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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
00304
Venice Biennale 2025: part 1, the good
Tea Ala-Ruona
,
AMO/OMA
,
Arsenale Institute for Political Representation
,
Tolia Astakhishvilli
,
Bahrain
,
John Baldessari
,
Barricades
,
Belgium
,
Bodies
,
Canada
,
Gaëlle Choisne
,
Albrecht Dürer
,
Fondazione Prada
,
Fondazione Querini Stampalia
,
Gallerie dell'Accademia
,
Giorgione
,
GRACE
,
Ireland
,
Rem Koolhaas
,
Living Room Collective
,
Luxembourg
,
Stefano Mancuso
,
Michelangelo
,
Montenegro
,
Museu Correr
,
Netherlands
,
Nicoletta Fiorucci Foundation
,
Nordic Pavilion
,
Hans Ulrich Obrist
,
OMA
,
Jorge Orta
,
Lucy Orta
,
Poland
,
Antonio Rizzo
,
Emir Šehanović
,
Serbia
,
Carlo Scarpa
,
Scuola Piccola Zattere
,
Harry Seidler
,
Slovenia
,
SMAC
,
Bas Smets
,
SPARC
,
Ivan Šuković
,
Sun Heliocomplex
,
Dejan Todorović
,
Uzbekistan
,
Venice
,
Venice Biennale
,
Leonardo da Vinci
,
Jung Youngsun
,
Miljana Zeković
00258
Across three exhibitions, the Sainsbury Centre asks if the seas can survive humanity
Nyima Murry
Hendrick van Anthonissen
,
Between
,
Can the Seas Survive Us?
,
Julian Charrière
,
Climate change
,
Charles Darwin
,
Ecosystem
,
Olafur Eliasson
,
Fitzwilliam Museum
,
Paul Gauguin
,
Gender
,
Island
,
Yuki Kihara
,
Kiribati
,
LGBTQI
,
Boris Maas
,
Maldives
,
Marquesas Islands
,
Nyima Murry
,
Netherlands
,
Norfolk
,
Norwich School
,
Ocean
,
John Kenneth Paranada
,
Queer
,
Sainsbury Centre
,
Samoa
,
Sea
,
Tahiti
,
Va
,
Water
,
Whale
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