︎
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
00283
Folkestone Triennial looks deep in time, land & sea
Amulet
,
Anthropocene
,
Sorcha Carey
,
Cooking Sections
,
Dorothy Cross
,
Earth
,
Creative Folkestone
,
Folkestone
,
Folkestone Triennial
,
Geology
,
Ignalina
,
Land
,
Lithuania
,
J Maizlish Mole
,
Monster Chetwynd
,
Nuclear
,
Katie Paterson
,
Laure Prouvost
,
Sculpture
,
Sea
,
Sewers
,
Emilija Škarnulytė
,
Alistair Upton
00110
Monster Chetwynd’s Mount Stuart Moths: an ecological reminder
Neil Scott
Arcadia
,
Robert Rowand Anderson
,
Butterflies
,
CGI
,
COP26
,
Crypt
,
George Gilbert Scott
,
Film
,
Isle of Bute
,
Marvin Gaye Chetwynd
,
Monster Chetwynd
,
Performance
,
Spartacus Chetwynd
,
Moths
,
Mount Stuart House
,
Play
,
Re-enchantment
,
Neil Scott
,
Sculpture
,
Turner Prize
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︎
