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(Summer 2020)


(Autumn 2019)


(Spring 2020)



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(Summer 2019)

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(Spring 2019)


(Winter 2018)

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(Autumn 2018)


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Issue 14

(December 2016)

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Issue 15

(February 2017)


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Issue 1

(December 2012)


Interview: Richard Dodwell on Queer British Art

Duncan Grant, Bathing, 1911. Oil paint on canvas 2286 x 3061 mm © Tate QUEER BRITISH ART 1861-1967 (Tate Britain, until 1 October) Richard Dodwell is a painter, sculptor and performance maker based in London. He is interested in found objects, life writing and the ocean. Tom Powell: When the exhibition was announced, Janet Street Porter questioned how appropriate a Queer art exhibition at Tate would be. She wrote that the society’s ‘obsession with sexuality dims our ability to simply respond to and enjoy great art for what it is.’ What would you say to JSP and those that might agree with her? Richard Dodwell: Seeing that homosexuality has only been decriminalised barely 50 years I find Janet

History Shall Repeat Itself

Image by Mat Collishaw Pondering what the future may look like has been a fascination for many an artist, filmmaker and writer. Stepping into the past, on the other hand, is a fairly unexplored territory. Although museums, lecture theatres, books and TV screens can illuminate the world of yesteryear, the encounter can be somewhat flat. Unlike the future, we can never truly experience history. Or at least we were not able to, until now. From May until June 2017, Mat Collishaw, the world-renowned British artist, is creating a time warp inside Somerset House. Thresholds will invite visitors to travel back to 1839 and encounter the groundbreaking exhibition of scientist William Henry Fox Talbot’

The Physiology of Phone Sex

「電話接通。 聲音進入耳朵之後,像緊貼著水槽聆聽,從水龍頭流出的水潺潺進入排水孔,激起相對的情緒反應。隨著音調起伏,經驗一次在吸入同時便極度希望能夠以嘆息吐出的呼吸。心臟上緣至背部之間的肌肉緊蹦,彷彿心臟後方有人用手指揪著它往左右拉動。一股熱流從胃部出發,先是向後,繼而往上,沿著脊椎向上攀緣,停在橫隔膜和肺臟下端,之後逐漸湧向乳房,在肺臟和心臟之間遊走、晃動、擺盪,隱隱約約有苦澀的感受,與其說是觸覺,更接近味覺。像淹死在一壺黑咖啡裡,彌留之於,胸腔裡卻全都是教人清醒的液體。血液逐漸向小腹以下集中,陰莖前端根部靠近陰囊的部位被拉緊,往下拉扯,在極為緊張的肌肉狀態中勃起,前端脹得發痛,彷彿全身的紅血球遭逢大敵,並且認為排尿孔是唯一能夠逃出的通道…」 The phone is connected. The voice enters the ears like the water goes from the tap, to the drain hole in the sink, and the emotions arise. As the tone of that voice floats, experiencing a breathe which would hope to excrete with sighs immediately after the inhalation. The edge of the heart tightens, to the muscles on the back; as if a man was holding and swinging them wi

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The Courtauldian

c/o The Students’ Union

The Courtauld Institute of Art

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