Jewellery As Memento Mori
This article was previously published in Issue 19, ABSENCE (December 2018). On a recent visit to the Royal Academy’s exhibition,...
'I am Ashurbanipal: King of the World, King of Assyria'
This article was previously published in Issue 19, ABSENCE (December 2018). ‘I am Ashurbanipal, great king, mighty king, king of the...
Finding Agnès Varda
This article was previously published in Issue 19, ABSENCE (December 2018). Still from The Gleaners and I, 2000, dir. Agnès Varda (Image:...
The Gwangju Biennial: Traumatic Memory and the Absence of Stability
This article was previously published in Issue 19, ABSENCE (December 2018). Celebrating its 12th anniversary, the Gwangju Biennial began...
Smirna Kulenović: In the Absence, The Artist is Present
This article was previously published in Issue 19, ABSENCE (December 2018). Bosnian artist Smirna Kulenović was born in Sarajevo in 1994...
Clara Peeters on Her Own Terms
This article was previously published in Issue 19, ABSENCE (December 2018). ‘Absence’ is not the first word one thinks of upon seeing a...
The Project
This article was previously published in Issue 19, ABSENCE (December 2018). On the 27th May at about 8pm, I stood trembling before my...
Jenna Burchell: Musing on Memory and Mending
This article was previously published in Issue 19, ABSENCE (December 2018). One of South Africa’s earliest new media artists, Jenna...
Woven in Time: The Importance of Anni Albers
This article was previously published in Issue 19, ABSENCE (December 2018). The idea that only weaving and ceramics art is suitable for...
The Intrigue of Absence: The Subjectless Subject in Giulio Campagnola’s ‘Reclining Woman’
This article was previously published in Issue 19, ABSENCE (December 2018). Few things are more frustrating than the unidentifiable...