Tuco Amalfi, Beyond Time, 2007

Anselm Kiefer, Die Himmelspaläste, 2003-2018

Zsófia Keresztes, After Dreams_ I Dare to Defy the Damage, Hungarian Pavilion, 59th Venice Biennale

Hito Steyerl, Power Plants, 2019

Solitude is independence. It had been my wish and with the years I had attained it. It was cold. Oh, cold enough! But it was also still, wonderfully still and vast like the cold stillness of space in which the stars revolve.

Hermann Hesse, Steppenwolf, 1927

Junya Ishigami + associates, KAIT Plaza, Atsugi, 2020

The oldest discovered architectural plan, Mesopotamia

Robert Torre, Karta života

Tomislav Tomić_Regoč, Priče iz davnina, Ivana Brlić - Mažuranić (ilustracija iz 2004)

Nancy Holt, Rock Rings, 1977-78

Remedios Varo, Bruja que va al Sabath, 1957

Matthew Barney, Cremaster 5, 1997

Jon Rafman, I Have Ten Thousand Compound eyes and Each is Named Suffering, 2016

Josef Svoboda_Rusalka, Antonin Dvorak, National Theatre Prague, 1991

Somehow in an opera house you have this condition where you have a singer on stage singing without amplification and they’re surrounded by this house whose curves are built to enable that unamplified voice to project out into the house. It’s something like being inside the chest cavity of the singer, yet being up in the house and seeing the singer. So you’re sort of in two places both external and internal at the same time.

Matthew Barney

No, Chay,” he told her. “At this moment we are code, we are ghosts in the substrate, we are both real and unreal. Never forget that. We exist here for now but we had and have another life, other bodies to return to, back in the Real.

Iain M. Banks, Surface Detail, 2010

Diego Gravinese, La Era de la Razón, 2017

Using Format