︎
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
00050
Echoing the architecture: Trevor Mathison’s sculpted sound
Robert Barry
Martina Attille
,
Reece Auguiste
,
John Akomfrah
,
Assemble
,
Robert Barry
,
Maureen Blackwood
,
Appau Jnr Boakye-Yiadom
,
Ceddo Film and Video Workshop
,
Collage
,
Dubmorphology
,
Film
,
Oliver Fuke
,
Edward George
,
Goldsmiths CCA
,
Lina Gopaul
,
Handsworth Songs
,
Isaac Julien
,
Nadine Marsh-Edwards
,
Trevor Mathison
,
Music
,
Patina
,
Recording
,
Sankofa Film and Video Collective
,
Gary Stewart
,
Sonic
,
Sound
,
Strata
,
Paloma Strelitz
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