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Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]
Trebuchet 18: Foreign Objects [UK]

Trebuchet 18: Foreign Objects [UK]

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Trebuchet 18 - Foreign Object

[Includes postage to addresses inside the UK] 

One’s Destination Is Never A Place, But A New Way Of Seeing Things — Henry Miller

Contemporary Art:

Our Foreign Culture: Cité Internationale Des Arts

Outsider Stars: Sverre Malling

Dalí’s Lobster Phone And The Language Of Desire

Curves Of Thought: Simon Tayler

Bones, Helmets And Uncomfortable Truths: Victor Spinelli

The Inevitable Otherness Of Being Human

Foreign Objects In Local Places: Orobie Biennial

Europe’s Art Weeks Come Together: Spider Network

The Insecurity Collection: National Galleries

The Oracle Speaks In Silence: Ljubljana Biennale

Price include P&P - Ships from Nov/Dec 2025
144 Pages, Luxury Print

 

 

 

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Corrigendum Pg14-23
While both shows have curatorial direction from Cité internationale des arts Culture Programme Manager Nataša Petrešin-Bachelez, Cité as an institution is only associated with the show at the Louvre. Resonant is a separate curatorial project and should be credited to MACS MTO and the initiative for practices and visions of radical care. Saul Williams' series and work was titled “Ancient European Depictions of the Palestinian Christ” not “Jesus was Palestinian”.