JOURNAL

Giotto’s Room seems an apt title from which to depart a proto-renaissance of new perspectives in the digital age, and the work of Aisha Christison and Bea Bonafini renounce the trappings of new media, employing materiality as something collaged, something that is abraded, something binding and resilient but that is not without frayed edges. The exhibition’s tactility, its unique ability to be lived and inhabited with relative freedom is its spatial product and gift. Like the

The echo of Giotto’s work still resonates in the present days. The artists chosen by Lucy von Goetz to pay homage to the Italian master in this exhibition have both explored methods of figuration that engage and challenge our perception of space.

Entering the Arena Chapel in Padua, one walks into an ancient jewel box; drenched in the deep blue of Giotto’s skies. John Ruskin described Giotto’s frescoes as a, “rainbow play of brilliant harmonies”. Giotto was adorning the surfaces of Italian architecture in the 14th century, taking the touchstone for our exhibition, “Giotto’s Room”, back to the very roots of modern painting.

By Lucy von Goetz Anna Jermolaewa represented Austria in the 2024 Venice Biennale. When something sticks with you for some two years or more you must ask yourself why. Jermolaewa’s work encompasses the beauty that can be found in simplification, the ability to distil something enormous into something tiny. Along with their artistic potency, Anna Jermolaewa’s works possess poetry and humour. They are characterised by an acutely vigilant sense of human and social nuance and o

By Rosalie Clement Hennion The first light is always natural. For Tereza Červeňová, photography begins in a sunlit moment, a fleeting alignment of light and form, a shimmer of time suspended. Then comes the darkroom, the alchemical counterpoint: film wound, paper curved in her hands, gestures repeated until the image takes shape. “Analogue material is very fragile, yet it is rich in tones and densities,” she reflects. “It needs care and gentleness. The alchemy stored within

Xu Yang at the Château de Lantheuil By Lucy von Goetz Forget Me Not presents a lavish, reflective, and culturally layered exploration of...

By Lucy von Goetz An exquisite peace obtains: a drowsy, golden peace, flowing honey-sweet over my dwelling, soaking it, dripping like...

By Lucy von Goetz You can think and think a question, the purpose of waiting, the question of whether there is any purpose, any person...

By Lucy von Goetz Xu Yang’s studio is brimming with treats, a palace of intricate narrative-laden paintings. The materiality and...

By Lucy von Goetz Angelica Kauffman’s paintings could be passed over by contemporary eyes. Her contribution was not revolutionary or...

By Lucy von Goetz Lee Miller was never a muse. To diminish her as such would be delinquency. Even when she was studying photography under...

By Lucy von Goetz Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time...