︎
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
00142
Material, form & process: Matt Rugg’s post-industrial sculptures
Will Jennings
Alvar Aalto
,
Apollo Pavilion
,
Assemblage
,
Cable
,
Chelsea School of Art
,
Cooling towers
,
Craft
,
Design
,
Education
,
Factories
,
Fencing
,
Richard Hamilton
,
Hatton Gallery
,
Industrial
,
Industry
,
Will Jennings
,
James Joyce
,
Metal
,
Merzbarn
,
Newcastle
,
Painting
,
Peterlee
,
Eduardo Paolozzi
,
Victor Pasmore
,
Plastic
,
Gerrit Rietveld
,
Matt Rugg
,
Kurt Schwitters
,
Sculpture
,
Steel
,
Tools
,
TS Eliot
,
Harriet Sutcliffe
,
University of Newcastle
,
Wire
,
Wood
00060
Faded fairgrounds: Dave Clarkson’s sonic seaside trip
Album
,
Ambient
,
Amusement Park
,
Amusements
,
Ballroom
,
Dave Clarkson
,
Collage
,
Development
,
Dreamland
,
TS Eliot
,
Fairground
,
Funfair
,
Gentrification
,
Hauntology
,
Margate
,
Memory
,
Montage
,
Music
,
Nostalgia
,
Seaside
,
Soundscape
,
Sound art
,
Technology
,
The Waste Land
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