︎
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
00253
At Somerset House a sculptural barrier by artists Hylozoic/Desires opens up rich research into salt, land & empire
Will Jennings
William Chambers
,
Colonialism
,
Desert X
,
Empire
,
Fabric
,
Graham Foundation
,
Great Salt Hedge
,
Hedge
,
Hylozoic/Desires
,
India
,
India Art Fair
,
India Office
,
Infrastructure
,
Inland Customs Line
,
Will Jennings
,
Cliff Lauson
,
Research
,
Salt
,
Salt Office
,
Salton Sea
,
Kinnari Saraiya
,
Sculpture
,
Sharjah Biennial
,
Himali Singh Soin
,
David Soin Tappeser
,
Somerset House
,
Sound
,
Staircase
,
Tate Britain
,
Termite
,
Wardian case
00135
Build & unbuild: Coffey Architects’ Drawing Room
AHMM
,
Jessie Brennan
,
Coffey Architects
,
Drawing
,
Drawing Room
,
Housing
,
Ian Kiaer
,
London
,
London Square
,
Sculpture
,
Tanoa Sasraku
,
Emily Speed
,
Do Hu Suh
,
Staircase
,
Studio
,
The Tannery
,
Tannery Arts
,
Warehouse
00082
The silence of the staircase: Atiéna R. Kilfa’s Unhomely
Nyima Murry
Apartment
,
Camden Art Centre
,
Creak
,
Rainer Werner Fassbinder
,
Film
,
Floorboard
,
Gaze
,
Installation
,
Atiéna R Kilfa
,
Nyima Murry
,
Model
,
Stair
,
Staircase
,
Watching
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Venice
Biennale 2025: part 3,
the 
