︎
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
00196
Venice 2024: Iceland’s Hildigunnur Birgisdóttir cartoonishly shows invisible systems
Advert
,
Hildigunnur Birgisdóttir
,
Dan Byers
,
Capitalism
,
Consumerism
,
Dollhouse
,
Ecosystem
,
GES-2
,
Iceland
,
Ragnar Kjartansson
,
Logos
,
Merz
,
Merzbau
,
Networks
,
Packaging
,
Phantasmagoria
,
Process
,
Kurt Schwitters
,
VAC Foundation
,
Value
,
Venice Biennale
00183
Models for a new society: Enzo Mari at the Design Museum
Artemide
,
Children
,
Communism
,
Consumerism
,
Design
,
Design Museum
,
Drawing
,
Furniture
,
Games
,
Francesca Giacomelli
,
Goose
,
Graphics
,
Humour
,
Labour
,
Enzo Mari
,
Material
,
Milan
,
Hans Ulrich Obrist
,
Politics
,
Product
,
Scale
,
Toys
,
Triennale Milano
,
Workers
00181
The architectural explosion that was Big Biba
Will Jennings
1960s
,
1970s
,
ACC Art Books
,
Art deco
,
Biba
,
Big Biba
,
Bridgit Bardot
,
Brighton
,
British Land
,
Boutique
,
Clothes
,
Consumerism
,
Department store
,
Disney
,
Dorothy Perkins
,
Fashion
,
Fashion & Textile Museum
,
Bernard George
,
Barbara Hulanicki
,
Interior design
,
Will Jennings
,
Andrew Logan
,
Stephen Fitz-Simon
,
Kensington
,
London
,
Martin Pell
,
Dennis Potter
,
Restaurant
,
Roof terrace
,
Ken Russell
,
Steven Thomas
,
Alwyn W Turner
,
Twiggy
,
Andy Warhol
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INDEX
︎
Venice
Biennale 2025: part 3,
the 
