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Why Can’t They See? The Lost World Of The Twenties Group
Rex Harris, Church in the Downs, pre 1939. ©The Artist's Estate. Salford Museum & Art Galler...
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Network Time: Yuri Pattison Measures The Modern World
Yuri Pattison, cuttings, 2022, detail. Courtesy and copyright the artist and mother’s tankstatio...
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The Waves And After: At The Whitstable Biennale
Alicia Radage, Underneath Infinity “What about the sea?” “Is it relevant? It’s not as if we go...
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Tickling In My Head: ASMR At The Design Museum
All photos: Ed Reeve for the Design Museum In the centre of the Design Museum’s subterranean ex...
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How Does It Feel To Feel? The Ardent Imagery Of Marlene Dumas
Marlene Dumas, Betrayal, 1994, Private collection. Courtesy David Zwirner, New York. Installatio...
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Manchester Will Haunt Itself: The British Pop Archive Reviewed
Granada Television, Offices, 1960, photograph by H. Milligan, Courtesy of Manchester Libraries, ...
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What It Meant To Just Be: Basquiat’s Sisters Interviewed
Jawbone of an Ass, 1982 © The Estate of Jean-Michel Basquiat Licensed by Artestar, New York Whe...
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Lourdes A Leaping: Laibach x Andrei Molodkin
DANGER live (Europe) credit Ari Matsuoka I’m in Lourdes to see Laibach. Lourdes is a site of ...
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Drugs Without Drugs: Gentrifying Gysin’s Dreamachine
Dreamachine photo by David Levene With my eyes closed, the light comes over me in waves. A wash...
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Against The Current: Surrealism Takes Over The World
Koga Harue, Umi (The Sea) 1929. The National Museum of Modern Art, Tokyo. Photo: MOMAT/DNPartcom...
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