Monthly Art Opinions

Among Chinese artists, 55-year-old Zhang Huan is considered a contemporary art luminary, second only to Ai Weiwei. His artistic journey...

Paris has recently experienced a resurgence of excitement, particularly this autumn, following the lifting of the last health...

The archive is not preserved; it is fatigued. Loss emerges not from absence but from excess administrative intervention.

Duplication unsettles: near symmetry fractures into difference, where fragility becomes the condition for relation.

Not an exhibition but aftermath: matter lingers, unstable, unspectacular—where combustion has ceased, but its heat remains.

The Prague Quadrennial (PQ) stands as a distinguished international competitive exhibition, showcasing scenography, theatre architecture,...

Grief made atmospheric—images unravel, refusing resolution, holding only what presence fails to contain.

Dmitrieva’s analogue practice challenges the accelerated visual regimes of the post-digital world, using masked and vegetal figures to interrupt the demand for clarity, recognition, and instant meaning. Her slow, tactile method becomes a counter-technology that restores attention as a material practice, allowing subjectivity to emerge as porous, provisional, and resistant to imposed narratives.

In Fault Lines of Speech, architectural fragments from bombed spaces in Ukraine form fractured grammar, revealing language’s survival through destruction.

Image © Atticus Gallery One enters Suspended Intuition , Larisa Razumeichenko’s recent solo exhibition at Atticus Gallery in Bath, not through spectacle but through a slow unfolding of restraint. The gallery, dimly lit and meticulously composed, does not assert itself. Rather, it listens. The works do not stand out—they hold space. They emerge not as declarations but as quiet provocations, suspended within a field of perceptual hesitation. This is an exhibition built not upon

In Levenson's Quick Print, transformed into The Pharmacy by Damien Hirst, pills serve as guides to salvation, skeletons serve as...

Exhibition:   The Soft Edge of Being  — Atticus Art Gallery , 11a Queen Street, Bath, BA1 1HE, United Kingdom. Dates:  10 November – 23 December 2022. In the quiet rooms of Atticus Art Gallery, The Soft Edge of Being  unfolds as an inquiry into what remains of perception after catastrophe. The exhibition was realised through the support of Eastside Projects , Birmingham — an artist-led organisation that provided curatorial and structural assistance in collaboration with The

Corrosion speaks as pigment and politics: rust turns domestic fragments into testimony of slow, unspectacular collapse.

Exhibition at GHAT explores identity and perception through intricate patterns, offering a transformative experience.

A Tragedy in Stone and Silence explores the spectral politics of architecture, where history lingers as an unresolved trace of erasure.

Atticus Art Gallery, Bath | 9 September - 31 October In Refraction Index: 1.52 , the solo exhibition by artist Suzanna Voit, who was born in Kazakhstan, at Atticus Gallery, Bath, the viewer is immersed in an experience that moves far beyond objecthood. Voit’s work operates at the intersection of sculptural materialism, perceptual psychology, and environmental engineering. Her forms—composed of meticulously cast and machined glass—serve not as static works of art but as instru