A Return to
the Pre-verbal

Julia Gelezova discusses the latest work
of Saskia Holmkvist

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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

On Deliberate Tensions and Closeness

by

Zippora Elders

On Image, Origin and Representation

by

Erik Vroons

After Us

by

Erik Vroons

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

article

Anna-Kaisa Rastenberger on Hilla Kurki latest work

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

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

Article

Between the Layers

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

Reality Cheque

by

Camille Lévêque

Going Mainstream

by

Julie Chun

Indeterminate Images

by

Kwasi Ohene-Ayeh

Beyond Ocular Vision

by

Yvette Hamilton

Wave

by

Duncan Wooldridge

Nets by Teresa Eng

by

Teresa Eng

Aesthetic
Pipelines

by Rashi Rajguru

Emblematic
of Black Souls

by Artist name

Emblematic of Black Souls,
Irene Antonia Diane Reece

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