︎
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
00153
An architectural migration: Augustas Serapinas’ greenhouse
Will Jennings
Art Deco
,
Borscht
,
Conservation
,
Emalin
,
Frame
,
Gentrification
,
Greenhouse
,
Growing
,
Handmade
,
Herbs
,
Heritage
,
Will Jennings
,
Kaunas
,
Lichtenfels Sculpture
,
Lithuania
,
Maintenance
,
Gordon Matta-Clark
,
Metal
,
Migration
,
Nostalgia
,
Politics
,
Recipe
,
Relocation
,
Repair
,
River Kamp
,
Saltibarščiai
,
Augustas Serapinas
,
Soviet
,
Stew
,
Structure
,
Timber
,
Timber frame
,
Užupis
,
Vegetables
,
Vernacular
,
Vilnius
,
Wood
00141
Active laziness & creative pleasure: Hélio Oiticica at the De La Warr Pavilion
Lara Chapman
Beach
,
Bexhill-on-Sea
,
Brazil
,
Lara Chapman
,
Serge Chermayeff
,
Cocaine
,
Corridor
,
Creleisure
,
Criticism
,
Curtain
,
Neville D’Almeida
,
De La Warr Pavilion
,
Drug wars
,
East Sussex
,
Hammock
,
Labyrinth
,
Laziness
,
Leisure
,
Lights
,
Maze
,
Erich Mendelsohn
,
News
,
Hélio Oiticica
,
Jimmi Hendrix
,
Orange juice
,
Participant
,
Passivity
,
Plastic
,
Pleasure
,
Politics
,
Sculpture
,
Structure
,
Sussex Modern
,
Work
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