'"In Iran, they understand the symbols immediately," she says. "Here, they understand the way I express them."'
Mollie Bolshaw visits Yasaman Mollasalehi in her studio to explore recent paintings, her move from Tehran to Manchester, symbolism, figuration, process and emotion:
'Maybe it’s time we did a little more thinking about how we feel when encountering artworks, exhibitions, and diverse other aspects of the art world.'
Bob Dickinson reviews FELT NOT THOUGHT... WORKS ON PAPER at Cross Lane Projects:
'Eaton makes an interesting proposition, and one which is very inline with decolonial heritage discourse: that rather than being stuck in time, heritage can and should be alive.'
Jessica El Mal reviews Microtonal by Invisible Flock which opens at Barnsley Civic today!
'As a Catholic-raised queer woman, Yearwood-Dan’s simultaneous appreciation of the faith and desire to reframe it tracks a profound and prolonged negotiation.'
Liliana Muñoz Flannery reviews Michaela Yearwood-Dan's The Practice of Liberation at The Whitworth, open until October this year.
'Anyone who has spent any time with a small child will have observed that they are drawn towards the strange, small and humdrum: exactly the type of objects collected by Mary Greg.'
Natalie Bradbury on Things of the Least: lively exhibition-making with children under-3 at Manchester Art Gallery.
'One of the great strengths of Hammond’s work is collaboration, connecting this installation with the people who live and work here makes the work far more powerful.'
Caroline Bagenal reviews Felicity Hammond's Reactor, which explores Barrow’s status as the UK’s only nuclear submarine manufacturer.
'I am thinking especially of the language around migrants and who belongs where, as the fables of mono-culturalism and nativism seemingly reach into every corner and conversation.'
Chantal Oakes writes on Amy Townsend-Lowcock's 'Enter, Tragic Mulatta':
'At the root of this trio of exhibitions is the space and support for creative experimentation, a philosophy carried from Alban Davis and her small artistic community in the 1940s, and given a contemporary legacy.'
Denise Courcoux reviews the Women in Print exhibitions at Allan Bank in Grasmere:
'Entering Raisa Kabir’s solo exhibition I only dance, I wish we could sing at the Hub in Sleaford, I felt that I was stepping into a scene of pure queer joy.'
Ruth Charnock explores Raisa Kabir's new solo exhibition at the Hub, Sleaford. Link to read the full review below.
'Luminous and transportive, hazy memories of funfairs drift over footage of spinning rides until I accidentally catch someone’s eye and we both burst out laughing.'
Jazmine Linklater on Curtain Up at @thelowry.com, an exhibition exploring the energy of audiences.
corridor8.co.uk/article/curt...
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Maybe it’s time we did a little more thinking about how we feel when encountering artworks, exhibitions, and diverse other aspects of the art world.
corridor8.co.uk
Microtonal is an installation comprising 200 borindos (pronounced boreendo) – a clay wind instrument from the desert of Sindh, Pakistan. Officially added
The word ‘least’ often has negative connotations, implying comparisons against which a situation, person or object comes up short: something might be less
Felicity Hammond’s installation ‘Reactor’ is an interrogation of technologies’ implications for the future of warfare. Located at Signal Film and Media in
corridor8.co.uk
Following her contribution to Reflecting // Processing, a three-day group exhibition at Studio Sanct Manchester this April, I’m lucky enough to be able to
I walked up the footpath to Allan Bank on the hottest Saturday of the year so far. A Georgian villa and National Trust property, it is large but homely in
Taking its title from the work of feminist theorist bell hooks, who defined liberation not as a static endpoint but as an active, engaged practice, The
On 26 November 2025 at Manchester Art Gallery, ten women and non-binary writers of European and African mixed heritage performed texts about themselves
Entering Raisa Kabir’s solo exhibition I only dance, I wish we could sing at the Hub in Sleaford, I felt that I was stepping into a scene of pure queer
corridor8.co.uk
Bending my neck uncomfortably, I realise I’m standing just too close to the high-shine surfaces of Simeon Barclay’s ‘A Track with No Name’ (2018) to
