︎
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
00239
Books: Phyllida Barlow’s life in sculpture remembered
Book
,
Fiona Bradley
,
Chelsea School of Art
,
Construction
,
Destruction
,
Frances Morris
,
Fruitmarket
,
Fruitmarket Publishers
,
Hauser & Wirth
,
Hauser & Wirth Publishers
,
Place
,
Scale
,
Sculpture
,
Site
,
Slade School of Fine Art
00183
Models for a new society: Enzo Mari at the Design Museum
Artemide
,
Children
,
Communism
,
Consumerism
,
Design
,
Design Museum
,
Drawing
,
Furniture
,
Games
,
Francesca Giacomelli
,
Goose
,
Graphics
,
Humour
,
Labour
,
Enzo Mari
,
Material
,
Milan
,
Hans Ulrich Obrist
,
Politics
,
Product
,
Scale
,
Toys
,
Triennale Milano
,
Workers
00136
Christo wrappings within a Georgian townhouse: an interview with curator Elena Geuna
Will Jennings
Camus
,
Centre Pompidou
,
Christo
,
Domestic
,
Christo
,
Conceal
,
Exhibition
,
Jeanne-Claude
,
Frieze London
,
Lucio Fontana
,
Gagosian
,
Gagosian Open
,
Georgian
,
Elena Geuna
,
Immigration
,
Will Jennings
,
London
,
Monumental
,
Scale
,
Sculpture
,
Spitalfields
,
Stranger
,
Travel
,
Unconscious
,
Wrapping
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INDEX
︎
Venice
Biennale 2025: part 3,
the 
