︎
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
00231
Venice 2024: Switzerland & LAS Art Foundation fuse architecture & technology to create immersive worlds
Accademia di Belle Arti di Venezia
,
Fatima al Qadiri
,
Andrea Bellini
,
Afrofuturism
,
Centre d’Art Contemporain Genève
,
Civilisation
,
Guerreiro do Divino Amor
,
Digital
,
Immersive
,
LAS Art Foundation
,
Josèfa Ntjam
,
Ocean
,
Rome
,
Science fiction
,
Space
,
Subaqua
,
Technology
,
Venice Biennale
,
Worldbuilding
,
Switzerland
00097
Eurovision architecture: a conversation with stage designer Julio Himede
Julio Himede
Eurovision
,
Julio Himede
,
Immersive
,
Lights
,
Liverpool
,
Music
,
Performance
,
Rhino
,
Set design
,
Stage
,
Television
,
TV
,
Ukraine
,
Video
,
Yellow Studio
00078
Danielle Brathwaite-Shirley: worldbuilding a cyberpunk playground
Will Jennings
The Bandidos
,
Bus stop
,
Computer
,
Cyberpunk
,
Danielle Brathwaite-Shirley
,
Cities
,
Digital
,
Environment
,
FACT
,
Games
,
Immersive
,
Liverpool
,
Mediation
,
Participation
,
Politics
,
Rollercoaster
,
Swings
,
Urban
,
Video games
,
Youth
,
Youth club
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INDEX
︎
Venice
Biennale 2025: part 3,
the 
