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2019-2020

Time

(Summer 2020)

Cosmo

(Autumn 2019)

Museion

(Spring 2020)

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2018-2019

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Venice

(Summer 2019)

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Islands

(Spring 2019)

Alumnae

(Winter 2018)

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Absence

(Autumn 2018)

2017-2018

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see:one

(2017)

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see:two

(2017)

Boundaries

(2017)

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2016-2017

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Issue 14

(December 2016)

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Issue 15

(February 2017)

2012

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Issue 1

(December 2012)

Online

An Icon Reborn

‘An Icon Reborn’ the words stencilled onto hoarding near Blackwall Station. The Robin Hood Gardens estate in Poplar, East-London, was a common feature of architecture enthusiasts’ to-see lists. Its name circulated in the company of British architecture that was co-opted by aesthetes, such as the Balfron Tower or the Brunswick Centre, and took-on an iconic status that ran parallel to its original purpose. Designed by the influential British architects Alison and Peter Smithson and completed in 1972, the estate was built during a government-supported housing drive after the Second World War. Intended to improve the country’s housing and push towards a ‘New Britain’, the post-war period saw the

Cucumbers, Coal and the Curriculum: The Oddities of Local Heritage

Illustration by Anna Seibæk Torp-Pedersen For the better part of my primary education our school trips would, invariably, be to the George Stephenson Memorial Hall. It was ideal. Just a half hour away, we’d spend the morning doing crafts before marching into the only room of the museum. Activities of note included ogling the great man’s baby bonnet and wondering at his less known invention, the cucumber-straightener*. Year after year we’d traipse back to Chesterfield to celebrate George Stephenson’s achievements and engage with our area’s local heritage… all five cabinets worth. In anticipation of our visit, we’d spend classes pouring over pictures of his engines. Teachers would regale us wi

Contemporary Chinese Performance Art: An Interview with Yingmei Duan

Yingmei Duan (b. 1969) left her home country China in 1998, after being a member of the underground Beijing East Village group between 1993-1995 where she took part in the collective performance work To Add One Meter to an Anonymous Mountain. The experience as a member of the avant-garde circle prompted Duan to turn towards the medium of performance, which developed further in Germany where she worked with Marina Abramović and filmmaker Christoph Schlingensief. Duan works with her own body as a primary means of expression, in which temporal extension, spontaneity, and the inclusion of the audience play an important role. As a curious observer of life and people’s desires and fears, she has c

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The Courtauldian

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The Courtauld Institute of Art

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Penton Rise,

London

WC1X 9EW

the.courtauldian@courtauld.ac.uk

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