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RUI N' ART CONSULTANCY

Art Criticism and Curatorship | Events Strategy & Management

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La Biennale Arte di Venezia
60th International Art Exhibition

The last time I got so excited with the possibility of travelling to Venice was just before my first time going to visit La Biennial di Venezia. This time, however, the reason for my enthusiasm lies in personal issues and historical affinities related with the Biennale Arte main focus: ‘Stranieri Ovunque’ (‘Foreigners Everywhere’).

STP&A 48th Conference in Osuna, Spain, from 12th until 14th December 2024 “#artcritic #artsmanagement #paneldiscussion #democracy #creativepractice #SocialTheory #politics #arts #STPA

STP&A 48th Conference in Osuna, Spain, from 12th until 14th December 2024 “#artcritic #artsmanagement #paneldiscussion #democracy #creativepractice #SocialTheory #politics #arts #STPA

Spring / Summer 2024

• 60th La Biennale di Venezia (Italy)
• Gavin Jantjes @whitechapelgallery (England)
• @deliojasse @ Pavilhão Branco (Portugal)
• Clemens von Wedermeyer @galeriejocelynwolff (France)
• Oxford
• British Grand Prix
• ‘Democracy as Creative Practice’

Spring / Summer 2024

• 60th La Biennale di Venezia (Italy)
• Gavin Jantjes @whitechapelgallery (England)
• @deliojasse @ Pavilhão Branco (Portugal)
• Clemens von Wedermeyer @galeriejocelynwolff (France)
• Oxford
• British Grand Prix
• ‘Democracy as Creative Practice’

Really happy to have a small contribution to this edited book on the influence of creative practices to democracy. Chapter ‘Mediating Provisional Communities: The Production and Management of Collaborative Art Projects’ in Democracy as Creative Practice: Weaving a Culture of Civic Life #book #bookchapter #artsproduction #artsmanagement #collaborativeartprojects #democracy #civiclife #routledge https://www.routledge.com/Democracy-as-Creative-Practice-Weaving-a-Culture-of-Civic-Life/Borrup-Zitcer/p/book/9781032758725

Really happy to have a small contribution to this edited book on the influence of creative practices to democracy. Chapter ‘Mediating Provisional Communities: The Production and Management of Collaborative Art Projects’ in Democracy as Creative Practice: Weaving a Culture of Civic Life #book #bookchapter #artsproduction #artsmanagement #collaborativeartprojects #democracy #civiclife #routledge https://www.routledge.com/Democracy-as-Creative-Practice-Weaving-a-Culture-of-Civic-Life/Borrup-Zitcer/p/book/9781032758725

There were several pavilions, like Nigeria or Portugal, and activities part of the parallel programme, such as #willendekooning @gallerieaccademiavenezia or #kimikoyoshida @palazzoamalteo , that i was not able to see due to lack of time or openness.

Those that historically and sentimentally I mostly feel attached to:
Angola 🇦🇴 no art washing on this edition;
Mexico 🇲🇽 Le Déjeuner sur l'herbe, but with a prudence that don’t exist in the original version, mixed with a little of Maarten Baas’ furniture design and Rachel Kneebone’ ceramics;
Portugal 🇵🇹 2 x closed;
Spain 🇪🇸 it is what it says it is, a pinoteca migrante;
United Kingdom - the excitement of when thinking that one has to read a PhD thesis, gladly that there were several comfortable places to seat/rest.

and touched by
France 🇫🇷 @julien.creuzet
Benin 🇧🇯 @chloequenum Moufouli Bello @isholaakpo Romuald Hazoumè
Italy 🇮🇹 Massimo Bartolini
China 🇨🇳
@labiennale #foreignerseverywhere
@aica_uk @aica_int @sachacraddock @dyrektorkasamejsiebie #artcritic #artmanager

There were several pavilions, like Nigeria or Portugal, and activities part of the parallel programme, such as #willendekooning @gallerieaccademiavenezia or #kimikoyoshida @palazzoamalteo , that i was not able to see due to lack of time or openness.

Those that historically and sentimentally I mostly feel attached to:
Angola 🇦🇴 no art washing on this edition;
Mexico 🇲🇽 Le Déjeuner sur l'herbe, but with a prudence that don’t exist in the original version, mixed with a little of Maarten Baas’ furniture design and Rachel Kneebone’ ceramics;
Portugal 🇵🇹 2 x closed;
Spain 🇪🇸 it is what it says it is, a pinoteca migrante;
United Kingdom - the excitement of when thinking that one has to read a PhD thesis, gladly that there were several comfortable places to seat/rest.

and touched by
France 🇫🇷 @julien.creuzet
Benin 🇧🇯 @chloequenum Moufouli Bello @isholaakpo Romuald Hazoumè
Italy 🇮🇹 Massimo Bartolini
China 🇨🇳
@labiennale #foreignerseverywhere
@aica_uk @aica_int @sachacraddock @dyrektorkasamejsiebie #artcritic #artmanager

I haven’t been so excited with being present at @labiennale since my first time ever visiting la sereníssima. The 2024 editions is not a collection of tick-the-box-artists-names, like in previous editions, gathered together to see how they dealt through art with a particular issue affecting contemporary society. @adrianopedrosa kind of disobeyed to that “rule”, and shown us what is being done beyond the confines of the restricted western art world; giving the finger to an art history centred in the Global North, he says that there are other possibilities being imagined at other latitudes. Pedrosa proposal is focuses on statements created in the Global South, by the outsiders, the queer and stranger, the popular, the indigenous, and in this manner he intends to create another representation of the cartography of the history of art. As Pedrosa wrote somewhere, “the discipline of art history, with its deep European roots, frameworks, and models, is the most powerful and enduring apparatus of imperialism and colonisation.” Essentially, the Eurocentric art history has missed a lot of the history.

1. Yinka Shonibare and Claire Fontaine
2. Mataaho Collective
3 & 4. Disobedience Archive - Marco Scotini with … #disobediencearchive
5. Kiluanji Kia Henda and Dana Awartani
6. Nucleo Storico: Italian Ovunque / Italians Everywhere
7 & 8. Isaac Chong Wai
9. Bárbara Sánchez-Kane
10. Santiago Yahuarcani
#foreignerseverywhere
@aica_uk @aica_int #artcritic #artmanager

I haven’t been so excited with being present at @labiennale since my first time ever visiting la sereníssima. The 2024 editions is not a collection of tick-the-box-artists-names, like in previous editions, gathered together to see how they dealt through art with a particular issue affecting contemporary society. @adrianopedrosa kind of disobeyed to that “rule”, and shown us what is being done beyond the confines of the restricted western art world; giving the finger to an art history centred in the Global North, he says that there are other possibilities being imagined at other latitudes. Pedrosa proposal is focuses on statements created in the Global South, by the outsiders, the queer and stranger, the popular, the indigenous, and in this manner he intends to create another representation of the cartography of the history of art. As Pedrosa wrote somewhere, “the discipline of art history, with its deep European roots, frameworks, and models, is the most powerful and enduring apparatus of imperialism and colonisation.” Essentially, the Eurocentric art history has missed a lot of the history.

1. Yinka Shonibare and Claire Fontaine
2. Mataaho Collective
3 & 4. Disobedience Archive - Marco Scotini with … #disobediencearchive
5. Kiluanji Kia Henda and Dana Awartani
6. Nucleo Storico: Italian Ovunque / Italians Everywhere
7 & 8. Isaac Chong Wai
9. Bárbara Sánchez-Kane
10. Santiago Yahuarcani
#foreignerseverywhere
@aica_uk @aica_int #artcritic #artmanager

60th @labiennale main exhibition “Stranieri Ovunque / Foreigners Everywhere” curated by @adrianopedrosa

The 2024 exhibition is an expression of difference and the disparities conditioned by identity, nationality, race, gender, etc. An alternative view to other ways of seeing and thinking about modernity, capitalism, and colonialism.

This is the first time most of the artists exhibit were presented at the Biennale di Arte.

1. Central Pavilion facade MAHKU @mahkumovimento
2. Claire Fontaine @foreignerseverywhere
3. Nil Yalter
4. Nucleo Storico: Astrazioni / Abstractions
5. Pablo Delano
6. Lucas Sithole
7. Madge Gill
8. Kang Seung Lee
9. Louis Fratino
10. Joseca Mokahesi Yanomami
#foreignerseverywhere
@aica_uk @aica_int #artcritic #artmanager

60th @labiennale main exhibition “Stranieri Ovunque / Foreigners Everywhere” curated by @adrianopedrosa

The 2024 exhibition is an expression of difference and the disparities conditioned by identity, nationality, race, gender, etc. An alternative view to other ways of seeing and thinking about modernity, capitalism, and colonialism.

This is the first time most of the artists exhibit were presented at the Biennale di Arte.

1. Central Pavilion facade MAHKU @mahkumovimento
2. Claire Fontaine @foreignerseverywhere
3. Nil Yalter
4. Nucleo Storico: Astrazioni / Abstractions
5. Pablo Delano
6. Lucas Sithole
7. Madge Gill
8. Kang Seung Lee
9. Louis Fratino
10. Joseca Mokahesi Yanomami
#foreignerseverywhere
@aica_uk @aica_int #artcritic #artmanager

Isaac Chong Wai #choreography Falling Reversely (2021-2024) is probably the best work, both visually and conceptually, on show at this year central exhibition #foreignerseverywhere. Chong Wai #performance deals with acts of violence perpetuated globally, not only against the many Asian communities(all the performers are from Asian descent) spread across the globe, but against the ‘strange’ in general. Through a combination of independent or collective choreographed movements he critically imagines an alternate relation to the condition of foreign by suggesting that an individual’ fall can be supported and shielded by collective action. In this manner preventing the profound pain one might have too endure while alone. This is the first time the work of @isaacchongwai is presented at #labiennaledivenezia @aica_uk @aica_int #artcritic #artmanager

Isaac Chong Wai #choreography Falling Reversely (2021-2024) is probably the best work, both visually and conceptually, on show at this year central exhibition #foreignerseverywhere. Chong Wai #performance deals with acts of violence perpetuated globally, not only against the many Asian communities(all the performers are from Asian descent) spread across the globe, but against the ‘strange’ in general. Through a combination of independent or collective choreographed movements he critically imagines an alternate relation to the condition of foreign by suggesting that an individual’ fall can be supported and shielded by collective action. In this manner preventing the profound pain one might have too endure while alone. This is the first time the work of @isaacchongwai is presented at #labiennaledivenezia @aica_uk @aica_int #artcritic #artmanager

#aicauk Open Crit @dulwichgallery for #soulscapes

20 minutes into a critical discussion about the selected works of art, exhibition design, and curatorial decisions, and we (a group of 15 art critics, curators, and artists) were politely asked to stop our discussion, within the exhibition space, since our act of active criticism was disturbing visitors passive appreciation of the works of art that are part of an art exhibition conceived by an interiors designer.

Now i understand what the common people felt, more than one hundred years ago, when museums and galleries were not welcoming (accepting) the commoners presence within the confined space of their walls. One of the reasons was that common people were perceived, by the upper-middle class and aristocracy, to be too rowdy to be in such places of balm and existential contemplation of beauty.

This time, the rowdy people, were critically discussing about the good and not soo good art works on display, the uninspiring reflection proposed by the rooms names, like “belonging” or “joy”, and the interfering half-painted walls with pastel colours.

#artcritic #artcurator #interiordecoration #artinfluencer #africanartist #africanart #landscape #africandiasporaart #painting #photography #video

#aicauk Open Crit @dulwichgallery for #soulscapes

20 minutes into a critical discussion about the selected works of art, exhibition design, and curatorial decisions, and we (a group of 15 art critics, curators, and artists) were politely asked to stop our discussion, within the exhibition space, since our act of active criticism was disturbing visitors passive appreciation of the works of art that are part of an art exhibition conceived by an interiors designer.

Now i understand what the common people felt, more than one hundred years ago, when museums and galleries were not welcoming (accepting) the commoners presence within the confined space of their walls. One of the reasons was that common people were perceived, by the upper-middle class and aristocracy, to be too rowdy to be in such places of balm and existential contemplation of beauty.

This time, the rowdy people, were critically discussing about the good and not soo good art works on display, the uninspiring reflection proposed by the rooms names, like “belonging” or “joy”, and the interfering half-painted walls with pastel colours.

#artcritic #artcurator #interiordecoration #artinfluencer #africanartist #africanart #landscape #africandiasporaart #painting #photography #video

Highlight of 43rd ARCOmadrid 2024

@eugenioampudia, ‘Somos aquello que dejamos de ser’, 2023 @galeriamaxestrella
@cristinaguerra_gallery stand @feriaarco
@andrecepeda, untitled from the series ‘Double Jeu’, 2023
#arcomadrid2024
#jorgepardo ‘Untitled’, 2023 @neugerriemschneider
#álvaronegro ‘Hermes’ 2024 @f2_galeria
#marcindudek ‘Offal 2’ 2023 @harlan_levey_projects
#karinaskvirskyaguilera serie ‘Los Obreros del Ferrocarril’, 2016 @ponceandrobles

#escultura #sculpture #fotografia #photography #painting #pintura #digitalmanipulation #artfair #feiradearte #madrid #artcritic #criticodarte #artmanager

Highlight of 43rd ARCOmadrid 2024

@eugenioampudia, ‘Somos aquello que dejamos de ser’, 2023 @galeriamaxestrella
@cristinaguerra_gallery stand @feriaarco
@andrecepeda, untitled from the series ‘Double Jeu’, 2023
#arcomadrid2024
#jorgepardo ‘Untitled’, 2023 @neugerriemschneider
#álvaronegro ‘Hermes’ 2024 @f2_galeria
#marcindudek ‘Offal 2’ 2023 @harlan_levey_projects
#karinaskvirskyaguilera serie ‘Los Obreros del Ferrocarril’, 2016 @ponceandrobles

#escultura #sculpture #fotografia #photography #painting #pintura #digitalmanipulation #artfair #feiradearte #madrid #artcritic #criticodarte #artmanager

43rd ARCOmadrid 2024

43rd ARCOmadrid 2024

43er ARCOmadrid 2024

43er ARCOmadrid 2024

#portraitofbritain at a jCDecaux digital advertising screen near you (UK only) #photography #publicspace #britishjournalofphotography

#portraitofbritain at a jCDecaux digital advertising screen near you (UK only) #photography #publicspace #britishjournalofphotography

A #london with #sociallyengagedart ‘#thamesmeadcodex’ by @bobandrobertasmith at #tatemodern; great to see again the timeless ‘Time Machine’ by the amazing Hiroshi Sugimoto (exhibition view of Theatre’ series and Conceptual Forms’ series) and the bodily ‘Double Poser’ by @heecheon__orbitunion, both at #haywardgallery. Not sure about the overloaded #womeninrevoltexhibition with (#catherineelwes ‘#menstruation, 1979 and #hannahoshea) #artworks and #documents to compensate for the underwork done by #tategallery during all throughout its history, ‘Requim’ by @chrisofili, #happygas exhibition by #sarahlucas, and ‘Untitled (Stairs)’ by @rachelwhitereadofficial #artcritic #artmanager #photography #painting #sculpture #installation #video

A #london with #sociallyengagedart ‘#thamesmeadcodex’ by @bobandrobertasmith at #tatemodern; great to see again the timeless ‘Time Machine’ by the amazing Hiroshi Sugimoto (exhibition view of Theatre’ series and Conceptual Forms’ series) and the bodily ‘Double Poser’ by @heecheon__orbitunion, both at #haywardgallery. Not sure about the overloaded #womeninrevoltexhibition with (#catherineelwes ‘#menstruation, 1979 and #hannahoshea) #artworks and #documents to compensate for the underwork done by #tategallery during all throughout its history, ‘Requim’ by @chrisofili, #happygas exhibition by #sarahlucas, and ‘Untitled (Stairs)’ by @rachelwhitereadofficial #artcritic #artmanager #photography #painting #sculpture #installation #video

‘Resting Place’ (2023), by @anthony.gormley in the exhibition #body #politic @whitecube, a field of fired clay blocks is a “chaotic but somehow not so chaotic orthogonal organsation of blocks of various sizes”that looks like human figures. It can be seen as a metaphor for graveyards (chimneys in Auschwitz); can be perceived as sleeping in the streets of any world’s city (@francis_alys_official, ‘Sleepers’ , 1999; and “sleeping beggar”, by anonymous, 2024); or, as bodies at rest on a more leisurely moment, while catching some sunlight laying down at the beach (@_massimovitali_ ’s ‘beach’ series). However, i do prefer to see them as well as scores for #musical compositions. #artcritic #artmanager #exhibition #sculpture #installation #industrial #habitat

‘Resting Place’ (2023), by @anthony.gormley in the exhibition #body #politic @whitecube, a field of fired clay blocks is a “chaotic but somehow not so chaotic orthogonal organsation of blocks of various sizes”that looks like human figures. It can be seen as a metaphor for graveyards (chimneys in Auschwitz); can be perceived as sleeping in the streets of any world’s city (@francis_alys_official, ‘Sleepers’ , 1999; and “sleeping beggar”, by anonymous, 2024); or, as bodies at rest on a more leisurely moment, while catching some sunlight laying down at the beach (@_massimovitali_ ’s ‘beach’ series). However, i do prefer to see them as well as scores for #musical compositions. #artcritic #artmanager #exhibition #sculpture #installation #industrial #habitat

#turnerprize 2023 with @ghislaineleung , @jessedarling , @barbarawalkerstudio and @rainbowsofgorse at #townereastbourne #instalationart #drawing #video #painting #artcritic #artmanager

#turnerprize 2023 with @ghislaineleung , @jessedarling , @barbarawalkerstudio and @rainbowsofgorse at #townereastbourne #instalationart #drawing #video #painting #artcritic #artmanager

A London #marinaxenofontos @camdenartcentre #christmasdecorations #regentstreet #trevoryeung @gasworkslondon #louisebourgeois (All Saints Chapel, Fitzrovia) #chinesefood #hotpot🍲 @happylambholborn #daidomoriyama @thephotographersgallery #photography #football #championsleague @arsenal #sylviefleury @spruethmagers RE/SISTERS
A Lens on Gender and Ecology @barbicancentre #gender #ecology #women #film #sculpture #installationart #artcritic #artmanager

A London #marinaxenofontos @camdenartcentre #christmasdecorations #regentstreet #trevoryeung @gasworkslondon #louisebourgeois (All Saints Chapel, Fitzrovia) #chinesefood #hotpot🍲 @happylambholborn #daidomoriyama @thephotographersgallery #photography #football #championsleague @arsenal #sylviefleury @spruethmagers RE/SISTERS
A Lens on Gender and Ecology @barbicancentre #gender #ecology #women #film #sculpture #installationart #artcritic #artmanager

A Krakow (Poland) #tadeuszkantor @fineartsacademy Krakow), #tadeuszkantor @tadeuszkantor Studio, #mariastangret @cricoteka, #edwardsteichen @museumofphotography (Krakow), #agataagatowska @muzeumsztuki, #wlodzimierztetmajer @thenationalmuseuminkrakow, #janmatejko @thenationalmuseuminkrakow (The Sukiennice) #artcritic #artmanager #18thcenturyart #19thcenturyart #painting #installationart #photography #soundscape #krakow #polishart

A Krakow (Poland) #tadeuszkantor @fineartsacademy Krakow), #tadeuszkantor @tadeuszkantor Studio, #mariastangret @cricoteka, #edwardsteichen @museumofphotography (Krakow), #agataagatowska @muzeumsztuki, #wlodzimierztetmajer @thenationalmuseuminkrakow, #janmatejko @thenationalmuseuminkrakow (The Sukiennice) #artcritic #artmanager #18thcenturyart #19thcenturyart #painting #installationart #photography #soundscape #krakow #polishart

A London: #tamarahenderson @camdenartcentre, #lutzbacher @raven__row, #philipguston @tate modern, #elanatsui @tate modern, #harrylawson, #nicoleeisenman @whitechapelgallery #installationart #videoart #painting #artcritic #artmanager #london #londonartscene #londongalleries #londonlife

A London: #tamarahenderson @camdenartcentre, #lutzbacher @raven__row, #philipguston @tate modern, #elanatsui @tate modern, #harrylawson, #nicoleeisenman @whitechapelgallery #installationart #videoart #painting #artcritic #artmanager #london #londonartscene #londongalleries #londonlife

55th AICA International #congress, @Kraków, Poland, 13th - 17th November 2023 • "Contested Infrastructures. Art Criticism and the Institutionalisation of Art", speaking about "The Question of Policy" #artcritic

55th AICA International #congress, @Kraków, Poland, 13th - 17th November 2023 • "Contested Infrastructures. Art Criticism and the Institutionalisation of Art", speaking about "The Question of Policy" #artcritic

Not a place that i wanted to go; but a place that i needed to visit. Specially, at the present moment, when nationalists and right-wing discurses are becoming so mainstream, and politicians and European society in general is starting to move away and forget the causes why that place existed for.

Not a place that i wanted to go; but a place that i needed to visit. Specially, at the present moment, when nationalists and right-wing discurses are becoming so mainstream, and politicians and European society in general is starting to move away and forget the causes why that place existed for.

I often try to avoid visiting shopping centres. Since 2011, however, with a regularity that is now in its eleventh year, I have been visiting the #154contemporaryafricanartfair, in London. Although art fairs are not, in principle, the best place to understand an artist's narrative, an #artfair is, nonetheless, an event that allows to obtain a very general understanding of the new or latest original fabs (physically or conceptually) of a certain market, the “latest crowd craze”, or what a group of people, with a lot of money but little culture, are looking for to decorate the walls of their shelter. The fair is a commercial centre, it is a space par excellence where the primary intention is economic, it is to use commodities to generate more money rather than to generate, for example, other works of art, or, as an extreme example, useful knowledge. At 1:54 we are looking at the market for contemporary African art – whatever that geographical designation might mean in terms of what is “African”.

Among the countless works hanging on the white walls of Somerset House, there is the glimpse of a possible afirmation that may be moving away from the fetishisation and exoticisation of the African body, as in this year's #liverpoolbiennial2023, for example, or, of geographical origin, which continues to be imposed by decadent and colonialist curatorial discourses, as in a recent exhibition mounted by #tatemodern, which sought to define what contemporary African photography is - once again, whatever that territorial predicate may mean.

Some of the works on display at 1:54 reflect on the experience of displacement or contemporary re-location between various post-colonial contact zones. Ordinary objects and shapes are introduced into pictorial spaces of pure abstraction. This conceptual geopolitical articulation on the notion of territories poetically questions the hegemony of institutionalised powers. The works on the walls have taken on a political-cultural component, because politics is necessarily a part of the regime of everyday reality. The statements that are possible to glimpse, presents authentic affirmations about the quality of everyday experiences. #artcritic

I often try to avoid visiting shopping centres. Since 2011, however, with a regularity that is now in its eleventh year, I have been visiting the #154contemporaryafricanartfair, in London. Although art fairs are not, in principle, the best place to understand an artist's narrative, an #artfair is, nonetheless, an event that allows to obtain a very general understanding of the new or latest original fabs (physically or conceptually) of a certain market, the “latest crowd craze”, or what a group of people, with a lot of money but little culture, are looking for to decorate the walls of their shelter. The fair is a commercial centre, it is a space par excellence where the primary intention is economic, it is to use commodities to generate more money rather than to generate, for example, other works of art, or, as an extreme example, useful knowledge. At 1:54 we are looking at the market for contemporary African art – whatever that geographical designation might mean in terms of what is “African”.

Among the countless works hanging on the white walls of Somerset House, there is the glimpse of a possible afirmation that may be moving away from the fetishisation and exoticisation of the African body, as in this year's #liverpoolbiennial2023, for example, or, of geographical origin, which continues to be imposed by decadent and colonialist curatorial discourses, as in a recent exhibition mounted by #tatemodern, which sought to define what contemporary African photography is - once again, whatever that territorial predicate may mean.

Some of the works on display at 1:54 reflect on the experience of displacement or contemporary re-location between various post-colonial contact zones. Ordinary objects and shapes are introduced into pictorial spaces of pure abstraction. This conceptual geopolitical articulation on the notion of territories poetically questions the hegemony of institutionalised powers. The works on the walls have taken on a political-cultural component, because politics is necessarily a part of the regime of everyday reality. The statements that are possible to glimpse, presents authentic affirmations about the quality of everyday experiences. #artcritic

Best works at London’s art fairs (#friezeartfair and 1:54) #graffiti #streetart #london #fleetstreet

Best works at London’s art fairs (#friezeartfair and 1:54) #graffiti #streetart #london #fleetstreet

REBOOT 2023 @phillipsauction on 18th October 2023 #artcritic #artmanagement #aicauk

REBOOT 2023 @phillipsauction on 18th October 2023 #artcritic #artmanagement #aicauk

A London #londonunderground

A London #londonunderground

#thenational

#thenational

#articmonkeys

#articmonkeys

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IMG_6119.HEIC

Living Memory

A set of portraits of the artist Louise Bourgeois (1911 - 2010) lines the walls of the spiral staircase that connects the ground floor entrance of the All Saints Convent to its chapel on the upper level.

CONFERENCE PAPER: Citizen discourses in cultures of democracy

Yak Beow Seah & Chong Boon Pok - P&S Recipe Shop.jpg

BOOK REVIEW: ‘Contemporary Exhibition-Making and Management: Curating IMT Gallery as a Hybrid Space’

The innovative London based IMT art gallery has borrowed its' name from the 1970s book 'Image Music Text', a collection of essays by Roland Barthes, and has been led almost as a reflection of the book, ...

“The English subject: a review of Mike Nelson’s work in a recent exhibit”

Mike Nelson’s installations and sculptures take the viewer through a fascinating journey composed by fictive worlds that echo the eerily modern English society.

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