'The bedroom is the locus of a becoming, spread out across multiple dimensions. Every night, as I close my bedroom door behind me, this process is set in motion, and every morning, just as it is about to become actualised, it disappears.'

Today, a walk in the museum is a walk with a camera. Is the hegemonic narrative of the exhibition questioned by the camera? Or does the camera become an accomplice to the museum?

“Can I write about the balloon without attaching too much weight to it? Or is a balloon just a balloon; enough said?”

Can the concept of hospitality provide us with a critical lens to explore what kind of relationships socially engaged art institutions can build online ?

“Remember when on the internet no one knew you were a dog?"

Rust, reinheid en regelmaat (peace, cleanliness, and regularity): the order and balance in both architecture and image make the arms factory on Bandung 'beautiful'.

Cthulhu – H.P. Lovecraft’s science fiction monster – lurks under the surface of the ocean as an elemental deity. We must wonder what lurks beneath the surface of the systems known as AI.

Charlie Jermyn was on a mission to discover the history of the North Sea resort town of Scheveningen. The essay tracks Charlie’s disorientating pilgrimage through a haze of mystical sea creatures, marshland, beached whales, kibbling, hungry gulls, and bungee jumpers. 

now you tell me I remind you of a friend, but one that you can't seem to name

'The bedroom is the locus of a becoming, spread out across multiple dimensions. Every night, as I close my bedroom door behind me, this process is set in motion, and every morning, just as it is about to become actualised, it disappears.'

Today, a walk in the museum is a walk with a camera. Is the hegemonic narrative of the exhibition questioned by the camera? Or does the camera become an accomplice to the museum?

“Can I write about the balloon without attaching too much weight to it? Or is a balloon just a balloon; enough said?”

Can the concept of hospitality provide us with a critical lens to explore what kind of relationships socially engaged art institutions can build online ?

“Remember when on the internet no one knew you were a dog?"

Cthulhu – H.P. Lovecraft’s science fiction monster – lurks under the surface of the ocean as an elemental deity. We must wonder what lurks beneath the surface of the systems known as AI.

Charlie Jermyn was on a mission to discover the history of the North Sea resort town of Scheveningen. The essay tracks Charlie’s disorientating pilgrimage through a haze of mystical sea creatures, marshland, beached whales, kibbling, hungry gulls, and bungee jumpers. 

now you tell me I remind you of a friend, but one that you can't seem to name

'The bedroom is the locus of a becoming, spread out across multiple dimensions. Every night, as I close my bedroom door behind me, this process is set in motion, and every morning, just as it is about to become actualised, it disappears.'

Today, a walk in the museum is a walk with a camera. Is the hegemonic narrative of the exhibition questioned by the camera? Or does the camera become an accomplice to the museum?

“Can I write about the balloon without attaching too much weight to it? Or is a balloon just a balloon; enough said?”

Can the concept of hospitality provide us with a critical lens to explore what kind of relationships socially engaged art institutions can build online ?

“Remember when on the internet no one knew you were a dog?"

Cthulhu – H.P. Lovecraft’s science fiction monster – lurks under the surface of the ocean as an elemental deity. We must wonder what lurks beneath the surface of the systems known as AI.

Charlie Jermyn was on a mission to discover the history of the North Sea resort town of Scheveningen. The essay tracks Charlie’s disorientating pilgrimage through a haze of mystical sea creatures, marshland, beached whales, kibbling, hungry gulls, and bungee jumpers. 

now you tell me I remind you of a friend, but one that you can't seem to name

'The bedroom is the locus of a becoming, spread out across multiple dimensions. Every night, as I close my bedroom door behind me, this process is set in motion, and every morning, just as it is about to become actualised, it disappears.'

Today, a walk in the museum is a walk with a camera. Is the hegemonic narrative of the exhibition questioned by the camera? Or does the camera become an accomplice to the museum?

“Can I write about the balloon without attaching too much weight to it? Or is a balloon just a balloon; enough said?”

Can the concept of hospitality provide us with a critical lens to explore what kind of relationships socially engaged art institutions can build online ?

“Remember when on the internet no one knew you were a dog?"