︎
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
00212
An invitation into the sublime: the imaginary architectures of Al Held & Minoru Nomata
Will Jennings
9/11
,
AI
,
Archigram
,
Étienne-Louis Boullée
,
Colour
,
Constantin Brâncuși
,
Pieter Bruegel
,
Charles Burton
,
Climate
,
Crisis
,
Decay
,
Destruction
,
Peter Eisenman
,
Emptiness
,
Brian Eno
,
MC Escher
,
Exploration
,
Fukushima
,
Geometry
,
Zaha Hadid
,
Al Held
,
Hyperspace
,
Will Jennings
,
Landscape
,
Erich Mendelsohn
,
Oscar Niemeyer
,
Minoru Nomata
,
Painting
,
Joseph Paxton
,
IM Pei
,
Post apocalyptic
,
Reality
,
Bridget Riley
,
Richard Serra
,
Sinister
,
Robert Smithson
,
Sublime
,
Superstudio
,
Tokyo
,
Tokyo Tower
,
Tower
,
Twin Towers
,
Victor Vasarely
,
Robert Venturi
,
White Cube
00086
Radical salvage: Mike Nelson at the Hayward Gallery
Paul Dobraszczyk
Asset strippers
,
JG Ballard
,
Hakim Bey,
Capitalism
,
Decay
,
Paul Dobraszczyk
,
Extinction
,
Extinction Beckons
,
Hayward Gallery
,
Industrial
,
Industry
,
Installation
,
Stanisław Lem
,
Machinery
,
Marxism
,
China Miéville
,
Mike Nelson
,
Pirates
,
Politics
,
Post-apocalyptic,
Marcus Rediker
,
Ruin
,
Salvage
,
Sculpture
,
Robert Smithson
,
Arkady and Boris Strugatsky
,
Temporary Autonomous Zones
,
John Turner
,
Evan Calder Williams
,
Peter Lamborn Wilson
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Venice
Biennale 2025: part 3,
the 
