Rebecca Horn’s retrospective offered multitudes of body/tech symbols.

The EMMA exhibition makes a bold attempt to enlighten the diversity of concrete art.

A solo exhibition by Elise Guillaume at L’Espace Croisé.

Land Body Ecologies Festival is an collaborative event encompassing sound, touch, taste, and vision over four days.

A lone robotic bird flies over an abandoned landscape.

Sougwen 愫君 Chung’s new large-scale kinetic installation features a new multi-robotic Drawing Operations Unit.

A video work on the French colonial rule and Haitian revolution.

For the Asia-Europe 5 exhibition the skin is deep, and leaves a lasting impression.

Marguerite Humeau’s new sound piece Weeds aims to make silenced and invisible knowledge visible. The solo exhibition opens today.

Speaker Park steers thoughts away from the commercial hi-fi markets.

Two recent independent exhibitions reflected masculinity. Neither of them too optimistically.

The sound may be essential to music, but in making a brilliant album so is the cover. And no cover can compete with a LP cover.

When it is about everything, Louise Nevelson named it Totality. For the smaller collages she gave no name.

The new National Museum of Estonia is taking off from the old runway.

Children of the Flowers of Evil is an insightful trip to Estonian Decadent Art. A strong case for technological pessimism?

Berlinde de Bruyckere uses hanging and stacked animal hides to make us think of the delicate difference between being an animal and becoming mere material.

Of all (visual) arts, abstract art is best suited for posing ontological questions about art itself, and because of that, also for accompanying music.

What Marcel Proust did 100 years ago with his pen, William Kentridge is doing now with his five-channel video installation: searching for the time.

It’s always a spiritually elevating experience to attend a poster exhibition. Unfortunately they aren’t that common. Rare art is equally underrated as poster art.

“Life is not in fact a dance and metaphor is too vague to give much indication of what is intended.”

Vasarely’s form-colour identity finds its counterpart in music. The form, the dimension and the comparative position of the Plastic Unit in the bidimensional space of a painting have their musical counterparts.

Inner-Magazines has numerous previously published and unpublished articles in its archives, and all those will be added to these pages according to schedule.

Inner-Magazines has numerous previously published and unpublished articles in its archives, and all those will be added to these pages according to schedule.