“to ignite our skin” / SculptureCenter, New York
Much recent critical theory has been concerned with the following proposition: that although the triumph of reason claims to have…
353 WINTER 2025–26, Studio Scene
The Space Between. Adam Patrick Grant
Did it matter then, she asked herself, walking toward Bond Street, did it matter that she must inevitably cease completely?…
Lutz Bacher, “Burning the Days “ / Astrup Fearnley Museet, Oslo
How do you put a finger on Lutz Bacher? Contemplating this, I walked toward Astrup Fearnley through a pocket of…
Basel Abbas and Ruanne Abou-Rahme, “Prisoners of Love: Until the Sun of Freedom” / Nottingham Contemporary
On Monday, October 13, 2025, just a few days after I visited Basel Abbas and Ruanne Abou-Rahme’s multimedia installation Prisoners…
Latest Issues
352 FALL 2025, Unpack / Reveal / Unleash
Eros is a verb. Coco Klockner
In the myth of Eros, the god of love and desire emerged from Chaos in the beginning of life itself…
351 SUMMER 2025, Unpack / Reveal / Unleash
The Conditions that Shape. Sophie Friedman-Pappas
On the Greek island of Tinos, centuries-old dovecotes — white stone towers originally used to harvest pigeon droppings as fertilizer…
350 SPRING 2025, Unpack / Reveal / Unleash
Image Theater Utopia. Kelsey Isaacs
Kelsey Isaacs’s shower floor is home to a sculptural tableau that quite literally sets the stage for a practice in…
349 WINTER 2024-25, Unpack / Reveal / Unleash
(I), Ellipse. B. Ingrid Olson
One image, slid. Something like cleavage, crumpled, diminishes into the groin. One image, synthesized. She is hard, interstice furling interstice,…
Architectural Universality in the Age of Global Anomie. b+, a case study. With quotes from Olaf Grawert
UNIVERSALITY NOW AND HOW WE GOT PARTICULAR Threats to the security, freedom and dignity of life today from global ecological…
Features, VOLUMES - Crisis Formalism
Almost Nothing
Almost nothing is too much. – Reyner Banham, 19621 It is not uncommon to hear that architecture today has dissolved,…
Total Warfare. A Conversation with Luigi Alberto Cippini
Michael Abel: First question — how does Volumes begin? Luigi Alberto Cippini: What I tried to do, within my limitations, was to make something…
Features, VOLUMES - Crisis Formalism
Who Are These People? A Conversation with Kai Althoff
Carlo Antonelli: Who are these people, the ones that populates your works? Kai Althoff: They accumulate. Some return more often…
Seoul: Glitch City
Plans are always copy-pasted. There is no planning, no imagination. Seoul is not built; it is generated through calculation. Buildings…
Zurich: Peripheral Presence.
Moving through Zurich — whether on foot, by bicycle, tram, or car — rarely involves a direct or uninterrupted trajectory.…
Madrid: Hypnotic Laugh Track
“It did what all ads are supposed to do: create an anxiety relievable by purchase.” – David Foster Wallace, Infinite…
Chicago: Model City
“You see the eastern critics and historians that assigned Chicago the place of the skeleton frame, thereby, you know, together…
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WINTER 2025-26
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The Space Between. Adam Patrick Grant
“to ignite our skin” / SculptureCenter, New York
Skin, Cloth, Paper, Snow. A Conversation with Ruoru Mou
On Language and Kitsch. Tasneem Sarkez
Zora Sicher, Geography
Basel Abbas and Ruanne Abou-Rahme, “Prisoners of Love: Until the Sun of Freedom” / Nottingham Contemporary
Lutz Bacher, “Burning the Days “ / Astrup Fearnley Museet, Oslo
How To Play It. A Conversation with alfatih