Nat Faulkner “Strong water” Camden Art Centre / London
The peppered moth was once almost entirely pale, flecked with minute dark spots that camouflaged it against lichen tree bark and stone.…
The peppered moth was once almost entirely pale, flecked with minute dark spots that camouflaged it against lichen tree bark and stone.…
During our conversation, Mary Stephenson used the phrase “ghost mark” to describe the inerasable traces left by previous marks on her painted…
Throughout my conversation with Gili Tal, freshly landed back in London after opening her solo exhibition “Soft and Bouncy” (2026)…
One of the earliest works by Rene Matić is a video that documents their back torso being inscribed with the…
davi makes me believe I no longer know how to write. When I read his recent writings[1] and talked to…
“UNITED KINGDOM LONDON. PORTRAIT O.A.Y.G.” by Josiane M.H. Pozi at Carlos/ Ishikawa captures scenes of personal artifact, of ordered clutter;…
In October 2023, Ruofan Chen spent a cold October north of the arctic circle at a residency in Fleinvær, a…
The questions of literary modernism have always been deeply entwined with those of psychoanalysis: both are concerned with the dissolution…
To what extent are we willing to be fooled? Megan Mi-Ai Lee’s practice probes the affective pull that keeps us…
Olivia van Kuiken once said: “A painting is incapable of telling time. It’s a static image.”[1] That line keeps tolling…
Ruoru Mou’s practice folds together industry, ownership, and inheritance. Working across sculpture and installation, she manipulates factory debris and fragments…
It feels appropriate to approach Tasneem Sarkez’s work through the seed of language. The word, as a manifold concept, laces…
“Intimacy builds worlds; it creates spaces and usurps places meant for other kinds of relation,” wrote the late theorist Lauren…
alfatih doesn’t really do interviews. So, our conversation happened as it could. Talking to alfatih these days means organizing a…
To speak of vulnerability as soft power is to encounter its double. Hidden agency, bare desire, and quiet possession take…
“Form – it’s because there are consequences,” writes poet Lisa Robertson.[1] I came across this line late at night during one…