“The sounding relationships between the samples of Burial’s world and the those of the hardcore continuum express many things: a sense of distance and removal from the ‘real’ world; a feeling of loneliness and melancholia inspired by urban life; a malaise at the death of rave.”
[Essay] Painting Anxiety: Berthe Morisot’s ‘Julie Daydreaming’ — Connie Sjödin
“Lit from the viewer’s direction, the painting invents a singular viewpoint and even predicts the camera flash, freezing the image against ‘time’s relentless melt’, as in Susan Sontag’s evocative phrase.”
[Essay] Empire after Empire: The Endless Desert of Settler Indigenisation in Nomadland — Patrick Turner
“Ultimately, Nomadland’s affective impact, and the sense of authenticity felt in McDormand’s performance should be understood within a colonialist standard of authenticity rooted in the indigenisation of whiteness – and the erasure of Indigenous sovereignty.”
[Poetry] — Yasna Bozhkova
“Observe/the winter sea staged perfectly/in all possible hues of white”
[Fiction] The Watchman — Jake Trelease
“At the kitchen window of an upstairs flat, there is a watchman.”
[Poetry] — James Strowman
“soft against the dark and I am gone/drifting to things far removed from prayer/into the silent cinema of my mind”
[Fiction] David Baddiel — George Aird
“I watched it move across the garden, emerging out of grass that hadn’t been touched since Sam moved out.”
[Essay] Goya’s Greyhounds — Michael McGinley-Hughes
“The cover of Blur’s ‘Parklife’ shows us how far the greyhound has travelled: from the palaces of Pharaohs and the forests of Hapsburg kings to the humble English dog track.”
[Essay] Tom Whyman and the Philosophy of Hope — Josh Mcloughlin
“Whyman replaces Benjamin’s pessimism with realism whilst adopting Adorno’s ‘standpoint of redemption’ to radically critique the present, situating hope firmly within the bounds of possibility without diminishing its transformative potential.”
[Poetry] — Nora Doorley
“At the apex of joined forewings/Is an exaltation.”
[Essay] Breaking Urns: From Ingmar Bergman to Yo La Tengo — John Talbird
“The atrocities of World War II and then all the post-war proxy-wars, most especially Vietnam, ossified and then shattered narrative wholes, all those well-wrought urns.”
[Essay] My Own Personal Jesus — Connor Harrison
“There is perhaps nothing in the Louvre as widely depicted as Jesus and his life. He dogs you down every hall and corridor, fabricated by so many hundreds of dead hands.”
[Review] Slaughter by Rosanna Hildyard — Daunish Negargar
“Hildyard brings a nuanced perspective to both the realities of farming in the United Kingdom and female sexuality, as contradictions are not skimmed over, or resolved, but rather relished and dissected like a bloody carcass throughout this dark tale”
[Fiction] Seven Sentences from Seven Horses: A Performance on Page — Jennifer McMillan
“We are a fairground ride, am I the only one who knows, who has realised that all we do is go round and round?”
Published in partnership with Everything Forever, organised by Contemporary Art Practice at the Royal College of Art.
[Poetry] Moment in Landscape no. 3 — Georgina Watson
“In this moment,/Looking at the photograph,/I am in the same position now as I was then.”
Published in partnership with Everything Forever, organised by Contemporary Art Practice at the Royal College of Art.
[Fiction] Portals to Eternity — Rieko Whitfield
“You are blissfully shrouded in only the present – one day you may not remember where you came from at all.”
Published in partnership with Everything Forever, organised by Contemporary Art Practice at the Royal College of Art.
[Fiction] The Roundhouse — Elena Lo Presti
“From that moment onwards, I see lights appearing inside The Roundhouse’s rooms: it is almost like, after discovering its rotating secret, I have broken the enchantment that kept its guests invisible, safe from my gaze.”
Published in partnership with Everything Forever, organised by Contemporary Art Practice at the Royal College of Art.
[Fiction] Orts — Meghan Murphy
“Inside this house there is no letting go.”
Published in partnership with Everything Forever, organised by Contemporary Art Practice at the Royal College of Art.
[Review] How I Learned to Stop Worrying and Love the Dumb: Ed Atkins’s Old Food at the Venice Biennale 2019 — Patrick O’Neill
“What does it mean to describe something as more than real; as ‘hyperreal’? If something can be more real than reality, then reality itself seems to be a rather precarious concept.”
Published in partnership with Everything Forever, organised by Contemporary Art Practice at the Royal College of Art.
