︎
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
00129
From Kinga Oktabska’s studio: fragmented landscapes & found histories
Kinga Oktabska
Battersea
,
Brick
,
Community
,
Development
,
Drawing
,
Factory
,
Fragments
,
Gentrification
,
Hypha Studios
,
Landscape
,
Lower Silesia
,
Metalpoint
,
Mudlarking
,
Nine Elms
,
Kinga Oktabska
,
Pebbles
,
Pipes
,
Poland
,
Porcelain
,
Property
,
River
,
River Thames
,
Rubble
,
Silk
,
Stories
,
Studio
,
Thames
,
Tide
,
Pawel Tomaszewski
,
Waste
00116
Sculpting the urban guts: an interview with Holly Hendry
Joseph Bazalgette
,
Brexit
,
Cartoon
,
Comic
,
Covid
,
De La Warr Pavilion
,
Earth
,
Engineering
,
Fear
,
Flow
,
Goldsmiths CCA
,
Holly Hendry
,
Horror
,
London
,
Pipes
,
Sewerage
,
Sewer
,
Temple
,
The CoLAB
,
Thames Tideway Tunnel
,
The Artists Garden
,
theCoLAB
,
Underground
,
Ventilation
,
Who Framed Roger Rabit
,
Wave
,
Weave
,
Worms
00106
The poetry of everything: Massimo Bartolini’s musical scaffolding
Robert Barry
Alga Marghan
,
Robert Barry
,
Massimo Bartolini
,
Gavin Bryars
,
John Cage
,
Centro per l'Arte Contemporanea Luigi Pecci
,
Composition
,
Installation
,
Matteo da Prato
,
Massimo Drovandi
,
Samuele Frangioni
,
Fondazione Merz
,
Samuele Maffucci
,
Massimo di Carlo
,
Yari Mazza
,
Music
,
Music box
,
Áine O'Dwyer
,
Organ
,
Pipes
,
Scaffolding
,
Sculpture
,
Sound art,
Wind
,
Wind instrument
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Venice
Biennale 2025: part 3,
the 
