Do You Wanna Funk?
Paul Flynn On Hi-NRG
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Smell-O-Vision: Aromatic Art In The Age Of Aerosols
I am wandering around the Tate Modern’s Turbine Hall, head tipped back, nose in the air twitchi...
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Bodies That Matter: An Interview With Helen Marten
Install view, Helen Marten, Sparrows On the Stone, Sadie Coles HQ, London, 4 September - 30 Octo...
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The Big Time: Simon Gilbert On Suede's Rise To Fame Photobook
Not many groups have been as unflinching about discussing their past as Suede. As well as the u...
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A New Branch: Paul Purgas’ We Found Our Own Reality
Photos by Keith Hunter “What we don’t understand we either worship or destroy,” comes a voice f...
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To Infinity & Beyond: Art In The Planetarium
David O'Reilly: The End of Stories. © David O'Reilly The Zeiss-Großplanetarium is a shiny silve...
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Erase & Rewind: Peter Fischli's Reqiuem For Painting
Lucio Fontana, Io sono un santo, 1958. Ink on paper on canvas with cuts, 50 x 65 cm © Fondazione...
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Reimagining the Biennial Industry: Momentum in Norway
Forty minutes on a fjord-side train journey from Oslo is Moss. A modest harbour town which now ...
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Folly Good Show: Abbas Akhavan at Chisenhale Gallery
What is a folly? A fool’s errand, a joke, or a jape? It also has another meaning. An architec...
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Bringing The Noise: Yuri Suzuki's Sonic Bloom
Picture: Alberto Balazs You can see Sonic Bloom (2021) from the street as you approach Brown Ha...
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Messthetics: An Interview With Karla Black
#2. Karla Black, Punctuation is pretty popular: nobody wants to admit to much (detail), 2008-202...
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