Nora Aurrekoetxea “Larrosa” Madé van Krimpen / Amsterdam
Nora Aurrekoetxea’s exhibition “Larrosa” – meaning “rose” in Basque – at Gallery Madé van Krimpen opens with a question: Can…
353 WINTER 2025-26
IN THIS ISSUE → ◯ Letter from the Editor ◯ Cover Story ORDINARY MIRACLES. Rene Matić in Conversation with Bianca Stoppani, photographed by Benedict Brink. ◯ Cover Story A review within a…
Peng Zuqiang “Afternoon Hearsay” The Common Guild / Glasgow 
The 8.75mm is an unusual film format was conceived in France and – according to rumors – later acquired and…
Loop Barcelona 2025: On the Edge of the Real
Ever since 2003, Loop Barcelona has unfolded within the city as both a constant presence and an ever-expanding inquiry into…
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352 FALL 2025, Unpack / Reveal / Unleash
Eros is a verb. Coco Klockner 
In the myth of Eros, the god of love and desire emerged from Chaos in the beginning of life itself…
351 SUMMER 2025, Unpack / Reveal / Unleash
The Conditions that Shape. Sophie Friedman-Pappas
On the Greek island of Tinos, centuries-old dovecotes — white stone towers originally used to harvest pigeon droppings as fertilizer…
350 SPRING 2025, Unpack / Reveal / Unleash
Image Theater Utopia. Kelsey Isaacs
Kelsey Isaacs’s shower floor is home to a sculptural tableau that quite literally sets the stage for a practice in…
349 WINTER 2024-25, Unpack / Reveal / Unleash
(I), Ellipse. B. Ingrid Olson
One image, slid. Something like cleavage, crumpled, diminishes into the groin. One image, synthesized. She is hard, interstice furling interstice,…
Architectural Universality in the Age of Global Anomie. b+, a case study. With quotes from Olaf Grawert
UNIVERSALITY NOW AND HOW WE GOT PARTICULAR Threats to the security, freedom and dignity of life today from global ecological…
Features, VOLUMES - Crisis Formalism
Almost Nothing
Almost nothing is too much. – Reyner Banham, 19621 It is not uncommon to hear that architecture today has dissolved,…
Race, Property, Rebellion. Cameron Rowland
They remained oblivious to the worlds within worlds that existed just beyond the edge of their awareness and yet were…
Total Warfare. A Conversation with Luigi Alberto Cippini
Michael Abel: First question — how does Volumes begin? Luigi Alberto Cippini: What I tried to do, within my limitations, was to make something…
ANY: Silvery-Grayish Boxes
If cathode ray blue was the color of the “digital,” and millennial pink that of the “post-digital,” with perhaps a…
Features, VOLUMES - Crisis Formalism
Who Are These People? A Conversation with Kai Althoff
Carlo Antonelli: Who are these people, the ones that populates your works? Kai Althoff: They accumulate. Some return more often…
Seoul: Glitch City
Plans are always copy-pasted. There is no planning, no imagination. Seoul is not built; it is generated through calculation. Buildings…
Zurich: Peripheral Presence.
Moving through Zurich — whether on foot, by bicycle, tram, or car — rarely involves a direct or uninterrupted trajectory.…
Madrid: Hypnotic Laugh Track
“It did what all ads are supposed to do: create an anxiety relievable by purchase.” – David Foster Wallace, Infinite…
Chicago: Model City
“You see the eastern critics and historians that assigned Chicago the place of the skeleton frame, thereby, you know, together…
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FALL 352 2025
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89 Seconds to Midnight. Yngve Holen
Shadow Theater. Solomon Garçon 
The Straightforward Complexity of Psyche. Paul McCarthy
Square One. A conversation with Kate Spencer Stewart
Half-there
Gala Porras-Kim “Recollection Returns with a Soft Touch” Museum of Civilizations, Rome
Don’t Be Alive. Aki Goto
Eros is a verb. Coco Klockner