︎
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
00167
A methodology of imaginal travel: Gayle Chong Kwan’s sweet connections between Mauritius & the Isle of Wight
Will Jennings
Alum Sands
,
Carisbrooke Castle
,
Gayle Chong Kwan
,
Colonisation
,
East India Company
,
TS Eliot
,
Empire
,
Extraction
,
Geology
,
Indentured labour
,
Felix Gonzalez-Torres
,
Film and Video Umbrella
,
The Isle of Wight
,
Will Jennings
,
John Hansard Gallery
,
Mauritius
,
Sand
,
Sandcastle
,
Slavery
,
Southampton
,
Strata
,
Sugar
,
Sugarcane
,
Sugarcrete
,
Towers
,
University of East London
00090
Histories collide with Todd Gray’s photographic portals
Baroque
,
Body
,
Colonialism
,
Fontainebleau
,
Ghana
,
History
,
Todd Gray
,
Michael Jackso
n,
Layering
,
Lehmann Maupin
,
Music
,
Nature
,
Nude
,
Photography
,
Race
,
Allan Sekula
,
Silhouette
,
Slavery
00042
Being & looking in landscape: Ingrid Pollard’s archaeology
Will Jennings
Being
,
Capability Brown
,
Turner Contemporary
,
Cumbrian National Park
,
Farne Islands
,
James Hakewell
,
Jamaica
,
Lake District
,
Landscape
,
Looking
,
Picturesque
,
Photography
,
Ingrid Pollard
,
Race
,
Slavery
,
Turner Contemporary
,
Valentine and Sons
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