moth and the firefly
By Madeleine Bassett-Chan these insubstantial wings open and close like the petals of a silvered tulip, velveteen in the dark and half as...
Revisiting Notting Hill
Written by Amy Lee A rotating cast of old friends have stayed at my place during their travels in London ever since I first came...
Czech Pop! Music, Film, and Politics in 1960s Czechoslovakia
By Andrew Dearman “Téma milenci v texaskách” (‘Lovers in Jeans’), Ladislav Rychman, Starci na chmelu (“The Hop-Pickers”), 1964. The...
Review: Sally Rooney’s Intermezzo
Written by Nina Follows Black and white and Yves Klein Blue, you’ve probably seen it all over Instagram. From among carefully curated...
Spinning Tales: A Digital Thread through Aziza Kadyri's AI Textiles
By Madeline Davies Cover image: Detail from Aziza Kadyri, The Drought , 2024, View of artwork in situ, Pushkin House, image taken by...
Samsara : Love, Lust and Liberation
Written by Mona Hui ‘Perhaps when we do [meet again in Samsara], you will be able to tell me what is more important: Satisfying one...
Lygia Clark, the Brazilian Museum, and a Willing Hand: A Response to Lygia Clark: The I and the You at Whitechapel Gallery
Written by Maria Cicala Lygia Clark is a household name in modern Brazilian art. To most, the artist conjures up slightly dusty black and...
The Not So Lonely City
In the country I grew up in, mountains were just there. They were not something I sought out or felt nostalgic for; they were a constant
Conclave, the Film Festival, and the Netflix Ugly Filter
Conclave, though presented with such flair and esteem, looks like something made for streaming.