In this powerful, vibrant poem, photographic artist Cecilia Sordi Campos brings together words and images to create a portrait of the primal landscapes of the body; of the feral beauty that we would find in the cracks and fissures if we only dared to look.
Bringing together thirteen emerging artists between the ages of 16-25, the Barbican’s latest exhibition, It All Comes Down, explores how young people navigate the world and approach their artistic practise during the pandemic.
After an Erasmus exchange in Paris, artist and art historian Kathryn Cutler-MacKenzie discovered that translation is about the space between languages and voices; a space that affords us new connections, ideas and friendships.
Artist and filmmaker Steve McQueen’s epic Year 3 project brings together more than 3000 class portraits from over 1500 primary schools to commemorate a most formative time in a child’s educational life. The result, says our writer Shamini Sriskandarajah, is at once illuminating and moving.
Millais’ painting, Ophelia, continues to inspire viewers and critics alike, but what if the heroine came back from the watery grave she was condemned to? Here, Hannah Hutchings-Georgiou considers the return of Ophelia in the artwork of Jada Bruney and Rolake Osabia, and the music visuals of Christine and the Queens.
Looking at the work of photographer Ana Casas Broda, poet Muriel Rukeyser and musician Sherri Dupree-Bemis, Toni Roberts considers night from the perspectives of mothers, reflecting on their nocturnal experiences and reveries.
When the world went into lockdown, nature appeared to take over, with seabirds settling in Venice and deers roaming Japan’s empty streets. Here, in the penultimate postcard of the series, Georgia Good explores nature’s return in Duane Michals’ famous work, Paradise Regained, 1968.
In the first of her self-conceived series, The Dinner Party Reloaded, a virtual dinner party with selected artists and writers, Susanna Crossman meets Chiara Ambrosio, Lottie Whalen and Jemima Yong to discuss their creative projects, the looseness of time in lockdown, contact and intimacy in our increasingly digital age and the joys of chickpea stew.
On removing a postcard of Frida Kahlo from her wall, Rachel Ashenden began to reflect on past loves, the feelings postcards evoke and the liberation one can feel, even in lockdown, towards old relationships.