REVIEW is a magazine. Now, we find ourselves at a crossroads of interpretation and creation. The act of review — of looking back, of scrutiny, of critical engagement — has never been more crucial, nor more contested. In an era where the boundaries between creator, critic, and consumer blur, we must ask: what is the role of criticism in shaping the trajectory of art? How do we navigate the torrential flow of images, installations, and interventions that constitute our visual culture? Contemporary art criticism finds itself in a paradoxical position. On one hand, it seeks to deconstruct the very foundations upon which it stands — questioning authorship, authenticity, and the nature of aesthetic experience itself. On the other, it must construct frameworks of understanding, offering footholds in the vertiginous climb toward meaning. Here, we see criticism not as a final judgment, but as an ongoing dialogue — a conversation between artist, artwork, critic, and audience that echoes through galleries, across pages, and into the ether. In our current aesthetic regime, we witness a resurgence of the sublime, not in its Romantic incarnation, but as vertigo — a simultaneous attraction to and repulsion from the incomprehensible scale of our networked existence. Let us approach with rigor and open-hearted receptivity. Let us be willing to be provoked, to have our assumptions challenged and our perspectives shifted. For it is in this willingness to engage, to truly review, that we participate in the ongoing creation of meaning. REVIEW offers a chorus of voices, each contributing to an ever-evolving discourse of our places in our world. In the end, to review is to see anew — to look again, to reconsider, to reimagine. It is an act of renewal. Don't just look at art; question how and why we look at all. To review is perilous, to emerge from the rubble of wisdom. It is to stand at the precipice of understanding, to fail between revelation and certainty.

REVIEW is a print-only publication that is available to order now.

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Contents

Finley Rhys - Debt- “Monte di Pietà” and “Foreigners Everywhere”
Nolan Kelly - THE END OF ART HISTORY
Anna Russu-Diskultsu & Yuliia Kazhuk
Kate Alexandra - Sensory landscapes and scent spatialisations - Investigating the effects of creative olfactory interventions on space and place
Annabelle Parrish
Seph Rodney - The Problem with Consistency
Claire Perilhou
Finley Rhys - Owls
Deyi Alyce Wang
Sabrina Roman - Chandeliers And Golden Pedastals Amongst Other Posh Things
Fae Lugo
Finley Rhys - The Aesthetics of Logistics: American Truck Simulator
Gabriel Cautain
Sam Backlund-Clapp - Red riding hood - 2024
Jessica Lee
Daisy Fisher - grey hell - 2024
Kamalishe Hiraldo
Hannah Wikforss-Green - Post-ironic Manifesto
Marcin Kaminski
Suah Lim - PRIMARY AFFECT: PRIMARY DEFECT
Massimiliano Rossetto
Uma Halsted - Jenny Holzer's “WORDS”: The Exhaustion of an Empty Prophet
Mathijs Hunfeld
Finley Rhys - Strand Type
Maya Silverberg
Fran Hayes - For I have but the power to kill, without the power to die - 2024
Nica Moura
Lu Rose Cunningham - In recognition of change, of Yellow, through the practice of Jungwon Jay Hur
Nicholas D'Alessandro
Finley Rhys - Unreal American Summertime
Nicola Biscaro
Interview: Boris Groys
Paul Mesnager
Finley Rhys - The World Trade Center and Sensual Architecture
Sarita Acosta Vargas
Sofia Hallstrom - Vienna: A Socialist Haven for Artists and Galleries
Valentin Degnieau
Pip Hudd - Temporalities of entanglement in the work of sculptor Zoe Wu
Victoria Gumienna