‘I feed the birds / before I feed myself.’
New poetry by Luciana Francis.
‘I feed the birds / before I feed myself.’
New poetry by Luciana Francis.
‘The few days turned to weeks and years and it was a decade before we spoke about the future, a conversation focused on the past.’
New fiction by Gary Finnegan.
‘Dad drinks a pint of Newcastle Brown
feet sticking to the floor,
the room thick with fag smoke.
Dad 70’s cool, beard & sideburns & swagger.’
New poetry by Rachel Burns.
‘You grow up in poverty. You are told you are lucky, and that luck is why you are the only child in the family who gets an education. You have a natural sense for numbers, and feel that luck is a question of numbers. It is a question of the number of years separating you and your siblings from the source of luck.’
New fiction by Lilia Salammbô Fetini.
‘everything is muddled, everything is metaphor.’
New poetry by Tim Relf.
Currently showing at the Southbank Centre’s When Forms Come Alive exhibition, we spoke to Eva Fàbregas about her sculptural installations, form, and desire.
‘They passed away into the long eclipse,
Like voices on the wandering breezes blown
Now here – now gone – but whither, all unknown.’
Poetry from A. E. Housman.
Currently showing at Gallery 46, we spoke to David Tucker about his fearless paintings and sculptures.
‘I’d heard about the surgery even before Cathy reminded me of it. They’d discussed it on the radio one morning, and I’d half listened as I was making coffee, but it seemed experimental – outlandish, even – and I assumed the idea would flicker, smoke, and then go out, like the time they talked about finding volunteers to go to space forever.’
New fiction by Sarah Turner.
‘As a victim of the AIDS pandemic, Mapplethorpe established a foundation in his own name to preserve his legacy of works which continue to incite mixed sentiments in audiences and confront the boundaries of sexual politics and art.’
Adelaide Ng reviews Robert Mapplethorpe: SUBJECT OBJECT IMAGE.
‘Unmoored by her childhood as an orphan, Chanel was extraordinarily bold, possessing a tenacity and creativity that surpassed the bounds of fashion at the time.’
Adelaide Ng reviews Gabrielle Chanel: Fashion Manifesto at the V&A.
‘Whilst approaching the prosaic in terms of length and division, Warmelo’s disregard for grammatical conventions pays homage to, yet disrupts and furthers a poetic legacy.’
Katrina Nzegwu reviews Aea Varfis-van Warmelo’s Intellectual Property.
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