[for the LRB Blog, 12/7/18]
UFOs haven’t changed much since the 1960s, defying physics and outrunning fighter jets.
lee bul, 'crashing'
[for Apollo, 10/7/18]
I prefer her recent turn to what she calls ‘failed’ or ‘unrealised’ utopias, structures wreathed with clacking lights and tendrils of glittering beads.
jesse ball, 'census'
[for the Telegraph, 7/7/18]
Words might confuse things, but confusion, for now, has given Ball’s pair something to share, and through that, a safe place to dwell.
vernon lee, 'the psychology of an art writer'
[for Frieze, 25/6/18]
Frequently in these diaries, Lee can’t get drawn into a picture: she’s often too bored, or narky, or filled with ‘unwillingness to look’. Aren’t we all?
an interview with jacques testard of fitzcarraldo editions
[for Frieze, 6/6/18]
‘Maybe it sounds silly when you describe the different connections,’ Testard says, ‘but the logic of it is mainly in my head’.
tomaso binga + greta schödl, 'vocalising'
[for Frieze, 4/6/18]
All these works share a central belief: that rhythm is a trait of the body, and women’s bodies are too closely policed.
david wheatley, 'the president of planet earth'
[for the TLS, 2/6/18]
Word by word, Wheatley brings the texture of a vista or situation into brutal focus.
sophie mackintosh, 'the water cure'
[for the Guardian, 23/5/18]
Mackintosh writes the way that Sofia Coppola would shoot the end of the world: everything is luminous, precise, slow to the point of dread.
diana evans, 'ordinary people'
[for the Telegraph, 20/5/18]
Ordinary People is a novel of being late for the kids’ show, allowing the rice to burn, not saying that thing outright.
the zany grid: an essay on 'lego island'
[for heterotopias, 4/5/18]
For a child, the anarchy of ‘Lego Island’ has few downsides, because its whole world is just a playground, and what could be better than that?
tracey emin, 'i want my time with you'
[for Apollo, 2/5/18]
Hanging in the concourse where people reunite after months apart, Emin’s words make their intimate feelings a public thing.
the auction of heathrow terminal one
[for GARAGE, 24/4/18]
Where would you take these leftover pieces, designed for a place that was never quite a place?
couture naturelle
[for AnOther, 23/4/18]
People will always be drawn to the superficial, however ‘problematic’ they’re told it’s become; fashion is only a consequence of caring what others think.
andrzej wróblewski, 'blue works & beyond'
[for Frieze, 16/4/18]
That single dark bullethole in the baby’s luminous flesh is freshly shocking each time you look.
richard serra, 'rifts'
[for Apollo, 13/4/18]
You peer at the ridges and bumps of each work, distracted by multi-directional surface rather than being lost in projected depth.
megan broadmeadow, 'seek-pray-advance'
[for GARAGE, 27/3/18]
Space is hell: unfathomable depth, sheer emptiness. Stare into the abyss, as Nietzsche said, and it’s nothing that stares right back.
sofia stevi, 'turning forty winks into a decade'
[for The White Review, 24/3/18]
We’re prone to speak as if dreaming were either too much or nothing at all. One person’s ‘dreamer’ is a radical, someone who’d storm an old order; another’s is irresponsible, their head in the clouds. The Greek artist Sofia Stevi studies both.
mary miller, 'after happy hour' + chris power, 'mothers'
[for the Telegraph, 24/3/18]
Short stories are objects of conspicuous, intensive craft; like younger children, they tend to be compared to the accomplishments of others.
josé damasceno, 'RE: PÚBLICA'
[for GARAGE, 22/3/18]
As República looks for her public, her new eyes tell us she doesn’t know who she’ll find; they meet the eyes of the viewers, who aren’t sure what she represents.
annabel's reborn
[for AnOther Magazine, 15/3/18]
Glamour is a rarefied form of everyone’s need for validation. People want to be seen; they want others to confirm they matter.