“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.
[Fiction] Apple Blossom Sky — Laura Moreton-Griffiths
“I have eight weeks before the changes are noticed. In eight weeks I can do a lot of damage. For a little while, the materials will not be missed and my nano sabotage will go undetected.”
Published in partnership with Everything Forever, organised by Contemporary Art Practice at the Royal College of Art.
[Essay] Wang Zijun and the Involution of Chinese Art — Shu Hu
“As the country has begun to stagnate economically, so too has the development of its contemporary art scene.”
Published in partnership with Everything Forever, organised by Contemporary Art Practice at the Royal College of Art.
[Fiction] The Doubting Disease — Oskar Oprey
“I suffer from acute anxiety and OCD, but I prefer the old Victorian term for my condition: the doubting disease.”
[Essay] Back To The Verdict — Greg Gerke
“It’s a brittle limestone tragedy rather than Shakespearean, the kind Bergman, Fellini, and Antonioni patented years ago.”
[Essay] Distance — Connor Harrison
“Here in form if not in content, is my father in his broken epilogue – sentences, offered from across the border”
[Poetry] — Peter Donnelly
“At these minor garden parties,/Wind lushes and lashes/Through tended-to bush/Gusts across tennis courts (the nets slap/And billow); Ford Fiestas at the perimeter/Unmoved by all of this.”
[Review] 06C33 by Sofia Amina — Josh Mcloughlin
“The weight of ancestry and history press down on Amina’s reflections as she carries, quarries, and questions the burden of cultural inheritance: ‘Where does my history begin?’”
[Essay] TV Bra for Living Sculpture With(out) Charlotte Moorman — Eloise Crist
“As TV Bra is a record of Moorman’s corporeality, its reception without Moorman is burdened by the complications of mourning.”
[Poetry] — Maia Joy
“The brightness melts my insides/into something that more resembles/a Salvador Dalí painting than/anything earthly”
[Fiction] In Search of Blue — David Roberts
“Past the hospital, through once grand streets. A short walk across almost waste ground to get to that place where the machines slept their clockwork dreams.”
[Essay] Once Again, the Western — Ben Lewellyn-Taylor
“White male anxiety about an impending age where his place is not solidified is nothing new. We know this story too well, yet on screen white men go on killing, their violent delights our supposed entertainment.”
[Poetry] — Phillip Shabazz
“Someone/who loses himself for the damp word of promise/where smoke rolls upward from a Pall Mall.”
[Essay] Coming Out in Lockdown — Dominic Brown
“After more than a decade constructing this image, why come out now?”
New Critique 