The ‘Noumenia’ capsule collection draws inspiration from the captivating beauty and transformative energy of the phases of the moon.

I wonder whether she’s praying, or meditating, and whether she’s prone to impatience, but the 01:01 train arrives before I work it out. It takes four minutes to depart; four minutes to expose the translucent creature perched in her place. 

Your phone is hungry for the world, hungry to consume everything in front of you. Regular images are no longer enough, we must survey, collate, stitch together.

In conversation with Kim Jimin of Meaningful Stone — on 90’s rock bands, surfing and the spiritual power of the universal subconscious.

Inspired by works by Youssef Nabil, Shahin Alipour, Lalla Essaydi and Shirin Neshat, this series of photographs explores the beauty of seemingly ‘paradoxical’ intersecting identities; being from the SWANA region, queer, religious/ non-religious – a child of diaspora existing in the uncertainty between eastern and western culture. 

All digital work produced on the internet is fated to become kitsch, no matter the level of elegance or skill with which it is executed.

Drawing inspiration from the dark and gritty work of Daido Moriyama, this photo series intentionally juxtaposes the youthful children within a Moriyama-esque visual style, mirroring the contradicting aura of past and present that enveloped Lebak Siliwangi.

Curation is experiencing a shift that I believe is well needed, a shift towards rethinking the bounds of the museum from just a place to put art on walls to a more experiential world, creating new, interactive and interdisciplinary ways to view art.

American Apparel ceased operations in 2017, so this shoot was a homage to the simple artistry of versatile fashion and the ways it can interact with subject and spectator.

‘Halmeoni (할머니)’ is a series of 35mm photographs of Estelle Yoon's grandmother and their younger sister.

Some walked back.

Some didn’t.

“I think the things that inspire me the most are definitely music and movies, queer culture. They’re things that can give more — I suppose — broad levels of inspiration, not particular people if that makes sense. I think I’m inspired by the queer community — like I literally make my work for them, that’s where most of my inspiration comes from. Just like being out on a dancefloor or at a pub with close friends, that kind of thing.”

“My relationship with art is really just centred on my love to create. I always encourage my staff and creative team to do that as well. Yes, we do this for a living, but we’re also following a brief. So, I encourage them to try and create outside of the workplace because that’s where you can actually, really explore your own creativity. I just really love it.”

“The big thing is if you don't believe in yourself, nobody else can and it's cliché as that is. You have to believe that you do have your own unique style. It might take a month, a year or 10 years. But you need to persist, you need to keep going.”

What drew my attention to Acconci, however, was a small, maroon book whose pages bore his 1990 essay, ‘Public Space in a Private Time,’ to which the exhibition was titled in commemoration of.

Ashray Kumar visits an Indian temple.

Suspended between death and life, the vampire occupies a liminal space wherein typical boundaries can be blurred.

Today Milan Kundera died; and forty years ago, a different student entered his world of middle-aged fever-dreams.

We are player, viewer, voyeur, flaneur, spectator, and character all at once.

Still, time does this funny thing of moving on.