On Image, Origin,
and Representation

Erik Vroons on Daan Paans’ publication 'Floating Signifiers'

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A Foreword
to the Future

Colin Graham on forging a space
for rethinking the image

The bottom of human-made Detroit Lake, Oregon, 2021, from ‘After Us’ series.

International Centre for the Image

After All: PHotoESPAÑA 2025

by

Erik Vroons

Noémie Goudal, ‘Supra Strata 2024’, behind the scenes. © Noémie Goudal. Courtesy of the artist and Edel Assanti. Photo by Noémie Goudal Studio

Noémie Goudal, Tilt.

by

Michaële Cutaya

Reclaiming Childhood: The Intimate World of Michalina Kacperak’s Soft Spot

by

Michalina Kacperak

Wet Paint by Studio Prokopiou

by

Erik Vroons

Prologue to the Return of The Real

by

Sara Muthi

Now is the time

by

Una Mullally

A Series of Formulations—Postscript

by

Natasha Christia

Almost All the Flowers in My Mother’s Garden

by

Anna-Kaisa Rastenberger

A New Form of Worship

by

Ilaria Sponda

Harsh Salvation

by

Sara Muthi

article

Sue Rainsford responds to the practice of Bindi Vora and the relationship between visual and written languages

Mountain of Salt

by

Sue Rainsford

Photography & Post-Truth Politics

by

Aidan Kelly Murphy

Emblematic of Black Souls

by

Irene Antonia Diane Reece

A Place of Our Own

by

Iris Hassid

This Hurts

by

Dónal Talbot

Tránsito

by

Roberto Tondopó

Ways of Seeing Algorithmically

by

Lewis Bush

Indeterminate Images

by

Kwasi Ohene-Ayeh

Wave

by

Duncan Wooldridge

Feature

Between the Layers

Jean Curran on the history of colour in cinema
and her use of dye transfer prints

Wish You Were Here

by

Heather Agyepong

Vera Ryklova: Works

by

Vera Ryklova

Slowly Westward: A Journey Through a Folded Landscape

by

Mark McGuinness

Against Domestication

by

Shia Conlon

The Clearing House

by

Garry Loughlin

Hands On

by

Amelie Schüle

Aesthetic
Pipelines

by Rashi Rajguru

Emblematic
of Black Souls

by Artist name

Emblematic of Black Souls,
Irene Antonia Diane Reece

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