A Quietus Interview:
Black Midi
Craft/Work
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Craft/Work
A Night Time Library: Pierre Bastien Among The Bachelor Machines
Looking over a latticed network of train lines, motorway tunnels and a bustling overpass ...
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The Biggest Listicle Ever: A Ride On The Electronic Superhighway
Olia Lialina, My Boyfriend Came Back From The War (1996) Copyright Olia Lialina A few wee...
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We Can Build You: Assemble And The Legacy Of Walter Segal
250,000 new homes are required to be built each year to keep up with housing demand in En...
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Listening to Someone Listening: James Richards at Bergen Kunsthall
The work of James Richards, according to Dan Fox, "hints at the desire in all of us to fe...
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A Work Of A Work: Sturtevant’s Warhol Marilyn
No doubt you recognise the image up there, above this line of text. It’s a Warhol, right?...
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The Territory Of The Book: An Interview With Alexandra Leykauf
Sunset Harbor at Rio (Martin Johnson Heade) on my desk, 2015, 35 cm x 50 cm, analog c-print ...
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Round Them Up Cowgirl: March Exhibition Previews
Simon Starling, The Nanjing Particles, 2008. Courtesy the artist, MASS MoCA, North Adams and th...
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Turning The Wurm: How I Became A Sculpture (For One Minute)
Erwin Wurm, One Minute Sculpture, 1997 c-print Courtesy the artist and Lehmann Maupin, New Y...
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Archeologies Of The Future: Michael Joo’s Radiohalo At Blain|Southern
Michael Joo, Untitled (Take), 2016, Silver nitrate and epoxy ink on canvas, Courtesy the art...
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Meat Market: The Symbolic Sabotage Of Jeremy Hutchison
The room is dark. There are no more than a dozen people here at Hackney’s Space Building,...
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The Real Tuesday Weld
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