Rachel Rose Lafayette Anticipations / Paris

In the rearrangement of distance one finds a slippery continuum across Rachel Rose’s liminal and alchemical work. Distance, which determines…
In the rearrangement of distance one finds a slippery continuum across Rachel Rose’s liminal and alchemical work. Distance, which determines…
In the face of it: rain shower, blustering waves and foreseeable spume, the sea soon cast the wetness of time…
The ellipsis suggests dilation, a space for curtailed retrospection or future elaboration, a surfeit of meaning to be uttered or…
Alex Bennett: Though your work involves sculptural assemblages of extremely diverse material, it’s curious to know that film was your…
If the stark, ascetic coda of Cerith Wyn Evans’s sculptures disintegrates under anything it is the sensuality of optics. Diluting…
In She’ll (2013/2020) a room becomes a plinth; it is a replica of the internal dimensions from Ian Law’s bathroom…
Roiling space, deep time, off radar. Some kind of churning galactic volume is given over, like nakedness or the way…
Jessi Reaves’s New outfit standing container (all works 2019) is a darkling. Three antilopine console legs support an upturned, cankered…
“Welcome to End-Used City” continues Sidsel Meineche Hansen’s ongoing consideration of techno-capitalism’s stranglehold on biopolitics. The focus here is the…
Saturation occurs once again, the city drenched in expos, events, and itinerant first-timers. Given the slight period in which to…
Used as the final shelter, the keep — a fortified tower common to castles of the Middle Ages — performs…
Morag Keil’s practice is ouroboric: self-referring, self-erasing, self-consuming, regurgitating. Glazed duffel bags and rucksacks slump like prolapsed black guts: damp,…