffordshire
,
Clare Wood
,
WoodCast Designs
,
World Craft City
00249
Jonathan Baldock’s structure to worship nature above the ruins of Londinium
Will Jennings
Agriculture
,
Archaeology
,
Jonathan Baldock
,
Bloomberg
,
Clay
,
Cult
,
Family
,
Norman Foster
,
History
,
Hops
,
Will Jennings
,
Kent
,
Lapis lazuli
,
London
,
Mithraeum
,
Mithras
,
Mother
,
Mythology
,
Nature
,
Roman
,
Sculpture
,
Temple
,
Walbrook River
00159
Antony Gormley’s Body Politic, in the artist’s own words
Body
,
Civil engineering
,
Clay
,
Concrete
,
Corten steel
,
Engineering
,
Geometry
,
Antony Gormley
,
Manufacturing
,
Napoleon
,
Bruce Nauman
,
Process
,
Sculpture
,
Steel
,
Threshold
,
White Cube
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
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Venice
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