︎
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
00184
Nicole Wermers’ Day Care: disrupting smoothness at The Common Guild
Jonathan McAloon
Aluminium
,
Art Monthly
,
Business
,
Capital
,
Cleaners
,
Cleaning
,
Coorporate
,
Elevator
,
Floor
,
Glasgow
,
Hotel
,
Kunsthaus Glarus
,
Labour
,
Jonathan McAloon
,
Office
,
Plaster
,
Polish
,
Sculpture
,
Smoothness
,
The Common Guild
,
Nicole Wermers
,
Women
,
Work
00091
Pilvi Takala’s cosplay critique of the neoliberal workplace
Will Wiles
Sophie Calle
,
Cosplay
,
Deloitte
,
Desk
,
Email
,
Film
,
Goldsmiths CCA
,
Mirror
,
Neoliberalism
,
Office
,
Tim Robinson
,
Roleplay
,
Second Home
,
Security
,
SelgasCan
o,
Shopping centre
,
Pilvi Takala
,
Tea Dance
,
Touching
,
Venice Biennale
,
WhatsApp
,
Will Wiles
,
Workplace
00044
Goldsmiths degree show: the highlights
Will Alsop
,
Anthropocene
,
Archaeology
,
Baking
,
Tom Bull
,
Bones
,
Ceramics
,
Concrete
,
Degree show
,
Pascal Marcel Dreier
,
Ecology
,
Far right
,
Film
,
Flour
,
Foreshore
,
Ali Glover
,
Goldsmiths College
,
Grain
,
Homosexuality
,
Horticulture
,
Industrial
,
Installation
,
Jean-François Krebs
,
Luxury
,
Chris MacInnes
,
Marble
,
Monster
,
Mundanity
,
Notes
,
Office
,
Painting
,
Barney Pau
,
Queer
,
Rural
,
Sheffield
,
Thatch
,
Trauma
,
Trompe l'oeil
.
Jacob George Wilson
,
Scott Young
,
Sculpture
,
Sound
,
Thames
,
University of London
,
Video
,
Anna Wachsmuth
,
Warehouse
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Venice
Biennale 2025: part 3,
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