Herzog's Fitzcarraldo
A Blockbuster Ambition
Craft/Work
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Craft/Work
Life On The Edge: BRINK At Dilston Grove
Eric Pauwels, Violin Fase (1986). Installation Photograph by Damian Griffiths. Courtesy of t...
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Try To Altar Everything: Genesis Breyer P-Orridge At The Rubin Museum
It’s hard to decide where to begin looking at, much less deciphering Genesis Breyer P-Orr...
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Analyse That: Mark Wallinger’s Monsters From The Id
All pictures: Installation view, ‘Mark Wallinger. ID’, Hauser & Wirth London, 2016 © Mar...
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Abstraction Before Abstraction: The Paradoxical Legacy Of Hilma Af Klint
The Serpentine Gallery is no stranger to the spiritual. Two years ago this summer they ...
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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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Petronn Sphene
Porridge Radio
FINAL
Atenção – Novos sons do Brasil
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